Category Archives: the local news

The high and the low

(Updated Christmas Eve, after spotting a flaw in my statistical analysis. I am deeply sad.)

Now that it’s well and truly over, two things really stick in my mind about the Manchester Congestion Charge vote. (Strictly speaking, the Manchester Transport Innovation Fund vote – but I don’t think it’s a fund that we voted to reject.)

One is the sheer strangeness of the Yes campaign. As you’ll already know if you live anywhere in Greater Manchester, this was a huge campaign. The public transport companies were in favour anyway, so you couldn’t get on a bus or a tram without being invited to vote Yes. But you couldn’t wait for a bus – or look out of the window once it started moving – without your eyes being met by the dull-eyed, faintly reproachful gaze of the Vote Yes People. (Click around the site for more. Perhaps not late at night.) They were everywhere. According to that Web site, the campaign was sponsored by TCS (a property company) and Practicus (an ‘interim management’ company, which seems to be something like middle-management recruitment only not quite; perhaps you don’t get an actual job at the end of it). Those two companies must be doing remarkably well, to have all that money to spend on someone else’s publicity; clearly names to watch. From the Vote Yes campaign’s point of view, though, I do wonder that nobody seems to have considered the potential downside of this level of saturation publicity. People don’t generally like being told what to do, least of all by spud-faced pod-people who purport to represent them.

Perhaps it wouldn’t have been so bad if the content of the campaign had been different. There were three waves of pod-people posterage, each a variation on the basic theme of What An Ordinary Manchester Person Is Thinking. (And ‘thinking’ is the word: nobody was actually speaking in those pictures. Look into my eyes! Hear my thoughts!) The first wave was the deeply annoying “I won’t be paying” theme. This wasn’t encouraging civil disobedience (which would probably be fairly futile with the level of surveillance required by the scheme). Rather, it was based on the idea that most people wouldn’t be making car journeys which would be hit by the charge – supposedly ‘eight out of ten people wouldn’t pay’ – and therefore most people ought to vote Yes.

This was a bad approach on so many levels. On the face of it, it was a straightforward appeal to self-interest: you want better public transport? you don’t want to pay more? lucky you, you won’t have to! But anyone who was already concerned about the charge, or suspected that they might be affected, had already had ample opportunities to do the sums for their own situations. (Full disclosure: I worked out that I’d be charged once a week. I really resented that.) Even if only 20% of the population was likely to be charged – and I’m sure people like me, incurring weekly charges, weren’t included in those calculations – the appeal to self-interest, for those people, would immediately backfire: saying that four out of five people wouldn’t pay isn’t much of a selling-point if you’re number 5.

For anyone who hadn’t given the charge much thought, on the other hand, the campaign could almost have been calculated to raise suspicions – precisely because of that weird and phony “we are ordinary people like you” framing. I won’t pay, says an actor representing a typical Manchester resident, because I only go into town at the weekend / I get to college by bus / I never go out of the house (I may have made up the last one). I suppose our reaction to these was supposed to be “good for us – tough luck on those people who insist on commuting by car”. Actually my instinctive reaction was “good for fictional you, but what about me?” If you’re going to appeal to self-interest, you need to get the story straight – once you start thinking in terms of “can I get something for nothing?”, you’re also thinking “am I going to get ripped off?”

The second wave was all about fairness. This time the pod people had talking points that they were mulling over (although where they got them was a mystery to me – the publicity about the actual details of the scheme was woefully limited). The emphasis was on the commitment to get the improvements to public transport into place before the charge came in; a typical poster read “Bus fares are frozen, and then the charge comes in? Sounds fair to me.” This wasn’t as actively repellent as the first phase, but it was extraordinarily weak – what do you mean, it sounds fair to you? What is this imitation of reasoning – are you saying it is fair or not – and if not, why not? Come to think of it, what’s fairness got to do with the timing of the introduction of the charge? There’s no sense in which the benefits gained in the first couple of years offset the costs imposed from that point on. Once again, this “we are ordinary people” approach provokes the very suspicions it’s apparently meant to allay – maybe it sounds ‘fair’ to you, mate, but to me it just sounds like a sweetener… And, once again, the underlying appeal is not to collective benefits or to fairness (despite the language), but to self-interest. Two years benefits upfront, free of charge? I’ll have some of that. What would genuinely sound fair would be “We’ll pay more when we drive at peak times, but we’ll get the benefit when we use public transport” – but that message never appeared.

The idea of actually paying the charge did surface in the third and final stage of the campaign, but yet again the appeal was to individual self-interest. The message here was “I want to [get from A to B quickly]. That’s why I’m voting Yes.”, with examples ranging from getting to the building site on time to putting the kids to bed. I don’t mind paying, the logic runs, because I know that other people won’t want to pay, and so the roads I drive down will be much clearer. Essentially this was the “get the plebs off the road” phase of the campaign. It seems to tap into the same vein of narcissistic fantasy that brought us the remake of SurvivorsWhat if everyone stopped using their cars to get to work except me? Wouldn’t that be brilliant?

This isn’t a full picture of the Yes campaign; there was some publicity which focused on improvements to public transport. More to the point, a lot of the actual campaigning went on by word of mouth, and here the idea that the charge might be paid for in collective benefits did get an airing. Overall, though, the Yes campaign was woeful as well as creepy. What it was trying to get us to do was assent to an additional tax, for the sake of benefits which (by government decree) couldn’t be funded any other way. The question, in other words, was “do you agree to start making a payment you’ve never had to make before and carry on paying it indefinitely, with no guarantee that the scheme won’t be extended or the toll increased, for no reason except that that’s the only offer on the table?” (The TIF was to consist of a £1500 million grant plus a £1200 million loan, a quarter of which would need to be spent on setting up the machinery to administer the scheme. And no, we couldn’t just have the £1500 million.) It appeals to a certain combination of public-spiritedness and submissive ‘realism’: you can say “yes, because I believe the investment in public transport will be worth it, and besides it’s the only offer on the table” or “yes, because I believe we should be encouraged to use our cars less (and besides…)”, but those are arguments for agreeing to a collective tax, arbitrarily imposed, in return for collective benefits. There’s just no way to sell a Yes vote in terms of individual self-interest, and it was pretty shabby of the Yes campaign to make the attempt.

The other thing that struck me about the campaign was the consistency of the voting figures, with one interesting exception. There are ten boroughs within the old Greater Manchester region; the plan was to implement two charging zones, one following the M60 and an inner ring further in towards the centre (not far enough in for my liking, but that’s by the way). Out of the ten boroughs, Bolton and Wigan are entirely outside the M60, and Rochdale almost entirely; these three boroughs presumably have the largest proportion of people who would be completely unaffected by the charge. Bury, Oldham, Tameside, Stockport and Trafford are all crossed by the M60. Manchester and Salford, finally, are divided both by the M60 and by the inner ring.

Here are the voting figures. I’ve given the percentage turnout and the No vote (as a percentage of those who voted). The dotted lines represent percentages across all ten boroughs. (Region-wide turnout: 53.2%; region-wide No vote: 78.8%.) I’ve graphed the No vote because it turns out that there was very little variation in the Yes vote, calculated as a percentage of eligible voters: 4% in total (from a low of 8.9% to a high of 12.8%), with six boroughs within 0.5% of the overall figure of 11.3%.

Congestion charge 1

Here are the same figures, normalised around those region-wide percentages: 90% means ‘90% of the regional percentage turnout/No vote’.

Congestion charge 2

And here are the percentages again, sorted by No vote rather than by turnout.

Congestion charge 3

What do we see? The first thing is that turnout was respectable everywhere (the Wigan low of 45% would be very good for a local election) and better than that in a few places (over 60% in Tameside and Trafford). The second is that the No vote was overwhelming (and the Yes vote miserable) pretty much everywhere: the No vote ranged from 84.5% in Salford all the way down to 72.2% in Manchester. This wasn’t a multiple-choice question or a choice between several candidates: 27.8% of people who voted in Manchester voted Yes, and 72.2% voted No. For the proposal to pass, the vote had to be over 50% in seven out of ten boroughs; it didn’t even reach 30% in one.

Then there’s the correlation of turnout and No vote, which is particularly striking in the third graph: three boroughs had a below-average No vote and a below-average turnout; six had an above-average turnout and an above-average No vote. (Bolton was in between.) Look at the first graph and compare Trafford, Tameside and Stockport (crossed by the M60) with Rochdale, Bolton and Wigan (outside the M60). Outer boroughs: low turnout, relatively low No vote. Inner: high turnout, relatively high No vote. As I noted above, the Yes turnout varied between 8.9% and 12.8%, for an overall average of 11.3%. There was much more variation in the No turnout, which was 41.9% across the area, but ranged from over 50% in Trafford and Tameside to just over 33% in Wigan and Manchester. (Trafford also had an above-average Yes turnout, at 12.5%. I guess they just take voting seriously in Trafford.) There seems to be a definite correlation with geography; it looks as if, where geography made a difference, the difference was both that the congestion charge interested fewer people (lower turnout in outer boroughs) and that those who bothered to vote were more motivated by self-interest (lower No vote in outer boroughs). In short, the geographical patterning of the Yes vote is highly suggestive of an appeal to self-interest, while the overall level of the Yes vote suggests that this appeal has very little power to mobilise.

Lastly, there’s a glaring exception to this correlation: Manchester, the borough covering most of the city centre and hence the only borough, apart from Salford, which is crossed by both inner and outer charging rings. Salford has the record No vote, at 84.5%; turnout was a respectable 57%. Manchester, by contrast, is out there with Wigan: a turnout of only 46%, of whom 27.8% voted Yes. Clearly, the model which explains the differences between inner and outer boroughs in terms of individual self-interest can’t deal with these figures.

I haven’t got an explanation, either for the high Yes vote or for the equally puzzling low turnout. Anecdotal evidence suggests that Manchester (or at least South Manchester) may have an unusually high concentration of people sympathetic to the aims of the Congestion Charge, or of non-drivers, or both. As for the low turnout, Manchester City Council hasn’t changed hands since 1974; the council’s motto is Concilio Et Labore, and it is. Perhaps conditions like that – compounded by the fug of neo-Blairite ex-municipal-socialist hortatory corporate righteousness which has enveloped the Town Hall for the last decade – tend to promote cynicism and disengagement: they’ll do it anyway, so why encourage them? The day the vote came through the Manchester Evening News results page included a poll: “Is the Congestion Charge dead and buried?” When I looked at the page, votes were running 4:1 in favour of “It’ll be back in some form”. White Van Man won’t resist the Future forever. (And a Merry Christmas to you too, Mr Leese sir!)

The fourth, the fifth

Here’s a new song. I was feeling particularly low the other day, and felt like getting a song out of it. A proper, serious, song is on the way (it’ll be called Come to grief, probably) but this will do to be going on with; I find its sheer callousness quite cheering. Really sad songs are hard – they’re great when they work, but a near miss tends to come out sentimental and well-meaning. If you play it for laughs the target’s a bit broader.

Miserable tonight

I’m going to sit right down and listen to the blues
And if a tree don’t fall on me I’ll live till the will to live I lose
When I woke up this morning I felt quite bright
But I’m going to be miserable tonight

I’m going to sit right down and listen to Nick Drake
Will it be Pink Moon or Bryter Layter – tell me now, which will I take?
Come on Nick, I know you know the way to blue
So help me to be miserable like you

I’m going to sit right down and listen to Leonard Cohen
And if I can find the tune I’ll sing along, although I know it could be heavy goin’*
You don’t really care for music, do you, Len?
But you can make me miserable again

Regrets, you say you’ve had a few,
Well, I’ve had more than you –
Am I right or am I right?
Misfortune has played its part
But failing is quite an art
And it’s an art I’ve mastered
And that’s what’s made me… miserable tonight

I’m going to stand right up and sing till I feel sick
Or until I’ve worn your patience thin – another couple of verses should do the trick
But if you play your part and don’t put up a fight
I can make you miserable too, tonight

I’m going to sit right down and listen to the blues
Then I’ll have a drink and I’ll sing a song, and I’ll probably end up standing by the side of the road with the rain falling on my shoes…
And when I get home and my wife turns off the light
I’ll say, Darling… it was miserable tonight.

*Sorry. It’s the best I could do – you try finding a rhyme for ‘Smiths’.

And young boys

If not his epitaph – that would be a bit harsh – it was his epithet; the film posters only spelt it out. Ian Curtis: genius. Shaun Ryder: poet. Tony Wilson: twat.

The Evening News recalled this at the front of their tribute, but missed the catch by printing the ‘polite version’: Wilson was nobody’s prat. I don’t want to spend too much time rummaging about in the lexicon of sweary, but it seems to me that a prat is someone who lets you down because of their stupidity or improvidence or, well, general prattishness. A twat is someone who lets you down because of their selfishness – because whatever they’ve got planned is more important than anything you might want. In particular, a twat is someone who prioritises their own plans over you, and expects you to agree.

But what this means is that a twat is actually someone who aims to please – even if their idea of aiming to please is throwing some nonsense of their own at you. Some selfishness goes in disguise, dressing up inadequacy and neediness as a public service – look at me, look at this, it’s just what you want! Twattishness is frankly, openly selfish – look what I’ve got! isn’t it brilliant? – and that makes it oddly generous. If nothing else, a twat will always give you something to talk about – and will always keep coming back. Calling Vini Reilly “the Durutti Column”, so that he could release an album called The return of the Durutti Column. Actually building somewhere called the Hacienda, then spelling it with a cedilla. Those Saville designs, those packages, all the wilful obscurity and mystery (I remember reading on the NME letters page that the colour code on the album sleeve actually reads POWERCORRUPTIRNANDLIES, and I’m not sure what’s sadder – that letter-writer poring over his colour-wheel or me for remembering it after all these years). All those bloody FAC numbers. Indulging Hannett. Losing Hannett. Pouring the label’s finances down the Whitworth Street drain. “Anthony H. Wilson” (what was that about?). Making the money back on the Mondays, then handing it over to them to spend on crack in Barbados. That office (beautiful place, mind you), that bar. Signing the Wendys. Walking away from the wreckage, and resurfacing in a million-pound loft conversion. And then supposedly he was “Mr Manchester” – did anyone call him that, apart from the Evening News? All that North-West regeneration stuff (baggy suits and wavy buildings), and all that nonsense with the flag. I mean, really, what a twat.

He was, always, a bit of a joke – but he was always, partly, in on the joke. Look back at that interview:

Factory has a certain arrogance about it… we have a scattiness – we have a night-club, I think having the Hacienda is significant, which is a pretty crazy and by and large rather stupid thing to do.

The thing about pop music is it can be continuously new. You know, some people are excited by that which is new, some people are excited by that which is going to sell because people have heard it before. By and large we have the problem that we’re excited by stuff that’s new.

My bosses at Granada, some of them are younger than me, they’re grown-ups, they behave like grown-ups. Some people are 22 and are grown-up, more’s the pity for them.

Arrogant, wayward, wilful, childish even, but at the same time always intelligent, reflective, self-aware. (Which prompts the question of why he kept on being so arrogant wayward etc – but that prompts an answer with four letters, beginning with T.) He was a bullshitter, a loudmouth, an egotist and an operator par excellence, and I suspect that having him as a friend was a very mixed blessing, but he knew what he was doing – at least, he seemed to know what he was doing – and he kept on making things happen. I wouldn’t say we’d “grown up together” (I never knew him, and he never grew up), but he’s been part of my imaginative landscape for nearly thirty years. The skyline’s going to look different without him.

Bernard, Bernard, disait-il, cette verte jeunesse ne durera pas toujours: cette heure fatale viendra, qui tranchera toutes les espérances trompeuses par une irrévocable sentence; la vie nous manquera, comme un faux ami, au milieu de nos entreprises. Là tous nos beaux desseins tomberont par terre; là s’évanouiront toutes nos pensées.

“It never vanishes without a trace.”

Tony Wilson, 20/2/1950 – 10/8/2007

melt into men

I heard the news about 8.30 last night; my wife saw it on the BBC Web site. I spent some time looking for hastily-assembled tribute programmes in the schedules – you’d think Granada would have something at least – but nothing. There was a discussion on Newsnight between Stephen Morris, Paul Morley, Peter Saville and Richard Madeley; they gave him a pretty good send-off. (Yes, I did say Richard Madeley.)

I’ll write more about how I feel about the guy later. For now, here’s one I prepared earlier. I interviewed him for the short-lived radical newspaper socialist in 1991. Looking for the text of the interview, I was pleasantly surprised to find that I’ve also got my original transcript – and here it is. I don’t recognise all the references myself at this distance, but there’s a lot of interesting stuff there. I particularly like the distinction between ‘avant-garde’ and ‘experimental’; mostly his borrowings from the Situationists still strike me as random fandom, but this is a coherently Situationist position (nous vivons en enfants perdus nos aventures incomplètes…) The other thing that strikes me now is just how up for it he was – I had a list of for-all-our-socialist-readers questions and another list of never-get-another-chance-to-ask-him-this questions, and he engaged with them all quite happily. We didn’t hang out or socialise, unless you count a brief chat about doing English at Cambridge (we were at the same college, several years apart). It was an interview, it was a job, and he got it done – thoughtfully, intelligently and efficiently. He was an extraordinary guy.

Tell me about Factory.

We’re just a fairly typical – or atypical, in that they’re all quite unique – one of those British independent record labels that came out of punk or post-punk. Many musicians say that they saw the Pistols on stage and thought, ‘God, if they can do it I can do it,’ I think that happened as well to a whole generation of entrepreneurs – or non-entrepreneurs, people who never thought of that but who were brought into it like that. Britain is the correct size to make independent distribution possible, and that possibility of independent distribution was then seized upon by… I mean, the whole thing was a series of accidents… it really began with Rough Trade, who were a very interesting shop in Notting Hill Gate. As I remember they were able, because they were clever, to source some rather rare reggae records, and they discovered by the mid-70s that their ability to source these reggae records meant that there was a demand from other shops around the country, and they set up a rather small distribution system to get these reggae records around, and suddenly as this whole idea of do-it-yourself labels took off in 76/77 the infrastructure was there to build up on. The original independent company was New Hormones, who just brought out a couple of records and that was it, in late ’76. Then there was a second generation of independent record labels – Rabid Records in M’cr, with Jilted John and the rest of it, and John Cooper Clarke; Fast Records in Edinburgh, who were very much an arty independent label, as we’re often seen to be, with the Human League and the Gang of Four, and that was really 77, and then 78, late 78, you get Factory and various others coming along – I suppose Mute as well at that point, Daniel doing his first singles and stuff…

Looking around now there isn’t really a run of indie labels…

Oh, there are. From 81 to 91 there were the big 4, the major indies – Mute, Factory, Rough Trade and 4AD. And every couple of years there’d be a pretender, you know like we’re going to join the ranks – be it, there was Kitchenware at one point, there was Postcard at another point. And they all made whatever mistakes people make and fucked up. In the mid-to-late 80s there was Creation, who made – there’s two mistakes you can make as an indie label, you can sign one of your acts to a major thinking that that will finance the rest of the label, which is committing suicide, or you can take major money and spend it all, and that’s committing suicide, and Alan McGhie did both with Creation and completely fucked himself up but has managed to survive and in fact has been very strong this year. With the ending of Rough Trade as one of the big four labels, I think Creation really stand there now. And if you think that One Little Indian is as good a new competitor as any, and then if you think of the fact that there are several very very active dance independents, then… You see I think a lot of people are confused: a lot of people think the bankruptcy of Rough Trade is something to do with “not everything in the garden is rosy”. Well, not everything in the garden is rosy in the sense that there’s a recession and everyone’s suffering, but the independent labels have never been stronger – particularly the ability to survive the Rough Trade catastrophe.

You get the impression of a kind of gigantism, massive economies of scale in the music business…

There’s five multi-nationals, and the rumour is there’s space for four so everybody’s buying up to be as strong as possible so they’re not number five who goes. There’s gigantism, at the same time there’s also the feeling that small discrete units work – admittedly small discrete units within a bigger set-up, but that’s been quite commonplace for the last two or three years.

Flexible specialisation

Sure. Within the creative departments of most companies small is beautiful. But obviously at the same time there’s buying everybody up and becoming bigger and bigger, and that goes with the multinational trend.

So what’s different about Factory?

What’s different about independent labels is that there is a slightly more intimate relationship between the musicians and the company – not just the musicians, the manager of the musicians who is the essential piece. It should be a very creative relationship because most of the people who founded these independent labels were in some way the managers of groups, and they are companies by and large led by managers of groups or A&R based people, as opposed to a lot of companies these days that are run by lawyers or accountants, which is the kind of people that a lot of the multinationals use to head up their operations. There’s a kind of A&R and group-management feel about the independent labels which does make them different. What makes Factory different other than that… Factory has a certain arrogance about it… we have a scattiness – we have a night-club, I think having the Hacienda is significant, which is a pretty crazy and by and large rather stupid thing to do. And I think we held on to some crazy concepts a lot longer than anybody else. I always think the phrase to use about Factory is a certain wilfulness – there’s a great wilfulness about the company, that it does what it wants to do, which has gone on for a long time.

Part of the arrogant, wilful image – there’s an air of radicalism about Factory’s stuff, yet without ever actually being right-on

Sure. Thank God – it would be awful to be right-on. I don’t know where it comes from – I know where my political or philosophical background comes from that informs it, but… Maybe it’s more just a delight in the real avant-garde, or a delight in things that are new. The thing about pop music is it can be continuously new. You know, some people are excited by that which is new, some people are excited by that which is going to sell because people have heard it before. By and large we have the problem that we’re excited by stuff that’s new.

You say the real avant-garde, but we’re not talking Red Crayola…

No, but I don’t regard that in a way as… That’s one of the great difficulties of definition of avant-garde. “Avant-garde” essentially means to be in the vanguard, or to be the first wave of an assault, and I think we commonly confuse that with “experimental”. Experimental means that you’re doing new things, but there’s no one coming after you because it’s not actually going anywhere. Whereas avant-garde implies that there will be people following you, and that you are simply the first people to put these different things together. I think on occasions, which have been rather boring, we have done experimental stuff. I’m not particularly interested in experimental stuff myself, I don’t think the label is, I think we’re more interested in being avant-garde – i.e. being ahead of your time, but nevertheless a time that will come, as opposed to just experimental doodlings or whatever.

(argument [forgotten] about Cities in the Park, Electronic and Cath Carroll)

I find Electronic quite fascinating, although the whole New Order axis is twelve, thirteen, fourteen years old the fact that they are more contemporary than any of their contemporaries I always think is a great achievement, that’s largely because they go to the Hacienda and were part of the rave culture when it blew two or three years ago. … Our latest signing [the Adventure Babies] are an out and out pop group, international pop group, which is something we’ve never dealt with before – and that’s going down a road that we are not used to.

What do you think of this idea that ‘Manchester’ is dead, that it’s last year’s thing?

Well, I think it’s fantastic really… I kind of believed it – the scene’s over, it’s all these groups that we thought we’d got rid of, all these boring Melody Maker-type guitar groups, oh my God… I then started going out this autumn and my mouth would drop open, I’d look at these wild scenes, admittedly with a new generation but then the old generation were going to get back into it, wild scenes in the Hacienda and in every club in fucking Britain, and then suddenly about three weeks ago I found out what all these groups are selling, the ones that are on the covers of NME and MM, and they’re selling shit – they don’t sell. So suddenly I think, oh my God, how can I have been taken in by these people? I mean, I know that they’re all cretins, I’m taken in by it all again… It’s a complete pile of crap – ‘Manchester’, or Manchester-type music, of the type that was spawned here over the last few years, in its new generation which is hard-core – hard-core, and techno, and post-House dance music dominates the scene, and basically the press has been up its arse as usual for the last nine months. And then when you say that to the press they say yes, well, but we’ve got the right to because we created it – I say you what? They say well, we gave it all that coverage… I say, you gave it all the coverage a year after it started, you tried to ignore it for the first year. You didn’t create it. Don’t try to take credit – it was a wild scene, you just latched on to it and sold a few papers off the back of it. It was a wild scene – I mean, the idea that they now think they in some way created it. They’re just morons.

The scene in its original date was created by members of the Buzzcocks, Howard Devoto, Richard Boon, Pete Shelley, getting the Pistols to play here in ’76. From that moment onward it’s been everybody in the community, everybody, right the way through. It goes on, and at the moment it’s absolutely wild, and it’s kind of wonderful.

How would you compare what’s going on with ’76/’77?

Well now is a second generation, i.e. a second wave of rave culture – rave culture in general how would I compare it… I think very similarly for me personally… It’s a powerful culture, and is one of those moments when the wheels of youth culture turn very strongly. I think there were things that were better about punk, in that there was a… what was better about punk? I don’t know really – it’s just quite as exciting as punk. I don’t think one could separate – and look at ’67 or ’63, they’re all great moments, they all have different fors and againsts, I don’t think you can judge like by like. I was very fond of the scene that created Guns’N’Roses, although it was abhorrent to me – metal/goth/glam/punk – but nevertheless it was clear on the streets, on Sunset, at 11.00 at night on a Thursday / Friday / Saturday in LA, that there was – kids were out there having the time of their lives. At that point, ’85/’86, in Britain they weren’t. Even though that scene never got anywhere – it never spread outside LA, but nevertheless it produced a group in G’N’R who would dominate or whatever… I don’t like to say this one’s better that one’s worse, they are these wonderful moments when the wheels turn.

Even if two years later it’s vanished without a trace.

It never vanishes without a trace. This one was meant to have vanished without a trace and it hasn’t done, it’s going on, it’s stronger, it’s like you find in Europe now rave culture is at its most advanced stage, as it is in America. It’s kind of weird – we’ll see where it gets to. You’ve got to remember in terms of the world music industry punk had absolutely no impact, punk was really an isolated UK phenomenon. For a variety of reasons – the fact that Malcolm chose to do a rather bizarre Pistols tour after which they broke up, the fact that by the time the Clash got to America they’d become a rock’n’roll band and were irrelevant anyway – punk never happened outside the UK. We see it as a major event in pop history but the rest of the world doesn’t. Pop music is a world thing.

What do you think of this argument that there was something transcendentally radical about punk, and about certain significant figures like John Lydon…

I think there’s something transcendentally whatever about every one of those moments… I think Please Please Me was the most political song ever written. Pop music by its very nature, at its best, is threatening. When it doesn’t threaten it’s trash. But the majority of it does, and is a generational thing. I always see the generation in terms of, like the New Testament, it’s the son saying no to the father, and that’s the political act. It doesn’t matter what pile of garbage, be it Anti-Nazi League or Ecstasy communality (and neither of those are garbage, both of those are fabulous political constructions, but nevertheless they’re not necessary to give credence) – all that’s necessary for me to give political credence to pop music is that it is generational, it is a young generation saying no to an older generation. Or that it is just something that defines you as different, that defines you as being separate, which is part of the whole dawn of the idea of teenage, of pop music, of rock’n’roll in the 50s – it defines youth as being different and having different ideas. And since Please Please Me was the first number one single for the Beatles that began that process of uniting a generation I have no difficulty in regarding that as the supreme political moment.

Don’t you feel yourself in a slightly contradictory position in terms of this generational thing? Being a respectable local businessman…

No, I don’t find any conflict… I always feel immature, I always feel when I’m talking to people – sometimes ten years younger than me – that they’re grown-ups and I’m not, so I’ve never had a problem with that. My bosses at Granada, some of them are younger than me, they’re grown-ups, they behave like grown-ups. Some people are 22 and are grown-up, more’s the pity for them.

So, socialism. Do you see yourself as a socialist?

The only definition I can validly use I think is that one believes that a greater rather than a lesser part of one’s income should be consumed by the state and then re-apportioned to the members of the state, from that point of view I’m a socialist, if one takes that as being the central axiom, to believe in that process. From a lot of other points of view God knows, really. I think one of the confusions is that as a child of the late 60s one ran around shouting anarchist and Marxist slogans, without ever coming face to face with the fact that these are two entirely contradictory ideologies. The ideology that most intrigued me was anarchism. The way I look at the last five years, which have shaken everyone from my background I presume, is that whichever International it was that kicked Bakunin out, 1872 or whatever, that was getting rid of individualism, sooner or later individualism which is part of the human being was going to come and kick the Left’s ass – which is what it has just done for the last five, six years. That’s a way that Marxism Today was – I noticed in one of the reviews at the end of Martin’s empire (in fact it was rather silly, it implied the end of Martin’s empire when in fact he’s ended it to start a new empire, I don’t know what the new magazine’s called but it’s very strongly financed) but nevertheless in the review of that it talked about that idea that they shocked everyone by suggesting that Margaret Thatcher was in touch with the Zeitgeist, which she most certainly was in the 80s, she was a creature of her times. Individualism was going to rear its head, and my God it has done. Everyone’s been forced to rethink on the Left I would hope by the events. To me really with that anarchist background, my background being that at University two of my friends were translators of major anarchist works, and I was enthralled, although not understanding totally the stuff – it seems to me to make a lot of sense now that that’s what went wrong.

(Some stuff about Paul Sieveking and John Fullerton [the British pro-situs referred to here] and Raoul Vaneigem)

I’m intrigued by Factory’s use of the Situationist stuff

Just being a fan. Purely fandom, really. And yet you see the way it works – Greil Marcus’s work in the 80s has given a great degree of prominence to this issue, and his involvement in it comes about precisely through our fandom. He spent two years looking at a sticker, when we sent out our first record it had this sticker of the Durutti Column, and he stuck it on his cassette deck, and he tells the story that he spent two years staring at this strange photo of two cowboys talking French to each other, until he finally decided to investigate it. And that investigation took him through this whole period – and without him doing it maybe all these exhibitions wouldn’t have happened and blah blah blah… Just being a fan

(Digression [completely forgotten] about Le retour de la colonne Durutti and Kim Philby)

These are the three great comedians of the twentieth century in Britain, these three upper-class traitors are the great comics – their lives were amusing statements.

How much of an impact has feminism made on Factory?

Good God… it’s a fascinating question… I don’t have an answer to the question, whether that’s a good or a bad thing. I don’t think we’re a very sexist label, it’s never occurred to me that we are – or that we aren’t, really, and maybe that’s – by saying neither a lot nor a little might imply that we haven’t thought about it. I don’t presume to have actually imagined it would impinge on us…

(Digression about Alan Wise, “local promoter and nutter”, and strippers [some of the MCing at the Cities in the Park gig was done by women in their undies; apparently this was Wise’s doing])

I don’t think we would ever, ever, ever, ever deal with things like that. Certainly that’s not within our remit, we are much more, unfortunately, right-on than that – I say unfortunately, I would refer, though, to the opening night of the Hacienda, where our guest of honour who opened it was Bernard Manning. Now whether Bernard Manning made anti-feminine jokes, or made anti-gay jokes, or made anti- whatever, but I was very pleased with that, because it was épater les bourgeoisie. And everybody else too, please – I mean, épater anybody is great as far as I’m concerned, and I’m only too happy to do that. But no, we’d never go in for stuff like that, I have to say.

(Digression about Revenge and “the whole fetishistic artwork thing”)

I would not regard any of that work as sexist personally, within my own remit.

Happy Mondays just recently took a lot of shit…

It’s like being a Nazi these days – I’ve done so many interviews recently, ten years ago every interview was ‘Are your groups Nazis?’, now it’s ‘are your groups homophobic?’, to which my answer is no they’re not. To me the sub-text of that piece was Steven [Wells], that was your typical SWP member who doesn’t actually know what a member of the working class looks like or sounds like, and when he meets them goes into that like and gets fucked up. You should not confuse an artist with their art, and they are working-class kids. The fact that some of their best friends are gay, and they hang out with them… it doesn’t occur to them that you can go ‘Fucking faggots!’, and they’re your best friends, it doesn’t occur to them that there’s a conflict there. But someone reading that will go ‘oh, homophobic…’ and the rest of it, which is a bunch of crap. Maybe for me I don’t mind, because I enjoy that bit when a middle-class socialist meets a member of the working classes and just doesn’t know what’s going on.

Plus there’s this traditional idea that if you’re in a band you’ve got to have this god-like dignity, either that or just be ultra-right-on and know all the answers to everything…

And it’s complete and utter fucking crap. This whole idea goes back to the Romantic poets, when suddenly the idea that the artist was as important as his art and was a star came into vogue. We’ve had it 200 years now, and it’s a complete pile of shit. W.B.Yeats is the greatest poet of the 20th century in my opinion – what he actually personally thought, wearing brown shirts and the rest of that country house shit, the guy was a complete nincompoop. It doesn’t matter – he’s a nincompoop, his art’s fantastic, let’s not confuse the two.

What’s the next big thing?

No idea! Didn’t have any idea last time, it happens and you go Wow, look! You’ve just got to stay open to things – it’s being hospitable to what comes along, being open to it and not wanting to hear what you’ve heard before.

John Peel said once that he thought there’d been three great waves of Manchester bands: Buzzcocks, Joy Division and the Fall; the Smiths, New Order and the Fall; Stone Roses, Happy Mondays and the Fall.

Wonderful way of putting it.

And viewed in that respect Factory’s record looks pretty good.

Sure. I think the real question is whether we’re there for the next round. Now it’s all techno records and stuff – we’re not a 12″-single selling label, we don’t have that structure, we don’t have that way of dealing with it. One of the great challenges for Factory is that we believe in Northside, I think they’re a great group – the rest of the world has decided that this is not the case, we’ll see who’s proved right. We went through a few years when everyone thought the Happy Mondays were a pile of shit – we’ve been there before, we’re there with Northside and the Wendys. Next year we have our pop group the Adventure Babies come on stream, that should be interesting if not exciting. It’s a bit difficult now – there’s going to be a very imitative period in the mid-90s. There is a modality, an ineluctable modality, there is a real wave pattern to this, and after every live generation there comes a dead generation. And there will be a dead generation of teenagers coming along in the mid-90s presumably, tragically. But hopefully we will go on as we have done through the 80s through the 90s, and the real challenge will be in the late 90s when the next alive generation comes up, and throws everything on its head, and brings disparate influences together and uses the technology in such a way – that we’ll be alive to it and we’ll be involved. It was the big question for us in the 80s: by the mid to late 80s when we were being successful with New Order all around the world, the question was when the next revolution comes will we be involved? And sure enough it happened behind our back in the Hacienda, and the Happy Mondays who we couldn’t – we signed them because they clearly had the mark of Cain about them, we had no idea what they were going to do – and there they were, they were the ones putting together these black, Chicago / Detroit rhythms with the white English post-punk sensibility. So you have to see. You can’t be sure it’s going to happen. You can be sure something will happen; whether one’s involved with it or not, that’s a question of luck – and judgment.

If a tree don’t fall on me

Apparently I’m up to blogpost #100, a little short of the blog’s first anniversary. How about some beer?

In south London, where I learned to drink, the bitter is generally tawny and malty. In south Wales and East Anglia, the next two areas where I tried the beer, the bitter is usually both malty and tawny. The types of bitter native to Scotland, Cornwall and Yorkshire, in my experience, have similar characteristics. There are variations – Cambridge beer is flat and tannic; a lot of Scottish beer tastes as if a bag of toffees has been dissolved in it (which in a sense it has); and South Walian beer is the best in the world bar none. But they’re variations within a shared style: in most parts of the country, if you order the local bitter you can safely expect something T and M.

Manchester is an exception. At least since the heyday of Boddington’s, there’s been a distinct local style of ale: pale and hoppy, with variations ranging from light-but-sour through cyanide-with-a-hint-of-malt to just-plain-undrinkably-bitter. I am not, as you may have gathered, a fan of this style – but the brewery which owns one of my two main locals is very big on it. They brought on a seasonal ale in summer (when, to be fair, pale and hoppy styles do go down well); I tried it once and seriously considered leaving the pint unfinished. It was the bitterest thing I’ve ever tasted, clove oil not excepted. The brewery does three or four different bitters, but they’re all pale and hoppy; most of the time the guest beers are pale and hoppy too. There’s a definite demand there, too. You can tell by the way the regulars’ favourite guests keep coming back – and the way their names keep including words like ‘white’ or ‘golden’. I’m in a minority on the tawny-and-malty front. A couple of years ago I had two pints of a guest mild they had on, and the barman asked me when I wanted to have the other 62.

The local with the pale, hoppy ales I’ll call Old Local. It’s not particularly old – it’s six or seven years old, in fact – but it looks it; the decor is classic Pub Basic. It’s a small pub, tied to a small local brewery; on an average night they have four or five of the brewery’s ales on, plus a couple of guests and a real cider (from a one-gallon barrel, kept in the fridge). It’s less than ten minutes’ walk away and handy for a good Chinese takeaway.

Then there’s New Local, which was opened a little more than a year ago and looks it. It’s less than ten minutes’ walk away (in the other direction) and handy for a good Indian; it’s a Thwaites’ pub, usually serving Bomber and Thoroughbred plus a couple of guests. New Local doesn’t serve real cider, and they serve the bitter a couple of degrees too cold. But it’s good ale – their Thoroughbred in particular is a very nice pint, without the slightly curdled caramel heaviness of the Bomber. New Local also has a bar snacks menu consisting mainly of things like miniature salamis and Japanese rice crackers. (Old Local, to be fair, serves Kettle Chips and Bombay mix, so it’s not that stark a contrast; I’m not sure where you’d go round here for pork scratchings.) Another difference between the two is that you don’t hear many local accents in New Local; from what I’ve overheard I get the impression that most of the clientele are incomers (like me), working in the social services or education (like me).

Can you guess which of the two has a no-smoking policy?

Last October I wrote (in comments here)

I could approve of a complete smoking ban if we were arguing about the effects on pub staff, whose exposure to smoke in pubs is much more extensive than any(?) of their customers’. If we’re talking about the punters (as people discussing a ban generally are) the case is much less clear. You express puzzlement that market forces have failed to create choice between smoking and non-smoking pubs, but actually this was entirely predictable for as long as smoke actively repelled a lower proportion of pub customers than the absence of smoke. Since smokers have historically been either a majority or a large minority among pub-goers, and since non-smokers aren’t likely to suffer withdrawal symptoms from the lack of clean air, these conditions haven’t obtained; the balance has also had an added level of ’stickiness’ owing to the lack of anywhere for non-smokers to actually go. What’s happened recently is that smokers have dwindled to a small enough proportion of the population that some pub managers can afford to disregard their preferences; there’s also been a decrease in the tolerance of the non-smoking population, although I don’t think this is anything like so significant a factor. Consequently non-smoking pubs have become a reality (one opened from scratch a year ago, just down the road from me in Manchester, & is now doing a roaring trade) – which in turn makes competitive pressures that much freer to operate.So what worries me most about the proposed smoking ban – and almost equally draconian half-measures such as the creation of airtight(!) smoking rooms – is that this nannyish attack on the pleasures of the working class* will take place precisely when it’s no longer necessary.

*Pardon my Johnreidism, but this does seem like the most class-correlated proposal I’ve seen in a very long time – and not in a good way, either.

Perhaps the most interesting thing about the pending smoking ban is that it won’t come into force for another eighteen months. I imagine that the imminent threat of a ban will give market forces another nudge, so that by the time the ban actually takes effect it will look even less necessary than it does now. (But then, ‘market forces’ only ever make sense within a given framework of law, custom and expectation.)

But it’s not just clean air that the ban will promote – or rather, it’ll promote clean air by promoting a broader shift of values. And that’s what worries me. I’m a middle-class incomer, with an incomer’s accent, an incomer’s taste in beer and an incomer’s habit of taking the LRB to the pub and sitting on my own reading it (or sometimes, particularly in Old Local, standing on my own reading it). Or maybe that last one’s just me. But anyway – middle-class incomer I am. But I like Old Local because I can feel at home there without being entirely surrounded by other middle-class incomers; conversely, I like New Local, but I’d like it more if it wasn’t quite so full of people like me. I’m settled here – I’ve been in Manchester for 23 years and in this specific area for 18 – but I still feel like an incomer, and I think that’s appropriate: I like the fact that I share a local with people who are actually from around here, and I don’t object to being reminded that I’m not. At some deep level, the opening of New Local and places like it feels like a different kind of middle-class influx – not so much immigration, more colonisation. And the smoking ban seems like a big vote of confidence to New Local, and a big ‘up yours’ to the Old Local crowd.

I wonder if Chris goes far enough:

To New Labour, health egalitarianism is a strong enough principle to justify restricting freedom, but not strong enough to justify seriously attacking inequality.

I think we can simplify: to New Labour managerialists, just about any principle is good enough to justify restricting working class freedoms, and just about any principle is more important than seriously improving working class life chances. (And no, the smoking ban isn’t about doing just that – or if it is, it’s a peculiarly limited and indirect way of achieving that goal. See Chris’s post for more.)

Update A friend challenged me today to specify less coercive means of effectively protecting bar staff from passive smoking. I don’t think it’s that difficult. Firstly (and symbolically), you’d give legal status to smoking bans imposed by the management of pubs and clubs: you light up and it’s not just the management you’re taking on, there’s a chance you could actually be fined. (Or at least have a fee extorted – but that’s another rant.) This in itself wouldn’t do much more than make it easier to non-smoking establishments to open. Secondly, you’d legislate so that the continued tolerance of smoking, in a smoking establishment, rested on the consent of the people who work there: you’d enable bar staff to hold binding ballots on converting to (or, to keep it fair, from) non-smoking status and encourage pubs and clubs to hold such ballots regularly – starting now. If there is any groundswell of support for a smoking ban, among pub customers or pub workers, this should be enough to turn it into reality. And if not, what are we doing imposing one?

Updated update: Brian‘s post reminds me that, with the exception of the clause about balloting the staff, I’ve just reinvented the 2005 Labour manifesto position on smoking. Since the Blairite takeover there have been numerous cases of people and policies moving from respectable centre to extreme left without actually changing; it usually takes a bit longer than this, though.

Under marble Millichip

Surprised to find that a week’s gone by since I last posted here. I’m working on a lengthy (aren’t they all) post on the ethics of war, which will probably go up both here and at the Sharpener.

In the mean time, have a look at this fascinating take on the Glazer affair. I should say that it’s not about football. I was a Red at primary school, & would be now if I was anything – they’re now my local side, ironically enough – but by and large I really don’t give a monkey’s about football.

This is interesting stuff, though. Here’s Jamie’s conclusion (slightly edited):

Some pro-Glazer sentiment is pure cap doffing feudalism […] but other Glazer supporters reach towards a more developed conservatism: the idea that the club – the nation, effectively – is an organic, essentially mystical entity whose ownership follows natural laws and where the role of the fans is simple loyalty.

By contrast, the anti-Glazer camp tend to hammer at the details of the deal, their patriotism motivated by a sense of active responsibility for how the club conducts itself and of the rights and liberties that should attend “citizenship”.
You can imagine the same kind of discussions in the taverns of late fifteenth century Florence, when the Medicis moved to end the city’s mixed constitution and take the city private under the leadership of Lorenzo the Magnificent. See also the Putney debates.

(The club/nation analogy isn’t as far-fetched as it might sound – it’s developed further here.)

I think that last sentence struck me most forcibly. See also the Putney debates. But, but… surely Putney is finished business? We can argue about the Diggers – about Burford, even – but not Putney; Rainborough’s line was radical then, but it’s been common sense for a century or more. We’re all democrats now.

What was borne in on me as I read Jamie’s piece is that this is a half-truth at best. It’s true that certain important battles were won, in the name of liberty or democracy or equality; it’s also true that life went on, and those power relations which weren’t extirpated tended to revive and perpetuate themselves. In this century, it’s entirely possible to believe oneself a staunch democrat – to believe sincerely in equality before the law and government by the people – and come out with something like this:

So, you fear that your new owner will run you solely for a profit? Well, tough. In any case, I don’t see what the worry is about. Is it really in the interests of a man trying to run a commercial empire to have a floundering team, uncompetitive at the highest level?

“He’ll take good care of the team – that’s all you need to worry about. Of course you can trust him – look how rich he is! Besides, who asked you? The club was up for sale, he bought it, end of story.”

Villeins ye are still and villeins ye shall remain, in other words. Old myths die hard – and they perpetuate themselves by clothing themselves in new language. Of course, this isn’t a new insight. We’ve known for some time that people who talk about revolution and class struggle without referring explicitly to everyday life – without understanding what is subversive about love and what is positive in the refusal of constraints – have a corpse in their mouth. But the problem goes deeper. In A dream of John Ball, William Morris wrote:

I pondered all these things, and how men fight and lose the battle, and the thing that they fought for comes about in spite of their defeat, and when it comes turns out not to be what they meant, and other men have to fight for what they meant under another name

Revolution could be a live term; for that matter, so could socialism or workers’ control. They could be living terms, capable of inspiring the right people (and alarming the right people), but they aren’t – any more than democracy can be enlisted against the power exercised by Malcolm Glazer. There will be challenges to the position of Glazer and people like him, and they will return to the terrain sketched out by Rainborough in Putney – but the word that strikes fear into the bosses won’t be democracy, and it won’t be revolution either. We shall need new terms – which means, first and foremost, that we will need to look to be new battles, new tactics and new organisations.

Which in turn means that we need to know how to wait. “We are in a battle between two worlds: one which we do not recognise, and one which does not yet exist.” Thus Vaneigem in 1961; Gramsci and Matthew Arnold both said something similar (thanks, Ellis).

Things will get worse before they get better – and we may not know ‘better’ when we see it. But I think we can be confident that it will come.

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