Via Andrew Coates’ interesting post on Johan Hari and Toni Negri, I got to the website of Phil Edwards’ book on Italian autonomism, which I really want to read, and then on to Phil’s blog, The Gaping Silence. I’ve visited before, but will do so more often. Here’s two tasters to tantalise you.
The Belgian radical surrealist journal Les lèvres nues once featured a slogan which I found simultaneously funny, heartbreaking and intensely inspiring:
For someone with my kind of politics, “Remember Liebknecht” would be a great slogan, one to bring a tear to the eye and a clench to the fist; “Avenge Liebknecht”, even. But “Save Liebknecht” is something else – it evokes all those feelings but takes them somewhere else. As if to say, we’re not just going to bring about an irreversible transformation of capitalist relations of production and the everyday life they produce, we’re going to transform the past! The choice of Liebknecht rather than the more obvious Luxemburg is interesting, too – as if to say, we’re going to do a proper job; we’re not just going for the top-rank heroes here. History? The revolution spits in its eye. By the time we get finished, the wind will be blowing into Paradise!
Those crazy surrealist Belgians. But, visiting the British Library the other day, looking at a proof copy of “the Ballad of Reading Gaol”, I found myself feeling something very similar. The thought process went something like, “Oscar Wilde do two years hard labour? Stuff that. No way. We’ll have to do something about that…” And I realised it wasn’t the first time I’d felt the urge – the determination, almost – to change the past; I felt it when I discovered the work of Primo Moroni and realised he’d died the year before (aged 62). […]
Now listen to this:
Scritti Politti, “Hegemony”
There’s no getting away from it – at some level that’s the same song. (And yes, Googling establishes that Green Gartside was a folkie in his youth, and specifically a huge Martin Carthy fan. There’s a small puzzle here, though, which is that Carthy didn’t record the song until 1980, after Scritti Politti had recorded “Hegemony”. He did sing it as part of the score of the theatrical version of “Lark Rise to Candleford”, which was staged at the National Theatre in 1978 and 1979; perhaps Green was in the audience. Either that, or he heard Peter Bellamy’s version, released in 1975.)
I’m slightly staggered by this. Picture a fan of cutting-edge contemporary art who turns his back on the edgy echo-chamber of conceptual this and reinterpreted that, and rediscovers craft – good stuff well made. And imagine that, a few years down the line, he’s appreciating a particularly well-made pot, when he realises that it’s a Grayson bloody Perry. That’s me that is. Here’s a song which does what folk songs do, and does it so well – a slow, deliberate melody; lyrics that say one or two simple things, but simple things that have stayed true; a spare, delicate arrangement. No anxiety, no uncertainty, no rough edges, no contemporary resonance that wasn’t equally resonant 200 years ago. And here’s a song which is pure punk (intellectual wing): it’s all uncertainty and rough edges, an urgent, gabbled bulletin from the front line of one man’s confrontation with the world that faces him. And it’s the same bloody song.
As it happens, although I was vaguely into folk in the 70s – and I did see “Lark Rise” – I never really heard that much of it: Steeleye, Pentangle and, er… By 1979 I had given up on it altogether, partly in reaction against Steeleye’s new direction but mainly because the cultural earthquake of punk had seemed to make it utterly irrelevant. So I never heard “Sweet Lemany” until after I’d got back into folk, 30 years later, in search of the well-made pots of the tradition. Even then I only heard it at singarounds; it was only when I heard Jon Boden’s version last week that I really listened to it. And suddenly I’m back with Green in 1979, agonising over the production of meaning and semantic instability in ‘beat’ music in that legendary Camden squat, and I’m in my room at Cambridge poring over the sleevenotes and feeling his sense of the utter necessity of intellectual work and his despair at the isolation it brings with it[…]