Tag: Newcastle-upon-Tyne

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My favourite gigs

 

© Chrysalis

 

My previous blog-post was about seeing Deep Purple live in concert.  This was the most recent of many gigs I’ve been to.  Indeed, by my calculations, I’ve seen about 160 musical acts perform live, starting with veteran Scottish hard rock / heavy metal group Nazareth, whom I saw in Aberdeen in 1984.

 

Anyway, this has got me thinking about the best gigs I’ve ever been to.  Here are my favourite eight.

 

The Proclaimers – Aberdeen Ritzy, 1987

I didn’t know what to expect when some mates got me along to a concert by Craig and Charlie Reid, better known as Scottish folk-pop duo the Proclaimers.  I liked the Reids – their hit song that year, the politically charged Letter from America, was already becoming Scotland’s great anti-Maggie-Thatcher anthem – but I had no idea what they’d be like live.  Also, they were performing at Aberdeen Ritzy, a place I had an aversion to because I’d once worked there as a member of the floor-staff and it was the least enjoyable job I’d ever had.

 

I had no reason to be apprehensive.  The gig felt like a giant, joyous football match where the entire crowd supported the same team and that team was winning 10-0.  I suspect one reason why the Proclaimers went down so well that night was because the Aberdonian audience could relate to their song Throw the R Away, which is about the frustrations caused when standard English-speakers can’t understand your accent.  Which is a common hazard if you speak Aberdonian.

 

The Jesus and Mary Chain, Dinosaur Jr, My Bloody Valentine, Blur – the Rollercoaster Tour, London Brixton Academy, 1992

From Craig and Charlie Reid to two more Scottish siblings called Reid.  These were Jim and William Reid of the feedback-drenched East Kilbride noise-niks the Jesus and Mary Chain.  Their Rollercoaster Tour date at Brixton Academy in 1992 offered not only excellent support from American alternative rockers Dinosaur Jr and dreamy, swirly shoegazers My Bloody Valentine, but also a chance to sample a young, up-and-coming band called Blur.  Though my reaction when I saw Damon Albarn onstage wasn’t that he was destined to be an icon of the future Britpop movement but that he resembled a very young, musical version of Norman Wisdom.

 

© Blanco y Negro

 

Meanwhile, the headliners blew me away.  Promoting their recent album Honey’s Dead (1992), which was packed with behemoth tunes like Reverence and Sugar Ray, the Jesus and Mary Chain performed in silhouette against a giant blood-red backdrop.  This made them look like the imperious Masters of the Universe.

 

The Manic Street Preachers – Sapporo Penny Lane, 1993

Welsh rock band the Manic Street Preachers were promoting their album Gold Against the Soul when they turned up in the Japanese city of Sapporo, at whose Hokkai-Gakuen University I worked at the time as a lecturer.  Though in Britain they were seen as having a punk edge, the Japanese took their fondness for glam clothes and eyeliner as meaning they were another Guns n’ Roses.  Thus, their gig at Sapporo’s Penny Lane drew a lot of Japanese girls wearing silk scarves and floppy hats, who kept squealing “Rich-ee!” at the Manics’ guitarist, Richey Edwards.  The gig was both excellent and dramatic – the drama coming when the highly-strung Edwards freaked out about an illuminated fire-exit sign at the other end of the auditorium that he claimed was putting him off his performance.

 

Since then, that gig has haunted me in two ways.  Firstly, around the same time, I bought the Japanese edition of Gold Against the Soul.  Years later, long after Edwards’ tragic and never-explained disappearance in 1995, I listened to it again and discovered the CD case contained a second tray that I hadn’t noticed before.  In it was a bonus CD, a live one of them performing in Japan.  When I played it, I felt poignantly transported back in time – for there, in the crowd, were those Japanese girls shouting “Rich-ee!” again at poor, doomed Richey Edwards.

 

From wikipedia.org / © Masao Nakagami

 

Secondly, when I saw the Manic Street Preachers again last year, in Singapore, they played a new song called Still Snowing in Sapporo, which I learned was inspired by that long-ago gig in 1993.  How weird, I thought, to be in the audience listening to them playing a song about a concert 30 years earlier… knowing I was were probably the only person in the audience who was at that concert.

 

The Beastie Boys – Sapporo Jasmac Plaza, 1995

I almost didn’t attend this gig, which also took place while I worked at Sapporo’s Hokkai-Gakuen University.  The show was due to begin at 7.00 PM – concerts in Japan tended to start when the tickets said they would – and the same evening I had to give a late lecture until 7.20 PM.  Plus I calculated that by the time I got from the university campus to the venue, the Jasmac Plaza, the Beastie Boys would already be an hour into their gig.  It didn’t seem worth it.

 

However, a few weeks before the concert, it was announced that work had been completed on a new Sapporo subway line, which had a station called Gakuen-Mae directly below the campus where I was working.  I also discovered that the next station along the new line, Hosui-Suskino, had an exit that was only a block from the Jasmac Plaza.  And a subway train left for Hosui-Susukino from Gakuen-Mae every evening at 7.30.  I figured that if I caught the 7.30 train, and moved very fast, I could be at the concert hall in the Jasmac Plaza ten minutes later – hopefully not yet halfway through the Beastie Boys’ set.  Fate seemed to be urging me to buy a ticket, so I did.

 

That evening, I finished my lecture on the stroke of 7.20, ran like hell for the subway station and charged down what seemed like half-a-dozen escalators, descending deeper and deeper into the earth.  The train was already at the platform and I ran and jumped through its about-to-close carriage doors.  At Hosui-Susukino, I sprang out of the train, ran up more escalators, ran along a city block into the Jasmac Plaza and up several staircases to its fourth floor, where the concert hall was.  Live music blasted out of speakers above me.  I dashed into the hall, gasping for breath, my university lecturer’s suit, shirt and tie soaked in sweat…  And I discovered that the Beastie Boys weren’t on stage at all.  What I was hearing was a support act that hadn’t been mentioned on the bloody ticket.  The Beasties didn’t appear until forty minutes later.

 

After that, it needed to be a superb gig to justify all the hassle and indignity I’d suffered.  Which, thankfully, it was.

 

© Mute

 

Nick Cave – Edinburgh Princes Street Gardens, 1999

During the 1999 Edinburgh Festival, goth-rock troubadour Nick Cave – without his band the Bad Seeds – performed in Edinburgh’s Princess Street Gardens, which meant he had the craggy Edinburgh Castle rock, crowned by the battlements of the castle itself, as a spectacular backdrop.  But there was a problem.  Taking place in the castle was the Edinburgh Tattoo, that celebration of tartan-swathed, bagpipe-wailing Scottish military kitsch held every August; and the Tattoo organisers were not happy about having to compete against a concert below in the Gardens.  Indeed, a few evenings earlier, the Gardens had hosted the psychedelic / space-rock outfit Spiritualised and their percussive beats had caused the Lone Piper – the bagpiper who appears on the ramparts at the Tattoo’s finale to play the lament Sleep Dearie Sleep – to lose concentration and mess up the tune.  This evening, to placate the Tattoo, Cave wasn’t allowed to start playing until it had finished, meaning the audience turned up at the time specified on the tickets but then had to wait an hour.  To keep us entertained, some local performance-poets were brought onstage, including the late, lamented Paul Reekie.

 

One consequence of this was that when Cave finally did come on, the end-of-Tattoo firework display was erupting above the castle.  Talk about a spectacular entrance.  And the ensuing gig was worth the long wait.  The songs, mostly stripped-down versions of stuff from 1997’s The Boatman’s Call and 1996’s Murder Ballads, were wonderfully enhanced by the gothic surroundings – the rock, the castle and finally a gorgeous full moon ascending into the starry Edinburgh sky.

 

The Waterboys – Newcastle, Tyne Theatre and Opera House, 2003

In the mid-1980s, there was a considerable buzz about the Waterboys, who were expected to go stratospheric and join U2 and Simple Minds as one of the big Celtic rock bands of the era.  Instead, under the leadership of Edinburgh man Mike Scott, they decamped to Ireland, became a folk band for a while, and rock superstardom never arrived.  I actually preferred their folky stuff (like 1988’s When Ye Go Away) to their rather bloated rock stuff (like 1985’s The Whole of the Moon).

 

For this 2003 gig in Newcastle, the band did an hour of gentle, melodic music, kicking off with a version of the Rolling Stones’ Wild Horses, which Scott decided to play because he’d “had it in his head all day,”  There was an interval during which the Geordie crowd enjoyed a pint or four in the Opera House bar.  And then it was back into the auditorium for a second hour of up-tempo rock music.  The relaxed and nothing-more-to-prove Scott clearly wanted to have a good time and wanted to give his audience a good time too – which he did, in spades.

 

© Geffen Records

 

Alabama 3 – Newcastle, University of Northumbria, 2005

This was the best blues / country / techno / electronica / indie / trip-hop / acid-jazz gig I’ve seen, courtesy of the best (and possibly only) band in the world whose music ticks all those boxes, the Alabama 3.  They’re not from Alabama, but from South London.  Also, there’s eight or nine of them rather than three.  With so many band-members onstage, and such a stew of different sounds, this gig at the University of Northumbria was inevitably a bit of a shambles – but what a glorious shambles.  Their track Woke Up This Morning, which at the time served as the opening theme for The Sopranos (1999-2007), was particularly epic.

 

Primal Scream – Norwich UEA, 2009

I wasn’t expecting a great deal in 2009 when the Bobby Gillespie-fronted alternative rock band Primal Scream turned up at the University of East Anglia, where I was in the middle of doing a full-time MA.  Feeling creaky and long in the tooth by then, I assumed my best gig-going days were behind me.  I was too old for the mosh-pit, for jumping around and getting into the exuberant spirit of things.  Meanwhile, I’d seen Primal Scream a few times before and found them a bit hit-and-miss.

 

But I ended up really, really enjoying myself.  I managed to snag a position right at the edge of the stage, giving me a perfect view.  And Gillespie and the gang were in blistering form.  Primal Scream concerts can feel schizophrenic because their music veers between harsh, experimental electronica (like 2000’s Kill All Hippies) and loose-limbed, traditional Rolling Stones-style rock ‘n’ roll (like 1994’s Jailbird), but here it didn’t matter.  They just alternated.  They’d do one hardcore electronica number (accompanied by a brain-frying lightshow), followed by a Stonesy number, then another electronica one, then another Stonesy one, and so on.  Somehow, tonight, it worked brilliantly.

 

From wikipedia.org / © Phil Guest

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Jim Mountfield gets some followers

 

© Stygian Lepus

 

Issue 11 of the webzine The Stygian Lepus has just appeared online and its contents include a short story by Jim Mountfield, the pseudonym under which I write horror fiction.  Entitled The Followers, it’s the tale of some creative-writing-course students being sent out onto the streets to do a research assignment – never suspecting that, gradually, they’re being drawn into a scenario best described as one of cosmic horror.

 

Like the previous story I had published by The Stygian Lepus, A Man about a Dog, which appeared in their eighth issue last November, The Followers is set in a northern-English city inspired by Newcastle-upon-Tyne, where I lived from 2002 to 2005.  In fact, its two settings are based on Stowell Street, home to Newcastle’s tiny Chinatown, where I used to work; and on its majestic covered market-hall, Grainger Market, where I used to do much of my shopping.

 

For the next while, The Followers can be directly accessed here, while the main page of The Stygian Lepus, Issue 11, can be reached here.

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Jim Mountfield goes to the dogs

 

© The Stygian Lepus

 

My short story A Man about a Dog is featured in the new, eighth issue of The Stygian Lepus Magazine, a short-fiction and poetry publication that ‘leans to the dark side’.  And as usual with my writing that leans that way – dark-wards – it appears under the penname of Jim Mountfield.

 

A parable about how human beings treat and mistreat dogs and, indeed, how human beings treat and mistreat each other, A Man about a Dog is set in an anonymous north-of-England city during the grim, austerity-stricken years of the 2010s.  Well, the setting was inspired by the three years I spent living in Newcastle-upon-Tyne, which strictly speaking isn’t a north-of-England city but a northeast-of-England one.  I lived there from 2002 to 2005, when the place had a buzz and sense of optimism about it, largely due to new developments like the Quayside, the Millennium Bridge, the Baltic Gallery, the Sage (now known as the Glasshouse) Music Centre and Antony Gormley’s striking Angel of the North statue.  Okay, most of those things are actually in Gateshead, which has its own council, independent of the Newcastle one.  So, I’m really talking about ‘Newcastle-Gateshead’ here.

 

From all accounts, though, the place took a battering during the 2010s, when the just-installed Conservative government imposed an austerity programme on Britain.  300 million pounds had been cut from Newcastle’s council budget by 2019 and the decade saw the closure of local libraries, youth clubs, children’s centres and other amenities.  Between 2013 and 2018 there was even an 89% reduction in the number of its lollipop men and women, leaving just seven of them to shepherd the city’s schoolkids safely across the roads.  By an evil coincidence, the week A Man About a Dog was published also saw the return to public office of the smug, oleaginous and stuck-up architect of austerity, former British prime minister David Cameron – Rishi Sunak has ennobled him as ‘Lord Cameron of Chipping Norton’ and made him the country’s Foreign Secretary.

 

An American publication, The Stygian Lepus requests its contributors to submit their work in American English.  I slipped up slightly and made a few references to ‘wheelie-bins’ in my submitted story.  When I saw the version of A Man about a Dog that appears in the magazine, it amused me that the wheelie-bins had been changed to ‘dumpsters’.  So, it’s just as well I kept the city in the story anonymous and didn’t identify it as Newcastle.  You don’t hear many Geordies talking about dumpsters.

 

For the next while, A Man About a Dog is accessible to read here, while the main page for The Stygian Lepus, Issue 8, can be reached here.

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The butcher boy

 

From leftfutures.org

 

One feature of growing older is that every new day seems to be an anniversary of some sort or other – an anniversary of something you did, or something you experienced, or something big or small that you witnessed happening in the world.  For instance, just last Friday, March 17th – St Patrick’s Day 2023 – I realised it was 30 years exactly since some friends and I went to see the great Belfast punk band Stiff Little Fingers at Glasgow Barrowland.  Both Stiff Little Fingers and the Barrowland, I’m pleased to report, are still on the go; and their histories have been happily entwined during the three decades since.  As the latter’s Wikipedia entry reports: “Northern Irish punk band Stiff Little Fingers have played sold-out concerts at the venue every St Patrick’s Day since 1992, and recorded their Best Served Loud album there in 2016 to celebrate 25 years at Barrowland.”

 

Even if it reminds me of how ancient I am now, that’s at least an anniversary of something I remember fondly.  However, there’s nothing fond I remember about the event that today, March 20th, is the anniversary of.  It’s now been twenty years since Western military forces, mainly American and British ones directed by President George W. Bush and Prime Minister Tony Blair, blasted their way into Iraq.

 

The invasion was launched in order to depose Saddam Hussein who, it was claimed, possessed Weapons of Mass Destruction.  It transpired, though, that these WMDs didn’t exist and it became obvious that Bush and Blair had spun a web of lies beforehand to make people believe that they did.  In the two decades since the invasion, those WMDs haven’t been the only things to not exist.  The Iraq Body Count Project has calculated that, up until 2019, between 183,535 and 206,107 Iraqi people have stopped existing too.  Their deaths have been a result of Bush and Blair’s actions – of the invasion, the bungled Western occupation and its chaotic aftermath.

 

George Bush once donned a flak jacket, posed on the deck of an American aircraft-carrier and boasted that the ‘mission’ in Iraq was ‘accomplished’.  That seems a very long time ago now.  Mind you, through the dubious involvement in the supposed occupation and ‘reconstruction’ of Iraq by outfits such as Haliburton, the debacle succeeded in lining the likes of Dick Cheney’s pockets very nicely.  I suppose that was the real point of it.

 

Of course, the Iraq War helped to put some coinage into Tony Blair’s pockets too.  Thanks to his support for the second-most right-wing and incompetent president in American history, the former PM was for a long time revered in Republican sectors of the USA and he made more than a few bob on the public speaking circuit there.  (He also profited from a dodgy job negotiating the movement of oil between Iraq and South Korea.)  I suppose his popularity in America reduced his pain at being less admired in other parts of the world.  For instance, I was working in India during the worst phase of the ‘official’ Iraq War – Abu Ghraib and all that – and whenever I read the Indian English-language newspapers, his name seldom appeared in a sentence without being accompanied by the words ‘poodle’ or ‘lapdog’.

 

I’d never trusted Blair.  His big smile and ingratiating, want-to-be-your-pal manner struck me as phoney, especially compared to the plain-speaking, no-nonsense demeanour of his predecessor as Labour Party leader, John Smith, who died unexpectedly in 1994.  However, up until 2003, and having recently endured 18 years of Conservative government, I’d consoled myself with the thought that “At least he isn’t as bad as that other lot.”  He headed a political party that claimed to have some conscience, principles and scruples, the supposed antithesis of Maggie Thatcher and her cynical gang.  But events in March 2003 changed my opinion.

 

To be fair, in Britain, it wasn’t just Blair who willed the invasion into happening.  He had the support of many in his party, though with a few noble objectors like the late Robin Cook, and the Tories backed him to the hilt.  In fact, among the Westminster-based parties, it was only Charles Kennedy’s Liberal Democrats who showed some spine and opposed the bloody thing.  It goes without saying that the majority of Britain’s predominantly right-wing newspapers were cheerleaders for it too.

 

From wikipedia.org / © William M. Connelly

 

And, though people still talk about the anti-war protests on February 15th, 2003, which saw the biggest ever political demonstration in London’s history take to the capital’s streets (and was the subject of Ian McEwan’s rather annoying 2005 novel Saturday), I’m afraid to say it had the support of a good chunk of the British population as well. Before and during the initial invasion, I was living in Newcastle-upon-Tyne, but for personal reasons I also spent a lot of time down in East Anglia.  Nearly everyone I know in Newcastle – Labour supporters to a man and woman – was horrified by what Blair was doing.  But down south, it was a different story.  I heard people saying it in pubs, and saw it on stickers in car windows.  This war was right, Saddam Hussein was going to blow us up with his WMDs, we needed to hit him before he hit us, we had to support ‘our boys’, and if you were anti-war you were unpatriotic, a coward, a traitor.  It was the mentality that, nearly 80 years earlier, had seen young men humiliated by getting white feathers if they didn’t sign up to fight amid the mud and bloodshed of the trenches.

 

Everything that happened in Iraq was a reprehensible failure – morally, politically, even in terms of making ground against Osamu Bin Laden in the supposed War on Terror.  (It took a Navy SEALs raid in Pakistan during the Obama era to put an end to him.)  In Britain, it loosened the Labour Party’s hold on power and paved the way for the David Cameron government and its disastrous austerity policies.  It also shook the public’s faith in politicians and what they saw as ‘the establishment’ and, arguably, helped lead to the 2016 vote to leave the European Union, which was Britain’s other huge, idiotic mistake of the 21st century.  But all this never dented Blair’s belief that invading Iraq with Bush was the correct thing to do.  He was right and those millions of people who came onto the streets to protest against the invasion were wrong.

 

A lot of this, I suspect, was down to Blair being a devout Christian.  Since God was on his side, he reasoned, his decision to back Bush must have divine sanction.  Bush, of course, professed to being a Christian too, although I couldn’t imagine the gimlet-eyed Texan being as zealous about it as Blair.

 

Actually, Blair’s Christianity puts me in mind of something said by the late William S. Burroughs in his spoken lyrics for the Bill Laswell song Words of Advice for Young People: “If you’re doing business with a religious sonofabitch, get it in writing.  His word isn’t worth shit, not with the good Lord telling him how to f**k you on the deal.”

 

From unsplash.com / © Levi Meir Clancy

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Edinburgh Filmhouse fades to black

 

© Filmhouse Trading Limited

 

During the two decades since I last lived in Edinburgh, I’ve spent a lot of time bellyaching about the fact that, for a city that likes to advertise itself as home to the world’s biggest annual cultural festival, Edinburgh has seemed ridiculously determined to rid itself of its live-music venues and make itself about as musically vibrant as, say, Luton.

 

Those two decades have seen the demise of such venues, or part-time or occasional venues, as the Cas Rock, the Tap O’ Lauriston, the Venue, the HMV Picturehouse, Electric Circus, the Citrus Club and – one of my favourite Auld Reekie hangouts – Studio 24.  At one point, I even felt compelled to write on this blog: “So, music lovers of Edinburgh…  Your once proud city has fallen… into the hands of a bunch of suits, nimbies and money-chasing ghouls whose iPods are no doubt crammed with Ed Sheeran, James Blunt and Coldplay songs and whose idea of musical edginess is probably to tuck into a salad in the Hard Rock Café while a paunchy, balding cover band play Hotel California in the corner.”

 

Now, sadly, the blight that’s struck down Edinburgh’s live music scene seems to have infected its film scene too, for last Thursday the news broke that the charity Centre for the Moving Image (CMI) had filed for bankruptcy, with the result that the city’s Filmhouse Cinema, which the CMI has run since 2010, is closing immediately.  This has also meant the abrupt end of the 75-year-old Edinburgh Film Festival, the oldest continually-running film festival in the world, and the closure of the Belmont, the Filmhouse’s sister cinema in Aberdeen.

 

The Filmhouse is, or was, what’s commonly known as an ‘arthouse’ cinema.  ‘Arthouse’ is a label I hate, as it suggests a place showing pretentious movies made by pretentious people who consider themselves ‘artistes’ rather than mere filmmakers – incidentally, Stephen Frears’ Sammy and Rosie Get Laid (1987) and Yorgos Lanthimos’s The Lobster (2015) get my vote as the most up-their-own-arses films ever made.  But it’s not about artiness.  In reality, an ‘arthouse’ cinema is often the only place in your neighbourhood where films a little offbeat, non-Hollywood and daring to use a language that isn’t English have a chance of being seen.  That’s while the multiplexes restrict themselves to showing movies about masked and / or caped vigilantes possessing superpowers, with lots of CGI and cameos by Stan Lee.

 

Unlike what’s happened to many of the music venues I mentioned above, the Filmhouse’s sad fate isn’t the result of corporate greed, gentrification, nimbyism and hostility or indifference on the part of the local authorities – although in these straitened times, I doubt if Edinburgh City Council will be swooping to the Filmhouse’s rescue.  Rather, as this recent piece by Mark Cousins in the Guardian makes clear, the cinema’s demise was caused by a ‘perfect storm’ of economic and cultural factors: the huge hike in energy bills that’s currently panicking everyone in the UK bar the super-rich (you know, those people whom Liz Truss wanted to give generous tax cuts to), the loss of custom incurred during the Covid-19 pandemic and the slow return of custom afterwards, younger people preferring to watch movies on streaming services at home, and older people becoming, well, older and less likely to go out.

 

Besides offering you the opportunity to see certain films on a big screen that you wouldn’t otherwise see there, what makes cinemas like the Filmhouse precious is that they allow you to come out of the closet as a film nerd.  They’re obviously run by folk with a genuine love for movies and, on their premises, you know you’re surrounded by like-minded punters too. Over the years, I’ve been lucky enough to live in several cities blessed with such establishments. I have happy memories of them and can still reel off the films I watched on their screens.

 

© Theater Kino

 

For example, in the Japanese city of Sapporo, there was the Theater Kino, which coincidentally must have been one of the smallest cinemas in the country.  At it, I remember seeing David Lynch’s Eraserhead (1977), Rémy Belvaux’s Man Bites Dog (1992), John Dahl’s Red Rock West (1993) and – yay! – Danny Boyle’s Trainspotting (1996).  At Cinema City in Norwich, I saw the Coen Brothers’ Burn After Reading (2008), Armando Iannucci’s In The Loop (2009), Tom Hooper’s The Damned United (2009) and Sasha Gervasi’s hilarious but gruelling heavy metal documentary Anvil! The Story of Anvil (2008).  And at the Tyneside Cinema in Newcastle-upon Tyne, I saw Kitano Takeshi’s Zatōishi (2003), Alejandro González Iñárritu’s 21 Grams (2003), Alexander Payne’s Sideways (2004), and, before it went on general release, a special screening of 28 Days Later (2002) attended by director Danny Boyle and scriptwriter Alex Garland, who answered questions from the audience afterwards.  (I wanted to ask them how, if the rage-infected zombies had become so angry that they stopped eating food and eventually died of hunger, they didn’t also stop drinking water and die of thirst first, which would have ended the zombie apocalypse much sooner.  However, not wanting to rain on Danny and Alex’s parade, I didn’t.)

 

© Tyneside Cinema

 

I feel a bit hypocritical pontificating about the loss of the Filmhouse because it’s been a long time since I set foot there – as far as I can remember, the last movie I saw in it was Quentin Tarantino’s The Hateful Eight back in 2016.  But I have an excuse.  For much of the last dozen years I’ve been living in Africa and Asia.  Still, with the Filmhouse’s closure, as with the closure of many a lovely old pub or lovely old shop, I suspect there’s currently a lot of people expressing outrage and grief about it on social media and in below-the-line comments on news websites who actually haven’t bought a ticket and watched anything on its premises for many years.  Unfortunately, there’s truth in the old capitalist adage: “If you don’t want to lose it… use it.”

 

Here’s a link to an online petition expressing support for the Filmhouse, Belmont and Edinburgh Film Festival and the 102 cinema and festival workers who have just lost their jobs.  And if there is an unexpectedly happy ending, and someone with deep, movie-loving pockets steps in and pulls the Filmhouse back from the brink, let’s hope folk show their appreciation by going to it and putting their bums on its seats again.

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Great British crime movies of the 1970s

 

© Metro-Goldwyn-Meyer

 

I’ve been busy lately and unable to post much on this blog.  Here’s a reposting of something that first appeared here in 2019.

 

During the 1970s, when I was a kid and when I absorbed cultural influences like a sponge, crime movies made in the United Kingdom were rarer than hen’s teeth.  That’s hardly surprising.  During that decade, the British film industry practically died on its arse.

 

And yet, as a kid, I got the impression that 1970s Britain was so crime-ridden it was dystopian.  It was a place where every bank and security van was in constant danger of being attacked by beefy men with sawn-off shotguns and stockings pulled over their heads.  Where every street was the potential scene of a violent punch-up and every road was the potential scene of a destructive car chase.  Where the police force scarcely seemed any better than the villains, its ranks composed of hard-boozing, chain-smoking, foul-mouthed thugs wearing kipper ties.  Really, at times, I must’ve been too afraid to leave my house.

 

This is because 1970s British television was awash with crime and cop shows, often violent and populated by low-life characters on both sides of the law: for example, Special Branch (1969-74), Villains (1972), New Scotland Yard (1972-74), The Sweeney (1975-78), Gangsters (1975-78), The XYY Man (1976-77), Target (1977-78), Out (1978), Hazell (1978-79) and Strangers (1978-82).  Impressionable kids like me would act out things we’d seen on TV the night before, so that at breaktimes school playgrounds reverberated with shouts of “You’re nicked, sunshine!” and “You grassed me off, you slag!” and “We’re the Sweeney, son, and we haven’t had any dinner!”  My parents were happy to let me watch such programmes.  As long as I wasn’t watching that horror rubbish, which had been scientifically proven to be bad for you.

 

I suppose that many British directors, writers and actors who would have plied their trade on the big screen, if Britain’s film industry hadn’t been moribund, found themselves plying it on the small screen instead.  This helped inject some uncompromising cinematic rawness into the domestic TV crime genre.  But the cinematic counterpart of that genre seemed non-existent.

 

Well, almost non-existent.  A few crime movies did get made in 1970s Britain and these exert a fascination for me today.  Only two of them ever achieved a degree of fame and the rest are virtually forgotten, but I find all of them cherish-able.  Here are my favourites.

 

© MGM EMI

 

Get Carter (1970)

Everyone knows this 1970s British crime film, although I don’t recall it getting much attention until the 1990s, when thanks to Britpop, Damien Hirst, etc., the ‘cool Britannia’ scene took off and Get Carter’s star Michael Caine suddenly became a retro-style icon.  Ironically, Caine’s nattily dressed Jack Carter and Roy Budd’s edgy jazz score aside, there isn’t much in the Mike Hodges-directed Get Carter that feels stylish.  The drab, monochrome terraced streets of Newcastle-upon-Tyne – if the film’s premise is that Michael Caine has returned to his hometown to sort out trouble, whatever happened to Caine’s Geordie accent? – the shabby pubs, the seedy racecourses, the shit clothes and haircuts, the Neanderthal attitudes…  It’s depressing, actually.  It’s a provincial Britain where the Swinging Sixties have truly burned themselves out – if the Swinging Sixties ever reached provincial Britain in the first place.

 

Caine gets all the acting accolades for Get Carter but the film wouldn’t be what it is without its excellent supporting cast: Alun Armstrong, Britt Ekland, George Sewell, Tony Beckley and playwright and occasional actor John Osborne.  Best of all, there’s Ian Hendry as the film’s weasly villain, Eric Paice.  “Do you know,” Carter tells Paice at one point, “I’d almost forgotten what your eyes look like.  They’re still the same.  Piss-holes in the snow.”  Hendry was originally meant to play the virile Carter, but by 1970 his fondness for the booze had taken its toll and he was demoted to the secondary role of Paice, which supposedly caused tension and resentment during filming.  Thus, Caine may have enjoyed the irony of the film’s climax, which sees Carter force-feed Paice a bottle of whisky before clubbing him to death with a shotgun.

 

Villain (1971)

Villain has Richard Burton, no less, in the role of a gay, mother-fixated and paranoidly violent gang-boss who, against the counsel of wiser heads, gets himself involved in a raid on a factory’s wages van that ultimately causes his downfall.  Meanwhile, trying to stay in one piece is Ian McShane, playing a smooth but unimportant pimp who has the unenviable job of being both the object of Burton’s affections and the victim of his sadistic rages.

 

Villain also has a wonderful supporting cast – T.P. McKenna and Joss Ackland as fellow gang-bosses, Del Henney, John Hallam and (alas, the recently-departed) Tony Selby as henchmen, and Nigel Davenport and Colin Welland as the coppers doggedly trying to bring Burton to justice.  (Interestingly, McKenna, Henney and Welland all turned up in the cast of Sam Peckinpah’s troubling Straw Dogs, made the following year.)  The film suffers from having too many sub-plots, though the one where McShane helps Burton escape the law by getting a sleazy Member of Parliament who’s used his pimping services to testify for him is memorably believable and nauseating.  Played by Donald Sinden, you never hear which political party the MP belongs to, but you can guess.

 

Sitting Target (1972)

Ian McShane had to suffer some dysfunctional relationships in early 1970s British crime movies.  No sooner had he finished being Richard Burton’s lover / punchbag in Villain than he had to cope with being best friend to a psychotic Oliver Reed in Sitting Target, directed by the underrated Douglas Hickox.  With McShane in tow, Reed escapes from prison early in the film, determined to catch up with his wife Jill St John and give her what’s coming to her.  Reed doesn’t want revenge on St John, as you might expect, for her terrible performance as Tiffany Case in Diamonds are Forever (1971).  No, it’s because he’s discovered she’s betrayed him for another man.  The film’s big twist, when we find out who that other man is, isn’t altogether a surprise.

 

Sitting Target has many pleasures, including Edward Woodward playing a policeman assigned to protect St John against the marauding Ollie.  But nothing quite matches the thrilling early sequence where our two anti-heroes, plus a third convict played by the always-entertaining character actor Freddie Jones, bust out of prison in desperate, skin-of-the-teeth fashion.

 

The Offence (1972)

Okay, Sidney Lumet’s The Offence (which I’ve previously devoted a whole blog-entry to) isn’t really a crime movie.  It’s a psychological study of a macho but troubled police officer (Sean Connery) going over the edge when a hunt for a child-killer, and the provocations of the suspect the police have pulled in for questioning (Ian Bannon), push too many buttons on his damaged psyche.  But the film has that grim 1970s aesthetic that more conventional British crime movies of the period are so fond of – drab housing estates, anonymous tower blocks, serpentine pedestrian bridges.  Its supporting cast also includes strapping character actor John Hallam who, although he’s probably best remembered as Brian Blessed’s Hawkman sidekick in 1980’s Flash Gordon, was a fixture in crime movies at this time.  So, I’m putting The Offence on my list.

 

© American International Pictures

 

Hennessy (1975)

I’m also conflicted about adding Don Sharpe’s Hennessy to this list because it’s about terrorism rather than crime.  Indeed, its story of a former IRA explosive expert (Rod Steiger) who decides to destroy the British government and the Queen by blowing up the state opening of parliament after his wife and child are killed by the British Army, makes it the first movie to tackle the issue of the Troubles in Northern Ireland.  However, as the final film on the list is choc-a-bloc with IRA men, and as Richard Johnson gives a lovely performance as the weary, dishevelled, cynical copper – is there any other type in British crime movies? – trying to thwart Steiger’s plan, I thought I’d give it a mention.

 

The film is admittedly patchy but it has a top-notch cast that also includes Lee Remick, Trevor Howard, Eric Porter, John Hallam (again), Patrick Stewart (bald as a coot even then) and a super-young Patsy Kensit playing Steiger’s ill-fated daughter.  The climactic scenes set in the House of Commons, involving the Queen, landed the filmmakers in hot water because they used real footage that Buckingham Palace had approved without knowing it was going to end up in a film.  Also, the film’s subject, an incredibly touchy one at the time, meant that Hennessy scarcely saw the light of day in British cinemas.

 

Brannigan (1975)

Brannigan – also directed by Douglas Hickox – is the joker in this pack.  It features John Wayne as a tough American cop who arrives in a London of bowler hats, brollies and historic landmarks that exists only in the imagination of Hollywood scriptwriters, and who then causes mayhem as he behaves like a Wild West sheriff dealing with an unruly frontier town.  This involves such memorable sequences as Wayne doing an Evel Knievel-style car stunt where he hops across Tower Bridge while it parts to let  a ship pass below.  And Wayne triggering a cowboy-style brawl in a pub near Leadenhall Market.  And Wayne roughing up a minor villain played by the cinema’s greatest Yorkshireman, Brian Glover.  (“Now would you like to try for England’s free dental care or answer my question?”)  If you’re in the wrong mood, Brannigan is the worst film ever made.  If you’re in the right mood, it’s the best one.

 

© United Artists

 

The Squeeze (1977)

Barely had John Wayne swaggered through the London underworld than another Hollywood star did too in Michael Apted’s The Squeeze – Stacy Keach, although playing an English private eye with an industrial-strength drink problem. During occasional moments of sobriety, Keach investigates the kidnapping of his ex-wife (Carol White).  She’s remarried a posh security officer (Edward Fox) tasked with overseeing the delivery of large sums of money.  Keach finds himself tangling with a kidnap gang planning to force Fox to help them mount an armed robbery.

 

The Squeeze suffers from being overlong, with too much time spent wallowing in Keach’s alcoholism. But its good points outweigh this.  I like its depiction of late 1970s multicultural London and its sympathetic portrayal of Keach’s Jamaican neighbours.  Also, Stephen Boyd (who died soon after the film’s completion, aged just 45) and David Hemmings give good turns as the villains.  Allowed to use his native Northern Irish accent for a change, Boyd disturbingly plays a well-heeled crime-lord who dotes over his own family whilst having zero empathy for the family he’s threatening to destroy with his kidnapping scheme.  Meanwhile, Hemmings is good as a pragmatic career criminal who doesn’t share his boss’s sunny optimism about things.

 

And connoisseurs of 1970s British popular culture will be fascinated to see anarchic comedian Freddie Starr play Keach’s best mate, a reformed criminal trying to make a living as a taxi driver. Indeed, such is Starr’s loyalty to Keach that he saves his neck three times at the end of the film, including by running the villains off the road in his taxi.  Starr, who died in 2019, was from all accounts an unreconstructed arsehole in real life.  Therefore, remember him this way.

 

© Warner Bros. Pictures

 

Sweeney II (1978)

The greatest of all 1970s British cop shows, The Sweeney got two movie spin-offs, Sweeney! In 1977 and Sweeney II.  I don’t think Sweeney!, which involved Flying Squad heroes Jack Regan (John Thaw) and George Carter (Dennis Waterman) in an espionage plot, is much cop, but Sweeney II captures the spirit of the TV series.  It has Regan and Carter on the trail of a gang who spend most of their time living it up in Malta as wealthy British ex-pats, but who return to Britain from time to time to stage vicious, take-no-prisoners bank robberies.  As well as marrying bloody, sawn-off-shotgun-powered violence with some off-the-wall humour, Sweeney II manages to be topical too.  London’s real Metropolitan Police force was investigated for corruption in the late 1970s.  The film reflects this with the character of Regan’s commanding officer, played by the excellent Denholm Elliot, who’s facing a long stretch in prison on account of being “so bent it’s been impossible to hang his pictures straight on the office wall for the past twelve months.”

 

The Long Good Friday (1980)

Although it was released at the start of the 1980s, John Mackenzie’s The Long Good Friday was made in 1979 and so I’m classifying it as a 1970s film.  It definitely feels the end of a particular era with its tale of an old school London gangster (Bob Hoskins) convinced he’s about to make a mint in the brave new world of Thatcherite London where everything is up for sale to the corporations and developers.  That’s until one day when he suddenly finds himself tangling with a ruthless foe, the IRA, who make him look hopelessly out of his depth.

 

The final scene sees Hoskins become a prisoner in his own, hijacked car and get driven to his doom – an IRA man played by a youthful Pierce Brosnan snakes up from behind the front passenger seat to hold him at gunpoint.  Although Hoskins doesn’t speak, the succession of emotions that flit across his face as it dawns on him that he had it all, but now he’s blown it all, make this the most powerful moment in British crime-movie history.

 

© Black Lion Films / Handmade Films / Paramount British Pictures

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Why I love The The

 

© Cineola

 

I recently caught up with the 2019 movie Muscle, directed by Gerard Johnson. This film and Johnson’s two previous films, Tony (2009) and Hyena (2014), show that he deserves to be mentioned in the same breath as better-known British filmmakers of the 21st century like Shane Meadows and Ben Wheatley. Movies like Meadows’ Dead Man’s Shoes (2004) and Wheatley’s Kill List (2011) deliver winning and distinctly British combinations of grimness, violence, black humour and both gritty realism and phantasmagorical weirdness.  Johnson’s work does this too, with Muscle being his most accomplished film yet.

 

Set against the backdrop of Newcastle-upon-Tyne, a city I’m always happy to see turn up in a film, and shot in a simultaneously gorgeous and spooky monochrome, Muscle tells the story of a downtrodden and unhappy man (Cavan Clerkin) who tries to turn his life around.  Sick of his job-from-hell in a borderline scam-operation call centre and upset by the end of a long-term relationship, he decides to re-invent himself by pumping iron at a gym. Unfortunately, a hulking muscleman (one-time low-budget British-film-industry action hero Craig Fairbrass) makes his acquaintance there, takes him under his wing and promises to transform him from Wimpo to Rambo.  Fairbrass proves to be a psycho, unhinged by steroid abuse, who’s soon trying to take control of every aspect of Clerkin’s life.  This makes for an engrossing, if occasionally gross, meditation on the lengths to which men will go to reach a misguided ideal of masculinity.  Its testosterone-fuelled darkness is interleaved with occasional humour and there are excellent performances from the two lead actors.

 

However, what I want to write about here is the band that provides the needling, at times hallucinogenic music for Muscle, as well as for Tony and Hyena, the veteran post-punk / alternative band The The.  In existence since 1979, and graced with the most grammatically painful name in musical history, The The is basically a one-man-operation by London singer, songwriter and musician Matt Johnson who, yes, is director Gerard Johnson’s brother.  Other band-members have come and gone and come back again at different points, in the studio and on stage, including former Smiths guitarist Johnny Marr and former Bowie guitarist Gail Ann Dorsey.  Also, a host of famous names have made one-off contributions to The The’s records.  Johnson’s collaborators over the years have included Marc Almond, Neneh Cherry, Lloyd Cole, Jools Holland, Sinead O’Connor and J.G. ‘Foetus’ Thirlwell.

 

The The was especially prominent for a decade from the early 1980s to the early 1990s, releasing a quartet of albums, Soul Mining (1983), Infected (1986), Mind Bomb (1989) and Dusk (1993), which uniquely captured the zeitgeist of the era.  I heard about the band while I was at college, though to be honest I resisted listening to it for a long time because the students I knew who were The The fans seemed a bunch of smug, self-consciously trendy tossers reminiscent of the Rik Mayall character in TV’s The Young Ones (1982-84).  That, of course, wasn’t Matt Johnson’s fault.  It wasn’t until the late 1980s that I sat down and experienced The The’s music for the first time, after my brother gave me a recording of Infected on a cassette tape.  The result was love at first listen.

 

© Some Bizarre / Epic

 

Johnson’s songs had some wonderfully catchy hooks.  Also, despite the presence of guitars, drums, horns and harmonicas, they had a precise, shiny, synth-y sound that, unlike a lot of 1980s music, still sounds fresh and invigorating today.  However, Johnson’s lyrics were, for the most part, grim.  He wasn’t afraid to sing about what was going on in the world around him and, in the 1980s, much was what was going on seemed bloody horrible: the Reagan-Thatcher love-in, the coming of the Yuppies, the AIDS epidemic, the Ayatollah, the Iran-Iraq War, Chernobyl, Bhopal, Hillsborough, the Lockerbie Bombing, Tiananmen Square.  Though I have to say that in terms of horribleness, the past year or two have certainly given the 1980s a run for their money.

 

Also, Johnson was willing to put his voice up front.  His words didn’t get buried in the mix.  Thus, when I listened again to my The The collection recently, I immediately found myself singing along to it, so familiar had the lyrics been to me back in the day.  When I heard the simultaneously funky and sinister Sweet Bird of Truth (1986), I started mouthing the lines with its narrator, a battle-scarred, psychotic war veteran: “Across the beaches and cranes, rivers and trains / All the money I’ve made, bodies I’ve maimed / Time was when I seemed to know / Just like any other little G.I. Joe / Should I cry like a baby, die like a man / While the planet’s little wars start joining hands…”  The words rushed back to me too when I listened again to The Beat(en) Generation (1989), which lambasts the apathy and materialism of 1980s youth, with Johnson accusing them of being “raised on a diet of prejudice and misinformation” and pleading with them to “open your eyes, open your imagination.”  It’s entirely consistent with The The’s style that while Johnson fulminates and despairs vocally, a harmonica breezes along beside him and threatens to turn into the intro from the Beatles’ Love Me Do (1962).

 

Then there’s Armageddon Days are Here (Again) (1989), which for obvious reasons still sounds potent in 2021: “Islam is rising, the Christians mobilising / The world is on its elbows and knees / It’s forgotten the message and worships the creed.”   Later, he notes sourly, “If the real Jesus Christ were to stand up today / He’d be gunned down cold by the C.I.A.”  Or Heartland, (1986), which contains the lines, “This is the land where nothing changes / The land of red buses and blue-blooded babies / This is the place where pensioners are raped / And the hearts are being cut from the Welfare State,” and which ends with the refrain, “This is the 51st state of the U… S… A…”

 

Small wonder that when the music magazine Q reviewed a new The The album in the 1990s, it topped the review with the headline, CHEER UP, IT’S MATT JOHNSON.  Or as Johnson himself confessed in the lyrics of Slow Emotion Replay (1993), “Everybody knows what’s going wrong with the world / But I don’t even know what’s going on in myself.”

 

© Epic

 

Then in 1996, Johnson did something surprising.  He released a The The album called Hanky Panky that consisted entirely of cover versions by the hard-livin’, and early-dyin’, country-and-western troubadour Hank Williams.  On the face of it, The The and Hank Williams seemed to belong in different musical universes, but the result was surprising listenable.  Its highlights were a dark and diseased-sounding version of Honky Tonkin’ (“When you are sad and lonely and have no place to go / Call me up, sweet baby, and bring along some dough…”)  and an exhilarating one of I Saw the Light (“I saw the light, I saw the light / No more darkness, no more night!”).

 

Admittedly, Hanky Panky wasn’t to everyone’s tastes.  I was living in Japan when the album came out and I lent it to a Japanese friend who was not only an aficionado of Hank Williams but also a country-and-western singer and country-and-western DJ.  I should add that he was influenced by Hank’s lifestyle as much as he was by his music.  Whenever he had an alcohol-fuelled mishap, such as suffering burns to his forearms after toppling onto a barbecue at a party, he’d shrug it off with the philosophical observation, “Well, that’s what Hank Williams would have done too.”  He gave Hanky Panky a couple of spins on his local radio show but confessed to me afterwards that he and his listeners were baffled by it.

 

The The released one more ‘proper’ album, 2000’s Naked Self, which gets unfairly overlooked in retrospectives of the band.  Among its songs, December Sunlight is gorgeous and Boiling Point shows Johnson still able to evoke grim scenarios where everything seems to teeter on the edge of disaster.

 

Thereafter, Johnson remained busy but in a slightly different field.  Still using the moniker of The The, he worked on movie soundtracks.  In 2012 he provided the music for the award-winning documentary Moonbug, about the astronauts who took part in the Apollo space programme.  By this time he’d also contributed to the first film directed by his brother Gerard: 2009’s Tony, a nihilistic low-fi horror movie about a lonely, introverted and put-upon man living in a London block of flats who turns out to be a serial killer. Five years later, he made his mark on the soundtrack of his brother’s Hyena, a crime drama that reworks Abel Ferrara’s legendary The Bad Lieutenant (1992) with corrupt London coppers and Albanian gangsters.  For someone who’d always put an emphasis on words, the non-vocal soundscapes Johnson creates for these films are surprisingly effective.  Sequences like the one in Tony where the title character wanders through the cold, hostile London night, or the one early on in Hyena where a police team raids a dodgy London club and proves to be as mindlessly violent as the gangsters running the place, are boosted immeasurably by the presence of his music.

 

Soundtrack work aside, though, I’m sure the past two decades have been frustrating ones for The The fans desperate for Johnson to produce another fully-fledged album.  In 2017, the wait seemed to be nearly over, for a new The The single, We Can’t Stop What’s Coming, was released and the band’s Wikipedia entry stated that a new album was currently ‘in progress’.  However, no standalone album has appeared since then and the entry was perhaps referring to the band’s soundtrack album for Muscle, released in 2020.  That album produced the unmistakably The The-esque, i.e. simultaneously breezy and brooding, single I Want 2 B U.

 

In the meantime, if you feel a yearning for some sublimely catchy and groovy music combined with some of the angriest lyrics in pop and rock music, you could do far worse than listen to The The’s back catalogue.   Matt Johnson’s band really is the definite article.

 

© Epic

Posted on

Millennium Dom

 

From the Cyprus Mail

 

Spin doctor Dominic Cummings, the Svengali to Boris Johnson’s Trilby, the Rasputin to Johnson’s Tsarina Alexandra, the organ-grinder to Johnson’s dancing monkey, the puppet-master to Johnson’s, well, puppet, has become Britain’s Most Hated Man.

 

That’s because everyone in Britain now knows that Cummings didn’t just break the coronavirus-lockdown rules that he himself helped draw up for the population, but pulverised them.  The Gollum-like governmental advisor apparently believed that rules exist only for plebs and he, as a superior being, had a divine right to flout them.  In late March he drove his wife and child 260 miles from London to his parents’ farm near Durham in northeast England, while his missus was displaying coronavirus symptoms.  He developed symptoms soon after.  Also, while in the northeast, he drove 30 miles to local tourist attraction Barnard Castle, an action he subsequently justified by claiming he’d done it to check if he could drive safely even though the virus was affecting his eyesight.  I guess that’s the equivalent of a brain surgeon performing an operation to check if the palsy he’s been suffering from isn’t making his hands shake too much.

 

I should say not quite everyone in Britain is baying for Cummings’s blood, for I’ve noticed a few right-wing folks complaining on social media that Cummings has been the victim of a stitch-up by Britain’s hideous lefty mainstream press.  Such people regard Cummings as the Messiah, thanks to him being Campaign Director of the Vote Leave movement in 2015-16 and playing a major role in getting Britain out of the European Union.  According to them, the lefty newspapers that have it in for poor Dom include that notoriously socialistic organ, the Daily Mail.  Looking at the state of the comments posted by those fulminating right-wingers, I just hope they cancel their subscriptions to the Daily Mail and invest the money they’ve saved in taking punctuation courses where they learn how to use apostrophes correctly.

 

Anyway, reading the screeds of print written about Cummings in the past week, I’ve been reminded that Cummings first made a name for himself during a little-remembered episode in recent British political history.  It happened shortly after the advent of the new millennium, in a part of the world where I was living.  I’m talking about the referendum on setting up a regional assembly in northeast England, held in 2004.

 

Soon after Tony Blair’s New Labour government arrived in power in the late 1990s, devolution was implemented in the non-English parts of the United Kingdom, with the creation of the Scottish Parliament, Welsh Senedd and Northern Irish Assembly.  This left England as the only part of the UK without devolved government, which caused some awkward anomalies.  How, for example, could Scottish, Welsh and Northern Irish politicians turn up at the British parliament and vote on issues affecting the English population, when English politicians weren’t allowed to attend the three devolved parliaments and have a say on equivalent issues affecting the populations there, like health and law enforcement, entrusted to those parliaments under the devolution settlement?

 

The Regional Assemblies (Preparations) Act of 2003 was meant to restore constitutional balance.  It was envisioned that, eventually, eight regional assemblies would operate across England.  As England had a population five times the size of that of Scotland, Wales and Northern Ireland combined, a patchwork of small English assemblies would ensure that too much power wasn’t concentrated in a single, huge English assembly.  And the first English region to get the chance to approve the establishment of its own assembly was northeast England, which had an all-postal ballot on the matter on November 4th, 2004.

 

Cynics would say that the northeast was given first say because it seemed highly likely to do what the government wanted it to do.  It was deeply pro-Labour at the time and contained Tony Blair’s constituency, Sedgefield.  Also, it seemed the English region with the strongest local identity – a place that’d want its own assembly making decisions on its behalf rather than having decisions imposed on it from faraway London.  At the time I was living in the northeast’s biggest city, Newcastle-upon-Tyne and, without wishing to confuse the city with the region, I have to say the Geordies of Newcastle did seem a complete race apart.

 

I’d spent most of my youth in Scotland, where devolution had been a burning political issue for a generation.  There’d been a referendum about establishing a Scottish parliament back in 1979 and a majority had voted in favour of it.  Due to some disgraceful rule-bending by the Labour government of the time, though, it was decreed that the majority wasn’t big enough and the parliament wasn’t delivered.  Soon after came the Conservative government of Margaret Thatcher, which massively reshaped the economy and culture of the UK in the 1980s.  Most people in Scotland didn’t vote for Thatcher but the existing constitutional set-up left her free to do what she wanted with the place – a sorry state of affairs that resulted in the nadir of the Poll Tax, imposed solely on Scotland in 1989 as an experiment to see how it was likely to go down in the rest of the UK.  A great ‘what-if’ of Scottish political history is how a Scottish parliament, if one had been created at the end of the 1970s, might have stood up to Thatcher.  I certainly can’t imagine things being any worse than they were.  Anyway, it seemed to me a no-brainer that people in northeast England should get their own assembly in 2004.

 

However, in the run-up to the referendum, I realised my devolutionary enthusiasm wasn’t mirrored in the Geordies and north-easterners around me.  This was largely due to the influence of the anti-assembly campaign North East Says No, chaired by local businessman John Elliot and with a certain Durham-born, Oxford-educated character called Dominic Cummings as one of its prime movers.  The anti-assembly campaign whipped up resentment against the proposed establishment.  It warned that an assembly would be an unnecessary extra layer of government, diverting yet more public money into the pockets of yet more politicians – and diverting it away from areas that really needed it, like health.  “More doctors,” declared one of its ads, “not politicians.”  Actually, that sounds familiar.  Didn’t Dom peddle a similar message in a more recent political campaign?  Although in Newcastle in 2004 I didn’t see it emblazoned on the side of a bus.

 

From wikipedia.org

 

It didn’t help the assembly’s cause that the senior politician entrusted with overseeing its creation was deputy Prime Minister John Prescott, who famously had not one but two princely Jaguar motor cars at his beck and call and generally wasn’t known for his frugality.

 

Cummings’s anti-assembly message certainly got through.  With hindsight it was scary how many left-wing, liberal-minded people I knew in Newcastle, who’d normally have detested everything Cummings stood for, unconsciously parroted his rhetoric.  I remember in my workplace a Russian woman, who had British citizenship and the right to participate in the referendum but wasn’t too clued-up on local politics, asking a colleague for advice on how to vote.  The colleague, a Guardian-reading progressive if ever there was one, promptly told her the assembly was a nonsense and to vote against it.  Meanwhile, my best mate in Newcastle, also no right-winger, dismissed the proposed assembly as a ‘white elephant’ designed to ‘line politicians’ pockets’.

 

It didn’t surprise me, then, when Prescott and company lost the referendum and a majority voted against the assembly’s establishment.  It did surprise me how emphatic that majority was – of those who bothered to vote, 78% voted against it.  And that wasn’t only the prospect of a north-eastern assembly killed stone dead, but the prospect of any future devolution in England generally.  No politician would touch the project after that whipping.  Dominic Cummings had secured his first and, alas, not his last big victory.

 

Although Newcastle is pictured by some as a drunken hellhole where ghastly nightclubs are pillaged by stag and hen parties clad in little more than jockstraps and G-strings while freezing easterly gales howl around them from the North Sea – an image that admittedly isn’t wide of the mark if you venture into the city’s Bigg Market district on a Friday or Saturday night – I thought it was a great city.  I thoroughly enjoyed my time there during the first half of the noughties.  It had some great pubs (away from the Bigg Market), a good live music scene, decent shops and easy access to libraries and galleries.  You could generally find whatever it was that floated your boat, be it antiques markets or creative writing groups or comedy shows or whatever.  And I loved how you were mere minutes away from some of the most scenic landscapes in England.  And the Geordies were great company.  Indeed, I would have stayed for longer if the money I was earning in my job there hadn’t been so crap.

 

Looking back, though, I was probably lucky that I left Newcastle when I did and avoided the years of austerity that were inflicted on it by David Cameron and Nick Clegg’s Conservative-Liberal Democrat coalition from 2010 onwards.  The newspaper reports I’ve read about what happened to Newcastle make grim reading – slabs of money hacked off its budget every year, a total of some 300 million pounds lost by 2019, with a resulting cull of libraries, youth clubs and children’s centres and a general neglect of public services.  Even the city’s lollipop men and ladies weren’t spared – their numbers declined from 64 to seven in the space of five years.  Would a north-eastern assembly have been able to protect the city against some of this savagery?  Like the hypothetical 1980s Scottish parliament and Margaret Thatcher, I doubt if it would have made things any worse.

 

 

Incidentally, I think the missed opportunity of the English regional assemblies will contribute eventually to the breakup of the United Kingdom.  Occasional senior Labour politicians – Gordon Brown especially – still talk up the prospect of a federal UK as a way to keep Scotland British.  With their parliament nestling amid a bunch of similar-sized English ones where power is equally distributed, the Scots, the theory goes, will neither feel neglected nor get ideas above their station.  They’ll accept they’re fairly treated and accept their lot as happy Brits.  That might be true in an alternative universe, but it isn’t going to happen in this universe.  There won’t be a properly federal UK because people in England, as 2004 proved, aren’t interested.  And with so much power entrusted to dolts like Boris Johnson in London, I can’t see the Scots putting up with the existing constitutional status quo for much longer.

 

Modern right-wingers adore Dominic Cummings for what he’s supposedly done to restore British sovereignty.  But he’s actually done more than most to crock the whole concept of Britain.  Thanks in part to his exploits, including those in 2004, Britain as a union of four nations is doomed.  Dom-ed, in fact.