About classics and comics

Two more contributions to the canon discussion, here as placeholders if nothing else. First, Alexandra Wilson upends Bourdieu by arguing that it’s popular, not classical music than holds all the cultural capital:

Since the 1980s, the media has determinedly and relentlessly painted classical music as “elitist”, boring and old-fashioned. Even Arts Council England, hell-bent on a programme of radical “change” to the cultural landscape, can scarcely conceal its contempt for it. None of this is suggestive of a society in which classical music reigns supreme. It isn’t brave to say you hate classical music so much as bog-standard normal. State publicly that you don’t like classical music, and you’re cool, funny and “relatable”. State publicly that you don’t like popular music, and you’re a weirdo or a snob. 

And in the New Yorker, Stephanie Burt defends Penguin’s decision to define Marvel comics and their ilk as classics:

 Stories become classics when generations of readers sort through them, talk about them, imitate them, and recommend them. In this case, baby boomers read them when they débuted, Gen X-ers grew up with their sequels, and millennials encountered them through Marvel movies. Each generation of fans—initially fanboys, increasingly fangirls, and these days nonbinary fans, too—found new ways not just to read the comics but to use them. That’s how canons form. Amateurs and professionals, over decades, come to something like consensus about which books matter and why—or else they love to argue about it, and we get to follow the arguments. Canons rise and fall, gain works and lose others, when one generation of people with the power to publish, teach, and edit diverges from the one before. 

About Phonogram

Late to the (Death Of A) Party as always, I read Phonogram: Rue Britannia, Kieron Gillen’s graphic novel that gives a dark fantasy to the glory days of Britpop, and a line leaps up that would have prompted a paragraph or several in my Radiohead book. First:

In those vacuum post-Britpop days that marked the end of the great British indie experiment (Birth: “Spiral Scratch EP”, the Buzzcocks, Death: “K”, Kula Shaker), there was space for all manner of leftist ideas to flourish.”

Gillen’s starting point is pretty much inarguable but in the book I suggested the patient survived the cod-psychedelia of K and staggered on until 1997/8, its terminal hangover depicted in the grooves of (take your pic), Blur by Blur, Ladies and Gentlemen... We Are Floating In Space by Spiritualized, Urban Hymns by The Verve, This Is Hardcore by Pulp (referenced on the cover of Phonogram) or, of course, OK Computer itself. And then Gillen reminds us:

The thing with Kenickie is that they, by the very nature of their existence, draw a line between all the enforced dichotomies modern pop. Seriousness is not the same as intelligence, no matter how many times virginal Radiohead fans reiterate it....

About things

Back in the days when blogging was a thing and people used to read this, every now and then I’d use a post as a repository for various bits of stuff and nonsense that had caught my eye over the past few days or weeks, a sort of snapshot of my cultural life at that moment. 

In that spirit, Matt Doran, the man who forgot to listen to the Adele album, offers an apology that sounds like something from a Stalinist show trial, except that I’ve got a horrible feeling it’s genuine. And just when you think being under-prepared is a sin, BBC4 runs a documentary about Geordie singer-songwriter Alan Hull, which kicks off with the presenter admitting he doesn’t know anything about Alan Hull. I’ve got a horrible feeling that the success of You’re Dead To Me has given the Beeb the idea that ignorance is a qualification.

Also on a musical theme, I offer you Olivia Lane’s review for Pitchfork of the new Robert Plant/Alison Krauss album, for no reason other than that she uses the words “effulgent”, “magmatic” and “empyreal” and doesn't explain or apologise, so there. Then there’s Andy Bull’s quip about the Tim Paine scandal: 

Paine sent an unsolicited “dick pic” to a female employee of Cricket Tasmania with the caption “finish me off right now”. Four years later, she has...

A line from Edgar Allan Poe’s ‘The Tell-Tale Heart’ that made me giggle foolishly:

I arose and argued about trifles...

And this, via Richard Blandford on the Twitters, which also made me giggle, but not as much as the trifle thing did.

About Monster Fun

Pulling together a further tranche of Perec-lite memories, I seize upon thoughts of Monster Fun comic, and in particular the Badtime Bedtime Book supplements that were stapled inside. While I was never a comic fan in the classic sense (the Marvel Comic Universe mostly leaves me cold), I was besotted by the anarchic, gently spooky humour of Monster Fun for what felt like most of my childhood. Yet when I check the cold hard facts, I find that it ran as a standalone weekly for little more than a year, June 1975 to October 1976. Proof again that when you're seven or eight years old, time stretches way out beyond the horizon (in all directions) and usually in a good way. 

In your satin tights

Michael Chabon on comic-book fanboys and the impossibility of getting the costumes just right:

This sad outcome even in the wake of thousands of dollars spent and months of hard work given to sewing and to packing foam rubber into helmets has an obvious, an unavoidable, explanation: a superhero’s costume is constructed not of fabric, foam rubber, or adamantium but of halftone dots, Pantone color values, inked containment lines, and all the cartoonist’s sleight of hand. The superhero costume as drawn disdains the customary relationship in the fashion world between sketch and garment. It makes no suggestions. It has no agenda. Above all, it is not waiting to find fulfillment as cloth draped on a body. A constructed superhero costume is a replica with no original, a model built on a scale of x:1.

I reckon The Simulacrum would be a fabulous name for a comic-strip villain.

It’s not as funny as it used to be

I’d rather drifted away from Viz, and only picked up November’s issue because it promised a nostalgic wallow in the company of some of my old favourites, such as the Pathetic Sharks, Roger Irrelevant and Johnny Fartpants. (Hey – what happened to Mr Logic – surely the model for Sheldon from The Big Bang Theory?) But there was one gem, in the sub-Tuckeresque midst of Roger’s Profanisaurus: a single word that encompasses all those regional exclamations that don’t mean anything, such as “Howay the lads” and “Och aye the noo”; bolloquialism.

Punchcard blues

Modern objections to the prevalence of information technology are largely based on the allegation that omnipresent sources of knowledge – Google, BlackBerry, Wikipedia, iPhone, satnav – reduce us to a state of passive idiocy, unable to retain information without technical support. It’s something I touch on in Chapter Five of The Noughties; not that this is a new observation, of course:

Wife: Have you had a good day at the office, dear?

Husband: No, it was terrible. The computer broke and we all had to think!

(Contributed by Joanne Shakeshaft of Moston to Whizzer and Chips, 8th April, 1978, given away with today’s Guardian.)

Goalpostmodernism

I’ve been enjoying the old comics that the Guardian and Observer have been giving away over the past few days. I’m guessing that, apart from the sales boost that freebies often give to a publication, the project is intended to remind us of the days when buying a comic, made of paper, in a shop was a transaction to be anticipated and then savoured; and that this Proustian tingle can be transferred to our relationship with the dead-tree version of the newspapers.

The funny thing is, the comics, despite having originally been published in the 1970s and 80s, display a level of interactivity that puts many websites to shame. Sadly the edition of Roy of the Rovers is from December, 1981, by which stage the regular ‘You Are The Star’ feature (a point-of-view depiction of a football match, with gaps in the commentary so the reader could insert his own name) had been retired. Each comic strip has a little box in which the reader is encouraged to give it marks out of 10, although whether this information was intended to be communicated to the IPC is not clear. However, much of the content is if not user-generated, user-prompted: for example, ‘Famous Football Funnies’ in which the likes of A. Seaman, Northampton, see their soccer-related quips turned into cartoons; and ‘Blackie Gray’s Talk-In’, in which readers ask the eponymous caretaker player-manager of Melchester Rovers about points of fact and opinion relating to the wonderful world of footie.

It’s Blackie, rather than Roy himself, who fronts the forum because the Melchester legend is in a coma, having been shot by a mystery assailant. A double-page spread is given over to get-well messages from football legends such as Alf Ramsey (who would take the reins of the Rovers until Roy recovered), Trevor Francis, Malcolm Macdonald (both of whom had played alongside Roy in the England team) and, er, Radio One DJ Mike Read. This delicious blurring of fact and fiction would reach its apotheosis in the mid-80s, when Roy was forced to trawl the ranks of fading New Romantic outfits to fill the Melchester roster (see above).

Even more metafictional is the Beano, from November, 1980. This was the 2000th edition of the venerable comic, and many pages are devoted not just to the history of the publication (reminders of such retired stars as Eggo the Ostrich, General Jumbo and Nobby the Enchanted Bobby), but around the commemorative product itself. Almost every story revolves around the eagerness of the central character (Roger the Dodger, Minnie the Minx, Billy Whizz and so on) to get their hands on the comic; but since the resulting escapades and mishaps are described therein, there’s a level of paradox that seems calculated to fry the minds of pre-pubescent readers. It makes the cross-media weirdness that befalls Hiro Nakamura (in Heroes) seem positively mundane.

The giveaway is scheduled to run until Friday, but there’s potential to extend it for weeks – I’d love to see Monster Fun and early Smash Hits tucked away between Toynbee and the crossword. And why stop at comics? Why not old copies of the Guardian itself. Or, since the examples chosen seem chosen for their self-referentiality and postmodern brownie points, why can’t a copy of the Guardian be packaged with a simulacrum of itself?

(And for more conceptually elegant japery, read this, by the wonderful ¡Oye Billy!)