Margaret Thatcher

Was Margaret Thatcher Really Responsible for *Every* Song in '80s Britpop? And If So, Don't We Owe Her Big Time?


Via Reason contributing editor Michael Moynihan, now pushing pixels at The Daily Beast, comes this awful LA Times story about Margaret Thatcher's Yahweh-like influence on British pop music.

She was everywhere, don't you see, fulfilling Pascal's description of God as "an infinite sphere, the center of which is everywhere, the circumference nowhere." When it came ot pop, there was just no escaping her, don't you see?

Writes Reed Johnson:

Much of the best pop music of the Thatcher years was a response to the perceived bleakness, and it expressed itself in different forms. On one side was the aggressively politicized engagement of groups such as The Clash and the early UB40 (whose name referred to a British unemployment benefits form). At the other end was the flamboyant, clothes-horse escapism of larky New Romantics groups such as Duran Duran, Spandau Ballet and Culture Club.

But all these forms could be interpreted, at least partially, as responses to a growing sense of anger and confusion, if not despair, about the transformations unleashed on British society by Thatcher…

So, in other words, all music produced during Thatcher's reign of terror can be attributed to Thatcher, whether it was political or not, punk or not, serious or larky, good or bad? As long as we're stuffing responsibility and causality into the Iron Lady iconic, oversized, Tinky-Winkly-like handbag, I want to blame her for Eric Crapton's '80s discography, Elton John's decline during her years in power, and David Bowie's slump neo-colonialist fantasies of "China Girl" and his slump into "Let's Dance" (it's an escapist dream innit, guv'nor, to put on your red shoes and dance while Maggie Mae's jackbooted thugs are closing coal mines that were supposedly awful places to work anyway, don't you see?). Can we also assume that Gary Glitter's irrepressible penchant for underage boys was a direct result of Thatcherite policies that led to an expanding economy and the valorisation of choice and rampant conumerism?

I'm no uncritical admirer of Thatcher. She did some things right (she liberalized Britain's economy, for instance, and that was good for everybody, even if it meant a generation of English layabouts were cajoled into working for a living by rising wages and increased purchasing power) and she did a lot of things wrong (she pushed homophobic legislation, persisted in stupid policies aimed at Argentina, and was a Pinochet apologist, among other things). But whether you think Lady T was the greatest PM since Churchill or "a terror without an atom of humanity" (as The Smiths' Morrissey opines) the LA Times piece is the worst sort of faux-cultural studies, generically linking any and all emanations of culture to a common source in a way that tells us nothing about anything.

As important, this type of analysis skirts over the stark fact that the original U.K. punk explosion was borne out of frustration not over Thatcher and her free-market policies but out of decades of state expansion over every aspect of life in the Sceptered Isle.

The punk movement kicked into gear well before Thatcher became prime minister in 1979. The first wave of punk had crested by the time she darkened the door at 10 Downing Street (indeed, the Sex Pistols had gone completely kerblooey by then, and the best days of band's such as the Buzzcocks and the Damned were behind them by the time Maggie and Dennis moved in).

It's far more accurate to argue that Thatcher was herself an emanation of punk, as some anti-Thatcherites have grudgingly done. She in no way came from the working classes, but as the daughter of a mere shopkeeper and and as a woman, she was transgressing the established order just as much in her own way as Poly Styrene of X-Ray Spex (another punk band whose glory days were over by the time Thatcher arrived) or the swastika-sporting Siouxsie Sioux ever did. Or for that matter, Joe Strummer, the son of a diplomat.

Back in the very early Aughts, I had the curious honour of being interviewed by Johnny Rotten hisself on his "Rotten Radio" show that was part of the defunct (ironically, back in my music journo days, a scheduled interview of him by me in 1987 fell through to my eternal disappointment). I suggested that punk had made a mistake for two reasons by not claiming Thatcher as one of their own. The first reason was because both were essentially a variation on Cromwellian roundheads rebelling against the overblown, sclerotic excesses in government policy and music respectively. Shrinking the state and shrinking the excesses of Emerson, Lake & Palmer were not, I argued, really all that different (I humbly submit that ELP's Brain Salad Surgery is the prog-rock equivalent of an 83 percent top marginal income tax rate). The second reason was that it would have absolutely driven Thatcher and her supporters far more insane to have been embraced by punks than mocked and derided by them (and punk at its best was not the idiot left-wing programme ultimately pushed by the Clash and others but an antinomian thumb in the eye of society). John Lydon readily agreed, noting that any and all pushback against socialisms national and international was always the right move. He was— and is—no fan of Thatcher's, but he remains dedicated to annoying the largest number of people at any given moment (which helps explain his refusal to piss on Thatcher's grave).

Punk was a movement rippling with political import and much of it both expressed outrage and frustration and anger (listen to a Stiff Little Fingers' 1978 tune "Alternative Ulster" sometime). But it and pop music more generally exceeds politics (I'm pretty sure that the Adverts' 1977 classic "Gary Gilmore's Eyes" isn't a particularly useful white paper on organ transplants or the death penalty, any more than the Ramone's epic "Commando" tells us much about late-Cold War politics.)

The urge to valorise the insights of typically stupid performers who may also be great artists is understandable when you agree with the insights, but it's sadly misguided. Yeah, yeah, Morrissey is so on-target about Thatcher, he must be equally right about calling the Chinese a "subspecies," right? Or in his ritual denunciations of dark-skinned immigrants who have "flooded" England in terms that would make Eric Clapton's slurred huzzahs for Enoch Powell seem positively enlightened, right?

But it's even more of a mistake to attribute whole eras of music—regardless of form, content, style, you name it—to a single cause, especially in a society where bands and performers were free to speak their minds and even leave the country with impunity. Thatcher may have been a lot of things, but she wasn't Hitler for Christ's sake (which you'd expect Nazi-obsessed punks to know better than anyone) or Stalin or the child-molesting Sandinista strongman Daniel Ortega or even Jerry Brown circa 1979, when the "zen fascist" was the subject of arguably the greatest protest song in American history.

Margaret Thatcher is doubtless making her case to her Anglican god right now. She can be blamed for a lot of things, but you can't blame her for Swing Out Sister or even the goddamn Communards.


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  1. It is odd that a bunch of super-rich Brit rockstars got their knickers in a bunch over Maggie’s battle with the country’s socialist status quo.

    On second thought, it’s not at all odd. In fact, it’s par for the course among super-rich Yank rockstars.

  2. I didn’t live there, but as an outsider I can’t really see how 80’s Britain was “bleaker” than 70’s Britain.

    70’s Britain seems pretty fucking bleak.

    1. I have had conversations about this stuff with my (English) dad, and it all comes from a place of such retardation it’s not even funny. His fam emigrated in 1963, but bounced back and forth a few times, and I’m like, “Dude, they still had fucking food rationing when you were a kid, 20 years after the war.” And he’s just like, “Yeah, so what? That’s normal.”

      1. You should slap him for lying to your face. It was obvious that two generations of socialist policies destroyed the UK by 1978, and if he can’t admit that, take away his pension check, and buy him a bag of puppy chow to live on because that’s the new normal for him.

        1. He’s so deluded about it that despite his staying in the US and being a successful person, he looks over at our relatives on the other side, no jobs and on the dole, and thinks they really know how to run shit over there. Oh except for the AUSTERITY!

          1. Yeah when we were building 20 foot long cars with giant chrome tailfins, they were rationing food.

            Rationing food. In peace time.

            Does your dad vote?

          2. Politics is the Mindkiller.

            1. That’s going on the first bumper sticker Iwill ever own.

    2. Are you telling me Morrissey* was less a poet of a declining socialist-industrial society and more a spoiled complainer in a rising free-market society?

      *Johnny Marr made The Smiths, by the way.

      1. ‘*Johnny Marr made The Smiths, by the way.’

        Here I’ve been blaming the wrong person all along.

        1. Say what you will about Morrissey’s whining, but Johnny Marr’s guitar playing is simply fantastic.

          That said I was always more of a Lloyd Cole and the Commotions guy myself, and think Neil Clark is the most underrated guitarist of the 80s.

  3. Nice use of The Pop Group. A very underrated band. Never had much impact over here in the States.

    If you are into sonic weirdness, I highly recommend them.

    1. Love The Pop Group. “She Is Beyond Good and Evil” is a classic. I find some libertarian affection towards an anarchist band that named an album “How Much Longer Do We Tolerate Mass Murder?”

      1. A favorite underrated and semi-forgotten band from those days: Protex. “I Can Only Dream.” Other great tracks: “I Can’t Cope” and “A Place In Your Heart.”

        1. Protex has a really nice Buzzcocks/Undertones pop vibe.

          1. Yes, they were sort of a blend of punk and power pop.

  4. I don’t think there were too many American hardcore bands in the ’80s that didn’t express their hatred for Reagan at some point or another, and it was that way on the other side of the pond for Thatcher times ten.

    Whether that filtered into popular music is another question, but I think it’s fair to say that the reaction to Thatcher for British punks was at least as important to them as, say, opposition to Nixon was to the hippies.

    Actually, I’d say opposition to Thatcher was far more important to them than hatred of Nixon was to the hippies; opposition to Thatcher was more like the hippies’ opposition to Vietnam.

  5. You tell , em Nick!

  6. a growing sense of anger and confusion

    This sort of anger and confusion?

    Should five percent appear too small
    Be thankful I don’t take it all

  7. Someone needs to slap Moynihan for legitimizing The Daily Beast with his presence.

  8. I’d be cautious about facetious jibes re Gary Glitter and his proclivities. One of the current ‘crimes’ being held up to justify the parties and grave p***ing is that Jimmy Saville was a regular Christmas guest at the Thatchers’, and that she sheltered unnamed ‘high up’ paedophiles in the Conservative Party (a hare begun by Labour rent-a-gob Tom Watson, a man with more girth than honour).

    I was 16 when she became PM in 1979 (yeah, do the math(s)). I remember the 70s as a time of regular power cuts, 6 foot high piles of uncollected trash, strikes in every public sector including all utilities. Not such a golden age. The 80s were pretty vile too with 3 million unemployed and 18% interest rates but the lights worked and the rubbish got collected. Any of these children who scream about Thatcher destroying Britain seem to be clueless about what came before her.

  9. Gary Glitter’s irrepressible penchant for underage boys

    I’ve never heard that before. GG was arrested for acts with underage girls. Equally sick, but at least get the facts straight. I still wonder how Jimmy Page and most of the 1970s rock stars got away with it.

    1. I was going to point out that Glitter is actually a heterosexual pedophile. Also, he was pretty much renting girls as young as seven from their mothers.

  10. Damn. Keep forgetting to close my blockquote tags.

  11. So does this mean that LBJ doesn’t get credit for the Byrds?

  12. Aw man. I love the Communards cover of “Don’t Leave Me This Way.” It’s exuberant and fun.

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