David Bowie: His music's best moments in film

MAY CONTAIN SPOILERS. ACTUALLY, PROBABLY DOES CONTAIN SPOILERS. 


I was bloody GUTTED this morning when I'd seen that one of my favourite artists had died. David Bowie was a show stopper, and all tributes to his music in films reflect his unique sense of style as well as his out of this world stage presence. He was a cornerstone in culture forever, and today mirrored the sadness of the day that Elvis or John Lennon died.

1. Jean Genie- Flashbacks of a Fool
Every time I hear the song I can't help but hear Ruth's analysis of the lyrics in the scene "Jean genie, lives on his back... It's about a male prostitute" also one of my favourite film scenes ever anyway with the brilliant "if there is something" dance scene. Also, I'm a sucker for slow mo and Felicity Jones' cute bunny teeth and cuteness in general in high-waisted trousers.

2. Modern Love- Frances Ha
Whenever I run for the bus after work with my rucksack on I can't help but hear "modern love" by Bowie playing in my head. Yes it's probably not normal for a 24 year old to pretend she's in a film but whatevaaaa. I love how dichotomous this song is with this scene, it musically contradicts the happy go lucky vibes of Frances skipping and dancing down the street. When in fact, Modern Love tells the story of a man disillusioned by romance as well as with religion. As Bowie stated, the album Modern Love came off was inspired by Little Richard and the struggle between God and Man, as Bowie was ever the scientist and to me, a philosopher as well as a musician. I'm not sure if I have misread this song, in fact i probably have, but I think that scene really captures the potential essence of the song anyway, to me, the lyrics depict a day to day life of a hopeless romantic and the (maybe fictionalised) promise of love and intimacy (and probably sex, as let's be honest Bowie did go through a very sexually open phase) "Modern Love walks beside me, Modern Love walks on by, Modern Love gets me to the Church on Time." This is soooooo fitting to what Frances is like as a character, she is a dreamer who longs to be a modern dancer despite the practical factors affecting her ambitions (lack of money, experience). Because I initially thought that in Modern Love Bowie, strives to be loved by someone, so much that it gets him through the mundane day to day, including getting to church on time. Looking back on this theory of mine, it's apparently bollocks and so naive it's funny to me. I am a wally. Anyway- next is-

3. Magic Dance- Labyrinth
Why has Labyrinth not been mentioned anywhere? I have only seen one mention of this brill 1980s children's classic, and that was by NME, a photo of Jareth, the King of the Goblins, a fleeting scroll glance down my Facebook feed. I was late to the game with this film, most people I know seeing it during childhood, I watched it earlier this year one evening. I definitely fancied Bowie in it. That hair! That bad boy attitude! That bulge in his tights! Is it disrespectful to write this? Probably! Although I rest on the fact that Bowie had a sense of humour (see below) The cleverest creatives generally do. 

4. I'm Waiting for the Man- Almost Famous
I remember watching this film first time when I was about 18 and having not gone through my Bowie phase yet (due to come in second year, will discuss in next mention) I was fascinated by his appearance. I knew who Bowie was vaguely due to a cd my mum played in the car but didn't really realise he looked so... Fabulous?! I was obsessed with the fashions in that film anyway, but like the King of the Goblins in Labyrinth, Bowie seemed to head up the style in the film. Even if the shot of him is so brief, and you only see his back and a cockatiel style Barnet, I was still pretty into it.

5. Lady Grinning Soul- The Runaways
During my second year of uni i was going to a lot of gigs, particularly in the concentrated folk punk scene of the area, which to my utmost 22 year old joy, contained a lot of grrrrl groups as well as a feminists in general. I remember watching the runaways with a few of my gal pals in our tiny dark living room and marvelling over Dakota Fanning's depiction of Cherie Currie depicting David Bowie depicting Ziggy stardust. Her stage presence is almost as alluring as the man himself's, how could all those douchey teenagers boo her?!

6. Heroes - Moulin Rouge
My first introduction to one of my favourite Bowie songs. It's just such a spot on portrayal of what it's like to meet someone who is your soulmate and just realise that you could conquer the world together. I remember watching this film on repeat when I was about 14, my heart actually aching with longing for a Ewen McGregor in my life, or just any old boy in year 9 who would snog me. Anyway, Whether it be writing a musical that will save the moulin rouge from ruin, or merely finally emerging from bed a hungover mess even though you want to just sleep, either way, this song depicts the unstoppable, triumphant force of a duo who are simply meant to be. "We can be us, just for one day".

7. Heroes (again) - The Perks of Being A Wallflower
Around the same time, in 2012/13 in my second year of uni. I also read the perks of being a wallflower, then saw the film consequently. I do like this film, and as breathtaking as the moment is when Emma Watson stands up in the truck with Heroes playing, this song is actually almost too much of an obvious choice for this scene for me, personally. It verged on Katy Perry music video almost for me. I'd rather Frances Ha any day, or the version of the same track in Moulin Rouge. But I loved Emma Watson's hair in that film, I guess? And as much as my brain couldn't take the song with that scene, i still like, felt it, you know? When they whoosh through that tunnel with Bowie proclaiming the characters infinity for them. When I heard the song played on the radio today, I definitely felt the bit where Bowies voice sort of cracks here. Maybe not the best Bowie movie moment for me, maybe it's Emma's dodgy American accent or how the film just didn't match up to the book for me, I dunno, however Heroes is probably one of my top Bowie tracks.

8. Life on Mars - The Life Aquatic with Steve Zissou
Not only one of my favourite Wes Anderson's, because of the beautiful made up marine creatures, animated in vibrant yellows and reds, crayon pony fish, research turtles and more. This is by far my favourite Bowie song. And my favourite scene in the movie, where Bill Murray's character, Steve Zissou, takes a moment at a party to mull over the fact he may have a son. The chorus' climax sweeps in as Steve walks down to the hull of the boat, taking a pensive moment to look out at the water and take a drag on a spliff. It's so bloody emotive. It's so true of one of those moments when you have an earth shattering realisation and you have to walk off to process it alone. Has anyone else had this? Or am I the only one who is that dramatic? I love this song in this moment entirely because the question is asked "is there life on Mars?" It's one of those crazy questions that Bowie was not afraid to ask, and not because he was "high when he wrote it" (if you think that, I'm sorry but you just don't get him, man), but because he thought outside of what people knew and had the balls to say something. He, as Mr G says in summer heights high, "dared to dream". 

9. Space Oddity- The Secret Life of Walter Mitty
Not my favourite Bowie moment, I'll be honest now, I am kind of trying to make up numbers. I actually forgot this scene existed but my brother mentioned it to me and I did what all good journalists do (I think? I haven't received any formal training. How do you journal? Ist?), I researched it then formed an opinion. I've seen this film before, and being a film snob, I assumed I wouldn't like it. But it proved to be a nice Sunday afternoon film in the end, and I did actually enjoy it. It's one of those good films, like eat pray love or hectors search for happiness, which is essentially a film about a character who is pretty successful and a professional at something, but who actually has a deep, emotional void, so then goes out to amend it by travelling the world or doing what they were afraid to do or just put off for years. Film always ends happily, usually with relationship at the end. Everyone wins. So I re visited this scene which, unlike the others I have mentioned, I've only seen once. It is undoubtedly a nicely shot scene, and the music coincides really well with the soaring helicopter. But I'll be honest, I can't remember what's even happening in this bit but I like the song. 

10. Let's dance- The Boat That Rocked
 Although featuring really quickly during the end credits, this song triumphantly sums up the general joviality of the whole film, which celebrates this time in music. Let's dance plays whilst the members of the pirate radio station, Radio Rock, dance freely in what seems like a really fun bit of the film to shoot. Soz the video is apparently French. This section of the film is also a tribute to music in general it seems, as you see vinyl and album covers of all genres and times in history flick by. I like to think they chose let's dance for this part as it's a) such a great song to boogie to and b) Bowie was so prolifically present in pretty much music forever. I think that's my favourite part about who he was, he was determined from the beginning. Weirdly enough I was showing this website to my (sort of) boyfriend and we were marvelling over how much Bowie worked. Like a Woody Allen of the music industry, Bowie was so dedicated to his craft, and grafted hard, and metamorphosed with time, like a chameleonic alien, when lady gaga and Madonna were still in primary school. I think that's the best thing about him, the fluidity and empathy he had to his landscape, yet he still remained totally true to what he wanted and the aesthetic and sound he strived for. He was a true artist as well as a musician. 

A Natter with Nash

(This interview is taken from Issue 8 of Storehouse Magazine, my university's SU ran publication, which I write for and edit too. Copies of Storehouse will be available online and around Norwich from early February!)

We had a chat with Kate Nash about her latest show at the Waterfront, creative control in the music industry, and being a feminist.

When Kate Nash’s representation ring me up it takes ages to patch me through to her, the process is lengthy and I get disconnected so many times that I begin to wonder if the interview is actually going to take place. But once I get through it feels bizarre and slightly disjointed, like having a telephone job interview, except that I know a lot about this person already. You can’t help but feel like you do when you hear her music. Her lyrics hold a subtly intimate but relatable quality that has worked to her favour in the pop music industry. Where other female singer songwriters make the private a public matter, Kate Nash alludes to it.

Although Kate’s career has now taken a new turn, she is more Courtney Love and less Lily Allen. Her mockney tones that once felt twee and playful now yell defiantly at female oppression in relationships, work and life. Kate Nash’s work has left the cosy confines of the relationship at home as depicted in her 2007 album Made Of Bricks and now focuses on the bigger picture of modern day feminism, something she seems to have comfortably found her niche in.

C: You got signed at quite a young age; did you always want to pursue music as a career?

K: I think so. I mean, growing up I was really into music and I was writing songs at home, and then I actually went to the Brit School [performing arts college in London]. I studied theatre and I wanted to be an actress but then I didn’t get into any universities or drama schools so it was after that that I went back to music and started a Myspace page. I was like “Right, I’m gonna do this.” It was all the rejections from uni’s that really made me push to do something interesting and creative.

C: So you went to the Brit School, do you have any particularly funny stories or anything you’d like to share?

K: There was always a lot of fun stuff happening, like it was really creative. I guess there were moments where you would be standing there in the reception and musical theatre students would be doing backflips. There would be moments where the entire canteen would literally break into song. There were actually moments that were like “Fame”. It was really fun.

C: Do you think that rejection can often motivate you?

K: Yeah, I think it was the reason that I am where I am. It was one of those moments where all my friends are doing something really cool and interesting and learning. I felt left behind and I thought, “I need to do something”.

C: Because careers in the arts can often be regarded as insecure, did you have a more “stable”, so to speak, back up plan?

K: I didn’t have one. And I always tell people not to have one. I think that if you have a back up plan you will give up on doing that [what you wanted to do originally]. That’s just sort of my experience with it, that people that can worry about needing to have a back up plan and just end up getting too caught up down that line. And you just keep working on that and then you end up being in that job. If you dedicate 100% of your time doing something creative then you’re gonna have more opportunities and stuff within that because you’ve been working on it constantly, you know?

C: Do you feel like your work has progressed into a different place in comparison to when you were, say, twenty?

K: Yeah, absolutely.

C: In what ways do you think your style has changed?

K: In lots of things, the way I look and the way I dress and the music that I’m writing, the lyrics, the life experience that I’ve had, the things I’m writing about, my opinions. I’ve had more experience in studios, and playing live shows for the past seven years has given me more confidence and knowledge.

C: I didn’t want to mention the current Miley Cyrus situation, but there is a point Sinead O’Connor made about the music industry that I found interesting. When you were first signed, did you have a lot of creative control, or did your label want you to project a certain image?

K: Not that I knew of, I don’t feel like I was really pushed. I felt really happy with everything that I was doing and I was very much in control. However I did get dropped from my record label last year, so I kind of feel like that has something to do with it that I am very independent, outspoken and not controlled by the industry, so I guess that wasn’t really a big enough money maker for them.

C: So do you think it’s important to follow your own desires as an artist, and not conform to a style?

K: Yeah.

C: You’ve got quite an involvement in the DIY punk scene, how are you related to The Tuts work?

K: They were fans of mine and I did this blog on my Tumblr where I was posting and supporting female talent, well actually, any talent. I did this thing where I was celebrating anyone being able to do what they want and, y’know, just celebrating creativity and stuff. I was like, “I’ll post anyone on my blog” and they sent me that video they did and then they came along to a few things that I did. Like I shot a music video in a pub and they were extras in it. And then I asked them to open for a London show, and then I just asked them to come on tour and we’re friends now, so that was how it happened really.

C: Do you think there is a shortage of female singer songwriters in the contemporary music industry?

K: I do, yeah. I think hopefully there may be a bunch of girls out there now who aspire [to make music] like other women, I think it’s really cool that Haim are very successful because they’re very genuine, they’re just girls in a band. They write their own songs and they play their own instruments, they’re really real and they’re different to your usual pop stars. I think they could be very inspiring to lots of young girls, so yeah, I hope to see more of it.

C: You’re obviously an advocate for feminism and positive body image.

K: Yeah, I’d definitely call myself a feminist. I’ve worked a lot with girls in schools on stuff like body image and self-esteem, I’m always preaching about it at my shows.

C: There is still a size 0 epidemic issue especially seen at this weeks London Fashion Week, do you ever think a change will come about regarding the weight issue in high fashion?

K: I dunno, I think that there is definitely a lot of problems in that area. If there is going to be change it will be a long time coming.

C: Do you think your personal life and the way you view the world influences your song writing?

K: Yeah, the way I write is really personal so I tend to write about everything that’s happening in my life. It’s like therapy, writing songs for me. So yes, it is quite personal.

C: This is a topic seen at art school as well, the choice to work about personal stuff or alternatively, other more external issues. Have you ever written about anything more external, or has your work been more in an introspective vein?

K: There’s a few things, to be honest I always link it back to being relative to my life. I wanted to make a statement when Pussy Riot were in prison, so I wrote a song called “Free My Pussy” which is also about me and about the issues I was feeling, about being trapped and supressed in many ways. I do like to relate everything back to my own life.

C: It makes sense as you view the world through your unique perspective. You have often written about mundane things, day to day life, mouthwash… Do you like to insert humour into your lyrics as well?

K: Yeah there’s a lot of sarcasm and British humour in my songs.

C: Who influenced you whilst growing up?

K: Well I was really into a lot of pop music, I was into Celine Dion but also I was really into Oasis. My parents listened to a lot of really good music like The Beatles and The Rolling Stones and some Irish folk music. And then I got very into Eminem and garage music and then I got into Punk and Indie when I was like sixteen, seventeen.

C: Do you have any routines for creating? Any rituals or certain locations you find that help you write music?

K: I go to my rehearsal room in my house, I feel really comfortable there, in that sort of place. It’s a place I feel where I can write the best.

C: Have you ever had writer’s block before?

K: I think everyone sort of suffers from it every now and then, but you just have to work hard and realise that. Just don’t panic about it and keep working.

C: Do you take a lot of criticism into account? Do you let it actively affect your work and the way you perceive your work?

K: I don’t really take it into account, I just try to ignore it to be honest with you. I think I’ve always been really stubborn. I’ve always been the kind of person who when someone tells me what to do, I want to do the opposite. I just try to ignore it and focus on what I am inspired by.

C: Have you got any advice for our art student readers?

K: Just work really hard, and if you work in the arts you just can’t really be lazy. You literally have to work hard at what you do, every single day. Allow yourself to grow and develop and just don’t try to perfect something too much. Don’t obsess over it. I mean, all artists do that, but you just literally put your first thing out there and that will really help you to develop. Meet other likeminded people, get yourself out on the scene and make friends with people. And like I said, it’s [all about] determination and having a really strong work ethic. There isn’t any room for laziness in the arts, you just have to work hard, that’s my advice.

The wonderful Tuts bandcamp can be located here and Kate Nash's Tumblr is here.

Midweek Madness with Moni and Mullally

   So what have I been doing with my time, you ask? Besides working as a burrito bitch at El Mexicana, (my job responsibilities include: me practising my disgruntled adolescent public services employee face, having fun making coffee with a REAL MACHINE :D and just chucking salsa everywhere). I'm hardly getting any art done however.

   I have just realised a key activity in my summer that doesn't include me being tired and angry all the time. Wednesdays are becoming Monika and I’s day of fun. We usually begin late afternoon, when I have finished work and Monika has claimed her dole money, we start watching a classic comedy series and finish by tea time.

   Last year we watched a lot of Chris Lilley, but this summer has been claimed by the alumni of Brass Eye and The Day Today, with occasional things starring that guy who played Michael from Alan Partridge, such as MONKEY DUST (best animated comedy ever, didn’t even know he was in it!!).

   Along with laughing our heads off, we eat. We make treats such as a Michael Special (refer to my tumblr post from last week) or Nutella Mug Cakes.

   Some Wednesdays we have a special day out, and two weeks ago we met Alan Partridge at the Norwich premiere*. And next Wednesday we plan to go see Alpha Papa!**

   I like the fact mine and Moni’s day falls on a Wednesday because on account of my career as a burrito stuffer, I now work full time. And fun Wednesdays break up the weeks monotonies.

   Also Wednesdays will always be dire to me because Wednesdays at school meant TECH CLASS which I was split up from my best friends in, and usually meant I had to partake in machinery-based exercises and break things/cut myself/live in fear of cutting myself.

   All in all, Mullally and Moni midweek madness is definitely one of the best things of this summer.

Monkey Dust's Ivan Dobksy the "meat safe murderer" i.e. Simon Greenall, always has me cracking up, besides his sad story of false imprisonment. Monkey Dust is very dark in humour anyway, but that's what I love about it. It laughs at sad situations, as my Dad always taught me, if you're not laughing at these things, you're crying. Something I've noticed that manifests through my behaviour and sense of humour, I'm usually the friend who "pushes it" too far. 

I actually remember watching the Day Today when I was as young as eight. The Pool Supervisor has been an in-joke in my family for years, and I remember staying up late with Dad some nights watching this show on the sly. Mockumentary has always had a place in my heart, as I love documentary and journalism, yet I love fiction and joking around too, so it fits perfectly into my tastes. I'm even considering writing mockumentary for some of my art in my upcoming third year of my degree. 

Chris Morris in Brass Eye, the highly controversial satirical series from 1997. More pathos viewed in comedy, as Morris pokes fun at such big subjects like children on drugs or pedophilia. 

*= I'm not even exaggerating when I say that is probably up there as one of the best days of my life. 

**= We were meant to go today (release day) but Jenny can't make it.

"I've been waiting for a guide to come and take me by the hand"

   Other than hanging out with F list tv broadcasters (srsly when I saw my family today everyone was asking “did Alan Partridge actually say you were nicer than his wife?!") this week I also went down to the coast to visit my granny. 
   We went to Arundel and trawled about the antique shops where I found a genuine 1940s red dress that was so beautiful and why am I not rich?
   I also bought three books I have been meaning to read for ages, went to the beach, laughed a lot with my cousins and step siblings and played cards.
   But above all things I find I tend to reflect a lot on my work at my granny’s place. Idk if it’s the pictures of the pope staring me down, triggering an innate catholic guilt that has been genetically built into me or what but I find I reflect on my practise a lot. 
   When I was younger when I visited my granny’s, the space away from the Internet, television and my friends often left me with an uncorrupted open imagination, which often triggered my writing and opened up my brain. 
   This time I find that is not happening so much. But it’s that notion that interests me. An idea usually springs into my head from a tiny fleeting thought, and then I am left with a story, a narrative. So where is my one this time?

The Edge of Love

  A film I have always been attracted to especially production design wise has been "The Edge of Love" (2008) by John Maybury, to me it is a massive eyegasm with victory rolls, florals and other war-time lovelies. I am so into it that I have even decided to dress more in the style of the film's main two protagonists, Caitlin (wheyyyyyyy!) and Vera. Caitlin and Dylan Thomas were infamous for their relationship, their union suggested that a couple who drink together, stick together. Naturally this theme of alcoholism fits rather snugly into my current artistic practice. So I may even research more theoretically into Dylan Thomas' life.
   I am sure we have all been in a situation at some point in our lives in which you and your best friend like the same guy, and sometimes even in a sort of extreme situation, have ended up in some bizarre love triangle scenario. So this film focuses on the dynamic which is portrayed when two best friends have had/have a relationship with someone, and Cillian Murphy's character, Wiliam Killick states,

   "First love's all right as far as it goes; last love, that's what I'm interested in." which when you think about it, this quote could serve as the film's theme. 

   Also funnily enough, my mum being the lit nerd that she was in her younger years, saw the name of Dylan's wife when she was pregnant with me, and given the baby name specification she so desired which included Irish names only, actually named me after her. So in a bizarrely almost-narcissistic way, I probably feel I can relate more to her story due to our identical titles. 
   But aesthetically, some of the shots in this film are truly stunning. I spent a wonderful evening sipping tea and screen capping the shit out of this film.
   My personal favourites are the parts that pay close attention to small colourful details, i.e. a paint pallet, or a bright children's rattle. Or even the 5 second shot of Caitlin Thomas' son playing with a dead fish outside.

Not only that, the costume design is incredibly appropriate and accurate, particularly for day-to-day living in rural Wales, hats, long socks and wellies are the fitting uniform of convenience for harshly cold and rainy conditions.

Sorry for the shoddily out of focus quality of these photos. Just click to zoom. I just love that blue colour on her. 

Frolicking on the beach, seriously how skinny are they both? :/ In fact, when you look at photos of the real Caitlin MacNamara nee Thomas, you observe a massive chunk of historical inaccuracy. The real Caitlin definitely had more junk in the trunk...

I just want this jumper.. Caitlin wearing Dylan's chunky fair isle jumper in a time of crisis.

Sienna Miller looking like Emma Watson (???).

   Not only do the girls wear just day-clothes, on special occasions they don bright lipsticks, slickly rolled hair and pastel coloured suits. We see this in the court case at the end of the film, and when William returns from the war, Vera gussies herself up nicely. As much as I love their "formal" wear, I prefer the outfits they sport mucking round Wales, that is just a personal perspective though. I'm more of a dressed-down gal myself.

Wahhhhh how gorgeous is this shot?! Love the depth and sadness in it.

Sozzzz for the Play symbol. HER HAIR!!!

The story moves into the courtroom near the end of the film.

   Caitlin and Vera's emotional goodbye, even thought they were rivals, and one of their husband's ruined the other's quality of life, they were still "best friends" and vowed to write to each other.
   Also if anyone knows of any films that are similar in terms of costume design, give me a shout please.

Loose Lips Sink Ships

   I am just ob-sesssssed with the "Land Girl" style anyway of late. I even made a Pinterest board. See? I'm so committed.

   I see a economic struggle around me, particularly as an art student, which leads to a necessary creativity, a modern "make do and mend" if you will. My housemate last year made Christmas decorations out of granny porn i.e. those Mills & Boon books you can get in Smiths. Girls around me are hemming and tying and making something new out of nothing at all. And this as an artist since I can remember, always fascinated me. I am really into blogs like Vixen Vintage, she can tie THE PERFECT head scarf. And she owns so many tartan skirts and saddle shoes. <3.

 Why the shit are there no saddle shoes anywhere in England by the way? Is anyone else facing this problem? If I find any they are cheesy 1950s rockabilly girl fancy dress and they suck. I want the real deal, y'all. Someone hook me up, please.

Anyway, here is a plethora of photos of things that I think are pretty/fit into my Land Girl obsession reverence. I'm thinking, victory rolls, overalls, dungarees, head scarves and tea dresses.

Owwh Rory. This is kind of where my Land Girl love was sparked again, in this particular episode of Gilmore Girls, "We've Got Magic To Do" in which Rory throws a WWII themed DAR party. Just- her hair. It helps that Alexis Bledel seems to really suit the vintage look (see below).

A shot of Alexis Bledel taken from one of my favourite photoshoots ever, "American Icons" by Amy Spencer featuring famous actresses donning the look of American pioneering women of history.

Some bint with banging hair and a fabulous ride- source: http://puttarukka.tumblr.com

TEA DRESSES!!!

Rita Hayworth. Source: http://vintagedressups.blogspot.co.uk/2009/09/1940s-hair-and-make-up_16.html

Vixen Vintage's Solannah with one of her impeccable headscarves. What originally started out as a safety measure to avoid the female factory worker's hair being tangled up into dangerous machinery, then ended up a pin-up fashion statement for years to come. Source: http://www.vixen-vintage.com/2010/01/how-to-tie-40s-headscarf.html

   There's also the formal suit wear of the 40s which showed a proportionate shoulder/hip balance, puffed and accentuated shoulders usually in pastel colours, and the famous . I'm not as knowledgable on this style as I am the Land Girl style but I still think it's a really strong look.

Some 1940s style tips, featuring "swing shirts" and the like. Source: http://www.myhappysewingplace.com/2011/03/pinafore-inspiration-part-2.html

Another costume design gem, "Miss Pettigrew Lives For A Day". Source: http://www.fanpop.com/clubs/miss-pettigrew-lives-for-a-day/images/8462748/title/miss-pettigrew-lives-day-photo?ir=true

"Service women checking out new, artificial silk-plated stockings specially designed for them c. 1943"

  Anywho- I am definitely going to be channeling my inner WWII factory worker-cum-land girl this summer. Particularly at Glastonbury Festival, which I have rather loserishly been planning what I'm going to wear for it. Whilst my best friend intends to grow some dreadlocks and wear Indian/African/beautifully ethnical looking prints, I am going to be V-Daying it up.

  I EVEN DREW THINGS FOR IT.

   Yes so the above depicts my summer sketchbook, a leather bound notebook I got from when I was in Turkey last year, it is small and compact enough for me to take everywhere with me for random ramblings that roam in my head that need to manifested on paper. I have these thoughts and ideas that are expelled out of my pen. I did the majority of these sketches whilst en route home to Bucks from Norfolk, so hopefully they're not too shaky (the Loose Lips Sink Ships typography was haaard to execute).
   To be honest a lot of these things I tend to wear and do anyway, i.e. the fairisle jumpers and floral patterns and brogues are forever on my feet, it's the A-Line skirts and headscarving I need to work on. But I feel as though I already have a little head start, my friend Emily (her writing is here, if you want to read something touchingly personal and tender, yet sharply concise when it comes to matter of style and beauty, check her out) calls me her Land Girl for shits et gigs after all.

Hogging the Middle Lane: The awkward moment when your cabbie defends the EDL

   “But the man was black and had a black dog and wore black clothing and walked on the dark country lane-“ The woman on the radio with the thickly East-Anglia accent almost screeched out of the back seat speakers, the topic for discussion was the new charge that accompanies “hogging the middle lane” on motorways, a subject most motorists feel passionately about. Anything that causes road rage should be reprimanded, in their opinions. I dunno maybe get some anger management therapy instead… Maybe? Call me a Freud groupie but this kind of anger usually stems from something else. As said to me once by a qualified therapist I used to know, “usually you are not angry at the external situation, it’s just the external situation that has made you angry about something internal.”

   Road rage has always been something I could never get my head around, in all fairness, I do not drive. My driving experience spans as far as my dad plopping me in the driving seat of his Astra and then instructing me to stall the car at least 11 times, a probably psychologically scarring experience that explains my aversion to joining the motorist gang and my recently hilarious mistaking of the handbrake for the clutch.

  Anyway… This woman’s voice rang with the typical Eastern England screech, typically associated with Essix[1]. She barked words about “dark” and “black” as she described her motorist tribulations, a man wandering about a dark country road in the middle of the night with no visibility gear. One thing that naturally got picked up on was her highlighting of the pedestrian’s ethnicity, she and Nick Conrad (the DJ at the time) discussed his clothing, “he should have worn high visibility gear” and “sometimes even wearing white is encouraged”[2]. At one point Nick mentions awkwardly that her comments on the man’s racial origins may be picked up on by listeners, and boy, were they.

   Because what for me, was really poignant about this woman’s spiel was plainly the tone of voice she used to describe this pedestrian’s skin tone. She spat out the words, as if trying so forcibly to avoid the touchy subject by overcompensating in her spoken expulsion of “black man.” Her absurdist portrayal made me imagine a 1920’s gollywog man with shoeshine for face paint wandering up and down the road. And to me this was not a comical thought. It made me sad.

   Because this man, obviously, can’t help his skin tone. Just like how I can’t help mine when I turn lobster red when in the playhouse garden in June[3]. It’s genetic, uncontrollable, and part of a person’s visual identity. Yes, his clothing can be helped, I give the anonymous caller that, he could have donned a high visibility jacket, even given the dog a “blind dog” style bright yellow lead. But the colour of this man’s skin is unavoidable, unnecessarily picked up on, and used against this man like it is at his fault. And it. Is. Not.

  So in the back of the cab I shook my head and muttered; “that’s ridiculous.” Ever had that thing where you literally can’t not verbalise your thoughts? That’s what happened[4]. “She is actually being borderline racist.” Borderline racist. Different to full on racist.

   “I think people are too quick to play the racism card though. He was a black man walking a dark street at night.” The cabbie drawled. I sighed. Were we really going there and reprimanding this man for his skin colour? An act of hatred that has been echoed in history for hundreds of years? “I’ve driven lots of black people in my time. And you’d be well- surprised. Often black people are racist about white people.” And that makes it acceptable?! “I recently drove a member of the EDL and he wasn’t actually racist, not at all. He just thinks Britain should be kept British” I felt my mouth beginning to press into a thin line. “That Christianity should be kept in schools, he wants his children to be bought up and not be Muslim.” Be muslim!!? Like it’s some sort of metamorphic type transformation!!? I was quiet. My brain felt all scrambled and angry. I stared blankly at the fish and chip shop we rode past that was ran by a Vietnamese couple and I wondered- what even was British anymore? 

   Sure this man had his opinions on the immigration laws in Great Britain, but that to me certainly does not mean an eye for an eye. I remember finding out recently that the man who murdered the soldier in Woolwich said afterward “an eye for an eye, a tooth for a tooth.” A cruel twist on one of my favourite, and most relevant-to-life quotes of all time.[5]

   Afterwards the driver then made phatic chit-chat on “what the new bakery down the road” was like, and I felt a weird cloud lift out over our heads. Maybe cab conversation should be kept like this, small and chatty.

   But this is something I have always struggled with, I am not the person at the dinner party who raises her hands and laughs “woah woah- this conversation got deep.” I can’t extrapolate interestingly and eloquently on the weather, today it was sunny. That was it. So maybe this woman was right to speak up about “the black man”, she didn’t shy away and that was almost admirable. However I couldn’t fathom what she was trying to say, no matter how I looked at it. I had my opinions and they had theirs, and we all had to try to inhabit this country together, like 4 disagreeing housemates bickering about the washing up.

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[1] Essex, county in England.

[2] I apologise to BBC Radio Norfolk and the people involved in these quotes if inaccurate, I feel as though I get the main point of them, but they are paraphrased as cannot remember what was said word for word.

[3] My shoulder’s are radiating heat right now. Literally.

[4] This blog is called “I Have Opinions” for a reason y’know.

[5] “An eye for an eye only ends up making the whole world blind.”