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

i-d magazine,covers,30th anniversary, Then Now Next

Launched August 1980: who’d have guessed that 72 covers and almost as many winkers later the magazine would have arrived at the end of its first decade?

❚ A MONTH AFTER i-D MAG’S LAUNCH in August 1980, cub-editor Perry Haines was bright-eyed and bushy-tailed, fresh from the St Martin’s fashion journalism course. Armed with such axioms as “Pitch and stitch dance hand in hand”, he was launching his club night at Gossip’s in Soho, calling it the i-D Sink or Swim night, admission £2.50. “We play 100mph dance music,” he said, meaning sounds like James White and the Blacks. “People are waiting for something to run with. They’re at the starting blocks.” Shapersofthe80s was there like a shot.

Launched as a quarterly in A4 fanzine format, economically printed in black-and-white and stapled, i-D was soon dubbed the UK “manual of style” for inventing the so-called straight-up more or less on the hoof: kids were photographed full-length, as and where they were found on the streets of Britain, then captioned down to the last thrift-shop nappy pin. Today editor-in-chief Terry Jones celebrates identity as the theme that has sustained his unique mag for three decades by turning the 30th birthday pre-fall issue of i-D over to the talented photographer Nick Knight, who was appointed an OBE in the most recent Queen’s birthday honours. It is one stunning run of superb black-and-white portraits of 200 people the mag believes are brainy, beautiful and downright gorgeous — from The xx, Phoebe Philo, Sir Paul Smith, Florence Welch to a rude Cerith Wyn Evans and a raunchy Vivienne Westwood, both enjoying their age disgracefully, plus three alternative cover stars epitomising this issue’s title of Then, Now and Next, Kate Moss, Naomi Campbell and Lady Gaga.

The key question is: How many of i-D’s 100 People of the 80s from Knight’s fifth anniversary shoot have made it into the 20-tens?! Uh-oh, only 12 found so far. Still counting.

Nick Knight, i-D 30th anniversary, Then Now Next

Nick Knight, then and now, separated by 25 years: captured by yours truly during his first shoot for i-D, titled People of the 80s, on the magazine’s fifth anniversary ... right, this year’s self-portrait as one of the world’s most innovative fashion photographers, taken for i-D’s 30th anniversary issue which he also art directs. Photographs © Shapersofthe80s and Nick Knight

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

Take That and Party, Shame,Gary Barlow,£25m deal,Daily Mirror, 2010,Sunday Times Rich List, Nigel Martin Smith,Robbie Williams, reunions, Take That

First album: 1992, phew

❚ RUMOUR CONFIRMED & NOW UPDATED – Thank heavens they had nowt to do with the 80s, though what talent Take That possessed did define Britain’s archetypal squeaky-clean boyband of the 90s . . . Robbie Williams – the youngest of them at 36 – is of course the daddy financially, worth £80m at No 28 in The Sunday Times Rich List of Top 50 Musicians, 2010. Songwriter Gary Barlow, 39, languishes at No 48 on a mere £30m.

Thursday’s Daily Mirror was first to nail the potential rewards. It claimed that a new album, plus merchandise and 50-date tour next summer promoted by their pals at SJM will net £6m apiece for both Williams and Barlow as main songwriters, with £4.2m each to the three dormice, Mark Owen, 38, Jason Orange, 40, and Howard Donald, 42. So it’s trebles all round.

However, by Friday July 16, The Sun’s Bizarre editor Gordon Smart was upping the ante: “If you thought the boys were rich now, next Christmas is going to see them served up with a whole new level of wealth.”

The five men stand to make £15m each from an album deal, arena tour, royalties and other projects which have been lined up. Smart reported in detail: “A music industry expert explained how reformed Take That are set for a mega payday. The band will trouser £5m each from record sales, royalties, TV rights and endorsements – plus another £10m from their tour, which will reach out to a world record 3m people. He said: ‘One sold-out stadium will gross £2m for the band. Costs will swallow £1m per show, but after fifty dates the lads will be left with at least £50m.’ ”

Despite the smiles in pictures and news video this week, the group’s body language is stiff and unconvincing, especially in the sofa shots. Fans have been noting the cursory hugs and lack of eye contact. Orange looks conspicously sidelined. Upmarket papers have done little more than regurgitate the already well-worn publicity guff. Only the tabloids offer any inside info. Although a Sun headline on Thursday claimed Williams is “officially back for good”, there has been no such supporting claim in its extensive live online coverage. On July 16 Smart stated unequivocally: “There are no plans beyond this tour and album.”

THEY SAID IT

Orange on Williams’s departure “When Robbie left I didn’t feel that much. For whatever reason, Robbie and I didn’t get on that well in the band”
Owen on Williams’s departure “I didn’t really think about it that much. I just know that I had two weeks to learn how to rap”
Williams on Barlow’s songwriting “I remember genuinely thinking he’s a genuinely crap songwriter”
Barlow on the success of Williams’s 1997 single Angels “I’ve never laid in bed wishing I was Robbie Williams, but I guess I lay in bed wishing I had his career”

Williams this week described the reunion as like “coming home” from a solo career that has lurched between brilliance and despair. He was speaking at a studio in West London where the new Take That were finishing the as yet unnamed CD, their first full album since the release of Nobody Else in 1995.

First, Barlow and Williams will release a jointly written duet, appropriately called Shame. The video for this song has a Brokeback Mountain theme, according to The Sun. The pair have been inseparable recently, and it pokes fun at the close and cathartic relationship they are said to have rekindled.

All five singers have written songs for the album, due out in November and produced by Stuart Price who is admired for his work with Madonna and Kylie. It is the first time the group has worked together since Williams walked out amid acrimony 15 years ago and went on to launch a successful solo career. The remaining members disbanded a year later but reformed in 2005. Williams went into rehab three years ago battling with addiction. Owen has also admitted to struggling with alcoholism in the past.

Hit Man and Her, UK, TV shows,pop, discotheques,Pete Waterman, Michaela Strachan, Take That, Manchester

The Hit Man and Her: Michaela Strachan and Pete Waterman presented the Saturday night dance show on British TV 1988-1992. Picture © Granada TV

Manchester manager Nigel Martin Smith brought the lads together when most were in their late teens. He hoped to emulate the success of US boyband New Kids On The Block, but only when he added 16-year-old body-popping Robbie Williams from Stoke-on-Trent did the magic kick in.

During their five-year boyband career, Take That produced one of the decade’s bestselling albums in Everything Changes. Between them, Take That and Williams have sold more than 80m albums, played to more than 14.5m people live, won 19 Brit Awards and had 13 No1 albums, 17 No1 singles, eight MTV awards and five Ivor Novello awards.

Take That first sang live as a group 20 years ago on the cringemaking television show The Hit Man and Her which stands today as an authentic slice of provincial social history. Fronted by the now legendary record producer Pete Waterman (him) and TV presenter Michaela Strachan (her), the show was recorded on Saturdays at “a disco somewhere in the North of England” and broadcast early on Sunday mornings in the local Granada region, then again three hours later to the South-East where more liberal licensing laws meant clubbers got home that much later.

Over four years the show became compulsive viewing for its uninhibited antics by crowd members participating in dance-offs and other embarrassing party games. Resident dancers included a black exhibitionist called Clive who habitually wore little more than a blond wig – another was Jason Orange himself, a member of the Manchester-based crew, Street Machine.

➢➢ Take That’s second appearance on the Hit Man and Her in 1990 was this hideously uncoordinated effort at The Discothèque Royale in Manchester, performing Waiting Around which sounds as if it were written for the dreary Rick Astley, yet became the B-side for their first single, Do What U Like. Predictably, their first three singles went nowhere . . .

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