On the Politics of Accelerationism Contra Slowness

Jamie Reid, Nowhere Bus (2005)

giclee mounted cotton rag print (79 x 90.5 cm) 

bonhams.com

 

 

I. 

 

As everyone knows, the Sex Pistols were going nowhere - but they were going nowhere fast! Speed was the very essence of punk; even if travelling by bus [1]. Indeed, one might argue that Malcolm McLaren and Jamie Reid both subscribed to a political strategy that is now termed accelerationism ... 

 

In other words, theirs was a revolutionary project founded upon the idea that radical social and political change could only be achieved via an injection of speed (or chaos) into the current system in order to destabilise it and thus accelerate its demise. 

 

When everything is rotten and on the point of collapse, the task is not to try and reform or improve the situation, but, rather, to push the process of decay further and faster beyond the point of no return. Ultimately, the Sex Pistols wanted to make things worse - not better; McLaren and Reid believed in the ruins of culture, not its grand monuments. 

 

II. 

 

I'm not sure from where (or whom) McLaren and Reid adapt this line of thinking - one which attracts extremists on both the far-left and far-right - but, for me, it has its roots in the Nietzschean idea of pushing (or kicking) over that which is already falling [2]. 

 

One is also obliged to mention the work of Deleuze and Guattari in their seminal two-volume study Capitalism and Schizophrenia, in which they speak of accelerating the processes of the former all the way to a singular outer limit [3], effectively injecting Marxism with a little madness and speed.

 

And of course, it was from his idiosyncratic and delirious reading of Deleuze and Guattari, fuelled by amphetamine, that the British philosopher most associated with the theory of accelerationism, Nick Land, drew many key ideas in relation to his own brand of techno-nihilism that affirms rapid advances in artificial intelligence, biotechnology, human enhancement (or replacement), etc. [4]

 

 

III. 

    

As dangerously exciting as the idea of accelerationism is - and despite my own long advocacy of speed over slowness: Faster, Pussycat! Kill! Kill! - I find myself now increasingly drawn toward the idea that it might, in fact, be advantageous and desirable to slow things down; that slowness is another softly-spoken S-term to be added to the list that includes silence, secrecy, and shadows ... [5]   

 

Of course, this might just be a sign that one is getting older, but not necessarily any wiser: I'm very aware of the fact that it was only when he had passed 60 years of age and approched the end of his life, that Malcolm McLaren also embraced the idea of slowness in various cultural forms, including slow art and film [6].

 

Thus, for example, when discussing his series of 'musical paintings' entitled Shallow 1-21 (2008), he was very keen to explain how they were based upon the idea of slowness; that speed and the idea of going nowhere fast wasn't attractive to him any longer; that Damien Hirst's spin paintings were essentially boring [7]. 

 

McLaren now wanted individuals to take their time; to focus on things and delight in the nuances and details; to enjoy the moment that leads up to the event or action as much as the event or action itself; to appreciate that Jamie Reid's bus destination could, with but one stroke of a pen, be transformed from Nowhere to Now/here - i.e., an immanent utopia that exists in the bonds between people, not the dissolution of those bonds.   

A still from Malcolm McLaren's Shallow 1-21 (2008) 

showing a woman slowly eating some grapes
Baltic Centre for Contemporary Art

   

   

Notes

 

[1] I'm referring of course to the Jamie Reid artwork used to promote the Sex Pistols' single 'Pretty Vacant' (Virgin Records, 1977) which featured two buses; one headed to Nowhere and the other destined to terminate in Boredom. 

      This amusing image, however, pre-dates punk; Reid was reworking an earlier graphic produced for his radical Suburban Press, having appropriated the buses idea and design from a 1973 pamphlet published by the American situationist group Point-Blank! In 2010, the activist David Jacobs, founder of Point-Blank!, claimed that he was the one who should be credited with the original concept and design. 

 

[2] In Thus Spoke Zarathustra, Nietzsche writes: 

      "O my brothers, am I then cruel? But I say: That which is falling, should also be pushed! Everything of today - it is falling, it is decaying: who would support it? But I - want to push it too!" 

      - 'Of Old and New Law Tables' (20), trans. R. J. Hollingdale (Penguin Books, 1969), p. 226.

 

[3] In Anti-Oedipus, for example, Deleuze and Guattari advocate an acceleration of the forces and flows that capitalism has itself unleashed: "To go still further, that is, in the movement of the market, of decoding and deterritorialization." [239]

      It should be stressed, however, that whilst they think capitalism "produces an awesome schizophrenic accumulation of energy" [34], this also acts as its limit, which is why "schizophrenia is not the identity of capitalism, but on the contrary its difference, its divergence, and its death" [246]. 

      Page references are to the English edition, trans. Robert Hurley, Mark Seem, and Helen R. Lane (The Athlone Press, 1994).

 

[4] Readers interested in knowing more about Land's thinking in this area might like to see his essay 'A Quick-and-Dirty Introduction to Accelerationism' (2017), which can be located as a five page pdf on the Internet Archive: click here. 

      Ultimately, for Land, capitalism is something akin to an alien form of intelligence and a means of opening up the future. Thus, philosophers truly interested in change have a duty to affirm such regardless of the consequences to humanity or the planet. 

      See also Robin MacKay and Armen Avanessian (eds.), #Accelerate: The Accelerationist Reader (Urbanomic, 2014). 

 

[5] See the post 'In Defence of Isis Veiled' (9 Sept 2023), in which I suggest what a practice of occultism might mean today in an age of transparency: click here. 

 

[6] On the other hand, it's possible that this wasn't a sign of age, but an attempt by McLaren to get with the times and create a contemporary space for himself. For the slow movement as a cultural initiative encouraging individuals to reject the hustle and bustle of modern life, had, by the early 2000s, been (ironically) gathering pace for a number of years. 

      The core idea at the heart of the slow movement's philosophy is that faster is not necessarily better and that one should learn to relax a little so as to enjoy the moment and be able to appreciate and reflect upon things without feeling hurried or distracted. 

      The slow movement has found expression in many different areas; from slow art and photography, to slow fashion and food. There is also a political aspect to the movement; one that calls for local governance models that are inclusive and centered on deliberative democracy and community empowerment. 

      All this sounds very nice, but one suspects that this is essentially a middle-class movement; that the working class can't afford to take things slowly and lead a more leisurely lifestyle.

 

[7] I'm paraphrasing McLaren speaking in conversation with Prof. Jo Groebel, Direktor of the Deutsch Digital Institute, Berlin, at the American Academy in Berlin (29 Oct 2008): click here. Malcolm introduces the concept of slowness at 42:10. 

      For those who may not be familiar with the work, Shallow 1-21 is an 86-minute video consisting of 21 'musical paintings' that combine (but do not synchronise) musical snippets with short film clips - the latter appropriated from old sex movies - into a slow moving and hypnotically layered work of art.

 

 

For a follow up post to this one on making haste slowly and learning how, as an artist, one might be quick, even when standing still, please click here. 

 

Destroy! Notes on a Punk Imperative

D. H. Rotten in a Seditionaries Destroy shirt [1]

 

 

I. 

 

If, like me, you are keen to promote the idea of D. H. Lawrence as a Sex Pistol, then one of the key ideas that might be discussed in order to lend credence to such a thesis is the concept of destruction ...

 

 

II. 

 

As I'm sure many readers will know, 'Anarchy in the UK' famously ends with a call to destroy; not so much anything in particular as everything in general, although earlier in the same song Rotten identifies the passer-by as a prime example of the sort of person he wishes to eliminate [2]. 

 

Funny enough, Lawrence too dislikes non-combatants; those gentle readers who refuse to actively engage with his texts are encouraged to curl up with books by other authors [3]. He imagines his ideal reader as a rampageous and ferocious reader; a surly, rabid reader; a hell-cat of a reader - not one who meekly passes by or turns the page on those passages that might shock or offend them [4].  

 

 

III.

 

Lawrence advocates for the necessity of destruction not only if one aims, as an artist, to create a new vision of the world via the liberation of what he terms chaos [5], but as one who actively fights, like Oliver Mellors, to preserve the tenderness of life against those forces of mechanised greed that negate and deaden. 

 

And, like Nietzsche, Lawrence also relates the process of becoming and self-overcoming to destruction: "The man I know myself to be must be destroyed before the true man I am can exist." [6] 

 

 

IV.

 

The notion of the creative potential within destruction is something Malcolm McLaren will later echo when defending the Sex Pistols from critics, such as Giovanni Dadomo, who accuse them of nihilism [7]. 

 

But McLaren, as someone who passionately subscribes to the idea of flamboyant failure [8], is also keen to destroy one ideal above all others: success. If Rotten hates those who pass by on the other side of the road, McLaren hates those who strive to achieve what they posit as a worthy goal or realise what they imagine to be a positive outcome.   

 

And Lawrence too hates those such as the rich, young, Irish playwright Michaelis, cheerfully prostituting himself to the bitch goddess Success, as she roams "snarling and protective" [9] around his heels. 

 

For what is benign success at last, but another form of nothingness?

 

 

Notes

 

[1] This image is based upon an original photo of Johnny Rotten taken by Dennis Morris in 1977, which, along with many other great images, can be found in Destroy: The Sex Pistols, 1977: Jubilee Edition, by Dennis Morris (Creation Books, 2002). 

      The Destroy shirt was designed by Malcolm McLaren and Vivienne Westwood for sale in their shop - then named Seditionaries - at 430 King's Road, in 1977. Made of muslin, it features extended sleeves, with strait-jacket clasps and D rings and is screen-printed with a design showing an inverted crucifixion scene, a swastika, a Jamie Reid drawing of a Royal Mail postage stamp, and the word destroy written in capital letters. The bottom of the shirt contains lyrics from 'Anarchy in the UK'. 

      As Paul Gorman rightly notes, "this new top [...] epitomised the creative exchange conducted between McLaren and Westwood: her technical daring combined with his graphic understanding and political discourse to produce the most surprising outcomes existing way beyond the purview of fashion". See The Life and Times of Malcolm McLaren (Constable, 2020), p. 348. 

 

[2] 'Anarchy in the UK', by the Sex Pistols, was released as a debut single in November 1976 on EMI Records. It can also be found on their album Never Mind the Bollocks, Here's the Sex Pistols (Virgin Records, 1977). The single (featuring 'I Wanna Be Me' on the B-side) reached number 38 on the UK singles chart. It's essentially a punk call to arms. Click here to watch the band performing the song.

 

[3] See the letter to Carlo Linati (22 Jan 1925) in The Letters of D. H. Lawrence Vol. V, ed. James T. Boulton and Lindeth Vasey (Cambridge University Press, 1989), p. 201, where he writes: "I can't bear art that you can walk around and admire [...] whoever reads me will be in the thick of the scrimmage, and if he doesn't like it - if he wants a safe seat in the audience - let him read someone else." 

 

[4] See D. H. Lawrence, Mr Noon, ed. Lindeth Vasey (Cambridge University Press, 1984), p. 205.    

[5] See the recent post entitled 'On the Art of Destruction and the Creative Potential Within Chaos' (21 Jan 2025): click here. 

[6] D. H. Lawrence, 'The Reality of Peace', in Reflections on the Death of a Porcupine and Other Essays, ed. Michael Herbert (Cambridge University Press, 1988), p. 34. It's unfortunate that Lawrence relates his thinking on the self to truth (authenticity), but the point remains that destruction is the key. 

[7] In November 1976, the BBC invited the Sex Pistols to be interviewed on the current affairs programme, Nationwide. Along with the regular presenters, they also brought in music journalist Giovanni Dadomo, to challenge the band. He dismissed their music as being derivative and asserted that destruction for its own sake is dull and doesn't offer any hope. McLaren countered by saying: "You have to destroy in order to create [...] You have to break it down and build it up again in a different form."

      Readers interested in knowing more can visit the BBC Culture website: click here. 

 

[8] McLaren picked up his radical idea of failure from one of his tutors at art college; see Paul Gorman, The Life and Times of Malcolm McLaren ... pp. 48-49.

 

[9] D. H. Lawrence, Lady Chatterley's Lover, ed. Michael Squires (Cambridge University Press, 1993), p. 21. 

 

 

For earlier posts in this series on D. H. Lawrence as Sex Pistol, click here, here, and here.

A Brief Note on the Punk Is Dead / Punks Not Dead Debate

I. 

 

There is a big secret about The Great Rock 'n' Roll Swindle: most punks don't like it [1]. 

 

And the reason is simple: The Great Rock 'n' Roll Swindle is an attempt by Malcolm McLaren and Jamie Reid to dig a grave and bury both the reputation of the Sex Pistols as well as the expectations of their fans. 

 

Of course, Wattie Buchan didn't get it: and still doesn't get it, even in 2024. 

 

Suggest that punk is anything less than alive and kicking and he'll give you the same mouthful of abuse as spewed out in 1981, grounded in his unshakeable conviction that punk's not dead.

 

 

II.

 

For those who aren't familiar with the name, Wattie Buchan is a former squaddie turned punk rocker, born in Scotland in 1957. He is best known as lead singer and frontman for the Exploited, who, in 1981, released an album by the title of Punks Not Dead [2] - one that, even lacking an apostrophe, would quickly become a slogan graffitied on walls (and leather jackets) the world over. 

 

In part a reaction to snobby music critics writing for the NME who now privileged bands categorised as post-punk, the album title also challenged the anarcho-hippie band Crass who famously included a track on their album The Feeding of the 5000 (1978) entitled 'Punk Is Dead' [3]. 

 

If this track is lyrically more sophisticated than that given us by Mr Buchan and friends - sung by Steve Ignorant, I'm guessing it was written by Penny Rimbaud - it is equally naive in its militant idealism and, ultimately, the discussion around punk - what it is and whether it is alive or dead (as well as who is and is not authentically a punk) - becomes extremely tedious and futile; especially when it's almost 50 years after the event.

 

One thinks of the phrase two bald men fighting over a comb ...

 

    

Messrs. Buchan and Ignorant in 2024 

(aged 67)

 

Notes 

 

[1] Obviously, I'm paraphrasing the opening line to Leo Bersani's famous 1987 essay 'Is the Rectum a Grave?', which can be found in Is the Rectum a Grave and Other Essays (Chicago University Press, 2009), pp. 3-30. 

      The Great Rock 'n' Roll Swindle was released as a soundtrack album in 1979 (Virgin Records) accompanying the film of the same title that finally arrived in UK cinemas in 1980, dir. Julien Temple. Click here to play the title track. 

 

[2] The Exploited, Punks Not Dead (Secret Records, 1981). To listen to the title track: click here. For those who may have trouble understanding the lyrics: click here.

 

[3] Crass, 'Punk Is Dead', from the album Feeding of the 5000 (Crass Records, 1978): click here to listen to a remastered version of the track on YouTube (with a video by Jay Vee which conveniently includes the lyrics to the song). 

      Punk Is Dead is also the title of a collection of essays edited by Richard Cabut and Andrew Gallix (Zero Books, 2017), about which I have written in a post dated 27 June 2021: click here.

 

 

If You Want Angels to Visit Your Home ...

Stephen Alexander (à la Jamie Reid): 

Taliban: Aniconism in the IEA (2024)

 

 

I. 

 

I can't say I'm a fan of the Taliban, but you have to admire their determination to actually practice what they preach and govern Afghanistan in accordance with Islamic law, which, as they rightly argue, is often unambiguous and needs only to be implemented and enforced rather than interpreted.

 

Take, for example, the teaching that prohibits the production and circulation of images not just of the prophet Muhammad, but of all living things. Some may pretend that this teaching is complex and point out that it allows exceptions. Others, for whom iconography is not such a major moral concern, will draw attention to the fact the Quran doesn't explicitly prohibit the visual representation of living beings (although it certainly condemns idolatry).

 

However, the hadith - a major source of guidance for Muslims, elaborating on the principles set out in the Quran - is perfectly clear: making images of living things is haram (i.e., strictly forbidden as a sinful action) and image makers are threatened with serious punishment on Judgement Day, no matter how pious they may have been in other regards; until, that is, they are able to invest their image with life (which, of course, they'll never be able to do, for Allah is the sole creator of life).   

 

So, whilst it may appear crazy or extreme to many Westerners - and, indeed, to many Afghans (particularly those working within the media) - the Taliban are behaving with impeccable moral logic; images of living things are contrary to sharia and angels will not enter a house with pictures on the wall.

 

 

II. 

 

Obviously, aniconism is not going to be an easy policy to sell (or enforce) in a world awash with images. Thus, the new ban announced on any images of living things will be introduced gradually over time. 

 

And, apparently, even the Taliban seem to approve of photo ID cards, which, I have to admit, I find somewhat disappointing; as is the fact that members of the mujahideen have posed for portraits and Taliban officials have posted selfies and other snap shots on social media before now.

 

Well, I say disappointing but perhaps that's not the right word to use as it maybe suggests I'm sympathetic to what's going on in Afghanistan: just to be clear, I'm not. Having said that, I remain of the view that iconography is certainly not an innocent activity (albeit one which, in a digital age, is perhaps our most fundamental activity). 

 

Like Baudrillard, I think image-making plays a complicit role in what he terms the perfect crime [1] and by which he refers to the extermination of singular being via technological and social processes bent on replacing real things and real people with a series of images and empty signs. 

 

When this happens, we move beyond a game of mere representation towards a world of obscenity; i.e., a state wherein all living things are made "uselessly, needlessly visible, without desire and without effect" [2]. 

 

And that, philosophically, is a legitimate concern it seems to me ... [3]              

 

Notes 

 

[1] See Jean Baudrillard, The Perfect Crime, trans. Chris Turner (Verso, 1996). 

 

[2] Jean Baudrillard, The Intelligence of Evil or the Lucidity Pact, trans. Chris Turner, (Berg, 2005), p. 94.

 

[3] One that I have discussed at length in a two-part post entitled Film Kills (13-14 June 2013): click here for part one ('At the Pictures with D. H. Lawrence') and/or here for part two (On Images, Objects and Speculative Realism'). 

 

 

And Then This: More Random Thoughts on Samuel Beckett

Stephen Alexander: God Save Samuel Beckett (2024) 

(à la Jamie Reid) [1]

 

 

There are many reasons other than his dark humour and finely crafted words to admire the esteemed Irish writer Samuel Beckett; not least of all the fact that he was stylish, courageous, and free from the spirit of revenge ... 

 

 

Samuel Beckett: Style Icon 

 

With the possible exception of Albert Camus, Sam Beckett was the best-looking of all those twentieth-century intellectuals troubled by questions of nihilism, absurdism, and existentialism. 

 

Already as a sports mad teen, he'd adopted the classic sharp haircut that he was to favour for the rest of his life. I'm not quite sure whether we should refer to his Barnet as coiffed or quiffed, but, either way, it's inspired generations of stylish young men ever since (although as one commentator notes, a thick head of hair is a prerequisite if you really want to achieve the look) [2].  

 

And then there are the glasses: once Beckett found a small, round, steel-rimmed pair of specs that perfectly suited his face and signalled his fierce intelligence, he again stuck with them for life.

 

As for his clothes, Beckett initially liked to wear suits that appeared just a little too tight and ill-fitting, but he eventually settled for a look featuring a simple pair of slacks worn with a turtleneck sweater and a sports jacket. Beckett also had a penchant for raincoats, French berets, and soft suede shoes: "In fact, such was the staying power of this particular ensemble that to this day Beckett continues to be cited as a paragon of uniform dressing." [3]        

 

Ultimately, despite claiming he had no interest in fashion, Beckett was something of a dandy who understood the importance of style and who blurred the line between smart casual and shabby chic. He may have picked up some pieces from the local charity shop, but he matched them with expensive silk scarves and famously liked to be seen carrying a Gucci shoulder bag in the 1970s. 

 

 

Samuel Becket: Hero of the Resistance

 

Unlike that cowardly toad Jean-Paul Sartre - who basically sat out the German Occupation of France during the Second World War and whose role in La Résistance was, at best, what might be described as modest rather than fully engaged - Beckett, a resident of Paris for most of his adult life, was an active member of the Resistance (working as a courier) and he was awarded the Croix de Guerre in March 1945 by General Charles de Gaulle [4]. 

 

It has to be remembered that, as an Irishman, Beckett could have easily returned to Dublin from Paris when the Germans invaded in 1941. But he didn't. He stayed. And he joined the Resistance, frequently risking arrest by the Gestapo. After his unit was betrayed in August 1942, Beckett was forced to flee to the South of France, seeking refuge in the small village of Rousillion. Here, he worked on a farm, but still took part in operations against the German forces when called upon to do so.

 

After the Germans were defeated and France was liberated, Beckett returned to Paris. After the War, he rarely spoke of his experiences and would often downplay his role in the Resistance (again, cf. Sartre), describing his activities as no more than boy scout stuff. 

 

Samuel Beckett: Overcoming the Spirit of Revenge

 

In January 1938, Beckett was almost fatally stabbed when he refused the services of a notorious Parisian pimp who went by the (slightly ironic) name of Prudent. 

 

After recovering in a private hospital room - generously paid for by his former mentor James Joyce - Beckett attended a preliminary court hearing at which he asked his assailant why he had not only pulled a knife on him, but plunged the blade into his chest. 

 

Prudent replied: Je ne sais pas, Monsieur. Je m'excuse. 

 

Taken aback somewhat by Prudent's honesty in admitting that he lacked any explanation for his actions (i.e., any logical motive) - coupled to his well-mannered request for forgiveness - Beckett decided he no longer wished to press charges and the case was dropped. 

This story is open to a very obvious Christian interpretation. Only Beckett, of course, was not a Christian. In fact, according to one commentator: "Christianity is Samuel Beckett's fundamental antagonist: his thought, his aesthetics and his writing cannot be fully understood in isolation from his lifelong struggle with it." [5]

 

Beckett was thus a writer working within the shadow of self-proclaimed anti-Christ Friedrich Nietzsche, rather than the shadow of the Cross (although I'm sure that there are significant differences to be drawn between the two authors) [6].

 

And so I think the tale of Beckett and Prudent the Pimp might best be understood with reference to Nietzsche; a philosopher who wishes to have done with judgement and conceives of revenge as something that should only be found in the souls of venomous spiders, not men. Only a human tarantula who lives in a cave of lies and deals in hidden revengefulness mistakes the latter for justice. 

"'That man may be freed from the bonds of revenge: that is the bridge to my highest hope,'" says Zarathustra [7]. 

 

And it seems that Beckett shares his arachnophobia and mistrusts all in whom the urge to punish is strong.   

 

 

Notes

 

[1] This portrait - done in the style of Jamie Reid's 'God Save ...' series of posters for The Great Rock 'n' Roll Swindle (dir. Julien Temple and starring the Sex Pistols, 1980), features a teenaged Sam Beckett in 1920, looking like a punky link between Arthur Rimbaud and Shane MacGowan.

 

[2] See Jane Hardy, 'Stand aside, David Beckham - now Samuel Beckett is turning heads', in the Belfast Telegraph (6 July, 2012): click here. 

 

[3] Theo Coetzer, 'Bibliophile Style: Samuel Beckett', on the menswear blog Habilitate (17 April, 2023): click here. 

      As Coetzer rightly goes on to point out: "The ostensible disregard for appearance implied by wearing the same thing day after day can arguably be rooted in precisely the opposite impulse - a careful consideration, in other words, of what one looks like and the desire to control the messaging of one's clothing."

 

[4] The Croix de Guerre is a French military decoration, created in 1915, and commonly awarded to  foreign fighters allied to France who distinguish themselves by acts of heroism. Like Beckett, the American-born singer, dancer, and actress Josephine Baker was also awarded this medal for her wartime efforts with the Resistance - not something that Simone de Beauvoir could ever boast of. 

      Baker and Beckett were also both awared the Médaille de la Résistance by the French government for their efforts in fighting the German occupation. 

 

[5] Erik Tonning, 'Samuel Beckett, Modernism and Christianity', chapter in Modernism and Christianity (Palgrave Macmillan, 2014), pp. 104-123. Lines quoted are on p. 104. 

 

[6] Richard Marshall explores the complexity of the Nietzsche-Beckett relationship in his essay 'Beckett the Nietzschean Hedonist' in 3:AM Magazine (21 April 2013): click here to read online. 

 

[7] Nietzsche, Thus Spoke Zarathustra, trans. R. J. Hollingdale (Penguin Books, 1969), p. 123.    

 

Click here to read what is effectively part one of this post: And Then What: Random Thoughts on Samuel Beckett (09 October 2024).  

Punk's Dead Knot: Reflections on an Essay by Ian Trowell - Part 2: On Big Flavour Wraps and Vicious Burgers

You pays your money and you takes your choice ...

 McDonald's Big Flavour Wraps (2016) [a]

Vs Jamie Reid's Vicious Burger (1979) [b]

 

 

I. 

 

In the second part of Ian Trowell's dead knot essay, he discusses a 2016 TV ad by the "multinational fast-food franchise" [c] McDonald's for a new summer range of Big Flavour Wraps:

 

"Whilst not all of my observations and suggestions will be intentional on the part of the creative teams associated with the instigation and production of the commercial, my own intentions are to examine the ubiquitous, neutralized and atemporal representations of punk that resonate within the images and actions." [189]

 

Having established that, let's go ...

 

 

II. 

 

Via a detailed, imaginative, and theoretically-informed analysis of each scene, Trowell is very good at relaying the anachronistic tension present in an ad that seems designed to appeal to old punks on the one hand and disorientate them on the other: 

 

"How are we meant to feel, how did we used to feel, what has changed?" [190] 

 

Of course, the assimilation of punk began a long, long time before 2016: what is The Great Rock 'n' Roll Swindle (1980) if not a brutal exposure of the way in which big business indecently exploits young flesh and rapidly co-opts, commodifies, and mythologises groups like the Sex Pistols? 

 

Anyone who felt genuinely shocked and outraged by "such an unholy alliance between McDonald's and punk" [195] - or by Virgin Money's issuing of Never Mind the Bollocks and 'Anarchy in the UK' credit cards the year before [d] - clearly wasn't paying attention to what McLaren and Reid were warning about in the Swindle and clearly hadn't read their Guy Debord [e].

 

Punk - and the very word is already a misunderstanding - may have initially wished to "disrupt cultural, social and historical forms and habits through a multitude of methods" [195], but it didn't take long before the majority of punk performers were looking to build long-lasting careers in the music business. 

 

If rock 'n' roll died when Elvis joined the US Army in 1958, then perhaps we can say punk died when John Lydon decided to trust a hippie and sign an eight album deal with Virgin. McLaren and Reid fought a kind of resistance campaign operating behind enemy lines in those months following the breakup of the group - and, personally, I think the work produced in 1978-79 is some of the most provocative and amusing - but the game was basically up.         

Ultimately, no matter how much some of us wish it were otherwise, the majority of Brits like their Big Flavour Wraps [f]. And, as Trowell rightly notes, for all the faux outrage expressed from some quarters when the McDonald's 2016 campaign was launched, what we didn't hear were the voices of "disgruntled and disgusted [...] customers outraged at the linking of punk and the safe, normative environment of McDonald's" [195].

 

 

Notes

 

[a] The McDonald's Big Flavour Wraps campaign (2016) was devised by the American advertising company Leo Burnett - the home of so-called populist creativity. It featured ersatz punk imagery and also incorporated the Buzzcocks' 1978 single 'What Do I Get?', written by Pete Shelley, into a TV ad. Morrissey, like many other old punks, was not best pleased. 

      To watch the 30 second TV ad, dir. Jason Lowe, click here. For further details of the people who worked on the campaign, please click here. 

 

[b] Jamie Reid's promotional poster for the Sex Pistols' single 'C'mon Everybody', released from the soundtrack of The Great Rock 'n' Roll Swindle (Virgin Records, 1979), featuring a photo of vocalist Sid Vicious by Bob Gruen. For more details see the V&A Jamie Reid Archive: click here. 

      The Vicious Burger was just one of many imaginary products featured in a fake cinema ad in The Great Rock 'n' Roll Swindle (dir. Julien Temple, 1980): "Feeling uptight, violent, or tense? Why not take it out on a sizzling Vicious Burger; the gristle ball that gives as good as it gets!"

 

[c] Ian Trowell, 'Punk's dead knot: Constructing the temporal and spatial in commercial punk imagery', Punk & Post-Punk, Volume 5, Number 2 (2016), pp. 181-199. Page references given in the post refer to the essay as published here. 

 

[d] See the post of 12 June 2015: click here. 

[e] Debord used the term récupération to refer to a process by which politically radical ideas and subversive art works are defused, incorporated, and commodified within mainstream culture (usually with the full collaboration of the media). See the post of 26 June 2023, in which I discuss this idea: click here. 

 

[f] According to statista.com, 96% of Brits were aware of McDonald's as a brand in 2023 and 60% not only liked to eat there, but expressed loyalty to the company.

 

  

Musical bonus: Buzzcocks, 'What Do I Get?', (United Artists, 1978): click here for the remastered 2001 version that appears on Singles Going Steady (Domino Recording Co., 2003). And for the official video, which Trowell provides a nice reading of in his essay (pp. 191-92), click here.

To read part one of this post, click here. 

Reflections on a Pagan T-Shirt

 

 Left: Novgorod Devil Mask Shirt  (Pagan Products 1983) 

Right: three medieval leather masks found in Novgorod

 

I. 

 

If, as Deleuze and Guattari argue, the white face is crucial to Christianity [a], then equally true is the fact that pagans have a thing for masks; be they anthropomorphic or zoomorphic in design, and worn for ritual or ceremonial reasons. 

 

By disguising and losing the face, they are able to (momentarily and magically) recover the head as it originally belonged to the body; i.e., the head that isn't facially codified, but subject rather to a "multidimensional polyvocal corporeal code" [170].

 

A mask not only "ensures  the head's belonging to the body" [176], it also enables the wearer to become-imperceptible; to set out on the road to the "asignifying and asubjective" [171] by inviting an animal-spirit or demon to take possession of "the body's interior" [176].

 

In sum: pagan mask-wearers have "the most beautiful and most spiritual" [176] of heads and the importance of masks cannot be overstated.  

 

II.

 

Clearly, back in the summer of 1983 when I hand-painted the first of the Pagan T-shirts, featuring a design based on leather masks from Novgorod (Russia) believed to date to the 12th or 13th century, I hadn't read Deleuze and Guattari and very much doubt I would have understood wtf they were talking about when they discussed faciality and the liberating of probe-heads, etc.

 

Nevertheless, I like to think that I had already intuited something of the fact that primitive peoples and pagan cultures operate on a prefacial level which has "all the polyvocality of a semiotic in which the head is a part of the body, a body that is already deterritorialized [...] and plugged into becomings-spiritual/animal" [190].       

 

Mostly, however, my decision to paint several shirts with mask images was based on my reading of the (metamorphic) role that masks played in ancient and medieval times and the fact that they continue to strike terror into the hearts of many people (which is why Leatherface has become such a powerful figure within the cultural imagination [b] and why McLaren and Westwood chose to use a mask similar to one worn by the Cambridge Rapist on an early line of shirts sold at Sex) [c].       

 

Finally, here's a picture of a young punk-pagan wearing the Novgorod Devil Mask Shirt back in the day ...

 

 

 

 

 

Notes

 

[a] See Deleuze and Guattari, A Thousand Plateaus, trans. Brian Massumi (The Athlone Press, 1988), pp. 167-191. All page references given in this post are to this text. 

 

[b] As far as I remember, just as I hadn't read Deleuze and Guattari in 1983, nor had I seen The Texas Chainsaw Massacre (dir. Tobe Hooper, 1974), which was banned from general cinematic release in the UK until 1999 (although available on uncertified video in 1981). It's unlikely, therefore, that the figure of Leatherface played any part in my thinking at this time.

 

[c] The masked figure of the British serial rapist Peter Cook, known as the Cambridge Rapist, long fascinated McLaren. He and Westwood not only exploited Cook's notoriety on shirt designs sold at 430 Kings Road, but his image also appears on one of the posters in the 'God Save ...' series designed by Jamie Reid for The Great Rock 'n' Roll Swindle (Julien Temple, 1980). However, whilst certainly aware of this when working on my own mask T-shirt, I wasn't consciously trying to imitate their design. 

         

 

Readers interested in an earlier post on the truth of masks (3 Feb 2018) can click here ...

 

Readers interested in an even earlier post on the politics of the face (13 Sept 2013) can click here ...

And for those interested in a more recent post on the Cambridge Rapist motif (13 July 2022), click here.

  

Five Brief Notes on Rockism, Poptimism, and Authenticity (With Reference to Malcolm McLaren and the Sex Pistols)

Cover by Jamie Reid for the Sex Pistols' single 'Silly Thing' 

released from the album The Great Rock 'n' Roll Swindle 

 (Virgin Records, 1979) [1]

 

 

I. 

 

Those elderly punks who maintain that Never Mind the Bollocks is the only true Sex Pistols album are clinging desperately to an ideal of authenticity that is central to what has become known as rockism.

 

 

II.

 

This neologism, coined in 1981 by the musician Pete Wyley, soon became a pejorative used enthusiastically by music journalists such as Paul Morley [2], who were sick and tired of the idealistic fantasy that rock music matters - and matters more than other genres of popular music - because the performers really mean it man and just 'one great rock show can change the world.' [3]

 

Perhaps my favourite definition of rockism was provided by the critic Kelefa Sanneh, in 2004: 

 

"Rockism means idolizing the authentic old legend (or underground hero) while mocking the latest pop star; lionizing punk while barely tolerating disco; loving the live show and hating the music video; extolling the growling performer while hating the lip-syncher." [4]

 

 

III.

 

In contrast to the above, there are those think pop music - even at its most commercial and ephemeral - is just as worthy of serious consideration as hard and heavy rock. 

 

Now, whilst I wouldn't describe myself as a poptimist - and don't particularly worry about progressive values of inclusivity, etc. - my sympathies increasingly lie with those who prefer music that makes happy - makes you want to dance and singalong - to music that is overly earnest and makes miserable.

 

 

IV.

 

Funny enough, one of the reasons that Malcolm McLaren disliked Julien Temple's The Filth and the Fury (2000) was because in its downbeat revisionism it made the Sex Pistols' story seem a very sombre affair: 

 

"'I don't remember punk rock being like that. [...] I always remember it as a ticket to the carnival for a better life.'" [5]             

 

No wonder that The Great Rock 'n' Roll Swindle takes us to Rio de Janeiro and explores many different musical styles; from disco and punk pop to bawdy drinking songs. Whatever people like to think about McLaren, he was never one to take things too seriously.

 

 

V.

 

And yet, paradoxically perhaps, McLaren always retained a notion of authenticity; as something to be found beneath the ruins of culture in a similar manner that the beach is to be found beneath the paving stones. 

 

It's a non-ideal model of authenticity, however, invested with chaos and which, in his words, is dirty, horrible, and disgusting [6]. 

 

 

Notes

 

[1] The single version, released on 30 March 1979, features Steve Jones on vocals; the album version, however, recorded in the spring of 1978, has Paul Cook on vocals. Click here to play the former, which reached number 6 in the UK Singles Chart. Or click here to see the unique interpretation given to the song by Legs & Co. on Top of the Pops (BBC1 12 April 1979).  

 

[2] See Paul Morley's article 'Rockism - it's the new rockism', in The Guardian (25 May 2006): click here. Interestingly, Morley warns here that when poptimism simply becomes another form of proscriptive ideology, it's little different from rockism. 

      See also Michael Hann's article 'Is Poptimism Now As Blinkered As the Rockism It Replaced?' for The Quietus (11 May 2017): click here.

 

[3] I'm quoting a line by the character Dewey Finn, played by Jack Black, in School of Rock (dir. Ricard Linklater, 2003).   

 

[4] Kelefa Sanneh, 'The Rap Against Rockism', in The New York Times (31 Oct 2004): click here. Unfortunately, it's difficult to argue with Sanneh's claim that rockism is ultimately "related to older, more familiar prejudices" of racism, sexism, and homophobia.

[5] Malcolm McLaren speaking with Geoffrey McNab, 'Malcolm McLaren: Master and Servant', Independent (31 May 2002): click here. Cited by Paul Gorman in The Life and Times of Malcolm McLaren (Constable 2020), p. 718.  

 

[6] See the 1999 interview with Malcolm McLaren by Jefferson Hack; 'Another Malcolm McLaren Moment', in Another Magazine (7 May 2013): click here. 

Punk It Up (I'm a Sex Pistol Man Oh Yeah!)

Malcolm McLaren: screenshot taken from the video for 

'Punk It Up' (dir. Ian Gabriel): click here. 

A Sex Pistol - that's what I am / I punk it up / I'm a Sex Pistol Man, oh yeah!

 

 

I. 

 

These days, we're all supposed to agree that the Sex Pistols were a four-piece punk rock band fronted by the presiding genius of Johnny Rotten and that they existed from late 1975 through to January 1978, during which time they recorded and released four singles and one perfect album. 

 

But that's not a narrative I subscribe to or go along with. 

 

For me, the Sex Pistols was always a much wider, more interesting and more radical project, conceived by Malcolm McLaren, involving fashion and politics as well as music, and supported by a number of brilliant individuals, including Vivienne Westwood and Jamie Reid, who had no performing role within the group. 

 

For me, the project begins in the spring of 1974 when McLaren and Westwood refurbish their store at 430 King's Road and rebrand it as SEX and Jordan is the original face of punk long before John Lydon ever reared his ugly head. 

 

For me, The Great Rock 'n' Roll Swindle (Virgin Records 1979) is, in many respects, a far more challenging and daring album than Never Mind the Bollocks (Virgin Records 1977) and it should be remembered by those punk purists who insist that the latter is the only true album, that the former featured some of the Sex Pistols' greatest hits [1] - just as the film of that title provided some of the most memorable moments in the Sex Pistols story [2]. 

 

And for me, the last Sex Pistols track doesn't appear on either of these albums and doesn't involve any members of the band who went under that name. Written by McLaren and Trevor Horn, and featuring Zulu musicians and backing singers, the track can be found on McLaren's debut solo album, Duck Rock (Charisma Records, 1983) ...

 

II.

 

'Punk It Up' resulted when McLaren spent a few weeks recording material for Duck Rock in South Africa and was asked by the locals to recount stories from his time as manager of the Sex Pistols, much to their delight and amusement:      

"'They couldn't believe when I told them about causing chaos across the land, taking hundreds of thousands of pounds from gullible record companies and sticking a safety pin through the Queens' lips [...] By the end of the story the Zulus were laughing and cheering [...]'" [3]

 

As Paul Gorman rightly says, whilst McLaren refused to allow his central role in the story of the Sex Pistols define him, he was always happy to look back on this period of his life and career and discuss it at length. And so, encouraged by the response to his storytelling, he wrote lyrics for the song 'Punk It Up' and affirmed that, at heart, he remained a Sex Pistol. 

 

'Punk It Up' is a brilliant track - full of joy, full of sunshine, full of chaos, and full of magic; elements that define McLaren's unique vision of post-punk that quickly moved from piracy to paganism and celebrated (amongst others) hobos, hillbillies, and hip hoppers. It almost makes 'Anarchy in the UK' seem a bit provincial ...

 

 

Notes

 

[1] The double A-sided single coupling 'Something Else' with 'Friggin' in the Riggin'' was the only Sex Pistols single to sell more than a quarter of a million copies.  

 

[2] I'm thinking here, for example, of Sid's performance of 'My Way', about which I have written here. 

 

[3] Malcolm McLaren quoted by Paul Gorman in The Life and Times of Malcolm McLaren (Constable, 2020), p. 291.  

On the Triumph of Karaoke Culture and Punk Pantomime

Poster design for Pretty Vacant - The Story of Punk & New Wave 

(Not exactly Jamie Reid, is it?)

 

 

I. 

 

Shortly before he died in April 2010, Malcolm McLaren bemoaned the fact that artistic creativity (which is a chaotic phenomenon that often ends in failure) was increasingly becoming impossible within what he described as a karaoke world - i.e., an ersatz society, that only provides us with an opportunity to safely revel in the past achievements of others; a life lived by proxy [1]. 

 

And, whilst I'm a little uneasy with his use of words like authenticity, McLaren was making an important (though hardly original) point: Britain's got talent; but it's lost its soul. 

 

And so it is, fifteen years on, the Dominion Theatre in London's West End and numerous other venues around the UK and Ireland are planning to stage Ged Graham's Pretty Vacant - The Story of Punk & New Wave ...   

 

II.

 

Ged Graham is a 62-year-old Irish writer, musician, actor, podcaster and producer; what my mother would call a jack of all trades, but, let's be generous, and say he's a multi-talented and versatile individual with a great many passions and ideas. The sort of person who, when you speak with them, always has another project in the pipeline. 

 

The sort of person also who claims to have lived through punk as a teenager and now, à la Danny Boyle, wants to turn this event into a musical stage show; a combination of pantomime, karaoke, and nostalgia for those who want to sit down and enjoy an evening's entertainment. As Graham says in an interview: 

 

"At sixty-two you don't want to be in a nightclub, watching a band on stage. You want to be sat down with a glass of wine or an £8 bottle of beer in a theatre. The old knees just don’t want to do the standing up gigs anymore ..." [2] 

 

That may be true: but not all of us have come to the conclusion that punk is now simply a family-friendly narrative that provides an opportunity to reminisce and have a good singalong; some of us don't wish to be taken on a rollercoaster ride by an incredibly talented cast of musicians, singers and dancers; some of us seriously doubt that the punk attitude can be recreated on stage (even if it can be mimicked, just as punk fashions can be knocked up by costume designers).   

 

Graham may insist in a promotional statement that Pretty Vacant is "not just a show - it's a rebellion against the ordinary!" [3] - but that, as Steve Jones would say, is a load of old bollocks.  

I don't know if Malcolm will be spinning in his grave at this latest development, or looking on with Sid and laughing. But I do know that members of the following bands who - along with many, many more - presumably gave permission for their music to be used should hang their heads in shame:

 

Sex Pistols

The Clash

Blondie

The Damned

Ramones

Buzzcocks

Sham 69

The Undertones

Tom Robinson Band

Ian Dury and the Blockheads

The Police

The Jam

Generation X

Siouxsie and the Banshees

The Pretenders

Joy Division

The Stranglers

The Rezillos [4]

 

 

Notes

 

[1] Readers who are interested can click here to watch McLaren deliver his final public talk at the Handheld Learning Conference (2009). Originally entitled 'Never Mind the Bollocks, Here's the Txt Pistols', the talk is now better known by the title it appears under on ted.com - 'Authentic creativity vs. karaoke culture'. 

[2] Interview with Ged Graham by Kevin Cooper on UK Music Reviews (5 March 2024): click here. 

[3] Click here to read this statement in full on the Pretty Vacant website. You can also buy tickets, visit a picture gallery, sign up to a mailing list, or watch a trailer for the show on the website. The latter can also be found on YouTube: click here.  

 

[4] Obviously, I am disappointed with some of these bands far more than others.