The Null Device

Prompted by a 1980s-themed end-of-term disco at her son's school, actual 1980s musician Tracey Thorn (of Everything But The Girl) has written a piece on how decades develop official versions, which often bear little resemblance to the experience of those who lived them. (And, being in the New Statesman, the subtext is that the official versions are a hegemonic discourse of the winners; the 80s are essentially shoulder-padded Thatcherism and Duran Duran, with not a Red Wedge badge to be seen; the 70s Abba, flares and disco, and the 1990s will inevitably be summed up as football-terrace Britpop and Tony Blair's reptilian smile):

Who decides these things? Is it simply that history is written by the victors, so that those who seemingly “won” a decade get to determine what it was like, what it meant? The airbrushing of entire eras has become almost Stalinist in its refusal to allow for complexities, alternatives, or the possibility that various things were happening at any one time. It’s apparently too difficult to understand that there was more than one point of view, one style of fashion, one type of record. Instead we simplify, and homogenise, and boil everything down to a few bullet points. Films and TV dramas are often guilty of this, representing the Sixties, for instance, in a house filled with Verner Panton chairs and Lucienne Day curtains. I grew up in the Sixties and, like most houses, ours was full of dark wooden furniture from the past sitting comfortably next to a recently bought, and therefore period-appropriate, coffee table.

My friend the writer Dave Haslam wrote a whole book (Not Abba) objecting to what he calls the “Abbafication of the Seventies”, in which he quite correctly points out how depressing and demeaning it is to have reduced that decade to a kind of fancy-dress parade of wigs and flares, platforms and glitter, averting our eyes from the vivid realities of “IRA bombs, PLO hijackings, overt racism, football hooliganism, Linda Lovelace, Mean Streets and Apocalypse Now . . .” Similarly I can see how the story of the Nineties is gradually shrinking and contracting, until pretty soon all that’ll be left will be Britpop, and a party that once happened at 10 Downing Street; everything else just a blur, or omitted completely.

¶ 1980s culture everything but the girl history tracey thorn 0

Thank "Bob", I'm well clear of the Dido demographic, the latest lucrative market segment (which seems to be essentially smug, superficially fashionable thirtysomethings who consider themselves much more hip and with-it than they actually are, and/or are in denial about their comfortably bourgeois, alt-MOR tastes).

20 Protection by Masssive Attack Yes, you know that Blue Lines is really the one to have, but you got this because you've heard of Tracey Thorn. You wanted something edgy and hip hop but with the reassuring Marks and Spenceryness that was Everything But The Girl. And you got it!

Anyway, I've got only three titles from the list (Dummy by Portishead, Play by Moby (which I have since found too bland to be worth listening to, and which is probably a candidate for the next CD-liquidation sweep), and OK Computer by Radiohead (though I think that Kid A and Amnesiac are doovy)).

¶ chill-out conformism culture dido everything but the girl mainstream marks and spencer massive attack middle-class smug uk 2