The Gospel According to Glossies

When I was a teenager, my mother’s glossy magazines taught me an important lesson; no matter what you’ve achieved in life, no matter how much money you’ve made or how much good you’ve done, it all means nothing if you haven’t found a husband and had children.  And you’ve only got til your early forties to manage the latter, so best get cracking.

There was article after article about how to cope with being married to an insensitive slob who never washed, ignored you in favour of football, and generally acted like an overgrown four-year-old.  That was your only choice.  You couldn’t marry a man who wasn’t like that, because there weren’t any men who weren’t like that.  You couldn’t be a lesbian, because lesbians only existed as horrifying examples of what you might look like if you picked the wrong outfit.  You couldn’t stay single, because that would involve becoming a sad old woman who went home every night to an empty flat and was secretly pitied by everyone at work. It was the insensitive slob or nothing.

Every single book they recommended was either about a woman whose whole life collapsed after finding out that her husband was cheating, or about a desperate single woman with a ticking biological clock, who eventually ran into a “knight in shining Armani” who took pity and married her. Every article on friendship warned against the negative effects that your friends could have on your marriage. Every article on food told you what to cut out of your diet in order to maintain your clear skin and trim figure. Every article on parenting told you exactly how you were destroying your children’s chances this week. They were pretty great at telling women what they were doing wrong.

They taught us that all women regularly bought size-eight outfits to put in storage for when they’d lost enough weight.  They taught us that our failure to ever lose enough was yet another sign of our inadequacy.  They frequently reminded us that all men fantasised about busty blondes with tiny waists.  If you were not a busty blonde with a tiny waist, you could rest assured that your husband had settled for less by marrying you, and was secretly on the lookout for something better.  Luckily, after every such reminder, they’d print an article about how plastic surgery was becoming more and more socially accepted these days.  And really, didn’t you owe it to the people around you not to constantly horrify them with your hideous body?

And every so often, in the midst of all of this, they would stop and assure us that we were lucky to be living in an age of equality, where women were independent and free to be anything they wanted to be. Now, isn’t that nice?

Bad Religion

(The following article was originally published on Women Make Waves in June 2015.)

One of the creepiest things I’ve ever heard came from a nine-year-old I used to know. In retrospect, I should have seen it coming- she’d previously told me her church said that the Na’vi from Avatar were actually devils and that getting the red-eye effect in photos was a sign you were possessed. But one day, when a couple of her friends were happily discussing their great love of Hannah Montana, she told them she didn’t watch it. “You shouldn’t spend your time watching TV,” she said, “If you do that, you’re basically worshipping the TV. You should be spending that time praying to God.”

It took me about an hour to get the goosebumps to go down.

Now, don’t get me wrong- there are a lot of good reasons to encourage children to watch less TV.  It was just the sheer puritanical unpleasantness of the logic that got to me. “You’re basically worshipping the TV. That’s time you should spend praying to God.”. You could apply that to anything. If you read a book, you’re basically worshipping the book. That’s time you should spend praying to God. If you play outside, you’re basically worshipping your garden. That’s time you should spend praying to God. If you listen to music, you’re basically worshipping the music. If you talk to your friends and family, you’re basically worshipping your friends and family. If you think for yourself, you’re basically worshipping your brain.

It’s possible that the girl’s pastor didn’t intend to spread this message. It’s possible that he was just condemning television in particular (since it was invented in the last hundred years and is therefore evil) and just didn’t take his train of thought to the logical conclusion. Honestly, though, I doubt it. I think he wanted her to worry that she wasn’t spending enough of her leisure time praying to God. I think he wanted her to feel guilty that she wasn’t spending all of her leisure time that way. I think he wanted to teach her that the ideal spiritual life is spent doing nothing but praying, possibly with occasional breaks to eat (but possibly not- after all, when you eat dinner you’re basically worshipping Brussels sprouts).

What’s more, I don’t think he did this just because he believed in the value of an ascetic, cloistered lifestyle. I think he wanted to discourage his parishioners from listening to anybody other than him. When you hold people to an impossible standard and make them torture themselves with guilt (“When you breathe, you’re basically worshipping oxygen…”), it becomes easier to control them. It becomes easy to manipulate people’s faith and use it as a tool to keep them in their place. It’s a lot like an abusive relationship, but instead of using violence and emotional blackmail to keep your victims in check, you use threats of excommunication and hellfire.

I admit, I don’t know much about what God is like. Nobody does. But I have a really hard time believing that He (or She) put us in a massive, varied world, full of wonderful things to see and experience and a ton of horror and tragedy to fight against, and intended for us to ignore all of it. And, honestly, I don’t think there’s anything in the Bible (or, say, the Qua’ran or the Bhagavat Gita) to suggest that’s the case. Sooner or later you’re going to do something other than pray, if only so you’ll have something to pray about. That’s not a bad thing. You’re only in the world for 80 years or so, you might as well go out and have a look at it.

When a religious leader tries to guilt his congregation out of experiencing the world, it’s usually because he wants to have a monopoly on their minds. Anything you do is something you’re doing instead of praying… unless it’s something that he wants you to do. It’s never actually about God, or faith, or prayer- it’s about the powers that be asserting their hold over those they deem inferior. When you do that, you’re basically asking your congregation to worship you. And that’s time they really could spend praying to God.

The Power of Love

I meant to turn “Odd Christmas Songs” into a series, but then Christmas got on top of me and I forgot.  Ah well.  It’s Christmas Eve, so here’s Frankie Goes to Hollywood’s “The Power of Love”, the only Christmas song to feature references to vampires, the Fantastic Four, and The Perils of Penelope Pitstop.  Furthermore, the only reason it even counts as a Christmas song is because there’s a Nativity play going on in the video.  Mind you, the only reason “Stay Another Day” counts as a Christmas song is that it was Christmas Number One that year, so clearly the whole thing is completely arbitrary.

In other news, I wish you all a merry Christmas and a less depressing Boxing Day than usual.

 

“The Little Boy That Santa Claus Forgot”

I first became aware of this song (specifically, the Nat King Cole version) last year.  I’d probably heard it before, but, until then, I hadn’t listened to the lyrics properly.  The first verse gives a list of Christmas presents that the little boy asked for and didn’t get, then describes him gazing forlornly at the other children in the street playing with their new toys.  The first verse ends:

“I’m so sorry for that laddie / He hasn’t got a daddy*/ The little boy that Santa Claus forgot.”

OK, you think, We’ve had the tragic first verse, so now in the second verse we’ll hear about how the other children felt sorry for him as well and decided to share their toys.  Or how Santa suddenly noticed his mistake and zoomed back to the boy’s house to drop off his presents.  Or how a handsome millionaire proposed to the boy’s mum and whisked them both off to his mansion full of Christmas trees and tame polar bears you can ride.

Instead of any of that, we get a repeat of the first verse, and then the song ends.

Seriously.  That’s where we leave him; orphaned, present-less and jealous, with Nat King Cole feeling sorry for him.  It’s like if Charles Dickens had ended A Christmas Carol with Scrooge taking his niece and nephew on holiday to the Bahamas, with Tiny Tim never being mentioned again.

There’s another odd detail in the reference to “last year’s broken toys.”  So…  Santa doesn’t forget him every year, then?  That’s something, at least.  And, what, he managed to break every one of his Christmas presents in the last twelve months?  Or did somebody else break them?  Details, song, details.

Anyway, this year, I’ve finally worked out what this song reminds me of.  Behold.

 

 

*”Just thought we’d throw that detail in there, just in case you weren’t feeling sad yet!”

Why I Like Rick from “The Young Ones”

(The following article was originally posted on Women Make Waves in Autumn 2014.)

When Rik Mayall died earlier this year, a lot of fans comforted themselves with one of his best-known lines:

“Aha, kids, do you understand nothing? How can Rick be dead when we still have his poems?”

And Rik Mayall can’t be dead when we still have Rick from The Young Ones. Mayall’s legacy includes a long list of vibrant, memorable characters, but before anybody even thought of Lord Flashheart or Drop Dead Fred, there was a whiny, spotty little brat who thought Cliff Richard was a revolutionary leader. On one level, Rick is a typical egotistical comedy protagonist who has no idea how he comes across to others, a lot like Alan Partridge or David Brent. But The Young Ones is a deeply political show, and Rick’s alleged anarchic beliefs are central to his character. In a way, he’s a bit of a cautionary tale for anybody who wants to be politically active.

The world of The Young Ones might be a place where bricks explode when you bite them and vampires suddenly appear in your living room to try and trick you into forgetting to return your rented video player in time, but it’s also got one foot in reality. The characters frequently discuss their hatred of Margaret Thatcher. The police are shown as corrupt, racist, or just plain incompetent. University Challenge is rigged in favour of the posh kids. Casual drug use is depicted in a completely non-judgemental way, but sexist beer ads are mocked mercilessly. Thirty years later, it still feels subversive, mainly because the political aspects of the show happen alongside the sillier and more surreal humour. With The Young Ones, you’re never really prepared for what’s coming next.

People tend to use the phrase “equal opportunity offender” to mean, “I can make as many sexist and homophobic jokes as I want, because I’m so ironic and hardcore.” But to me, The Young Ones represents what that phrase should really mean- the willingness to mock the shortcomings of your own side just as readily as you would those of your enemies. So, in addition to the racist policemen and the rigged game show, we have Rick.

Rick thinks of himself as an anarchist, and spends a lot of time reminding anyone who’ll listen how much more politically sound he is than them, but he is chronically unable to put his money where his mouth is. He plans to boast to his friends about refusing to pay his TV license, but, when the inspectors show up, he tries to shift the blame to his housemates. He meets an old man in the post office and berates him about his (presumed) reactionary attitudes, but soon ends up complaining that “the country’s in such a state” because the government gives away too much foreign aid. When Vyvyan upsets him, he begins to write a letter to his MP, until Neil (whose radical beliefs are, in contrast, shown as silly but sincere) reminds him that he doesn’t have one. In general, he comes across as somebody who doesn’t know much about what it means to be an anarchist, and probably only picked the label because it seemed cool.

It’s easy to imagine Rick as a more right-wing archetype- say, a fundamentalist Christian who constantly tells everyone else that they’re going to Hell even though he’s as badly-behaved as they are- but if he was, he wouldn’t be half as interesting. When Rick says, “Neil, the bathroom’s free! Unlike the country under the Thatcherite junta!” the joke isn’t that the writers think he’s wrong. The joke is that he’s so self-satisfied about it. Later in the same episode, Alexei Sayle breaks character, talks about his real-life Marxist principles and reassures his allies that appearing on television doesn’t mean that he’s sold out… before launching into a Pot Noodle advert. The message is clear: Your beliefs are worth taking seriously, but if you start taking yourself seriously, you’re screwed.

Rik Mayall played a lot of great characters in his time, but we should probably be most thankful for Rick. Not just because he’s hilarious, but because he actually teaches the audience something. Don’t use other people’s problems as an excuse to draw attention to yourself. Don’t get so wrapped up in the superficial aspects of a movement that you forget about the substance. Don’t assume that fighting against awful, wrongheaded political opponents automatically makes you wise and virtuous. And, no matter how much they annoy you, don’t ever call your nice hippy flatmate a “fascist.”

Kids Today

(The following article was originally posted on “Women Make Waves” in Autumn 2014.)

There’s an internet post – first forwarded through e-mail, then later shared on Facebook – that congratulates the generation that grew up in the Fifties and Sixties for surviving their childhoods. They must have been really tough, argues the post, to survive doing dangerous things like playing out in the streets without adult supervision, riding in cars with no seatbelts, or eating food that hadn’t been checked for peanuts first. They must have been really tough to survive teachers who didn’t have to consider their self-esteem and parents who were actually prepared to punish them when they did something wrong.  The message of this post is clear; the way their generation was raised was the correct one, and modern children are spoilt and mollycoddled. Whether or not you agree with this, it’s true that childhood in the Fifties and Sixties was very different to childhood today. Standards change a lot over time, and it’s not surprising that people who were born into a world that worked in one way can find themselves confused and annoyed when it starts to work in another.

However, a few months ago, I saw a version of this post that was headed, “To everyone who grew up in the Fifties, Sixties, Seventies, Eighties and Nineties.”

That was perplexing for several reasons. For one thing, I’m almost certain that seatbelts and teachers who worried about self esteem existed even back in the Nineties. For another, the original post dates from around 2002, so I’m pretty sure it was originally written to criticise children who’d grown up in the Nineties. But the children of the Nineties are in our mid-to-late twenties now, so we’ve been deemed old enough to be included in the looking-down-our-noses-at-younger-people club. I’m sure we’re all honoured.

Well, actually, some of us are. Every other day, I see posts on my Facebook page from people in their twenties about how today’s children are growing up to be unholy hellions because their parents don’t beat them enough. Alternatively, they’re growing up to be uncultured morons because they’re not watching Dexter’s Laboratory and Bananaman like we did. It happens in real-life conversations, too; three times in the last month, somebody has told me about working in a school and being shocked at how rude and badly-behaved the children were. It’s nothing like our high school years, they say. (Meanwhile, I left a job in a secondary school earlier this year partly because it reminded me too much of my high school years. Clearly at least one of us has a faulty memory.)

It seems as though every generation can be easily convinced that the one immediately after it is made up of demons from hell. There are writings from the Roman playwright Seneca the younger in which he complains about the youth of today, who grow their hair too long and don’t listen to their teachers. So we can either conclude that the ancient Romans were paragons of virtue and wisdom and every generation since has been a slight decline (which would require us to ignore most of what Nero and Caligula got up to in their spare time), or that, just maybe, it’s not fair to judge any generation based on the way they behave as teenagers.

Oh, but we’re right this time, you say. Those kids today are dangerous. They’ve got BBMs and violent videogames and Justin Bieber. They’re a menace.

To which I reply: You do realise that’s exactly what people were saying about us ten years ago, right?

Alright, maybe not the part about Justin Bieber, but ten years ago, you couldn’t move for stories about how awful the young people of 2003 and 2004 were. When a teenage girl was arrested for indecent exposure while on holiday in Greece, the tabloids went bananas about how out-of-control modern kids were. The Mirror printed a shock report on teenagers getting drunk and flashing their breasts, and called on the parents of Britain to do something. The Daily Mail printed a photo of a group of teenagers getting on a plane, with a caption stating that the world would be better off if they all crash-landed in the sea. Then there were ASBOs. These were basically just the government’s new strategy for dealing with minor crimes, but the papers treated them as though they were a sign that everybody under the age of twenty was criminally insane. You’d see references to “ASBO youth” and “the ASBO generation” scattered here and there. When the word was accepted into the dictionary, the papers treated it as a sign of the wickedness of the modern age. The verdict was clear- the youth of that time represented a new low.

But now that the youth of that time have grown up, everybody’s changed their minds. We’ve been promoted from the worst generation ever to the last good generation before the rot set in. And, to show our gratitude for being accepted into polite society, we should all turn round and decry the awfulness of children today, in sheer glee that it’s not us anymore.

It’s lazy thinking, plain and simple. It’s egotism. It’s narrow-mindedness. It’s the refusal to accept that any childhood that isn’t absolutely identical the one we had can possibly be healthy, that what was good for us might not be good for somebody else. It’s the refusal to see anybody younger than us as a human being. It’s the refusal to consider that somebody might make mistakes because of immaturity rather than because they’re naturally evil. It’s the choice to throw something away because it’s not working exactly how we want it, rather than trying to fix it. The children who grew up in the Nineties have been asked to join this club, but if we’ve got any sense, we’ll say no. Because we’re still young enough to remember when we were the generation of demons from hell, and we’ll never solve the problem just by passing the bile onto someone else.

Being Rude to Creepy Blokes

(The following was originally posted to “Women Make Waves” in Autumn 2014.  Once again, sorry about the formatting.)

The best piece of safety advice I received as a child was, “It’s okay to hit, kick and scream if a stranger is trying to take you away.”  The best piece of safety advice I’ve received as an adult is, “It’s better to be rude than dead.”*  Both of them are essentially saying the same thing- if you feel that you’re under threat, don’t worry too much about being sweet, likeable, or well-behaved.  Put like that, it sounds obvious, but people- and women especially- are put under a lot of pressure to be polite at all times.  We’re told to smile sweetly at people who get on our nerves.  We’re told that swearing is unladylike.  We’re told that getting angry only makes us seem shrewish and bitchy.  The same people who warn us never to walk home alone at night are perfectly happy to tell us to make friends with total creeps.
Take my former housemate, who, on our very first conversation, made sure to ask me if I had a boyfriend, then, after I said no, asked, “So when are you going to show me your room?”  When I mentioned this conversation to my mother, she said, “Aw, why don’t you invite him in?  That’s how you make friends!”  I didn’t invite him in, no matter how often he hung around my door looking hopeful.  Once he’d got into my room, it might have been nearly impossible to get him out.
Or the two men who ran into some of my friends at midnight, and tried to convince them to come with them into a dark subway because there was a really cool nightclub on the other side of the road.  (My friends could see across the road, and there wasn’t.)  They said that they had to get home, but the men explained to them how simple it was to get to the nightclub through the subway, and that my friends didn’t need to worry because they could trust them.  For some strange reason, my friends didn’t take them up on their offer.
Or the man who, upon visiting our flat, told me and my flatmate, “Yeah, I met up with a friend of mine earlier today.  I almost said, ‘Hey, I’m going to see these two girls later on.  You should come- one for me and one for you.’  But then I thought ‘No,’ cause you’re mates, ain’t you?”  We weren’t even that- we’d met him exactly once before.  When I deleted him from Facebook a week later, he sent me a message demanding to know why.  Three hours later, when I hadn’t replied, he sent another saying, “So there’s no reason, then?”  He then sent several whiny messages to my flatmate asking why I’d deleted him, and spent the next four months or so telling all our mutual friends that I was a total bitch who forced my opinions on people.
The criticism you often hear in these situations is, “Well, if you hadn’t been so uptight, you could have made a new friend.”  But, even working on the assumption that a man who lies to tempt a woman into a dark subway is remotely interested in friendship, why would you want to be friends with somebody like that, anyway?  If you humour him instead of running away screaming, the absolute best-case scenario is that you have to put up with him for the foreseeable future, and nobody wants that.  Besides, the worst-case scenario just doesn’t bear thinking about.
The creepier somebody is, the more likely they are to try and take advantage of your better instincts.  Your instinct to be polite.  Your instinct to give people the benefit of the doubt.  Your instinct to build people up instead of knocking them down.  These are good instincts to have, and you should never lose them.  But your safety is always, always more important than some creepy stranger’s ego.
* A Google search tells me that “It’s better to be rude than dead” originates from Gavin De Becker’s The Gift of Fear. The other piece of advice comes from a child safety pamphlet whose name I’ve forgotten. If you recognise it, tell me what it is.

The Worst Song

(The following article originally appeared on the Women Make Waves website in September 2014.  Since Women Make Waves is no longer in business and the archives are more difficult to access as a result, I thought I’d collect a few of my articles here, for easy reference.)

(P.S.  Sorry about the paragraphing.  I’m not sure how to fix it.)

If you Google the words “the worst song of all time”, you’ll generally get a string of irritating novelty hits. You’ll get “Agadoo”, you’ll get “The Birdie Song”, you’ll get “Can’t Touch This”, and so on. And while there’s the occasional surprising result (seriously, “Ob-La-Di, Ob-La-Da” isn’t even the worst Beatles song), by and large, you get a selection of songs that are, when all is said and done, a big joke. Songs that were funny the first time, but made everybody want to stick forks in their eyes by the seventy-fourth. It’s pop culture’s revenge- for the crime of tormenting our elders by singing Aqua over and over again, we in our turn will be tormented by the younger generation singing “What Does The Fox Say?” over and over again. It’s tough but it’s fair.
But here’s a funny thing- deep down, where it counts, none of those songs truly deserve our hatred.
No, really. They deserve our annoyance, and they deserve our disdain, but actual, genuine hatred is something different. The songs mentioned above are, basically, harmless. MC Hammer, Black Lace and the others set out to make disposable pop hits, and disposable pop hits are what they made. Besides, you only have so much hate to go round- if you waste it on a band with lyrics like, “Come on Barbie, let’s go party,” you’ll have none left over for Hitler.
But what about a band with more ambition like that? What about a band who want to teach their audience a valuable life lesson? What about a band who decide to write a song with an important social message? And what about a band who completely mishandle that message, so that their song comes out as a pile of clueless, sexist, victim-blamey tripe?
Gentle readers, I give you City High’s “What Would You Do?”
I hate this song. I hate it with the power of a thousand suns. I hate it with a passion that, to be honest, is probably a little out of proportion considering that it’s a thirteen-year-old song by a band who split up soon after its release. But it still exists. Every time I think I’ve forgotten about it, it suddenly comes on the radio and makes me want to kill things.
Although it was released in 2001, “What Would You Do?” has always made me think of the 1980s slogan “on yer bike.” The origin of this phrase was a comment made by the Conservative MP Norman Tebbit, in the aftermath of unemployment riots in the summer of 1981. In criticising the behaviour of the rioters, Tebbit said, “I grew up in the Thirties with an unemployed father. He didn’t riot. He got on his bike and looked for work, and he kept looking ’til he found it.” Many people interpreted this as Tebbit telling the unemployed to look for work like his father did instead of complaining. Some considered this sensible advice, and adopted “on yer bike!” as a tough, no-nonsense slogan. Others responded, “Go out and look for work? Wow, what a brilliant idea- I’d never have thought of that on my own! And I certainly haven’t been doing exactly that for the last year, you insensitive bell-end!”
But the thing that jumps out at me is this- Norman Tebbit only felt he could imply what City High, twenty years later, directly stated in this song. And I think we can all agree that when an up-and-coming R&B group are less sensitive to the plight of the disadvantaged than a right-wing politician in the 1980s, something’s gone horribly wrong.
The song begins with our narrator at a wild party with plenty of booze and strippers. Please note that he went there of his own free will, and there is nothing in the lyrics or video for this song to indicate that he isn’t enjoying himself. Remember this- it will be important later.
The narrator notices that one of the strippers is a girl named Lonnie who went to school with him, so he drags her outside and demands that she explain herself. Instead of punching him in the face and stealing his wallet, Lonnie explains that she works as a stripper (and occasional prostitute) because it’s the only way she can feed her son. I’ll pause here to point out what we’ve just learned about the narrator: He objects to his old friend being a stripper, but he doesn’t see anything wrong with himself or his friends paying to be entertained by strippers. It’s alright for them to want a particular service and enjoy it when it becomes available, but wrong for Lonnie to provide it.
There are several terms for men who think like that, but the only one I can repeat in polite company is “gigantic hypocrite.”
Admittedly, you could take a more charitable view of his character and argue that he has no particular moral objection to stripping, but he remembers Lonnie as a clever girl and is surprised and disappointed that she hasn’t done more with her life. You could argue that I’d be just as surprised if I saw an old schoolfriend working in Mcdonalds when I knew she’d got A*s on all her A-levels. And I can’t deny that. But the difference is this- if I did see a genius friend working in Mcdonalds, I’d arrange to take her out for a drink and catch up on what had happened over the years, then broach the subject of her career choice politely. I wouldn’t drag her outside and demand that she justify her life to someone she hasn’t spoken to in years.
At the start of the second verse, the narrator once again fails to endear himself to me by telling Lonnie that her need to support her son is “no excuse” for her behaviour. You know, I don’t think I’ll be satisfied with her stealing his wallet anymore. At this point, it’ll pretty much have to be his kidney.
It’s that word “excuse” that gets to me- the sheer presumption on the part of the narrator that she has to excuse her method of supporting her son to someone who is essentially a complete stranger. He’s basically Angel Clare from Tess of the D’Urbervilles– a complacent man alternately taking the sexual favours that women offer him, and demanding that they explain to him exactly why this doesn’t make them massive sluts.
Instead of going with my kidney idea, Lonnie rants at the narrator, telling him, “Every day I wake up, hoping to die.” She doesn’t add, “And if I’d known I was going to run into a sanctimonious twerp like you today, I’d have wished a lot harder,” but I think it’s implied. She then tells him that she and her sister ran away from home to escape their father’s sexual abuse, before concluding, “Before I was a teenager/ I been through more shit that you can’t even relate to.” The narrator never shows any sign that he, in fact, can relate to her life, but he doesn’t let this get in the way of telling her that she’s doing it wrong.
The music video then cuts back to the narrator telling his friends the story. The music stops as one of them interrupts with, “What’s stopping (Lonnie) from going out and getting a real job?”
Well, I’d like to ask him by what standards being a stripper isn’t a real job (it requires real hours and pays real money, doesn’t it?), but otherwise he asks a valid question. There could be a number of factors- it might be that the economy’s in the toilet and the strip club’s the only place hiring; it might be that there are other jobs going, but the pay isn’t as good, or they require qualifications and experience she doesn’t have, or the hours aren’t compatible with childrearing; it might be that she lacks the motivation to look for a job, possibly because she’s clinically depressed (the “every day I wake up hoping to die” line certainly suggests this)…
“What would you do? / Get up on my feet and stop making up tired excuses”
Oh, who am I kidding? It’s because she’s lazy, obviously!
Fortunately, this part of the song isn’t spoken directly to Lonnie, which means that she’s not going to have to listen to any more pseudo-moralistic garbage, which I imagine is a relief. No, this is just something that the narrator’s friend would say to Lonnie if, hypothetically, he met her. Which he’s not going to. So it’s just the audience that has to suffer as he tells us exactly what he’d do if he was in this situation that he’s never been in and never will be in, but knows, instinctively, that he’d handle a lot better than this stupid, lazy woman.
Before we come to the general theme of this song, there is a very odd line in the final verse that I think is worth addressing: “Girl, I know if my mother can do it, baby you can do it.” Since this is the only mention of his mother, and he doesn’t elaborate or attempt to explain whether or not her situation was even remotely similar to Lonnie’s, all this line achieves is adding a creepy Madonna / whore vibe that, frankly, fits right in with the “It’s OK for me to watch strippers unless one of them is somebody I know personally, in which case it’s an affront to my morals” attitude we saw in the first verse.
This song has not one, but two, highly questionable morals. We’ll start with the horrifically sexist one, then go on to the horrifically classist one.
Moral the First: If you’re a stripper or a prostitute, you should give it up. Not because of any practical or moral reservations that you yourself might have, but because it might make a man disapprove of you.
And we can’t have that. Everyone knows that a woman must devote her life to the good opinion of males everywhere. There are many times and places in which boys are told that all women are either bad girls (who you sleep with and then dump) or good girls (who are human beings), and the first verse comes across as the narrator telling Lonnie off for blurring the line and making his head hurt. And in the final verse, the line “stop making up tired excuses” carries the disturbing implication that Lonnie should have let her son starve to death before she allowed herself to become sexually impure.
Moral the Second: If you know somebody who does something dangerous or morally questionable to support her children, it’s not because of complicated factors like a hostile job market or lack of financial support from the government or her children’s father. It’s because she’s lazy!
See also, “I’m not paying tax to support a bunch of people on the dole who can’t be bothered to get jobs!” Some people badly need to believe that the reason they’re better off than poor people isn’t that they’re luckier, but that they’re inherently better people. If they were in the poor people’s shoes, they tell themselves, they wouldn’t sit around all day watching TV and eating crisps, or whatever it is that poor people do. No, they’d go out and achieve, and earn a million pounds within a week. Because they’re better people, and that’s why they’re rich.
This is an very convenient philosophy for rich people to have. It means that they don’t have to give money to charity (because it would only go to lazy people), and they don’t have to feel guilty about blowing large amounts of it on frivolous things (because if the lazy people had money, they’d spend it on something even more frivolous). Take it far enough, and you can live a life of unbridled hedonism without even a twinge of conscience… always assuming that nothing unforeseen happens to your money.
In City High’s defence, I think they intended “What Would You Do?” to be an empowering song, telling struggling single mothers that they didn’t have to resort to jobs in the sex industry to feed their children. The trouble is that they didn’t bother to come up with any actual alternatives. If this song had ended with the narrator giving Lonnie some advice on where to look for a job, or telling her he’d see if he could get her an interview where he worked, I wouldn’t have half the problem with it that I do. But all they could offer, after two verses of smug, judgemental hectoring, were some vague platitudes about “getting up on your feet.”
Or, if you prefer, “on yer bike.”

“You changed what I said into a bizarre absolute.”

I first read that sentence on the 16th of May 2003- my sixteenth birthday. To say that it changed my life would be a bit of an over-simplification, but not as much as you might think.

I read it in Dilbert and the Way of the Weasel by Scott Adams, which had been one of my birthday presents (along with three of REM’s 1980s albums, because I was cool like that).   Obviously, I wouldn’t have asked for it if I hadn’t already known that I liked Dilbert, but I liked it because it was clever and funny and contained weird little surreal bits featuring talking animals.  Until then, it hadn’t occurred to me that it might actually teach me something.

When I read that sentence (in a strip that can be found here), I did a bit of a double take.  That conversational tactic, that thing of “changing what I said into a bizarre absolute,” was exactly the kind of trick my parents pulled on me just about every time we argued.  You know the kind of thing- I’d disagree with something they said or did, and it would be, “Oh, so I suppose we’re the worst parents in the world, are we?”  And then the whole discussion would devolve into them naming other parents who they knew for a fact were worse than them, and me trying to reassure them that of course that wasn’t what I meant.  On some level, I realised that this tactic was less a response to whatever I’d said and more a way of getting me to shut up, but I could never find a way to properly respond to it.

Until now.

Over the course of that year, I learned a lot about how to argue and express myself.  I picked up skills from reading Dilbert, from watching Daria and the film version of Ghost World, and, strangely enough, from Ricky Gervais’ stand-up routines.  All these things taught me how to be precise about what I objected to and what I wanted instead, how to cut through meaningless waffle and find the truth, how to dodge attempts to derail my argument, and, maybe most importantly, how to be funny while I did it.  There’s always the temptation to idealise certain sections of the past and forget the more complicated details, but I don’t think it’s that much of an exaggeration to say that I started 2003 as an insecure fifteen-year-old who was pretty sure everything she said was somehow the wrong thing, and ended it as somebody who could sharpen words into weapons and aim them at any injustice I came across.  That sentence I read on my sixteenth birthday, along with hundreds of other sentences like it, helped me learn how to speak.

All of which is why it’s so upsetting to me that, since then, Scott Adams has gone completely bananas.

Reactions to Michael Stipe’s Tribute to David Bowie

(As taken from R.E.M.’s Facebook page)

“Amazing”/”Wonderful”/”Beautiful” – Gave up counting after 90 comments.

Discussion of how R.E.M. need to come back and save the music world from Justin Bieber- 9 comments

“Love Bowie, hate tributes”/ “Go be deep somewhere else” – 8 comments

Overuse of ellipses – 9 comments

Overinvested Debbie Harry fanboy- 1 comment

Overinvested Debbie Harry hateboner guy – 3 comments

People who are pretty sure they know what David Bowie would want and it’s not this – 4 comments

Guy who keeps posting dodgy-looking movie links and quizzes – 7 comments

Quoted lyrics / lists of commenter’s six favourite R.E.M. songs – 8 comments

Support of Michael Stipe’s Bernie Sanders T-shirt – 22 comments

Frothing at the mouth over Michael Stipe’s Bernie Sanders T-shirt – 13 comments

Intense Jimmy Fallon hate – 3 comments

“Why is David Bowie more important than the countless people who die daily across the world?” – 2 comments

Comparisons of Michael Stipe’s version of “The Man Who Sold the World” to Nirvana’s – 15 comments

Beard jokes – Gave up counting after 135 comments