Music – Page 9 – Hannah Nicklin

Image shared via a creative commons license on flickr by VampzX_23

“According to UNESCO the UK is the world’s largest exporter of cultural goods. Now there’s something. When have we been the world’s largest exporter of anything recently? And this is achieved with a tax payer investment which is 0.1 percent of the recent HBOS bailout. Not only that, with this tax payer investment we generate more economic activity than tourism, and we do this without a bonus culture, and without a ‘talent drain’. Now is the time for banks to have artists on their boards so they can understand how to use public money properly.”

Talking Birds are an awesome company, for more reasons than the above statement. I think every theatre, arts and culture company should have this on their website. Talking Birds did so just after the credit crunch hit.

Lots of blog posts are flying around at the moment about funding. Arts companies, used to the abuses of Tory rule, are battening down the hatches and readying their defences. Then, today came that expected announcement:

“Conservative MP Jeremy Hunt has been appointed as Culture Secretary – and he has already signalled that the arts are in line for up to £66 million worth of cuts as part of the drive to reduce the national debt.” (Source)

As DanRebellato Retweeted “So much for Vaizey’s ‘the Arts are safe with us'”.

This is a foolish move in the extreme. The Arts are largely seen as an easy cut, not necessary, and granted health and education sound much more important… if you believe the arts aren’t a part of either. However the truth is worse than that, the truth is that this action is at best, gesture politics, and at worst, extremely damaging to the economy. As Marcus Romer points out here

“Arts funding spend [only] amounts to 7pence out of every £100.00 of public spending”

The actual amount of public spending accounted for by the arts is minuscule. And then there’s the money it brings in. Following a recent question to Ben Bradshaw (the previous Secretary of State for Culture) Alexander Kelly of Third Angel found that:

“Last year, at London theatres alone, VAT on tickets generated £75m in income. Arts Council England invests just over £100m in theatre.

One way of reading this would be to say that the government doesn’t subsidise theatre, theatre more than pays for itself out of VAT alone”

It doesn’t just pay for itself, it brings money in, especially with the VAT hike that’s largely expected.

“The DCMS also point out the wider, and better known, arguments for seeing subsidy of the arts as investment that produces a massive return.

“However the economic impact of theatre and the subsidised arts is much greater than just VAT. The creative industries, including a number of subsidised sectors, account for 6.2% of the UK’s Gross Value Added (GVA), £16.6bn in exports, and 2m jobs.” (source)

All this on an investment of 0.1% of what we gave to HBOS during the banking crisis, for an amount that wouldn’t even register on this infogram of UK money

Continue reading Gesture Politics and the Arts

Yes the title is being slightly flippant. But so much has been written about this from quite impassioned points of view, I thought a step back might be useful, maybe even interesting.

This conflict consisted of 3 sides.

On one side, Simon Cowell, and everything that he stands for about homogenised music and coercive narrative driven so-called ‘reality TV’. He turns people, and art, into product, which he sells rather well, incidentally.

On the opposing side we find the #RATM4xmas collective, thousands and thousands of people who bought the Rage Against the Machine track, Killing in the Name, in order to protest the capitalisation of the music and entertainment industries. The song’s main message was ‘fuck you I won’t buy what you tell me’. People involved in this campaign also donated to Shelter.

And then, somewhere off to one side we find the tech-intelligentsia (tech, for the most part because the RATM campaign was fought largely online) who pointed out the irony that the RATM track was owned by SonyBMG, Cowell’s company, and that Killing in the Name’s anti capitalist lyric somewhat opposes rebellion-by-purchasing.

Cowell and the avatars of his narrative made their pleas, they spoke in the ’emotional dialogue to camera’ format that their viewers recognise and their detractors despise. And from the the angry opposing side bile spilled forth.

“[..] nobody’s buying The Climb in order to actually listen to it. They’re buying it out of sedated confusion, pushing a button they’ve been told will make them feel better. It’s the sound of the assisted suicide clinic, and it doesn’t deserve to be No 1 this Christmas.” Charlie Brooker – in The Guardian

This campaign wasn’t just against Cowell and what he has done to music and entertainment, it was against the people who subscribe to that entertainment too. Oh, not always with such malignancy, but almost always with a sense of pity for those deluded enough to buy into the Xfactor – as if they didn’t understand that it was a simple and constructed narrative, as manufactured reality isn’t a part of all of our lives, as if ‘quality’ was an empirical judgement.

The Xfactor the cultural equivalent of a Disney film, but with less kitsch value. It represents a collective dream, a wish upon a star – the wish to be Stars. It is also easy viewing for people with heavy lives and tired minds. Sure the Xfactor pretends to be real, but so does theatre, film, television drama, video games. Reality TV just pretends to be a different type of real, one that is potentially dangerous. To rival this constructed spectacle is necessary, to discount its cultural importance is ignorant. If you consider Xfactor to be a blight, look for the source of the illness, and not the symptoms.
Continue reading An Ethnographic Study of the Christmas Number One War of 2009