Demonization of anti-capitalist cultural forms

[This is the last of three posts on the Great British Class Survey. To access the others, go to the introduction here.]

My final concern arises from the attitude to forms of culture that this study reflects. Specifically it reflects a demonization of a large number of truly counter-cultural forms, which is to say highbrow culture. By counter-cultural I mean, quite simply, running on lines that are counter to the general motions of society, and since our society is conditioned by capital and the social relations that it feeds on, counter-cultural forms are those which cause problems for capital. Highbrow culture is counter-cultural in two specific and important senses: first because it has always been and remains a problem for capitalist sale. It simply is not attractive enough, or as easy to reproduce, as capitalism wishes for its commodities. The question of quality or intelligence or value is immaterial here: capitalism simply can’t sell ancient Greek poetry for as quick and big a profit as it can sell football. The second reason highbrow culture is counter-cultural is that it offers the possibility for disrupting the class position of members of society, and specifically allowing for the possibility that the lower classes might rise above their beginnings.

The demonization of highbrow culture is widespread. It informs programming on television and radio, curriculums in schools, even, ludicrously, decisions that highbrow cultural organizations take about what they are going to stage or exhibit (can’t be too highbrow, darling: that simply won’t do). And the reasons for the demonization, on the face of it, as so often, seem good: highbrow culture has traditionally been associated with the rich and powerful. But it isn’t any more, and this is a paradox that the liberal attitude is often ignorant of. The richest and most powerful, people like ex-Etonian David Cameron, are more likely to disdain highbrow culture – and particularly musical culture – than to enjoy it, and it’s the aspirational lower-class Tories like Michael Gove who are more likely to be seen watching Wagner – doubtless with genuine love for the music – at Covent Garden. (And the ticket prices, incidentally, might not cost any more than football: see my blogpost here). This paradox – the rich seem to be increasingly opposed to highbrow culture – serves a specific political and economic purpose, which will become clear below (essentially, it helps keep the poor in their place).

The demonization of highbrow culture covers over two huge errors: first, the error of essentialism (i.e. supposing that there is an unbreakable link between certain people and certain characteristics: here, a link between poshness and highbrow culture); second, the error of supposing that people are always representative of the situation in which they find themselves. Hand in hand, these errors help to sustain the abject position of the poor by denying them access to at least the possibility of deciding for themselves whether highbrow culture has anything to offer.

One of the greatest and most emancipatory benefits of highbrow culture is that it strikes those who were not born into an exposure with it – i.e. those from the lower classes, whose diet might be Agatha Christie and the Bee Gees rather than Virgil and Beethoven – as something profoundly Other, something to which they can aspire, something that can lead them, as a beacon, to a better life. It is perhaps the most staggering stupidity of the contemporary liberal attitude that so many people fail to see this. In precisely the same way, the democratic freedoms of the West are often seen by abject subjects of middle-eastern dictatorships, and so on, as a political consummation devoutly to be wished. Again, the liberal attitude is to feel guilty about the very freedoms that our patronizingly viewed Other regards as so very desirable. The only thing that could possibly be wrong about enjoying freedom or high culture would be to deny it to others. Yet this is precisely what the liberal attitude dictates. Hide high culture away; listen to pop; don’t try to foist our cultural attitudes (pro-women, pro-gay, multicultural) onto the Other.

But disdaining highbrow Western civilization simply because it is (falsely) assumed to have an essential relation to an exploitative elite is, quite simply, selfishness. It leads to the evisceration of school curriculums and the demonization of the arts. Extending the gift of civilization to the whole world, not to force-feed but at least to allow people the chance to decide for themselves whether they want it, is surely a better course to take. But the attitude reflected by studies like the Great British Class Survey serves one purpose only: to further the motion of modern capitalism.

The highbrow tastes that are implicitly disdained by this study, and which explicitly lift people into a higher class even when their actual material conditions are much worse than those around them, are quite simply the cultural interests that capitalism has always found it very difficult to sell, relative to the attractive objects of mass consumption peddled by the culture industry. The demonization of these cultural forms – so extensive that even an ex-Etonian prime minister can largely disdain them – is an essential function of the command to consume. And hand in hand with this demonization of the cultural artefacts themselves goes the demonization of those who wish to make them, and rational thought about them, available to as many people as possible, because they believe them to have the potential to emancipate.

I should say that I don’t mean, as the authors of this study do, that listening to Beethoven or reading Virgil will make your life more secure and you a better and more socially important person. It won’t. Absolutely not. Cultural capital buys you nothing and doesn’t improve your morals or social standing. It’s worthless as a commodity. Don’t waste your time learning about Beethoven or Virgil if you want to be a better or richer person. It has no direct causal connexion with the increase or decrease of personal significance or riches. But it might just lead you into thinking about things you hadn’t thought about before. Pursuing it might open doors that your birth and the wealth of your parents could not. It might lead you, for instance, if all around you are low-skilled workers in dead-end jobs, to imagine a different career path, one focused on teaching, research, arts administration, museum curating, performance, journalism, creative writing… But the moment you tick more than three boxes of highbrow cultural interests on the online calculator, you are catapulted into a higher social class. And the higher you go, the more guilty you should feel.

The calculator is worse than simply being useless. It is a depressing reflexion of the present attitude in liberal Western society towards the possibility of properly understanding and then overturning our current system. And until we can cast off our assumption of an essential relation between highbrow culture and privilege, and the concomitant view that working-class people have working-class attitudes and cannot articulate for themselves a way out of their position which draws on the exquisite resources for self-understanding that highbrow culture offers, we are doomed to perpetuate the wretched class system of capitalism, which remains, even after this study, not seven classes but two: those who are exploited (a class that is growing) and those who exploit.

Exploitation in contemporary society

[This is the second of three posts on the Great British Class Survey. To access the others, go to the introduction here.]

If an analysis of exploitation is reintroduced to the picture, we are left with something more what Erik Olin Wright finds in his book Classes (the full text can be read here). Wright suggests that there is a ‘clear majority’ of working-class people in the subjects of his study (Sweden and the US). By ‘working class’ he means people whose essential relation to capital is that they are exploited by a sizeable elite (constituting around a quarter of society). This ‘exploitation’ isn’t what perhaps the most obvious meaning might take it to be, but a simple Marxist calculation, which I’ll quickly explain.

In chapter 9 of Capital, vol. 1, Marx writes an acute, and incidentally very funny, rebuttal of a classical explanation of how much work the worker does to provide profit for a mill owner. The economist Nassau W. Senior suggested that if an owner spends £80K on a mill and machinery and £20K on raw materials and wages, of which £15K are wages (so, that’s a a total investment of £100K) and sells the results for £115K, then it seems that the worker is only devoting one hour (that is, two 23rds or ten 115ths) of their 11.5 hours of daily work to the production of profit for the owner. In other words, 10.5 hours are spent generating money to pay for the £100K of the owner’s costs, and one further hour is spent producing the £15K of profit. That seems OK, doesn’t it?

Unfortunately it’s a wonky calculation. On this basis, if the worker does only 4 hours of work, then rather than producing something that can be sold for something, the mill owner would actually lose money: the worker wouldn’t even have reproduced the cost of the raw materials yet. Clearly that’s false: the worker will have produced less, but will still have produced something, and that something can be sold. So the only logical conclusion is that the worker is generating profit with every minute of work. Raw materials are converted into commodities every minute, and in every minute the cost of labour and raw materials that is outlayed by the owner is converted into something that can be sold for a profit. The rate of the profit increases the more hours the worker does. So the calculation of exploitation is extremely simple: you just have to work out the ratio of profit to the labour costs. Since in Senior’s example the labour costs £15K and the profits are £15K, the rate of exploitation is 100%. The workers work 5.75 hours in the day to produce their own wages and 5.75 hours in the day to produce the owner’s profit. That is exploitation. The rate of it is varied by workplace disputes and the drive to work shorter hours for more pay, but even if the rate of exploitation is 1%, that is value that is being taken away from the worker by the owner, who is ultimately, no matter how hard the worker pushes, the one who retains control of what are classically called ‘the means of production’.

Class has to be understood in terms of exploitation for the simple reason that, as I have already observed, what matters is material reality, the individual’s ability to sustain a comfortable, healthy, even pleasurable existence. Having cultural or social pleasures does mitigate other sufferings – this is why community and shared cultural interests like football are often so strong among the economically abject – but rather than aiding in the struggle to reduce exploitation and increase fairness, it actually aids in exploitation by making the system seem bearable. The more that capitalism grows, the more scraps the master can throw from his table. But if we focus, as the Great British Class Survey encourages us to do, on the differentiation between the dogs by the table, we sideline the question of actually doing something to change this relation between the classes. Instead of focusing attention on modern forms of exploitation, studies like this, which stress social and cultural capital, end up giving too much weight to a person’s character and interests than their position in society. The implication of it is in fact pretty insulting. ‘Yes, you live in a tiny flat with rising damp and a knackered boiler and have soles flapping off your shoes. But you count solicitors and professors among your friends and you listen to the Afternoon Play on Radio 4 so you’re much posher than someone like me, rattling lonesomely around my 5-bedroomed Mayfair townhouse, with Jessie J piped through the integrated hi-fi in every room my only companion. How I envy you the glorious richness of your social and cultural life!’

Far from shrinking as a proportion of society, it’s clear that the percentage of the working class, or the proletariat, is actually growing. The old forms of exploitation still exist, but new forms are being developed as the privatization of shared social space continues at full tilt. Consider just hospitals and universities. The professional classes of surgeons and academics who service these industries increasingly find themselves subject to new forms of economic exploitation. Here it is not the case, as it was with the historic shift from artisanal to industrial production, that the surgeons and academics were producing things like tables and trousers that once generated profits entirely for them and subsequently generated profits for the capitalist. No, today’s surgeons and academics increasingly find that the things they do in their jobs – the routine surgery, the academic ‘impacts’ (see here for my analysis of this) – are siphoned off as items of sale for private business. The relation even of the ‘established middle classes’ in the Great British Class Survey paradigm to capital is, therefore, increasingly one of exploitation. I don’t mean that we should weep, particularly, for people earning £40K or more, but I do think that it is foolish to be blind to the way that the proletarianization of the population is growing, not shrinking, and I also think that we should be alert to the dangers of swallowing the quietistic assurances of studies like this.

[Next: Demonization of anti-capitalist cultural forms]

Class and material reality

[This is the first of three posts on the Great British Class Survey. To access the others, go to the introduction here.]

The question of class is bound up with the security of one’s position in society. If you earn a good wage and can afford to buy your own home, so that you are not at risk of being chucked out onto the street by a landlord who wants to lift the rent to a level above that you can afford, you are more secure than someone who can only afford to rent. And if you can afford two houses, three foreign holidays a year, and have plentiful savings, you are of course even more secure. There’s a continuum from relatively low to relatively high, though those in direst need and those with the most exceptional wealth lie beyond that continuum and are essentially connected to it or to each other only in the forms of torturer or torture victim. It doesn’t make you any more able to feed or clothe yourself if you can happily read Latin, and it doesn’t make you any more a kid from the ghetto if you listen to hip hop in your own private wing of Castle Howard. Money, its rate of generation, and its expression in the form of assets, is the crucial factor in determining one’s status in society. Of course if you’re rich and you have the same interests as an even richer and more powerful person, you might be able to wangle a bit more riches for yourself with their help; but aristocrats aren’t going to become buddies with the poor of the estates just because they both like reading The Master and Margarita. (But of course, neither are aristocrats going to become friendly with lottery winners whose interests and opinions are otherwise remote from their own.) The three ‘capitals’ interact in complex ways, and in essence there is a lot of sense in attempting to unravel things in the way that Savage et al. have done, but I think we should be clear about the picture of society this research reflects (though it does not, I suggest, generate it on its own).

We are blithely assured, in the journal article summarizing the research, that the working class ‘now only comprise 14 per cent of the population, and are relatively old, with an average age of 65. To this extent, the traditional working class is fading from contemporary importance, and clearly is less prominent than the established middle class’ (27). The implication is that once those stragglers from history have died, there will be no more working class. So we should just sit and wait and we will be in Shangri-La. It seems that modern capitalism has lifted millions out of their traditional working-class situation and blessed the general population with a variety of middle-class identities.

This ‘fading from contemporary importance’ of the working class is, however, brought about only by simple assertion and re-definition. Underlying the subdivision of society into seven new classes is an unstated commitment to a belief in the benefits of contemporary capitalism, which have diminished the working class. (This is made possible only by the study’s refusal to focus on structures of exploitation, which I shall return to shortly.) This focus leads to an insistence that society is largely made up of different forms of middle-class experience: established middle class, technical middle class, and so on. These new classes are more or less arbitrarily defined in terms derived from Pierre Bourdieu’s focus on social, cultural, and economic capital.[1] So, it is not at all clear that the people or their experience have changed. Only their label has changed. Or, more precisely: certain aspects of character, which depend on circular reasoning about the ‘status’ of social and cultural forms, are taken to be more significantly determinative of lived experience in Britain than the economic factors which influence material existence, the reality of being alive and struggling to remain so in comfort, good health, and security.

The political implications of this kind of thinking are obvious and terrible. The view it supports is that ours is a majority middle-class country, with an elite that is so small that we needn’t worry about trying to tame it and a poor that is reassuringly shrinking (or being incarcerated when welfare dependency brings out the nascent evil in them, if the Daily Mail is to be believed – which of course it isn’t). Martin Kettle notes in today’s Guardian that our three political parties – traditionally representing the upper, middle, and lower classes – now only represent a minority of the population, which he takes to explain their problematic relation to society. I think that he’s right about the problem with our politics but entirely wrong about the details. The old classes only represent a minority on this tendentiously defined model; they remain as heuristically powerful as ever in explaining the class structure of Britain. What is more striking is the fact that all three parties, which espouse functionally identical positions on economics, social issues, law and order, education, health care, the military, etc., are reflected by this research. The research does not, as Kettle supposes, demonstrate that our politics is out of step with our world. On the contrary, the closeness of fit between the assumptions underlying our politics and research like this demonstrate the incredible ideological efficiency of postmodern capitalism, which so distorts our politics and economics that we worry about catering for tiny differences in the comfortable middle classes at the expense of addressing the structural exploitation by the elite of the middle and in particular the lower classes.

[Next: Exploitation in contemporary society]


  1. Incidentally, I think the only reason people give Bourdieu the attention they do is that his theories are simple, and therefore easy to grasp and use, and also French, so they lend the scholarship a certain style. Beyond that he is a deeply dubious figure.  ↩

Political problems with the Great British Class Survey

The results of the BBC-sponsored ‘Great British Class Survey’ were widely publicized yesterday (see the footnote for the academic study on which they are based, and a link).[1] The chief claims are that the layperson’s subdivision of British society into upper, middle, and lower classes is out of date, and that the people exhibiting qualities associated with those classes make up less than half of the current British population. In place of the tripartite system we should establish a seven-part division of society (the seven types are described here) in which the traditional working class is disappearing and the population is largely made up of shades of middle-class experience. It is no surprise that this research should have been commissioned at the present moment of political and economic history (i.e. the Thatcherite epoch), and while surely not deliberate, it is a sickening irony that the diverting and soothing check-your-own-class online questionnaire should have been made public only two days after the government’s apocalypse of the British welfare system.

Many people on Facebook and Twitter have already observed that, if you tweak your answers a little this way and that, particularly concerning which cultural forms interest you, your class diagnosis can fly widely from low to high. I’m not so interested in this diagnostic failure of what is in any case a crude questionnaire (I’ll give the researchers credit for a much more sophisticated interpretation of contextual information than this simple tool allows), and will instead focus, in three short companion blogposts, on just three problems that I see circulating around it

  1. It represents a tendentious interpretation of the material experience of contemporary Britons;
  2. It obscures the role of exploitation in society;
  3. It demonizes counter-cultural forms of thought and feeling.

But before I start with these three points, the reason for this widely observed problems with the diagnostic tool should be explained. It is because there is a decisive methodological problem with the study, which purports to offer an answer to questions such as ‘What social status is an academic?’ by focusing on three ‘capitals’: social, cultural, and economic. The professed aim is to produce a more nuanced picture of class reality than a simple focus on the economics would do. To determine the status of an academic, then, it asks questions about social contact. Which people do you know? Cleaners? Accountants? Academics? If you tick ‘university lecturer’, you will find that the measure of the social status of your friends rises to the highest level. This might seem an unproblematic assumption: surely academics are of a high social status. But isn’t this what the methodology is meant to be determining? The assumed high status of academics is then fed into the calculation of the social capital of the individual (the academic) doing the questionnaire, and the outcome will be a nuanced picture of the social status of that individual (that academic). There is, in short, a circularity to the investigation. Certain jobs are assumed to be fixed to certain social statuses, and they cannot be statuses that have been determined by this methodology, because the methodology requires them to be in place already at the start. Identical problems exist with the cultural-capital questions, which assume that certain cultural forms are inextricably linked with certain social statuses. I’ll return to these later. But the tests for both social and cultural capital are so circular that they distort the outcome of the investigation. They should be removed, to leave only the measure of economics (suddenly the seven class types then begin to seem more accurate). Incidentally, I know four academics, all from working-class backgrounds, all earning more or less the same amount, who have done the test. Their results came out as ‘elite’, ‘established middle class’, ‘new affluent workers’, and ‘emergent service workers’ depending on the friends or cultural interests they admitted to. There’s no way that this methodology can reliably determine such a wide range of outcomes when the outcome is already assumed from the start.

On, then, to the first of the three main problems with this study: its tendentious outline of the material reality of contemporary Britain. [Click here]


  1. Mike Savage, et al., ‘A New Model of Social Class: Findings from the BBC’s Great British Class Survey Experiment’, Sociology (pre-print), available here.  ↩

Is opera really all that expensive?

La Scala opera house, Milan

The Proms season has begun, so it’s time for the media to laud and damn high culture all at once. I didn’t get far in a little Guardian discussion between Roger Wright, the director of the BBC Proms, and Laura Barton, a writer on rock music before this little nugget popped up (from Barton):

Away from the Proms, the problem I have with classical music is the lack of democracy – not just to do with how much it costs to go to the opera.

The cost of opera tickets is a kind of totemic measure of ‘elitism’, so casually invoked that it is seldom enquired into. Hundreds of people are involved in every opera performance. There are likely to be between 150 and 200 musicians if it’s a large orchestra with a hefty chorus and a decent number of soloists. There are also backstage people managing the scenery, props, and lighting. These people have to be present at every performance, and they have to be paid each time. There is, then, an inescapable labour cost in opera that far exceeds that required in theatre, or – a more interesting comparison, I think – football. It’s a comparison that Wright makes, and which Barton acknowledges, but it is passed over as a small point not worth examining in their discussion. Yet the figures are interesting.

A BBC sports blogpost from last year investigates the ticket price costs for football matches. The argument is specious.

It’s the football fans’ favourite anecdote to bemoan the price of tickets. But expensive or not, 16 million people watched Football Leagues games last season. Not all of them could have been the wealthy middle classes, munching on prawn sandwiches from the corporate boxes.

That football is expensive is relative. Head to Iron Maiden (remember them) at the Manchester Evening News Arena recently, and the cheapest price was £43. At Old Trafford and the Etihad Stadium this season – to watch the Premier League champions and the world’s richest club – it could cost you as little as £28 or £25.

Even at Arsenal where the most expensive ticket will cost you £100 – just 1% of tickets available – they hardly struggle to sell seats.

The measure, then, of whether football tickets cost too much is simply whether they sell. Absent here is any awareness of the sense that for many people, football is the most important or cherished form of entertainment and that they would happily compromise on other things – holidays, quality of housing, nutrition – in order to attend matches. Absent, too, is any measure of the true cost of putting on football, and the extraordinarily level of naked capital generation – the direct transfer of money from many of the poorest in our society (football’s fan base, numerically) to the very richest. There is in short no political analysis of the economics. If the football clubs can get away with it, the ticket price is OK, on this view.

So what are the football and opera ticket prices that people allude to but never really focus on? Here is a snapshot of ticket prices for Arsenal games, taken from their website. They range from £10 to £123.50.

Maybe those are London prices. Here, then, are ticket prices at Manchester United (£16 to £52):

The Old Vic theatre in London has prices ranging from £11 to £58:

And here are Welsh National Opera’s ticket prices at their Cardiff home for a popular (and therefore more than usually expensive) opera:

£5 to £40 for a world-class opera performance, by a company that tours widely round the country, where its ticket prices may be even lower. Ticket prices at Covent Garden are higher – to attend an opera of the Ring you will have to pay between £15 for a standby ticket on the day to about £200 for the best seat in the house – but at English National Opera I’ve never seen a production with a ticket price over £90-odd, and seats in the massive Coliseum balcony range between £12 and £25 for their current production of The Magic Flute.

I wouldn’t make the fatuous argument that as long as tickets are being sold there is nothing wrong with the price of opera tickets. The Royal Opera House in particular – in fact, here it is pretty much out on its own – has scandalously high ticket prices, and often stages very boring productions. But ENO and WNO, and a range of fantastic regional or touring opera companies present interesting, original, and high-quality – Premier League, if you like – opera performances at prices that are often lower than for theatre (which has far fewer people to employ for every performance) or football (which employs a couple of dozen people on pitch). Only Covent Garden can rival the prices of Arsenal ticket prices.

Barton notes that the working-class interest in classical music seemed to drop off ‘probably’ around the birth of rock. The implication is that this is because the working class found a medium that spoke to them more vitally than classical music, and even that the new form was essentially more democratic, morally better, not tainted by ‘elitism’.

Elitism is, of course, the word used to mean ‘The cultural form in which the power of a privileged few is maintained.’ It is a deeply dubious designation. But if we change one word in that definition, so we have ‘The economic form in which the power of the privileged few is maintained’, not only do we have a concern that is infinitely more pressing – because economics exert a much more total control over human beings than cultural entertainments – but we find quite different targets for scrutiny, and football and rock music would be rather higher up the list than classical music.

One of the most important reasons why rock music is more popular than classical is that it is more immediately enjoyable and is therefore more saleable. Classical music, even really freakish stuff like Schoenberg or Birtwistle – is certainly not immune to the pressures of commodification, and CDs sell in their millions, with a few artists, and even fewer record company chief executives, becoming very rich as a result. But the commodification of popular musical forms is in a different league altogether. And again, plenty of pop music (I use that term to include every sub-genre, for brevity) resists its commodity form, and has lyrics and performers who strongly oppose the politico–economic order. Pop isn’t monolithic, and certainly isn’t uniformly a mere tool of capital, generating easily digestible and instantly discardable pap commodities that must be replaced within five minutes. But its greater amenability to commodity exploitation is a characteristic that clearly marks it out from classical music, and it is that, not just questions of taste, that gives it its cultural position today.

According to Marx, the difference between the capitalist and the worker depends on the different cyclical relations they have between money and commodities. The worker has a commodity, their body, which can be sold for money (through paid work) in order that they can buy more commodities: the worker’s cycle is C–M–C. The capitalist, however, has money, which is used to buy commodities (the work of workers), which in turn generates more money. Although the capitalist also buys commodities, he or she doesn’t spend anywhere near as much of their available resources on them. Bill Gates could buy a hundred yachts quicker than a Sainsbury’s checkout operator could buy a nice barbecue. The capitalist’s cycle is therefore M–C–M.

Cultural products like pop and football, which are immensely popular among the working class, demonstrate with uncomfortable clarity the differences between these two cycles, and the way in which these cultural forms can exert economic control over the majority on behalf of the very few.

But in this case it is football, whose real costs are or should be low, that seems to exert the most nakedly unreasonable economic force here, yet it escapes the obloquy customarily hurled at classical music. Ticket prices paid for opera compare extremely favourably to those paid for football. The fact that opera tickets are often (not always) subsidized doesn’t make much difference: anyone can buy them and benefit from the subsidy (though, again, at the Royal Opera House, unless you’re a very expensive category of ‘Friend’, and so capable of buying tickets during the privileged period before they are open to the general public who haven’t paid hundreds or thousands of pounds to show their ‘friendship’, you might not be able to buy any tickets at all).

Opera companies aren’t run by saints and are just as capable of exploitation as anybody else, but can we drop the easy supposition that opera tickets are somehow expensive? Even relative to football they are not. And their costs can quite easily be justified by the costs of staging. Not so with football. When we’re faced with a cultural form that so obviously extracts money so cruelly from millions of people who could do without the exploitation, it’s time for liberals to start thinking a bit more about the positions they hold. Stop making ‘elitism’ the principal cultural target. Attack the thing that really hurts people economically. Attack football.

The riots and the state of exception

The best responses to the riots in London and other British cities have come not from the main British media outlets, particularly not the ideologically collusive BBC (the Guardian and Independent have, predictably, fared better), but from foreign media (see this superb Süddeutsche Zeitung article) and the blogosphere. A number of Twitter commentators have observed that claims, after the riots, that the rioters are not ‘the real London, Birmingham, Bristol, Liverpool etc.’ reflect the political attitude – and political economy – that created the possibility for the riots in the first place. One particularly fine critique of the response focused by the #riotcleanup hashtag on Twitter argues that the exclusion of the rioters, either as ‘scum’ or simply as ‘inauthentic Londoners’ or whatever, is the symbolic means of defining a core, a ‘true’ society, around the eradication of this perverse element. Continue reading

Who would you rather be tortured by?

Bad torturer, good torturer

If you listen to centre-left commentators such as Martin Kettle in the Guardian or Sunny Hundal on Liberal Conspiracy and elsewhere, you’d be forgiven for thinking that although the Tories are wrong to insist that there is no alternative (TINA, as it gets called) to their top-speed state-shrinking, there is no other alternative (TINOA) to their third-way, centrist hope for reform. The Left cannot seriously hope for revolution of any kind. We must start from where we are, work with the parliamentary process, softly-softly. Continue reading

Reasons for hope despite Giles Coren

Giles Coren. Cute, funny, idiot.

The same structure that makes our current political situation hopeless should make feminists today hopeful despite Giles Coren’s stupidity. This week he wrote an obnoxious and offensive article in the Daily Mail (the only possible kind of article in that publication) in response to the removal of Richard Keys and Andy Gray, the two trivial and unintelligent nonentities who have been fronting Sky’s football coverage since it began in the dark days of Thatcherism’s first flowering. They had been caught on mike making misogynist comments about a woman referee, and it was delightful to see them losing their jobs as a result. Coren’s response – not original: it’s a standard idiot thing to say – is that their removal typifies a climate in Britain today which is virulently anti-men. We, he argues, are the new underdog, unable to function according to what he believes is our ‘biological imperative’ to belittle women. There’s a fine and well-reasoned evisceration of it by Sarah (I’m afraid I don’t know her surname) on the Scottish Socialist Youth website here. Continue reading

Killing Margaret Thatcher twice

Mrs Thatcher leaving Downing Street

I can’t be the first person to think that Margaret Thatcher is a bit like Caesar. Both greatly exceeded the acceptable limits of personal political power and both ultimately got it in the neck – Caesar fatally, Thatcher only insofar as she was ousted from no. 10. But what happened next is, in both cases, the really interesting part. The result of the murder of Caesar was the institution of caesarism (with the first caesar, i.e. Roman emperor, Augustus); the result of the eviction of Thatcher was the institution of Thatcherism, a politico-economic system we have endured since 1990 and which will deal its fiercest ever blows in 2011, thanks to Cameron and Osborne, who are proud to call themselves her children. We might call this theory of the dialectical progress of history the Obi-Wan Kenobi Principle, expressed in his maxim:

If you strike me down, I shall become more powerful than you could possibly imagine. Continue reading