This blog post is based on a piece I was commissioned to write for the programme for a new theatrical production of Derek Jarman’s Jubilee adapted by Chris Goode.
The single is dead, so why is the charity single still going? There are so many other ways of soliciting donations to charity; by text, by paypal, by cash point. It seems anachronistic to return to the charity single model, where musicians donate their labour in exchange for a financial donation from consumers . Yet time and again it is the default response that marks the significance of an event.
Each time a new charity single comes out it makes me think about what is at stake – what problems are being responded to? what solutions are being offered? Who is helping whom and why?
Thoughts on Queerama as Queer History.
The history of queer representation in film is sometimes the history of not being easily seen. It can be the history of having to work really hard to find yourself represented. It can be the history of having to work really hard with what you are given, when you are represented as the freak, the pervert, the duplicitous spy, the blackmailer.
Queerama for me, was the story of how people have negotiated the identities that have been imposed on them. As a history Queerama shows us a series of outside definitions of queer identities that have had to be negotiated; homosexuality, for example, has been seen as a sin, an illness, to an act of dissidence. Sexualities and their identities have been legislated and defined from above, diagnosed by sexologists, feared for contagion, dissected like a guinea pig, but they have also been squeezed through the cracks.
(Thanks to Claire Langhamer who excelled herself as travel companion/carer)
I’ve just got back from the launch of Jersey Heritage’s new exhibition ‘Bergerac’s Island: Jersey in the 1980s’. I’ve been working with the team throughout the project’s development and can honestly say the whole experience has been brilliant. This exhibition is clever stuff. It speaks across generation, to the local and the global. But it is also touching, funny and engaging – that’s pretty much what I want history to be.
I’ve just got back from the most mind-blowing conference I’ve ever been to. Keep It Simple, Make It Fast, is a conference/music and literary festival/art show organised around DIY cultures, Spaces, Places. Events were held across various venues in Porto, bringing together academic presentations, some celebrity guests, live performances, exhibitions with daily book launches and a summer school. The event is convened by Paula Guerra and Andy Bennett with an incredible team of international volunteers. I went with my Subcultures Network army (Matt Worley, Petes Webb and Ward, David Wilkinson and stayed in a seminary with the Punk Scholars Network and Steve Ignorant from Crass).
I’ve been out of the country for a week at a great workshop in Berlin “How to Write and Conceptualize the History of Youth Cultures” organised by Felix Fuhg, Doctoral Student, with the Centre for Metropolitan studies. I was travelling with the histrrry girls and The Subcultures Network, so there were Harringtons. There are always Harringtons. We spent one day working and talking in the Archiv der Jugendkulturen. Its an incredible community archive and library that has brought together all the different traces of resistance in youth culture and subcultures. From magazines made by school pupils to the Love Parades’ backdrops and giant cut outs of Nena – the transational and hyper local are boxed up together and are being carefully catalogued by local participant experts in each scene.
I remember being canvased for the 1989 European election. I was a nineteen year old mother of a two year old, living in a shared house. It was the first election I’d been old enough to vote. It was also the first time I’d seen the Green Party as an electoral force. Something interesting was going on. I can’t say that Europe itself really mattered to me very much, but it opened up ways to think things through, that we couldn’t really find space for elsewhere.
This year Chris Warne and I were awarded an Innovation in Teaching Award to take a group of students to Margate and set up a digital pedagogy experiment. DIT Digital: Doing Subcultures Online involved tours and workshops with two of Margate’s significant heritage sites; The Turner Contemporary and Dreamland. Our Twitter hashtag is #DITDreamland
Last year we had run a less ambitious project DIY Digital: Doing Punk Online with students on our Post-Punk Britain module. Students had created open access educational resources around topics from the module. One of the key lessons from the project last year had been the importance of ‘being in the room’ to facilitate virtual interaction so a field trip offered a way of sharing a physical space together whilst doing digital work. Furthermore last year’s MA mentors had been absolutely central to the success of the project and we now had a group of masters students who had been part of the original project as undergraduates who could act as mentors.
In the end I watched it because Catherine Grant very kindly invited me to speak at an event that she organised with Diarmaid Kelliher, on Pride and its Precursors and I was too honoured, and too embarrassed, to say no. When the film first came out I ducked and dived out of numerous press requests to comment on it. I had toyed with the idea of presenting at the symposium without actually having watched the film, maybe as a sort of thought experiment. I’d floated the idea over drinks with the talented historian Ben Jones from UEA but lost my confidence after he described some of the scenes I might have missed out on (the alien invasion and massive shoot out at the end).
On 19th November I stood in the Latest Music Bar Brighton and read out bits of my teenage diary from the year 1984-1985. The event, ‘Cringe at Mass Observation‘ was jointly organised by Cringe and Mass Observation as part of ‘Being Human: The Festival of Humanities’. London Cringe organise events where “Funny ‘grown-ups’ read aloud from their teenage diaries”. It’s a model that was picked up from New York and spread from there. Fiona Courage and Jessica Scantlebury from Mass Observation had been to one of the events and had immediately recognised Cringe’s resonance with Mass Observation writers who also share their private experiences and analysis for public consumption.
You can hear a bit more about Cringe, where it came from and the Brighton event on a podcast of an interview myself and Cringe organiser Ana McGloughlin did for Radio Reverb with Melita Dennett. (at about 22 minutes in)