Tag: University of East Anglia

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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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Seven reasons why Robert Burns still rocks

 

From wikipedia.org / © Ron Waller

 

This is a revised and expanded version of a piece I had published one January 25th in the Arts section of Concrete, the students’ newspaper at the University of East Anglia, where I did a Master’s Degree many years ago.

 

Tonight, whisky will be guzzled, haggis devoured, bagpipes blasted and Scots-language poetry recited with gusto at thousands of special suppers and get-togethers around the globe.  This is because today, January 25th, is the 265th anniversary of the birth of Robert Burns, Scotland’s national bard and one of its most popular contributions to international culture.

 

Why, more than two-and-a-half centuries after he died at the age of 37, is Robert Burns such big deal?  Here are some reasons.

 

One.  Burns was a champion of the common man.  Born in humble circumstances, as one of seven children to a farmer in Ayrshire, he was much more in tune with the ordinary masses than any of his literary contemporaries.  The American poet Waldo Emerson described him as the poet of ‘the poor, anxious, cheerful, working humanity’.  The fullest expression of his egalitarian instincts was the song A Man’s a Man for a’ That (1795), which was adopted as an anthem by the anti-slavery abolitionist movement.  That, however, highlights an uncomfortable fact…

 

In 1786, Burns came within a hair’s breadth of travelling to Jamaica and taking up a job-offer as a bookkeeper on a sugar plantation – run on slave labour.  Burns’ defenders argue that as a young man at the time, pre-fame, facing destitution, and desperate to get out of Scotland, he probably didn’t consider the hideous moral implications of the job he was about to undertake.  Also, by 1792, he seemed aware enough of slavery’s horrors to pen The Slave’s Lament, which begins: “It was in sweet Senegal that my foes did me enthral / For the lands of Virginia-ginia, O.“  But the issue is murkier still, because Burns’ authorship of The Slave’s Lament has been disputed.

 

Anyhow, later, socialists claimed Burns as one of their own.  A 1929 translation of his works into Russian sold a million copies and the Soviet Union honoured him with a commemorative stamp in 1954.  However, Burns obviously had appeal for capitalists too, for there are allegedly more statues of him in North America than of any other writer.

 

Two.  Burns was a songwriter too.  Indeed, if anything, he is more pervasive as a songwriter than as a poet.  In addition to A Man’s a Man…, he put Auld Lang Syne on paper in 1788 – which, by virtue of being belted out at New Year celebrations everywhere, is arguably the most universally-sung song in the world.  In Japan it is played at everything from high school graduation ceremonies to evening closing-time in department stores.

 

Three.  Burns wasn’t afraid to criticise the moral and religious mores of his time.  His contempt for the censorious regime of Scotland’s Presbyterian Church was expressed most famously in Holy Willie’s Prayer (1785), wherein a supposedly pious pillar of the church prays to God and unwittingly reveals himself as a scheming, bitter, drunken hypocrite.  Particularly pathetic are his pleas to be forgiven for his lechery, which has targeted ladies by the name of Meg (“And I’ll ne’er lift a lawless leg / Again upon her”) and ‘Leezie’s lass’ (“…that Friday I was fou / When I cam near her”).  John Betjeman was so impressed by the conceit that he borrowed it for his 1940s poem In Westminster Abbey.

 

Four.  Burns has a massive cult that keeps his memory alive.  The first Burns societies began to congregate in his honour in about 1800, four years after his death. In 1859, the first centenary of his birth, almost 900 events were staged – 60 of them taking place outside Britain and the US.  Today, Burns societies are to be found everywhere from Rio de Janeiro to Tokyo and from Winnipeg to Jakarta.

 

It’s claimed that the Russians have more such societies than even the Scots do.  Well, in the unlikely of event of Vladimir Putin sticking his head into a Burns supper this evening, I hope he’s regaled with Burns’ 1792 rewrite of the song Ye Jacobites by Name, whose anti-war lyrics include: “What makes heroic strife? / To whet th’ assassin’s knife / Or hunt a parent’s life, wi’ bluidy war?”

 

From wikipedia.org / © Melissa Highton

 

Burns suppers on January 25th are marked by lusty recitals of his greatest poems, speeches and copious consumption of whisky and haggis.  Praised as the ‘great chieftain o’ the puddin’ race’ in Burns’ Address to a Haggis (1786), haggis is surely the only offal-based foodstuff to have a piece of world-class literature written in its honour.  No other writer is commemorated by a yearly celebration on this scale.  Dublin’s James Joyce-themed Bloomsday on June 16th doesn’t come close.

 

Five.  Burns invented the concept of the doomed, decadent romantic poet.  Long before Byron and Shelley were painting the towns of Europe red and proving themselves mad, bad and dangerous to know, Burns had earned himself a mighty reputation for dissipation, both in the pub and in the bedchamber.  His love of strong drink is obvious in poems like John Barleycorn (1782) while his promiscuity led to him siring at least a dozen children with at least four different women – a common jibe at the time was that you could see his face in every pram on Edinburgh’s Princes Street.

 

Six.  Burns is controversial.  And no doubt the arguments that have raged about him over the centuries have helped keep his fame alive.  Much debate has centred on whether or not someone with Burns’ obvious character flaws deserves such veneration.  At the beginning of 2009, just before the 250th anniversary of his birth, right-wing Scottish historian Michael Fry caused a storm when he denounced Burns as a ‘racist misogynist drunk’ who didn’t deserve to be presented to people as a role model.  Fry sounded a bit like a rock-and-roll era parent expressing concern about the examples the likes of Jim Morrison, Sid Vicious, Liam Gallagher, Pete Docherty, Amy Winehouse, etc., set for young people.

 

Seven.  Burns’ work has had a considerable influence on the English language and on English-language culture.  Here are a few examples:

 

Proverbs:

  • The best laid plans of mice and men will go astray (‘The best-laid schemes o’ mice an’ men gang aft agley’ / from 1785’s To a Mouse).
  • To see ourselves as others see us (‘To see ousel’s as ithers see us’ / from 1786’s To a Louse).
  • There is no such uncertainty as a sure thing (attributed to Burns).

 

Phrases:

 

Burns-inspired titles:

  • John Steinbeck’s novel, Of Mice and Men (1937).
  • R. James’ short story, reckoned by some to be the greatest ghost story in English literature, O, Whistle and I’ll Come to you my Lad (1904) – which is also the title of a 1793 Burns poem.
  • Ken Loach’s film, Ae Fond Kiss (2004) – which is also the title of a 1791 Burns song.
  • The Vin Diesel car-chase / street-racing movie The Fast and the Furious (2001) – ‘fast and furious’ was a phrase Burns coined in Tam O’Shanter.

 

All right, with that that last example, the producers may not have been aware of the Robert Burns connection when they chose the title.

 

© National Trust for Scotland / Robert Burns Birthplace Museum

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In good company

 

© Palace Productions / ITC / Cannon

 

The fact that it’s almost Halloween, and the death a week ago of venerable film, theatre and TV actress Angela Lansbury, give me an excuse to repost this item that I originally wrote in 2018 about the elegant fantasy-horror movie The Company of Wolves (1984).  I wasn’t a great fan of her long-running ‘cosy’ detective series Murder She Wrote (1984-96), so I consider this to be Angela’s finest hour. 

 

The Company of Wolves, the 1984 werewolf movie directed by Neil Jordan, based on fiction by Angela Carter and co-scripted by Jordan and Carter, is one of my favourite films of the 1980s – of any genre, not just horror.

 

No doubt part of my fondness for the film stems from its source material, because I’m a big fan of the late Angela Carter and her sumptuous gothic prose.  While I was doing an MA in 2008-2009 at the University of East Anglia in Norwich, where Carter had once taught creative writing, I was delighted one day when I got chatting with an elderly assistant at the campus bookshop and she reminisced about Carter and how she used to wander around “in a big billowy dress.”

 

© Penguin Books

 

The Company of Wolves began life as a short story featured in her 1979 collection The Bloody Chamber.  Considering how other stories in the book are adult, gothic reworkings of such fairy tales and myths as Beauty and the Beast (The Courtship of Mr Lyon), Snow White (The Snow Child) and Bluebeard (the title story), it’s no surprise that The Company of Wolves is a version of Little Red Riding Hood with, as its villain, not a big bad wolf but an even bigger and badder werewolf.

 

Carter’s Company of Wolves takes its time getting to its main plotline, though.  It begins by recounting several shorter tales and anecdotes that explore wolf and werewolf lore, and the Red Riding Hood character doesn’t set off into the forest to visit Grandmother’s house until halfway through its ten pages.  Additionally, The Company of Wolves is part of a triptych of werewolf-related stories in The Bloody Chamber – it’s sandwiched between ones called The Werewolf and Wolf-Alice (which as well as being an Angela Carter story is the name of a not-bad alternative rock / indie band).  Not only does Jordan’s movie copy the rambling, episodic and anecdotal structure of the fictional Company of Wolves, but it also borrows elements from its two hairy neighbours in the collection.

 

Translating into celluloid Carter’s ornate prose style – which, for example, describes a midwinter forest with “huddled mounds of birds, succumbed to the lethargy of the season, heaped on the creaking boughs and too forlorn to sing” and “bright frills of the winter fungi on the blotched trunks of the trees” and “a hare as lean as a rasher of bacon streaking across the path where the thin sunlight dapples the russet brakes of last year’s bracken” – was a job to which the Irish director and writer Neil Jordan was well suited.   His CV includes atmospheric and flamboyant supernatural movies like Interview with the Vampire (1994) and Byzantium (2012), plus the twisted, gothic Irish psycho-comedy The Butcher Boy (1997); and many of his supposedly more realistic films like Angel (1982), Mona Lisa (1986) and The Crying Game (1992) are imbued with a phantasmagorical quality too.

 

With The Company of Wolves, Jordan and his production team – take a bow, cinematographer Bryan Loftus, production designer Anton Furst and art director Stuart Rose – excel themselves in crafting   a physical setting for Carter’s stories.  The movie mostly takes place in a pre-industrial village and a huge, surrounding, Ruritanian forest.  It’s an environment that’s both quaint with thatched cottages, cobbled streets, mossy churchyards and humped stone bridges and lush with bright-coloured flowers, shaggy trees, trailing vines,  beds of fallen leaves and nests of speckled eggs (which, disconcertingly, hatch and release tiny homunculi).  Yet it’s also a claustrophobic place of misshapen branches, drifting fogs, deep snowbanks and, obviously, wolf-howls that pierce out of the dark recesses of the forest.  In other words, it’s part Romantic poem, part fevered dream and part Hammer horror.

 

© Palace Productions / ITC / Cannon

 

If anything, the plotting in the film of The Company of Wolves is more disorientating than that in the original story.  The central structure is similar.  We get a clutch of little stories about werewolves – here told to teenage heroine Rosaleen (Sarah Patterson) by her grandmother (Angela Lansbury) and then, later, told by Rosaleen herself – before the film settles down to its main narrative, which is what happens one day when Rosaleen dons a red woollen shawl, leaves her village and takes a walk through the forest to her grandmother’s secluded cottage.

 

However, the film places this within a framing device that has Rosaleen as a modern-day girl who, while taking an afternoon nap in her bedroom, dreams about being in a fairy-tale village in a fairy-tale forest.  As we descend through Rosaleen’s subconscious to the main part of the dream, we also pass through a creepy transitional zone populated by human-sized versions of the dolls and toys in her bedroom, which calls to mind another Angela Carter work, the 1967 novel The Magic Toyshop.  At the film’s end, this stories-told-within-a-dream framework collapses, for poor modern-day Rosaleen wakes from her dream to find real wolves crashing through the walls of her room.  None of which matters, of course.  The Company of Wolves isn’t a film to be processed logically.  It’s one to be experienced.

 

It hasn’t much character development, since the characters are archetypes rather than proper human beings, but it’s still well acted by a first-rate cast.  Sarah Patterson does what’s required of her as Rosaleen and German actor, dancer and choreographer Micha Bergese is appropriately lithe, flirtatious and predatory as the young hunstsman whom Rosaleen encounters on the way to her grandmother’s house.  (His eyebrows meet above his nose, which is a dead giveaway.)  Angela Lansbury makes a wonderfully spry and wily grandmother and the film also features the excellent trio of David Warner as Rosaleen’s father in both the dream world and the real one, Graham Crowden as the village’s amiable priest, and Brian Glover as the village’s resident Yorkshireman.  At one point, Glover pontificates in true Yorkshire fashion: “If you think wolves are big now, you should have seen them when I were a lad!”

 

In the cast too are Terence Stamp and Jordan’s long-time collaborator Stephen Rea, both of whom appear in the first two stories narrated by Lansbury.  Stamp has a cameo as the Devil, selling a youth a magical balm that, once applied, has lycanthropic consequences.  Rea plays a man who mysteriously disappears on his wedding night and then equally mysteriously reappears seven years later, to discover that his wife has since remarried and sired a brood of children with her new husband.  In the film’s most gruesome sequence, Rea shows his displeasure by becoming a werewolf – a painful process because, to facilitate the transformation, he has to tear his own skin off.

 

© Palace Productions / ITC / Cannon

 

With the young, virginal Rosaleen setting out on a journey and being waylaid by a literally beastly male, but then taking control of the situation and resolving it in her own fashion, there’s obviously a lot happening beneath the film’s surface.  However, I like the fact that while The Company of Wolves is concerned with themes of female empowerment and sexuality, it isn’t a polemic.  Yes, one of Lansbury’s tales ends with an instance of domestic violence, and one of Rosaleen’s tales deals with a wronged woman getting her revenge on the cad responsible.  But her parents are depicted as having a loving and sharing relationship.  Despite coming to this film after villainous roles in Time After Time (1979), The Time Bandits (1981) and Tron (1982), Warner plays a gentle soul here; and Rosaleen’s mother (Tusse Silberg) points out to her that “if there’s a beast in man, it meets its match in women too.”  Meanwhile, a village boy (Shane Johnstone) who takes a shine to Rosaleen, while evidently a lustful scamp, is good-hearted enough and shows concern for her safety.

 

This nuance extends to the film’s portrayal of the church.  It’s hardly an institution of oppressive patriarchy.  Rosaleen’s final tale has Graham Crowden’s priest showing kindness to a feral wolf-girl, played by experimental 1980s singer-musician Danielle Dax.  “Are you God’s work or the Devil’s?” he asks her.  “Oh, what do I care whose work you are.  You poor, silent creature…”

 

You appreciate Jordan and Carter’s achievement with The Company of Wolves when you consider how many filmmakers since then have tried, and failed, to transform children’s fairy stories into darker, more adult and more gothic movies.  I’m thinking of Terry Gilliam’s disappointingly uneven Brothers Grimm (2005) or the blah Kristen Stewart vehicle Snow White and the Huntsman (2012) or crud like Red Riding Hood (2011) and Hansel and Gretel: Witch Hunters (2013).

 

Probably the best effort has been Matteo Garrone’s Italian / French / British movie Tale of Tales (2015) which, like The Company of Wolves, isn’t afraid to confound expectations and twist and distort logic.  Which, when you think about it, is what the original fairy tales and folk tales that inspired both films did in the first place.

 

© Palace Productions / ITC / Cannon

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Student politics

 

© Profile Books

 

I’ve just read a review in the Guardian of Simon Kuper’s new book, Chums: How a Tiny Caste of Oxford Tories Took Over the UK. Chums tell the real-life story of student politics at Oxford University during the 1980s, a world whose inhabitants would often become well-known public figures in the 21st century.  On the Labour side there were ‘the Miliband Brothers, Dave and Ted, and Eddie Balls and Yvette Cooper’, who were busy ‘organising rent protests at their respective colleges’.  However, it was some Conservative student politicos at Oxford in the 1980s who’d become particular big-hitters and who’d handle – or mishandle – the levers of power in Britain during the 2010s and 2020s.

 

They included Michael Gove, whom Kuper says was bought, wearing a kilt, for 35 pounds at a charity-fundraising ‘slave auction’ at Oxford Union in 1987.  Even in 2022 and even after three-and-a-half decades of inflation, 35 pounds seems rather more than Michael Gove is worth, though maybe the kilt bumped up his value a bit.

 

They also included Britain’s current Prime Minister, the walking disaster area that is Boris Johnson.  Recently, the Mail on Sunday claimed that Johnson’s ‘Oxford Union debating skills’ were so formidable that, during debates in the House of Commons, Labour’s working-class, comprehensive-school-educated deputy leader Angela Rayner had to resort to crossing her legs like Sharon Stone in Basic Instinct (1992) to distract him.  According to Kuper, the young Johnson’s debating strategy was ‘to defeat opponents whose arguments were better simply by ignoring their arguments’ and rely instead on ‘carefully timed jokes, calculated lowerings of the voice, and ad hominem jibes’.

 

Also spicing up life in 1980s Tory Oxford University was David Cameron, though he was ‘rich enough and connected enough to feel himself above the “hackery” of student politics’; the BBC’s future political editor Nick Robinson; Daniel Hannan, NHS-basher, Enoch Powell fan, arch-Brexiteer and now in the House of Lords as Baron Hannan of Kingsclere, who, it’s been said, ‘may have contributed more to the ideas, arguments and tactics of Euroscepticism than any other individual’; and the future spin-doctoring Svengali behind Boris Johnson, Dominic Cummings.  Cummings, apparently, was a protégé of Dr Norman Stone, the historian, lecturer, author, advisor to Margaret Thatcher and student-groping pisshead from Glasgow.  One obituary published after Stone’s death in 2019 hilariously noted that he ‘hated Oxford, which he thought… was full of Marxists.’  Actually, I can’t imagine Stone and Cummings together without thinking of Saruman and Grima Wormtongue in The Lord of the Rings movies (2002-04).

 

© New Line Cinema / WingNut Films

 

Incidentally, Kuper acknowledges that Oxford University educated and employed not only J.R.R. Tolkien but also Lewis Carroll and C.S. Lewis.  He notes how ‘the timeless paradise of Oxford inspired its inhabitants to produce timeless fantasies like Alice in Wonderland, The Hobbit, Narnia and, incubating from the late 1980s, Brexit.’

 

Anyway, apart from making me mightily glad that I didn’t attend Oxford University during the 1980s, reading about Kuper’s book has got me thinking about the place where I was a student during the 1980s, Aberdeen University.  What about the student politicians I encountered there?  Did any of them ever get near – remotely near – those all-important ‘levers of power’?  There follows a heavily revised, fully up-to-date version of a piece about this subject I first posted in 2014.

 

To be honest, I wouldn’t have encountered any student politicians at all if I hadn’t got involved with Aberdeen University’s student newspaper and co-edited it for a term in 1986.  The newspaper office was located in the same building as the offices and meeting rooms where the members of the Students’ Representative Council did their business.  And obviously, those student politicians also figured in a lot of the stories we reported on.  So, I got to observe the species close up.

 

The one who probably did best for himself was Stephen Carter, who served as SRC President from 1985 to 1986.  I found Carter lacking in warmth, humour and character and at one point, in a fit of naughtiness, I published in the newspaper a spoof article depicting him as an aloof Roman Emperor in the manner of Robert Graves’ I, Claudius novels.  The article was entitled I, Carterus.  We didn’t get on very well, though not because I’d likened him to one of the Caesars.  Near the end of my editorship, I wrote a front-page article that made several criticisms of his reign as student president, which infuriated him.  To be fair, I later discovered that I’d made an error with a financial figure I’d quoted, so at least part of his anger was justified.  Being bawled out by the bland, automation-like Carter was a strange experience.   The abuse didn’t seem to emanate from a real human being.  It was like being scolded by an indignant speak-your-wait machine or a cranky elevator voice-recording.

 

From gov.uk

 

Decades later, in 2008, Carter served as Gordon Brown’s Downing Street Chief of staff.  Also, from 2008 to 2009, he was Brown’s Minister for Communications, Technology and Broadcasting.  As he wasn’t a member of either house at Westminster at the time, which would have barred him from taking on a ministerial position, he was quickly ennobled.  He was made Baron Carter of Barnes and entered the House of Lords.  I didn’t hear much about how that he got in on those roles, except for claims that his relationship with Brown’s notorious spin-doctor Damian McBride was ‘fractious’.  Actually, McBride was such a scumbag that it’s to Carter’s credit that the pair of them didn’t get along.

 

Coincidentally, days before Stephen Carter – sorry, Baron Carter of Barnes – ended his stint as Brown’s Chief of Staff, I found myself a full-time student again.  In October 2008 I started an MA course at the University of East Anglia.  The students there had mounted a protest against student debt, with hundreds of them sticking fake cheques to a campus wall.  On each cheque was written the sum of money that each student expected to owe by the time of his or her graduation.  To me (who’d graduated in 1987 with an overdraft of £1,500, which I paid off within two years), some of those sums were eye-watering: £40,000 or more.  What, I wondered, would we have thought at Aberdeen University in the mid-1980s if we’d known that our student president would one day be a key figure in a government presiding over levels of student debt we wouldn’t have imagined in our worst nightmares?

 

Another student politician from that era who’s done well is Katy Clark.  She was a leading light in Aberdeen University’s Labour Party and in 2005 became Labour Member of Parliament for North Ayrshire and Arran.  Her career as an MP ended in 2015 with the virtual wipe-out of Scotland’s Labour seats that happened under the kamikaze leadership of Scottish Labour leader Jim Murphy and spin-doctor John McTiernan.  However, she kept busy, working as a strategist for Jeremy Corbyn and authoring for him a review of the Labour Party’s democratic structures. Then, in 2021, she got elected to the Scottish Parliament as a Labour MSP for the West of Scotland region.

 

From wikipedia.org / © The Scottish Parliament

 

When I co-edited the student newspaper, Katy came to our attention when she led protests against Aberdeen University’s then-rector, the former Scottish National Party MP Hamish Watt.  At a debate during Freshers’ Week, Watt had made some supposedly-jovial comments in which he compared the young female students who’d just arrived on campus to ‘unbroken fillies’.  Now, while Watt undoubtedly deserved to be strung up by his sexist testicles, I didn’t enjoy having to speak to Katy about the incident.  I found her to be intense, one-note, lacking in personality and devoid of humour.  Actually, looking at what I’ve just written about Stephen Carter, a theme seems to be emerging in that regard.

 

Despite that, I felt some admiration for Katy because, unlike many other student politicians, she stuck by the left-wing principles she’d had as a university student and didn’t drift rightwards as she started to earn money.  During her career as an MP, she voted against the introduction of ID cards, against the renewal of the Trident missile system and against bombing campaigns in Iraq.  However, in 2020, that admiration was dampened by the fact that she accepted a peerage and entered the House of Lords as Baroness Clark of Kilwinning.

 

What were you thinking, Katy?  I don’t know how any socialists could debase themselves by becoming members of the archaic, undemocratic and embarrassing Lords.  It’s a place where you rub ermine-clad shoulders with the likes of Baroness Michelle Mone of Mayfair (who’s just had her home raided by police as part of a fraud investigation into her links with a dodgy PPE company); and Baroness Dido Harding of Winscombe (who got where she is today through cronyism and blew 22 billion pounds of taxpayers’ money on a failed Covid-19 track-and-trace system); and Baroness Claire Fox of Buckley (the former Revolutionary Communist Party member, Bosnian genocide denier and IRA supporter, now swivel-eyed Brexiteer and enthusiast for all things right-wing); and the afore-mentioned Baron Daniel Hannon of Kingsclere… and many more.

 

While she was there, I wonder if Katy ever bumped into her old Aberdeen University compadre Lord Carter of Barnes and they reminisced about their days on campus in the 1980s. (“What was the name of that hairy, beer-swilling prick with the Northern Irish accent who used to edit the student newspaper?”  “Can’t remember…”)

 

I should add that while running for the Scottish Parliament, Katy promised to ‘stand down’ from the House of Lords; and, according to her Wikipedia entry, on becoming an MSP she took ‘a leave of absence’ from the decrepit institution.  That, though, isn’t the same as ‘quitting’ it.  Also, I notice that on Wikipedia she’s still billed as ‘Baroness Clark of Kilwinning.’

 

From wikipedia.org / © The Scottish Parliament

 

To the rightward end of the spectrum, meanwhile, I have to mention someone else from my old alumni – Murdo Fraser, who’s in the Scottish Parliament as an MSP for the Mid-Scotland and Fife region and was once deputy leader of the Scottish Conservative Party.  That Murdo became a big name in Tory circles surprised me because he’d seemed an unprepossessing character in Aberdeen.  The detail I remember most about him was that he wore a Glasgow Rangers scarf 24/7, to the point where I wondered if it’d been stitched on.  A good friend who knew him a little, the late Finlay McLean, told me once that he had ‘the personality of a deep-frozen Cyberman’.  Then again, for an ambitious politician, not having a personality seems to be part of the course.

 

Murdo’s political ascendancy happened despite the fact that he was once associated with the notorious Federation of Conservative Students, an organisation that by the 1980s had become more right-wing than the Conservative Party of which it was the university branch.  At the time the Conservative Party was led by Margaret Thatcher, so being more right-wing than her was quite an achievement.  In 1986, after a string of well-publicised incidents – wherein FCS members had abused ethnic-minority staff at student bars, brayed their support for the Contras in El Salvador, sang the Special AKA song Free Nelson Mandela with the words changed to ‘Hang Nelson Mandela’, and so on – this extreme-minded group was disbanded by Tory Party Chairman Norman Tebbit.  And yes, being disbanded by Norman Tebbit for being too extreme was quite an achievement too.

 

The FCS at Aberdeen University were particularly obnoxious.  Among other things, they had a penchant for insulting gay people and taunting them about AIDS.  The start of my term as newspaper editor coincided with an incident wherein a bunch of FCS students invaded and disrupted a health-and-welfare talk being given to an audience of new students.  Their motive for disrupting the talk seemed to be because it covered safe sex for gay as well as straight students and was therefore, somehow, encouraging AIDS.

 

Later, after the newspaper had published an article about the society for gay students, Gay Soc, we received a letter from one deranged FCS member accusing us of furthering the interests of ‘the plague rats of the 20th century’.  We published his letter in the belief that by allowing the FCS to air their views publicly, we were letting people see what arseholes they were.  Give them enough rope and they’d hang themselves, we felt.  However, at least one gay friend of mine was deeply upset that the letter had appeared in our newspaper.  Today, 35 years on, I’d think twice about publishing it.

 

In Murdo Fraser’s defence, I’ll admit that he seemed aware of what a squad of bampots he was having to keep company with in the FCS.  He kept his mouth shut when the rest of them were being as offensively vocal as possible, and whenever I saw them strutting about the campus en masse he seemed to trail silently and reluctantly along at the back, rather like Eddie Bunker’s Mr Blue in Reservoir Dogs (1992).  Actually, being Mr Blue was appropriate given his footballing allegiances.

 

Having dissed the Labour and the Conservative Parties, I suppose in the interest of balance I should say something about Aberdeen University’s 1980s Liberal Party, the Liberal Democrats as they are now.  The Liberals’ most visible representative was one Dan Falchikov who, with his excitable and eccentric manner and his striking dress sense (a psychedelically-coloured sweater), possessed something that other people I’ve mentioned lacked: a personality.  And I think Dan was a genuinely well-meaning guy even if he wasn’t endowed with a great deal of common sense.  However, he was also an easy target for us unscrupulous hacks at the student newspaper and we spent a lot of time poking fun at him, calling him ‘Dan the Man’, ‘Desperate Dan’ and (when he was being particularly off-the-wall) ‘Dan F**k-me-off’.

 

From the Sutton & Croydon Guardian

 

Out of curiosity, I googled his name a while ago and discovered that, in 2010, while he was a Liberal Democrat activist in the London constituency of Kingston-upon-Thames, Dan got himself embroiled in controversy.  He was overheard boasting on a train that he’d managed to ‘plant’ a story, a false story, in the Evening Standard newspaper about the Labour Party having plans to close Kingston Hospital.  Unbeknownst to Dan while he blabbed about this into a mobile phone, a train-passenger sitting nearby was none other than the journalist Kevin Maguire, political editor of the Daily Mirror.  Maguire not only tweeted about what he was overhearing but also sneaked a camera-phone picture of Dan and posted it online.  Thus, it was a bit unsettling to find the eccentric, psychedelically-sweatered Dan the Man of Aberdeen University dabbling in the political dark arts and establishing himself as the bad boy of local politics in Kingston-upon-Thames.

 

I should add that since then Dan seems to have ditched the Liberal Democrats and joined the Green Party.  Considering that the Lib Dems were part of David Cameron’s discredited, austerity-obsessed coalition government from 2010 to 2015, and were disastrously led by Jo ‘nuke-’em’ Swinson in 2019, this suggests he has more sense than I’d credited him with.

 

I don’t think any of the student politicos I knew in the Scottish National Party went on to have political careers.  Probably having to deal with Hamish Watt, the university rector, ex-SNP MP and vocal admirer of young unbroken fillies, put them off politics for good.

 

I’ve tried to keep this account of student politics at Aberdeen University light-hearted, but there were some goings-on I found pretty unsavoury.  For example, before I graduated, some nasty rumours circulated in the SRC building about one student politician making another one pregnant.  There wasn’t actually a pregnancy but this didn’t prevent two SRC people, from two different political parties, both of whom had axes to grind with the guy involved, from approaching me and assuring me it was true.  One even swore that she’d seen the results of a pregnancy test.  Presumably, I was fed this false information in the hope that, as a student journalist, I’d spread the word to the detriment of the guy’s reputation.  Never mind what distress it’d cause him or the woman.  None of the people I’ve mentioned above, I should say, were involved in this saga.

 

Some student politicians I did genuinely like.  Indeed, if I ever bumped into the likes of Graeme Whiteside, Tim Morrison, Alan Strain or Stuart Black again on the High Street of Old Aberdeen, I’d invite them into the St Machar Bar and buy them a pint.  However, with regard to those people, there’s a sobering point to make.  None of those decent sorts, as far as I know, pursued their political careers any further than university.  None of them ended up becoming real politicians.

 

It reinforces Douglas Adams’ famous comment in The Restaurant at the End of the Universe (1980) that “it is a well-known and much lamented fact that those people who most want to rule people are, ipso facto, those least suited to do it.”

 

From wikipedia.org / © Nick Bramhall