The 1980s ➤ A new history of that most turbulent of decades

Orgreave, Yorkshire , miners' strike, riot police, ReportDigital

Mounted police attack striking miners picketing the Orgreave Coking Plant, South Yorkshire. Photographed © by John Harris/ReportDigital. The 1984-85 miners’ strike became a bitter industrial dispute and symbolic class struggle that saw picketing miners pitched against police officers, and colleagues — so-called scabs — who chose to return to work. The National Union of Mineworkers was protesting at the government’s plans for pit closures but the year-long strike proved a terrible defeat for the miners and for the coal industry. In 1984 there had been 170 coal mines open in the UK. By 2004 fewer than a dozen mines remained. The British trade union movement has never recovered.

❚ “MORE CHANGE AND MORE CONFLICT were crammed into the 1980s than any other decade in the second half of the twentieth century. Out of political chaos, Britain arrived at a settlement that lasted, for better or worse. The way we live now follows directly from the tumultuous events of the 1980s.”

In his new book, No Such Thing As Society, Andy McSmith, chief reporter and former political correspondent of the Independent newspaper, argues this was the conflict decade, defined by strikes, war and riots. He examines Britain in the decade of Thatcher and the City’s ‘big bang’, from the Falklands war and the miners’ strike to Bobby Sands and the Guildford Four, from Diana and the New Romantics to the Brixton riots and Band Aid, from the Rubik’s cube to the ZX Spectrum. He talks about the legacy of the 1980s and how this decade of extremes shaped contemporary Britain.

Margaret Thatcher, Spitting Image

Spitting Image's suited version of prime minister Margaret Thatcher gives a Churchillian V for Victory

“You know, there is no such thing as society. There are individual men and women, and there are families. And no government can do anything except through people, and people must look to themselves first.” — Margaret Thatcher, talking to Woman’s Own magazine, October 31, 1987

 


 

McSmith maintains that “the 1980s was the revolutionary decade of the twentieth century. To look back in 1990 at the Britain of ten years earlier was to look into another country. The changes were not superficial, like the revolution in fashion and music that enlivened the 1960s; nor were they quite as unsettling and joyless as the troubles of the 1970s. And yet they were irreversible. By the end of the decade, society as a whole was wealthier, money was easier to borrow, there was less social upheaval, less uncertainty about the future.

“Perhaps the greatest transformation of the decade was that by 1990, the British lived in a new ideological universe where the defining conflict of the twentieth century, between capitalism and socialism, was over. Thatcherism took the politics out of politics and created vast differences between rich and poor, but no expectation that the existence of such gross inequalities was a problem that society or government could solve – because as Mrs Thatcher said, ‘There is no such thing as society … people must look to themselves first’.”

➢ Andy McSmith discusses the 80s with Andrew Marr on Start the Week (R4, Sep 20)
➢ No Such Thing As Society: Andy McSmith’s history of Britain in the 1980s is published by Constable
➢ VIEW: BBC audio slideshow on the year-long miners’ strike
➢ VIEW: frontline slideshow of the miners’ strike by photographers from the independent picture library ReportDigital

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2010 ➤ Robinson takes the Cowell shilling — so whose bum is on the throne at Popjustice?

X Factor, X magazine, launch, Kelly Clarkson, American Idol, Simon Cowell

From the makers of The X Factor: a new magazine, edited by the man who toyed with Kelly Clarkson like a cat with a mouse

❚ WE LOVE HIM, THEY LOATHE HIM, the worst of them. One of the most influential and passionate commentors on the pop scene appears to have jumped ship in the direction of Simon Cowell’s entertainment goldmine. Peter Robinson, the 30-something wag and one-man Girls Aloud fanclub, has made his Popjustice blog a compelling read for fans who favour his surreal version of the truth, but a gunk tank for stars who imagine there’s any such thing as an even break.

Yet this morning’s Media Guardian unequivocally describes him as “formerly” the editor of PJ, while announcing the launch of X magazine, whose own website gives him the title of Senior Editor there. Sounds like a golden-handshake welcome to X which is to be the weekly print offshoot of the Cowell TV franchise, The X Factor. A 100-page launch issue appears tomorrow to coincide with series seven of the ITV talent show, and distribution is initially through Tesco supermarkets, price £1.95, even when the show is off-air.

Peter Robinson, Popjustice, previously editor, formerly editor,Senior Editor, X magazine

"Senior Editor" of X magazine: no, not the Peter Robinson who dresses as Marilyn, the other Peter Robinson

A “surprising” level of access to contestants is promised, though Robinson is reported to have feared that X would be “pretty much a glorified fan magazine”. The big cheese at its publisher, Haymarket Media Group, convinced him that the owners were happy for X to “not always toe the party line”. Some might think this a risky ploy. Is the cheese actually familiar with the Robinson technique? Does the cheese know how often his notoriously cringe-making interviews must have turned a star to jelly? In fact, has the cheese read the all-time car-crash sofa-chat Robinson conducted with American Idol winner Kelly Clarkson? In which he provoked her to confess: “I’m not a man and I don’t claim to be.”

There hasn’t been a decent mag purely about pop since the upstart Smash Hits doled out respect and ridicule in equal measure. It ran for almost three decades as a fortnightly, shuffling off-stage only in 2006. Channel 4’s Popworld spin-off died after two issues in 2007. Nevertheless, according to another Haymarket cheese, women’s weeklies are reckoned to be on “vibrant” form, and Robinson is talking up his new title: “Our editorial team is the strongest of any British pop magazine in almost 20 years and this certainly feels like the biggest pop magazine launch in Justin Bieber’s lifetime.”

Robinson was working as a freelance in 2000 when, for the love of it, he founded Popjustice as a music site with attitude. He has overseen its successful monetisation in cahoots with w00tmedia, and bolted on a record label called Popjustice Hi-Fi. The Times reckons PR is one of the music industry’s Top 20 star makers while The Observer rated Popjustice the world’s most powerful music blog. So has he truly relinquished the crown after 10 years? No, of course not! What? Give up the most powerful throne in pop? That was just “a mistake/assumption on Media Guardian’s part” PR assures us. Not for nothing have hacks long dubbed it the good old “Grauniad”! So rest assured that a familiar bum stills sits in the PJ hotseat, while steering the pop universe with his left hand.

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2010 ➤ Egghead versus bimbo: Paglia demolishes Gaga

Lady Gaga,sexual revolution,demolition job

Lady Gaga in performance: does she mark the end of the sexual revolution?

Camille Paglia,Hurricane Camille,Lady Gaga,death of sex

Paglia the hurricane

❚ CAMILLE PAGLIA describes herself as a “dissident feminist”. Others have dubbed her “Hurricane Camille”. With a PhD from Yale, she is one of America’s brightest women, variously expressing iconoclastic opinions as a social philosopher, cultural critic, author and educator who believes that most women are bisexual. Her powers of reasoning mean that she is not easily dismissed. So when in today’s Sunday Times Magazine she detonates a dynamite demolition job on the popstar Lady Gaga, we should perhaps take notice. She argues that Gaga is “sexually dysfunctional”, and marks the end of the sexual revolution. Then she savages Gaga’s “little monster” fans. Here are Paglia’s juiciest soundbites:

❏ “Despite showing acres of pallid flesh in the fetish-bondage garb of urban prostitution, Gaga isn’t sexy at all — she’s like a gangly marionette or plasticised android.”

❏ “How could a figure so calculated and artificial, so clinical and strangely antiseptic, so stripped of genuine eroticism have become the icon of her generation? Can it be that Gaga represents the exhausted end of the sexual revolution?”

❏ “For Gaga, sex is mainly decor and surface; she’s like a laminated piece of ersatz rococo furniture. Alarmingly, Generation Gaga can’t tell the difference. Is it the death of sex?”

❏ “Drag queens, whom Gaga professes to admire, are usually far sexier in many of her over-the-top outfits than she is.”

Stefani Germanotta,Lady Gaga,MTV

Stefani Joanne Angelina Germanotta: as brunette herself on MTV's Boiling Points in 2005, and as Lady Gaga last year, blonde but without make-up

❏ “Marlene and Madonna gave the impression, true or false, of being pansexual. Gaga, for all her writhing and posturing, is asexual.”

❏ “Most of her worshippers seem to have had little or no contact with such powerful performers as Tina Turner or Janis Joplin, with their huge personalities and deep wells of passion.”

❏ “Generation Gaga doesn’t identify with powerful vocal styles because their own voices have atrophied: they communicate mutely via a constant stream of atomised, telegraphic text messages. Gaga’s fans are marooned in a global technocracy of fancy gadgets but emotional poverty.”

➢ To read the rest of Paglia’s appraisal of Gaga visit The Sunday Times Magazine

‘Now, come on, people, do you really believe that Lady Gaga is 23 years old?’

➢ In her Salon column last November 10, Camille Paglia threw out this invective:

❏ “Do you really believe that Lady Gaga is 23 years old? I’ve been in advanced doubt about it for a while, particularly after seeing this ‘Rare pictures!’ video of early photos of her hanging with some mighty tough critters. (A friend of mine said of Gaga in this vid: ‘Too many miles of bad road there.’) I think Gaga was a hell of a lot sexier as a fun Italian-American brunette. This artificial, masklike, over-the-top Club Kids thing that she’s now into seems compulsive and wearily passé. Give it a rest, and focus on the music!”

➢ Tuesday top-up from the throne-room at Popjustice:

Camille Paglia wrote a big thing about Lady Gaga for the Sunday Times. Some of her points were good but a lot of it felt like she was writing the article for the benefit of one reader — Madonna — and most of the good bits were buried by an avalanche of General Missingthepointness. We particularly love an outraged Paglia railing against Lady Gaga for “rudely” wearing sunglasses in interviews, and the idea that Lady Gaga has gone on tour to escape scrutiny (?!). Give it a rest Paggo.

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2010 ➤ The xx steal away with the Mercury Music Prize … a quiet storm for uncertain times

The xx, Mercury Music Prize, cool, London

Tongue-tied winners, The xx tonight: very rare smiles from the ultra-cool Jamie Smith, Romy Madley Croft and Oliver Sim

❚ TONGUE-TIED, GANGLY, GAWKY and utterly lacking in stage presence — that’s the face of cool London in the 20-tens presented by The xx. This year’s £20,000 Mercury Music Prize was won tonight by the band of the moment, whose eponymous first album, xx, on the Young Turks label evokes a soulful yet haunting dreamworld of urban alienation. So musically spare are their songs — such as Islands, which instantly became Single of the Week on iTunes (UK) — that you can almost count the individual notes picked on guitar and synth. Their dark, hushed sound has been called “post-coital” yet they strenuously deny the lyrics are about sex. Which they are.

The Modfather Paul Weller was bookie’s favourite among the shortlisted best albums of the year which represent a dozen impressive strata of British musical tastes. Yet every web designer in Shoreditch, the creative media quarter of London, has been rooting for The xx since their album raised understated murmurs of approval in August 2009. By year’s end, Brick Lane habitués were declaring them “The Greatest Band of All Time”. No maybes, note.

The xx, video, Islands, indie music, pop,

Arch and absorbing: The xx’s video for Islands. Image © Young Turks Records

This year, Karl Lagerfeld chose their track VCR for his Fall/Winter fashion show, then The xx were chosen by Matt Groening to headline two nights at All Tomorrow’s Parties, one of the annual unsponsored festivals in England which was curated by the Simpsons creator in May. The BBC made them the sound-track to its general election coverage, so well do The xx capture the 20-ten zeitgeist.

Arch is one word for the band’s style. Absorbing is another. It’s their artfully choreographed videos which can intensify the music’s emotional effect considerably more than the live performance, notably Saam’s black-and-white take on Islands [view below]. In public the trio are uniformly clad in nihilist black, but this is neither 70s Goth, nor 50s Left-Bank. Nor 30s Fascism, though redolent of it. Their merchandising comes in similar colourways from Ts to tote bags to skateboard decks to a £150 light box, all in black emblazoned with a bold white X. The motif is insistently present. Does it signify a vote? A negative verdict? The chromosome that determines gender? Or love, as in kisses after a lover’s signature?

The xx, merchandising, lightbox

The ubiquitous X is on all merchandising, here a lightbox for £150

A low-key Generation Y ethos underpins the band’s rise, from Romy Madley Croft and Oliver Sim polishing lyrics over IM, Jamie Smith improvising on an Akai MPC beat synthesiser that was a birthday present, recording in a garage the size of a bathroom, and doing their own production, to headlining their own international tour which continues through October in North America.

Both onstage at the Grosvenor House receiving the prize from musician Jools Holland and later being interrogated on TV by deejay Lauren Laverne, the trio of 20-year-olds who went to school together in south-west London were visibly in shock, lost for words, their heads bowed in painful shyness. Frontman and guitarist Sim said “Wow”. Twice. Vocalist and guitarist Madley Croft said “Aaah… erm” while keyboardist Smith couldn’t get a word in edgeways through the gauche silences. Romy eventually managed: “I genuinely wasn’t expecting to hear our name, genuinely, genuinely.”

Simon Frith, chairing the Mercury judging panel, declared the winning album to be “a record of its time” that “captures a sense of the uneasy times we live in” and has “an astonishingly coherent sense of itself”. He nailed it: “They have that urban soundscape where they are not exactly secure… That late-night feeling where you like the city and it’s exhilarating, but you don’t know what’s going to happen.”

Spookily they said much the same about Burial, the dubstep hero who attended the same comprehensive, the Elliott School in Putney, and was a Mercury Prize nominee in 2008. He too called himself “a low-key person”. Perhaps there’s something in the local water.

➢ BBC 6Music dissects The xx’s debut album

➢ The xx’s North American tour dates through to October

➢ VIEW ♫ ♫ video guide to the 12 nominees for the 2010 Mercury Music Prize — Biffy Clyro, Dizzee Rascal, I am Kloot, Paul Weller, Corinne Bailey Rae, The XX, Villagers, Kit Downes Trio, Foals, Laura Marling, Wild Beasts and Mumford and Sons.

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2010 ➤ Index of posts for July-Aug

Kylie Minogue, Heaven,London,live,All The Lovers

All The Lovers, live: photograph © Christie Goodwin

➢ A big wink to i-D on its 30th birthday

➢ For one year only, £75m deal reunites Take That dormice with mega-millionaire Robbie Williams

➢ Kylie dazzles London with laser-love

➢ Cheers to Peter and Chris – two nice unassuming radio listeners (among the many) who clinched the rescue of 6Music

➢ Vince Clarke on how to make the perfect pop song

Save 6Music, 6Music, BBC, demonstration, Alison Gibbs

Too, too British: Save 6Music demonstrators outside Broadcasting House. Picture © Alison Gibbs

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