Tuesday, 9 April 2013

On the death of Margaret Thatcher

Some responses by artists and performers to Margaret Thatcher, who died yesterday.

I don’t agree, by the way, with partying in the street, or attempting to disrupt the funeral. This might satisfy the grievances of a minority of left-wingers, but must seem distasteful to most Britons, despite everything Thatcher did in her war against the working class. The enemy is not one old woman with dementia who had no direct influence on politics any more: it is Thatcherism as the ideology of right-wing reaction against the advances of the left from 1945-79.

John Cullagh: I’ll Dance On Your Grave Mrs Thatcher




Morrissey: Margaret on the Guillotine


The kind people
Have a wonderful dream
Margaret On The Guillotine
Cause people like you
Make me feel so tired
When will you die?
When will you die?
When will you die?
When will you die?
When will you die?

And people like you
Make me feel so old inside
Please die

And kind people
Do not shelter this dream
Make it real
Make the dream real
Make the dream real
Make it real
Make the dream real


Hefner: The Day That Thatcher Dies


We will laugh the day that Thatcher dies,
Even though we know it’s not right,
We will dance and sing all night.

I was blind in 1979, by ’82 I had clues,
By 1986 I was mad as hell.

The teachers at school, they took us for fools,
They never taught us what to do,
But Christ we were strong, we knew all along,
We taught ourselves the right from wrong.

And the punk rock kids, and the techno kids,
No, it’s not their fault.
And the hip hop boys and heavy metal girls,
No, it’s not their fault.

It was love, but Tories don’t know what that means,
She was Michelle Cox from the lower stream,
She wore high-heeled shoes while the rest wore flat soles.

And the playground taught her how to be cruel,
I talked politics and she called me a fool,
She wrapped her ankle chain round my left wing heart.

Ding dong, the witch is dead, which old witch?
The wicked witch.
Ding dong, the wicked witch is dead.


Danny’s speech from the movie Brassed Off (1996).



Elvis Costello: Tramp the Dirt Down


Well I hope I don’t die too soon
I pray the lord my soul to save
Oh I’ll be a good boy, I’m trying so hard to behave
Because there’s one thing I know, I’d like to live
Long enough to savour
That’s when they finally put you in the ground
I’ll stand on your grave and tramp the dirt down


Pete Wylie: The Day That Margaret Thatcher Dies!



But the final word belongs to Gerry Adams, leader of the most advanced political current in these islands. The working class suffered across Britain, but nowhere so intensely as in the occupied counties of Ireland, where the armed struggle meant a risk of death:

Margaret Thatcher did great hurt to the Irish and British people during her time as British Prime Minister.

Working class communities were devastated in Britain because of her policies.

Her role in international affairs was equally belligerent whether in support of the Chilean dictator Pinochet, her opposition to sanctions against apartheid South Africa; and her support for the Khmer Rouge.

Here in Ireland her espousal of old draconian militaristic policies prolonged the war and caused great suffering. She embraced censorship, collusion and the killing of citizens by covert operations, including the targeting of solicitors like Pat Finucane, alongside more open military operations and refused to recognise the rights of citizens to vote for parties of their choice.

Her failed efforts to criminalise the republican struggle and the political prisoners is part of her legacy.

It should be noted that in complete contradiction of her public posturing, she authorised a back channel of communications with the Sinn Féin leadership but failed to act on the logic of this.

Unfortunately she was faced with weak Irish governments who failed to oppose her securocrat agenda or to enlist international support in defence of citizens in the north.

Margaret Thatcher will be especially remembered for her shameful role during the epic hunger strikes of 1980 and ’81.

Her Irish policy failed miserably.


Monday, 1 April 2013

De Ste Croix on Greek art

The two passages below, selected for their relevance to the topic of ancient Greek art, are reproduced from The Class Struggle in the Ancient Greek World by G.E.M. de Ste. Croix (1981). This mighty work of Marxist scholarship is one of the best books on the ancient world.

On the class nature of Greek art:
The most important single dividing line which we can draw between different groups of free men in the Greek world is, in my opinion, that which separated off from the common herd those I am calling ‘the propertied class’, who could ‘live of their own’ without having to spend more than a fraction of their time working for their living. …

Although small peasants and other free men such as artisans and shopkeepers, working on their own account, without much property of their own, must always have formed a substantial proportion of the free population of the Greek world, and indeed were probably a majority of the whole population until about the end of the third century of the Christian era, they would normally have to spend most of their time working for their livelihood, with their families, at somewhere near the subsistence level, and would not be able to live securely and at leisure, as members of the upper class… By and large, a comfortable, leisured existence could be secured only by the possession of property (primarily in land…) which alone gave the upper classes that command over the labour of others which made it possible for them to live the good life, as the Greeks saw it, a life not constrained by the inescapable necessity of working for one’s living, a life which could be devoted to the pursuits considered proper for a gentleman: politics or generalship, intellectual or artistic pursuits, hunting or athletics…

These men, liberated from toil, are the people who produced virtually all Greek art and literature and science and philosophy, and provided a good proportion of the armies which won remarkable victories by land over the Persian invaders at Marathon in 490 and at Plataea in 479 BC. In a very real sense most of them were parasitic upon other men, their slaves above all; most of them were not supporters of the democracy which ancient Greece invented and which was its great contribution to political progress, although they did supply almost all its leaders... But what we know as Greek civilisation expressed itself in and through them above all, and it is they who will normally occupy the centre of our picture.

(pp114–5)
In this next passage De Ste Croix comments on the status of the artist later, in the Roman period, and the distinction that had begun to be drawn between amateur and professional art production:
There is a much-quoted passage in Plutarch’s Life of Pericles (2.1-2) which some people today may find astonishing: in Plutarch’s eyes no young gentleman, just because he had seen the Zeus of Pheidias at Olympia or the Hera of Polycleitus at Argos (two of the most admired ancient statues) could possibly want to be Pheidias or Polycleitus. Such statements in the mouth of a ‘real Roman’ might not seem so surprising, it will be said; but was not L. Mestrius Plutarchus, the Roman citizen (albeit a newly-made, first-generation one), also very much a Greek? The answer is that in the Roman period the Greek as well as the Roman propertied classes felt a greater gulf between themselves and all those (including technitai, and therefore ‘artists’) who engaged in ‘banausic’ occupations than had the leading Greeks of the Classical period, at least in Athens and some other democracies. Had Pheidias and Polycleitus sculpted purely as amateurs, had they enjoyed large private incomes and received no payment for their artistic work, Plutarch and his like would have found nothing contemptible about them. It was the fact that they could be considered to have earned their living by actually working with their own hands that made them no fit model for the young Graeco-Roman gentleman. Plutarch says elsewhere that the Athenian painter Polygnotus showed he was no mere technites by decorating the Stoa Poikile at Athens gratis (Cimon 4.7).

Since in a class society many of the values of the governing class are often accepted far down the social scale, we must expect to find disparagement of craftsmen, and therefore even of artists, existing in the ancient world not only among the propertied Few. In particular, anyone who aspired to enter the propertied class would tend to accept its scale of values ever more completely as he progressed towards joining it. Yet it would be absurd to suggest that the lower classes as a whole dutifully accepted the social snobbery and contempt for the ‘banausic’ that prevailed among the well-to-do. Many Greeks (and western Romans) who might be called ‘mere artisans’ by superior people even today were evidently very proud of their skills and felt that they had acquired dignity by the exercise of them: they referred to them with pride in their dedications and their epitaphs, and they often chose to be pictured on their tombstones in the practice of their craft or trade, humble as it might be in the eyes of their ‘betters’. To say that ‘the ancient Greeks’ despised craftsmen is one of those deeply misleading statements which show blindness to the existence of all but the propertied Few.

(pp274–5)
Readers interested in De Ste Croix can find David Harvey’s Guardian obituary article at: http://www.guardian.co.uk/books/2000/feb/10/historybooks.obituaries.