Tag Archives: Richey Edwards

Ode to Manic Street Preachers: 21 Years of Living and Nothing Means Anything To Me

22 Feb

Today is a very important day for me, almost like a second birthday to me. On this day, 22nd February, five years ago I discovered my favourite band: Manic Street Preachers. It was a life changing moment for me. I remember it well, and I don’t remember the moment I discovered every single band; on that grey late winter morning I first listened to their song Little Baby Nothing. I found it catchy but nothing more. The video featured only the singer, and the mystery of the band was yet to unravel. I ended up listening to it many times that morning and that same afternoon I was already listening to their first album obsessively over and over again, and then the second and the third….

Manic Street Preachers are a Welsh band formed in 1986, and originally consisted of four guys, James Dean Bradfield, Richey Edwards, Nicky Wire and Sean Moore who were mates since they were kids. The band is still active, although without Richey Edwards who disappeared in February 1995. The band truly sprang from their lovely friendships and a shared feeling of angst, frustration of living in a small town and love for rock ‘n’ roll and literature. I love the fact that they had and have such nice, warm and lasting friendships, and I dreamed of having that myself. They released their first single “Suicide Alley” in 1988, and both the song and the cover photo were an unmistakable homage to one band they loved and looked up to: The Clash. In January 1991 they released a significant single that musically and lyrically served as a prelude for things which were to come: “Motown Junk” which shows both the band’s disdain for old music (the title is a reference to Motown classics) and their love for the American hip-hop group Public Enemy whose sampling serves as the intro for “Motown Junk”. The lyrics show the typical teenage boredom and saturation with culture and everything else:

Never ever wanted to be with you,
The only thing you gave me was the boredom I suffocated in,
Adrift in cheap dreams don’t stop the rain,
Numbed out in piss towns,
Just want to dig their graves

Motown, Motown junk
I laughed when Lennon got shot,
Twenty one years of living and nothing means anything to me.

The same year they started releasing singles such as “Love’s Sweet Exile”, “You Love Us” and “Stay Beautiful” to name a few, that were to become songs on their infamous debut album “Generation Terrorists” released in February the following year.

Bored, alienated, angry, smart and glamorous, a self-proclaimed “mess of eyeliner and spraypaint”, in the early 1990s the Manics were a band that everyone loved to hate, and they, by no surprise, hated everyone in return. They despised their surroundings and deemed everything worthless and even slagged off the bands whose records they owned, such as The Stone Roses. Even the negativity of the song “Motown Junk” is just a performance because Richey later admitted to liking the Supremes and Otis Redding, saying that “everyone has a softer side”. Manics’ original plan was to make a double album which would sell 16 million copies and reach Number 1 worldwide. After they achieved their grand plan, they’d split up, declaring “The most important thing we can do is get massive and then throw it all away.” The album failed miserably in America where grunge bands like Pearl Jam and Nirvana were all the rage. Their debut album was an eclectic collage of everything they loved and everything that inspired them. A true musical diary of miserable teenage years; sadness and boredom coated in glamour.

Nicky with their first album, photo by Tom Sheehan, found here.

It brought everything I needed and wanted into my life; the combination of angry guitars and intellectual lyrics, provocative videos and interviews, stylish “glam-twins” as Richey and Nicky were called, wearing black eyeliner and tight white jeans. And the album had a slight over the top-DIY feel to it; as the British magazine The Quietus said later on: “It had to sound passé, it had to be overdone; if you’re trying to bulldoze the shiny edifice of western pop culture, you can’t do it tastefully or with subtlety, can you?” That’s exactly what instantly appealed to me about the Manics; their mix of trashiness with an intellectual knowledgeable basis. They could be giving slightly arrogant provocative statements in press or be deliberately shocking in videos, blending genders and adding a hint of eroticism, but in reality they were well-read and thoughtful individuals, and this combination together gives a whole different appeal than the bigmouth Liam Gallagher in his interviews where every other sentence is “d’ya know what I mean?” The theme of the lyrics switches back and forth from the criticism of capitalism and materialism to more introspective topics which were to prevail in albums to come.

A still from the video “Love’s Sweet Exile”

I was a shy, bookish and slightly clueless individual, and discovering Manics was like getting a direction in life, or more like a guidance on how to be a teenager from someone who knows it all too well. At first I was so captivated by the music alone that I stopped doing everything else, suddenly nothing mattered and I lived through their music, voraciously watched their interviews, read articles about them, searched their photographs, and even ceased writing posts for a while. I spent the next few months in a trance, living in the melodies and lyrics. As time passed, this mad blind passion did not subside but rather branched into more interests; I began to take some of my classes in grammar school seriously, I rediscovered my love for writing essays, I relished in studying sociology and politics because it all led me to the Manics again.

With all the cultural references included in their songs, listening to Manic Street Preachers takes you on an exciting trip; poems by Rimbaud and Jack Kerouac’s “On the Road”; both awoke in me a wanderlust that I tried to tame with endless long walks on the meadows, woods and by the river. Walking around my boring humdrum small town and enjoying the rare delights of nature in it seemed to be the only thing that eased my restlessness and a sudden overflowing enthusiasm for life.

“I wanna sing about a culture that says nothing. I wanna say the fact that basically all your life you’re treated like a nobody.” (Richey)

I craved excitement, and every new day brought the possibility of it. Rimbaud made me daydream of freedom and an idyll of the countryside with its barley fields and murmuring brooks, and Kerouac on the other hand, with his sad and romantic tales of trips around America and wild adventures with his eccentric friends, left me with a glamorous vision of the world which still hasn’t left me. The melodies of Manics’ songs followed me on every step. At home I would sit on my windowsill and write poetry, getting lost in the beauty of pink sunsets and spring rains, the smell of the lilac tree in my garden would make me delirious. I listened to the Manics every single day, and they took me on a glorious ‘book adventure’; I wanted to read everything that inspired Richey, and I did. I wanted to read everything Richey read and enjoyed, and thanks to him I have discovered some wonderful books which have become my personal favourites: “No Longer Human” by Osamu Dazai, “Thirst for love” by Yukio Mishima, “Naomi” by Junichiro Tanizaki, Vladimir Nabokov’s “Lolita”, plays by Tennessee Williams, “1984” by George Orwell, “The Rules of Attraction” by Breat Eason Ellis etc.

Manics sparked in me a desire for self-expression, thirst for knowledge and taught me critical thinking. In my school essays I saw a unique opportunity to express my thoughts, and so I wrote them with passion. It’s a bit ironic, because the Manics were so miserable and depressed in their early years, but they gave me a lust for life, a passion, a purpose, and during that short period in time, I really saw life through rose-tinted glasses, and I was unbelievably self-confident and carefree. Their music filled me with passion that inspired me to write this blog, and even gave me a direction; I had found my mission at last. Everything had a strong impact on me; a song, a colour, a sunset, a line in a poem. I felt like I was on an acid trip every day. The awakening of nature in spring coincided with the awakening of my soul: I felt as if I had lifted the misty veil of childhood and entered the teenage years.

I have a very childlike rage, and a very childlike loneliness. (Richey)

Richey became my teacher and I was a diligent pupil, learning not only the books and politics, but also the art of being melancholy and glamorous. My lessons on Orwell and Dazai would be incomplete had I not mastered the art of putting on a black eyeliner around my eyes and donned something appropriate on. It’s clear by now from the pictures that Manics loved looking cool and expressing themselves through clothes too. They changed fashion styles from album to album, and I love their first glam phase the most when they wore white jeans, leopard print coats, shirts with floral prints or hand written slogans such as “Death Sentence Heritage”, “I hate American rock”, “Rock ‘n’ Roll suicide”, “Sensitivity”, “Spectators of suicide” and “Culture of destruction”, bracelets, messy hair, and occasionally red lipstick too.

Richey and Nicky were a perfect pair of faces to have on the wall of my bedroom where I simply sat and read and did things that are generally in life considered to be rather negative, just as Morrissey said in one interview. I like pretty things, and Richey was unbelievably gorgeous in all the pictures I’ve seen. His face, with dark doe eyes and a sad gaze appeared as melancholy as Modigliani’s portraits of Jeanne Hebuterne, and with his killer cheekbones he looked as heroin chic as Kate Moss, whose picture he liked to gaze at. This is what Richey had to say about fashion: “If you’re hopelessly depressed like I was, then dressing up is just the ultimate escape. When I was young I just wanted to be noticed. Nothing could excite me except attention so I’d dress up as much as I could. Outrage and boredom just go hand in hand.”

Manics sounded great, looked great, and had plenty to say in interviews, and it was all too easy to fall in love with them.

I found this somewhere on tumblr years ago, and it couldn’t be more true for me, hell I didn’t even wear eyeliner before them!

As I already said, the first song I heard by the Manics was Little Baby Nothing. It’s a really catchy tune with a colourful video full of slogans and it’s a duet with ex-porn star Traci Lords which is really appropriate because the idea that influenced that song was cheap sex, that is, the sexual exploitation of women: “Your beauty and virginity used like toys (…) little baby nothing/ loveless slavery, lips kissing empty/ dress your life in loathing…” Manics needed a symbol, somebody that could sing the lyrics and represent them simultaneously. In an interview from 1992, Nicky said the song was about “a woman who had power and intelligence and was used by men”. I love the part sang by Traci Lords:

My mind is dead, everybody loves me
Wants a slice of me
Hopelessly passive and compatible
Need to belong, oh the roads are scary
So hold me in your arms
I want to be your only possession

No god reached me, faded films and loving books
Black and white TV
All the world does not exist for me
And if I’m starving, you can feed me lollipops
Your diet will crush me
My life just an old man’s memory

And the line “Moths broken up, quenched at last” is an interesting one and a direct reference to Tennessee Williams’s poem “Lament for Months” which meant a lot to the Manics, especially to Richey Edwards, about the moths who are drawn to light which ultimately kills them, there’s that delicacy in moths. I know I’ve focused on their first album a lot in this ode, but it’s just because it was the first album I have listened to and the aim of this post was to share my memories of discovering Manics. I really love their second and third album as well, as well as many songs from all the following albums, but I am a fan of their early years when Richey was still in the band and his influence was evident, both lyrically and stylistically; he was the most glamorous of them four.

Now let me share some of my favourite lyrics, first from the song “Stay Beautiful”:

Find your faith in your security
All broken up at seventeen
Jam your brain with broken heroes
Love your masks and adore your failure

(…)

Your school your dole and your chequebook dreams
Your clothes your suits and your pension schemes
Now you say you know how we feel
But don’t fall in love cos we hate you still

From the song 4st. 7lbs:

I wanna be so skinny that I rot from view

I want to walk in the snow
And not leave a footprint
I want to walk in the snow
And not soil its purity…..

I choose my choice, I starve to frenzy
Hunger soon passes and sickness soon tires
Legs bend, stockinged I am Twiggy
And I don’t mind the horror that surrounds me

Self-worth scatters, self-esteem’s a bore
I long since moved to a higher plateau
This discipline’s so rare so please applaud…

Yeah 4st. 7, an epilogue of youth
Such beautiful dignity in self-abuse
I’ve finally come to understand life
Through staring blankly at my navel

Nicky Wire in 1994

Wreckage inside all that’s real
Another bought product, no reality
Passive consumers with patrolled desires
Mindless countdown to retirement
(Methadone Pretty)

Richey with Nicky Wire, photographed for Select magazine in London, United Kingdom, 30 April 1993

My favourite from the second album is “From Despair to Where” which is also a single. It’s a song that, according to Richey, refers to the western concept of despair which isn’t realistic because everybody has a good living conditions compared to the third world countries, but most of the people feel disappointed with their lives for they didn’t reach any kind of fulfillment what so ever, they just feel let down; by life, universe, society, by the impossible dreams they had built themselves. As Richey said in an interview: “Everyone feels that melancholia regularly.”

I write this alone on my bed
I’ve poisoned every room in my house
The place is quiet and so alone
Pretend there’s something worth waiting for.
There’s nothing nice in my head
The adult world took it all away
Wake up with the same spit in my mouth
Cannot tell if it’s real or not.

Richey and Nicky looking elegantly wasted, by Kevin Cummins for NME cover 1991

Song “She bathed herself in a bath of bleach” is from the album “Journal for Plague Lovers” released on 18 May 2009 (the anniversary of Ian Curtis’ suicide), and all the songs on the album were written by Richey Edwards, the lyrics he left behind before he disappeared.

She’d walk on broken glass for love
She thought burnt skin would please her lover
To keep love alive and lust beside
Kind people should never be treated like
Empty arms and naked heart
The love she sought through faltering thought
Table for two, such a sweet delight
Whispers “I love you my darling” tonight

Song “Hibernation” is a B-side to “From Despair to Where” and it shows Richey’s vision of adulthood; its chase for money, pointlessness and marriage without love, life with no flair and lived like a repetitive routine of boredom:

This stage of our career
Things get tight
A ring helps get a mortgage

To move out of daddy’s home
Get a bigger car
Easy access to the city

I can read the papers in peace
And laugh at the homeless
I know my friends criticize

But we get by OK
So what if there’s no emotion
We can wake up anywhere

There’s never a row
No time for a kiss
When you’ve got schedules to meet
Trivialities seem so cheap

This is above love
This is more than real
This is all there is
This is as good as it gets-
Intense morality parades

 

Listening to the Manics now, after five years, is a nostalgic experience, and to end this ode I chose a song called “This is the day” which deals with a similar theme. It was originally written by the band The The in 1983, not the Manics, but if you watch the video, you’ll see how much it means to them because they’re remembering Richey and their early days. And this line is specially meaningful for me: “And all the money in the world couldn’t bring back those days”. Sometimes I wish my mind was a tabula rasa again and I could have the pleasure of discovering the Manics, Kerouac and Rimbaud for the first time, and to feel that rapture again!!! I am the kind of person who has been in search of lost times since she was five so even if I am very happy now I tend to be especially nostalgic for everything that passes.  So, to me, this video represents not only the history of the band, but also the history of my love for the bend:

You didn’t wake up this morning cause you didn’t go to bed.
You were watching the whites of your eyes turn red.
The calendar on your wall is ticking the days off.
You’ve been reading some old letters,
You smile and you think how much you’ve changed,
And all the money in the world couldn’t bring back those days.

You pull back the curtains, and the sun burns into your eyes,
You watch a plane flying, across a clear blue sky.
This is the day your life will surely change.
This is the day when things fall into place.

You could’ve done anything, if you’d wanted
And all your friends and family think that you’re lucky,
But the side of you they’ll never see
Is when you’re left alone with the memories
That hold your life together, together like glue.

I believe I would have been a different person today had I not discovered Manic Street Preachers. They appealed to me so much because of things that were inherently in me, but they also shaped the way I see life and world, and art to an enormous extend and I am endlessly grateful for that!

Manic Street Preachers – Little Baby Nothing

10 Feb

I often share poems on my blog, but why not share the lyrics of a rock song? As far as I’m concerned, their artistic value is the same, and often the lyrics of The Smiths, Manics, Syd Barrett etc. hold more meaning to me and I can relate to them more than I can to ‘classic’ poetry. Little Baby Nothing is THE first song by the Manic Street Preachers that I’ve listened to, and what can I say – it was love at first sight (or first hearing). Today marks the 27th anniversary of their debut album Generation Terrorists. This is not my favourite song by the Manics, nor my favourite video, but objectively looking I think the lyrics are amazing and every line is perfect. Some of their lyrics, specially from The Holy Bible, can be a bit confusing, although they sound great accompanied by the music, but ‘Little Baby Nothing’ can be read on its own, like poetry and it would still be as meaningful. In their interview from 1992, Nicky Wire said that ‘men are the most horrible creatures because they use women’ and that the song is about a woman who had power and intelligence and was used by men. Therefore, having Traci Lords to sing some lines was more symbolic than anything, and they felt she could identify with the lyrics. One of their later songs, Yes, also deals with the exploitation of women, but it also says that every time you say ‘yes’ to something you don’t want to do, it’s also a form of prostituting yourself. And of course, the glorious line ‘Culture, Alienation, Boredom, and Despair‘ which perfectly sums everything that their early songs were about.

Here’s what Traci Lords said about Richey and the song: “He reminded me of a young David Bowie: very avant-garde, and there was something quite feminine about him. He was very soft-spoken, and struck me as being vulnerable, almost birdlike. He definitely came across as someone who was living in a glass-house, in some sort of fragile state. I thought he was lovely. He never spoke to me about why he wanted me to sing on ‘Little Baby Nothing’ – it wasn’t until later that I read his reasons for it. It’s funny because I saw Richey as someone who was very vulnerable, and that’s how he saw me“. (NME, 14 February 2015)

I’m glad they chose Traci Lords, not only because she totally fits with the lyrics, but also because I’ve liked her ever since I watched ‘Cry-Baby’ (1990), I thought she was the coolest character in the film! And judging her character and morality based on her ex-porn-star career would be hypocritical and immature. Even the Manics said in the same interview that she was the most intelligent American they’ve ever met in their lives!

Egon Schiele, Woman in Black Stockings, 1913

“No one likes looking at you
Your lack of ego offends male mentality
They need your innocence
To steal vacant love and to destroy
Your beauty and virginity used like toys

My mind is dead, everybody love’s me
Wants a slice of me
Hopelessly passive and compatible
Need to belong, oh the roads are scarey
So hold me in your arms
I wanna be your only possession

Used, used, used by men
Used, used, used by men

All they leave behind is money
Paper made out of broken twisted trees
Your pretty face offends
Because it’s something real that I can’t touch
Eyes, skin, bone, contour, language as a flower

No god reached me, faded films and loving books
Black and white TV
All the world does not exist for me
And if I’m starving, you can feed me lollipops
Your diet will crush me
My life just an old man’s memory

Little baby nothing
Loveless slavery, lips kissing empty
Dress your life in loathing
Breaking your mind with Barbie Doll futility

Little baby nothing
Sexually free, made-up to breakup
Assassinated beauty
Moths broken up, quenched at last
The vermin allowed a thought to pass them by

You are pure, you are snow
We are the useless sluts that they mould
Rock ‘n’ roll is our epiphany
Culture, alienation, boredom and despair

You are pure, you are snow
We are the useless sluts that they mould
Rock ‘n’ roll is our epiphany
Culture, alienation, boredom and despair

Egon Schiele, Blonde Girl in Underwear (Blondes Mädchen im Unterhemd), 1913

Now, who’s to say something can’t be aesthetically pleasing and have a strong social message at the same time?

Did I also mention that the video is cool? Well, check it out and decide for yourself.

Manic Street Preachers – Little Baby Nothing

8 Feb

I often share poems on my blog, but why not share the lyrics of a rock song? As far as I’m concerned, their artistic value is the same, and often the lyrics of The Smiths, Manics, Syd Barrett etc. hold more meaning to me and I can relate to them more than I can to ‘classic’ poetry. Little Baby Nothing is THE first song by the Manic Street Preachers that I’ve listened to, and what can I say – it was love at first sight (or first hearing ha ha). This Friday, 10th February, will mark the 25th anniversary of their debut album Generation Terrorists. This is not my favourite song by the Manics, nor my favourite video, but objectively looking I think the lyrics are amazing and every line is perfect. Some of their lyrics, specially from The Holy Bible, can be a bit confusing, although they sound great accompanied by the music, but ‘Little Baby Nothing’ can be read on its own, like poetry and it would still be as meaningful. In their interview from 1992, Nicky Wire said that ‘men are the most horrible creatures because they use women’ and that the song is about a woman who had power and intelligence and was used by men. Therefore, having Traci Lords to sing some lines was more symbolic than anything, and they felt she could identify with the lyrics. One of their later songs, Yes, also deals with the exploitation of women, but it also says that every time you say ‘yes’ to something you don’t want to do, it’s also a form of prostituting yourself. And of course, the glorious line ‘Culture, Alienation, Boredom, and Despair‘ which perfectly sums everything that their early songs were about.

Here’s what Traci Lords said about Richey and the song: “He reminded me of a young David Bowie: very avant-garde, and there was something quite feminine about him. He was very soft-spoken, and struck me as being vulnerable, almost birdlike. He definitely came across as someone who was living in a glass-house, in some sort of fragile state. I thought he was lovely. He never spoke to me about why he wanted me to sing on ‘Little Baby Nothing’ – it wasn’t until later that I read his reasons for it. It’s funny because I saw Richey as someone who was very vulnerable, and that’s how he saw me“. (NME, 14 February 2015)

I’m glad they chose Traci Lords, not only because she totally fits with the lyrics, but also because I’ve liked her ever since I watched ‘Cry-Baby’ (1990), I thought she was the coolest character in the film! And judging her character and morality based on her ex-porn-star career would be hypocritical and immature. Even the Manics said in the same interview that she was the most intelligent American they’ve ever met in their lives!

1913-woman-in-black-stockings-egon-schieleEgon Schiele, Woman in Black Stockings, 1913

“No one likes looking at you
Your lack of ego offends male mentality
They need your innocence
To steal vacant love and to destroy
Your beauty and virginity used like toys

My mind is dead, everybody love’s me
Wants a slice of me
Hopelessly passive and compatible
Need to belong, oh the roads are scarey
So hold me in your arms
I wanna be your only possession

Used, used, used by men
Used, used, used by men

All they leave behind is money
Paper made out of broken twisted trees
Your pretty face offends
Because it’s something real that I can’t touch
Eyes, skin, bone, contour, language as a flower

No god reached me, faded films and loving books
Black and white TV
All the world does not exist for me
And if I’m starving, you can feed me lollipops
Your diet will crush me
My life just an old man’s memory

Little baby nothing
Loveless slavery, lips kissing empty
Dress your life in loathing
Breaking your mind with Barbie Doll futility

Little baby nothing
Sexually free, made-up to breakup
Assassinated beauty
Moths broken up, quenched at last
The vermin allowed a thought to pass them by

You are pure, you are snow
We are the useless sluts that they mould
Rock ‘n’ roll is our epiphany
Culture, alienation, boredom and despair

You are pure, you are snow
We are the useless sluts that they mould
Rock ‘n’ roll is our epiphany
Culture, alienation, boredom and despair

Now, who’s to say something can’t be aesthetically pleasing and have a strong social message at the same time?

Did I also mention that the video is cool? Well, check it out and decide for yourself.

Egon Schiele’s Nudes and Manic Street Preachers

9 Mar

Egon Schiele is known as the painter of anxiety, sexuality and death – a combination of which makes his paintings provocative, twisted, slightly morbid and trashy. Schiele was too radical for his contemporaries but later on he proved to be an inspiration for pop icons and rock stars from David Bowie to Manic Street Preachers.

NPG x87840; Manic Street Preachers (Richey James Edwards; Nicky Wire (Nick Jones)) by Kevin CumminsThe May 1991 NME cover of Nicky and Richey, photographed by Kevin Cummins

Many artists painted nudes, but Schiele’s nudes are certainty one of the most striking. Titian’s Venus of Urbino, Goya’s The Nude Maja, Manet’s Olympia – none of these masterpieces are as eye-catching, as disturbing or as decadent as any of Schiele’s nude or semi-nude women with pale skin, ribs sticking out, untamed pubic hair, dark circles underneath the eyes, overall unsettling appeal – Schiele defined ‘heroin chic’ look eighty years before it was trendy. And I’m sure Kate Moss would be more than welcomed to pose for him because Schiele’s ideal was a fragile and lean body.

Twisted body shapes and very sexualised poses typical for Schiele’s oeuvre raised the dust in conservative society of the decaying Austro-Hungarian Empire. Poses, more than nudity, shocked the audience. His anti-academic tendencies and subjectiveness to the core drove him to explore human body and perspectives like no one else at the time. He captured his models in bizarre movements and weird, probably uncomfortable poses. Often, he’d step on the ladders and draw the model from above. The process of sketching is interesting as well. Schiele was very skilled in drawing, had a firm hand, never used a rubber, and if he did make a mistake, which was rare, he’d simply throw the paper away. Schiele’s paintings were based on lines, just like those of Ingres. He’d always colour his drawings in the absence of the model, working from the memory. This was probably good for the models because it meant that they didn’t have to spent a lot of time in those awkward poses – sketching was quickly done, and they could get their money and go home. About his fragile, world-weary figures Schiele said: ‘They were intended to look buckled under, the bodies of those who are tired of life, suicidal.

1917. Egon Schiele - UmarmungEgon Schiele, Pair Embracing, 1917

It’s easy to see the similarities between Schiele’s expressive, twisted body shapes and Kevin Cummins’ photo of Nicky Wire and Richey Edwards of the Manic Street Preachers. Wire is in a leopard print shirt, Edwards in a black crocheted top; they both have make-up, this, along with the gold background certainly evokes the ‘trashy glam look’ that Cummins was aiming for. Still, the position of their bodies, their hands interwoven, along with love-bites and slogans written on their chests evoke a slightly nihilistic, anxious mood of Egon Schiele’s paintings. Also, with his angular face and messy hair, Edwards does look a bit like some poor girl Schiele would pick up from the streets and use as his model.

And now a bit about the Manic Street Preachers’ first ever NME cover shoot:

The May 1991 NME cover of Nicky and Richey was photographed by Kevin Cummins. ‘This was their first NME cover’, he says, ‘I bought the gold sari cloth to give it a trashy glam look – although it’s since drawn comparisons to the paintings of Egon Schiele, with the gold backdrop and the slightly twisted bodies‘. The cover image showed the two band members on their backs, gazing up at the camera. Wire has his right arm around Edwards’ shoulders and Edwards is pressing it to his chest. Both have panda-eyed make-up. Wire is in a leopard print shirt, open to below his nipple, while Edwards has a black crocheted top. Before the shot, they’d decided that they should both have a collection of love-bites on display and so the night before they had gone nightclubbing to try and get some. Wire succeeded but Edwards didn’t, much to his own disgust. In the photo studio, Kevin Cummins wrote ‘Culture Slut’ across Nicky Wire’s upper chest in lipstick. Edwards, upset about losing the love-bite competition, was determined not to be upstaged. He produced a school geometry compass and wandered over to a mirror, where he scratched ‘HIV’ into his upper chest. But he forgot he was looking at his reflection so what he actually wrote was ‘VIH’. It still made the cover.* (A Version of Reason: The Search for Richey Edwards, by Rob Jovanovic)

1917. Kneeling Girl, Resting on Both Elbows by Egon SchieleEgon Schiele, Kneeling Girl, Resting on Both Elbows, 1917

1910. Female Nude (Weiblicher Akt) by Egon SchieleEgon Schiele, Female Nude (Weiblicher Akt), 1910

1910. Squatting Female - Egon SchieleEgon Schiele, Squatting Female, 1910

1917. Woman - Egon SchieleEgon Schiele, Woman, 1917

Grande Odalisque – Ingres

21 Jun

Shards, oh shards
The androgyny fails
Odalisque by Ingres…” (Manic Street Preachers – Pretension/Repulsion)

1814. Grande Odalisque by Jean Auguste Dominique Ingres1814 Grande Odalisque by Jean Auguste Dominique Ingres

Odalisque was a tremendously popular subject in the history of art, from Francois Boucher to Henri Matisse, but the most memorable and the most fascinating rendition of the odalisque is certainly the one J.A.D. Ingres painted in 1814.

Ingres was a Neoclassical painter, and his style changed very little throughout his career. His favourite subject was quite unsurprisingly the female nude, and his fascination with the Orient was not a secret. Ingres was fascinated by the exotic world of the Near East (‘Proche-Orient’) and in 1814, aged thirty-four, he chose to convey his two fascinations on the canvas. A work that he created, ‘Grande Odalisque’, remains his most memorable and most controversial painting.

Painting ‘Grande Odalisque’ shows an Odalisque, a concubine in a Turkish harem, or more precisely – a concubine in the household of the Ottoman sultan. Odalisque was suppose to be a very beautiful woman, specially trained to dance and sing, and, unlike the Russian Empress Elizabeth Alexeievna who ‘wasn’t born to amuse the Tsarz‘ as Pushkin wrote it, an Odalisque was indeed born to amuse the Sultan. ‘In the Ottoman Empire, concubines encountered the sultan only once, unless she was especially skilled in dance, singing, or the sexual arts, thus gaining his attention.

1814. Grande Odalisque by Jean Auguste Dominique Ingres, detail 3

Ingres painted his Odalisque lying on a divan, offering herself, echoing the pose of David’s portrait of Madame Recamier painted in 1800. Unlike later Odalisque paintings by Matisse, or even Eugene Delacroix, Ingres’ Odalisque seems quite modest, turning her back, and rewarding the viewer only with a glance. Her face appears cold and aloof, radiating disinterest. Reserved and refined, she is a stark contrast to subsequent Odalisque paintings. Compared to Matisse’s Odalisques, painted in vibrant colours, plump and sensual, spreading their legs, dressed in colourful and inaccurate garments, or Delacroix’s vivid Odalisque lacking formality, coldness and restraint that were of vital importance to Neoclassical style, and therefor valued by Ingres.

1814. Grande Odalisque by Jean Auguste Dominique Ingres, detail 4

Her body was a source of fascination throughout the centuries as it is too elongated and idealised. For Ingres, long lines symbolised sensuality and with a few corrections her wanted to portray a pure beauty on canvas. This infamous elongation and the small head evoke the spirit of Mannerism. It is also interesting to note how perfect her skin tone is – Ingres adored thin, almost invisible and perfect brushstrokes and he was disgusted by heavy or visible brushstrokes; he never gave up his Neoclassical ideals.

Grande Odalisque‘ gives us a very good insight into Ingres’ style and its main characteristics such as precise and refined lines, masterly handling of lines, light and shadow, and a limited use of colours. Ingres was very proficient in drawing, and he considered colour to be just a useless accessory. Even in this painting, a limited use of colour is evident; there’s an interesting contrast between blue and yellow, but that’s all there is. He said: ‘Drawing is the probity of art. To draw does not mean simply to reproduce contours; drawing does not consist merely of line: drawing is also expression, the inner form, the plane, modeling. See what remains after that.

1814. Grande Odalisque by Jean Auguste Dominique Ingres, detail 2

Ingres painted in Davidian style and considered himself a ‘…conservator of good doctrine, and not an innovator‘. He disliked all the dramatic and flamboyant qualities of Romanticism, but nevertheless chose an exotic subject for his painting, thus making a shift towards Romanticism in art. ‘Nature and exotic landscapes’ was one of the four main areas of interest in Romanticism, and it’s not surprising that Ingres wanted to capture that sensual, colourful and exotic world of Orient on canvas.

In painting, Ingres was somewhat influenced by what he had read. Although his reading list was slightly limited (Homer, Virgil, Dante), a female writer Lady Mary Wortley Montagu prompted his fascination with Odalisques. Lady Montagu is today remembered for her letters from Turkey which are described as ‘the very first example of a secular work by a woman about the Muslim Orient‘.

So, this painting is a love child of Neoclassicism and Romanticism. Baudelaire described Ingres as a painter of “profound sensual delights.”

Odalisque - Henri GervexOdalisque – Henri Gervex

1857. Eugène Delacroix - Odalisque1857 Eugène Delacroix – Odalisque

1839. Odalisque with a Slave, is an orientalist painting by Jean-Auguste-Dominique Ingres1842 Odalisque with a Slave – Jean-Auguste-Dominique Ingres

1845. Odalisque by Natale Schiavoni1845 Odalisque by Natale Schiavoni

1870s Odalisque - Lord Frederick LeightonOdalisque – Lord Frederick Leighton

Henri Adrien Tanoux (French painter,1865-1923)  –  L’ OdalisqueHenri Adrien tTanoux – L’Odalisque

1920s Odalisque with Red Pants by Henri Matisse1920s Odalisque with Red Pants by Henri Matisse

1923. Henri Matisse - Odalisque with Raised Arms1923. Henri Matisse – Odalisque with Raised Arms

1925. Odalisque in Red Trousers - Henri Matisse1925. Odalisque in Red Trousers – Henri Matisse

1928. Henri Matisse drawing the model Zita as odalisque in his third-floor apartment and studio in Nice1928. Henri Matisse drawing the model Zita as odalisque in his third-floor apartment and studio in Nice

Renoir – The Umbrellas

10 Mar

‘Some people feel the rain, others just get wet.’ – Bob Marley

1883. Pierre Auguste Renoir - Umbrellas1881-86. The Umbrellas

This afternoon, while casually listening to the song Motorcycle Emptiness by Manic Street Preachers for the hundredth time, the opening scene with James Dean Bradfield singing in the rain, under neon loneliness, in a Tokyo street crowded with people and umbrellas reminded me of Renoir’s painting The Umbrellas. Bustling street, in the rain, dark coloured umbrellas permeated with melancholy, and the feeling of alienation in the city, themes the painting and the song share in common,  have all alluringly drawn me into the story that lies behind Renoir’s magnificent painting The Umbrellas.

This paintings is very interesting for many reasons. Firstly, it was painted in two different stages, the right part indicating the Impressionistic style with its loose brushstrokes and slightly brighter colour palette, while the left portion, featuring a lady dressed in a dreary grey dress, was painted around 1885-86, the dress style indicating the precise years. In the middle of the 1880s Renoir became disillusioned with the Impressionism and sought inspiration in the works of Courbet and Manet, admiring their realistic approach, and also in the works of old masters such as Antoine Watteau and Francois Boucher, the sentimentality of whose paintings had always been deep-rooted into Renoir’s works. That so intriguing female figure on the left is actually a modiste or a milliner’s assistant, modeled by Renoir’s lover Suzanne Valadon, a very rebellious, passionate and seductive young lady, not even twenty years old when the painting was started. Bleak grey shades of her dress and those realistically sad brush strokes are the best legacy of Renoir’s change of style. The figure that he had so unhesitatingly repainted originally wore a white dress with lots of lace and frills and a lavishing hat. By changing her dress, Renoir changed her position in society, from an upper class lady, this figure became a grisette; a coquettish and flirtatious working class girl. The composition is quite unusual too; instead of a central composition one would expect, Renoir emphasised the left part of the canvas giving the figure of modiste even more depth and meaning. Behind the lady we see a vigorous young gentleman, a student or a dandy perhaps, that is about to engage her, maybe offer her shelter under his umbrella. She is not even remotely interested, instead she gazed longingly at the viewer. While her face appears rosy and innocent, her eyes are filled with melancholy, despair, and wistful reconciliation.

Renoir in general wanted to capture the mood of modern Paris; the bohemianism, the nonchalance, the laughter; an aim he fulfilled in works such as ‘Le Moulin de la Galette‘, but in the painting The Umbrellas, Renoir presented a rather different view on modern Paris, emphasising its isolation. The scene itself is very dynamic, the sky is almost hidden away by all the umbrellas, but the crowd of people are barely having any contact with each other. Apart from the gentleman on the left, all the other characters are rushing in their own ways, fairly uninterested for one another. It’s a rainy day and Parisian streets are busy, who has time for chatter!?

Essentially, isn’t it the same, the feeling of estrangement in the city, whether it is the 19th century Paris seen through the eyes of Renoir or the late 20th century alienation that Richey Edwards has so eloquently expressed, the feeling of being lost, isolated and trapped in a big city is universal.

Manic Street Preachers – The Holy Bible

29 Aug

Exactly twenty years ago, the Manics released their third album; dark and haunting The Holy Bible which shows Richey’s state of mind at the time and stands, even now two decades later, as a testiment to those times; 1994 when the Manics were recording The Holy Bible in a cramped Cardiff studio avoiding and ignoring the wretchedly dull Britpop that ruled the charts.

The Holy Bible, released in 1994, is perhaps the most critically acclaimed album of their entire career. For me it was to dark and miss understandable when I first started listening to Manics, but I feel that with their first three album you just have to ripe to be able to fully appreciated them. That’s what happened to me; after the initial infatuation and rapture with Generation Terrorists, I started exploring the sound of Gold Against the Soul, only to end up loving The Holy Bible more than I could have ever imagined. Fact about this album is that the singles are not the best songs at the album; so you have She is suffering, Revol, Faster and P.C.P, which are all undoubtedly good songs, but songs such as Yes and Die in the Summertime are maybe even better.

The Holy Bible displayed yet another musical and aesthetic change for the band as they had started listening to their early musical influences such as Joy Division. The music shifted to a darker, post-punk, almost gothic sound. The lyrics, mostly written by Richey Edwards, are brilliant in their honesty, depth and genuine darkness, described by Sean Moore ‘as far as Richey’s character could go.’ Song ‘Yes’ was the one that caught my attention the most. Despite its focus on prostitution, the song’s meaning is much wider (‘Ev’rything’s for sale’). Everybody wants power, and money, that comes along, can buy everything, including a prostitute whose wishes and desires are ignored for she’s just an object of somebody’s lust. She feels like in a purgatory because someone will always say yes and confirm her sad, sad life. ‘And I don’t know what I’m scared of or what I even enjoy/ Dulling, get money, but nothing turns out like you want it to/ I eat and I dress and I wash and I can still say thank you, Puking – shaking – sinking I still stand for old ladies, Can’t shout, can’t scream, I hurt myself to get pain out/…Power produces desire, the weak have none.These sunless afternoons I can’t find myself.’ What value does it put on things if you can buy everything. What pleasure can arrive from something you’ve got only because of your money.

Song Faster is perhaps their best single and it’s one of the songs from this album I’ve first fell in love with. This song leads me to Manics’ melodies; they’re so thrilling, unusual but captivating. None of their songs sounds like something you’d expect from a song; riff, overture, chorus, the end. No, their songs sound so fresh, dynamic, strong, brutally honest, and, as I know that these lyrics were hard to write music for, I bow to James Dean Bradfield and Sean Moore for making such brilliant, haunting melodies. Anyways, song Faster is the one whose lyrics stayed in my head for a long time. ‘I am an architect, they call me a butcher, I am a pioneer, they call me primitive, I am purity, they call me perverted/ I know I believe in nothing but it is my nothing/ So damn easy to cave in, man kills everything.’ Perhaps the universal feeling of an artist; to be called primitive when in fact you’re a pioneer while the people surrounding you are actually primitive and their apathy and void are barriers for them to understand something far beyond their mind set.

Song ‘Die in the Summertime’ can describe what was going on in Richey’s head at the time, though he said it himself it was about an old man wanting to die with a childhood memoirs in his head. ‘Scratch my leg with a rusty nail, sadly it heals, Colour my hair but the dye grows out, I can’t seem to stay a fixed ideal.’ I can’t possibly express the rapture and enthusiasm when I hear James’ voice singing ‘…stay a fixed ideal’ for he sings the last word is such a striking way. He really succeed in conveying the lyrics to music in a way that it created a unified ensemble. ‘I recognize dim traces of creation, I wanna die, die in the summertime, I wanna die…’

Nicky is responsible for the song ‘Ifwhiteamericatoldthetruthforonedayitsworldwouldfallapart’ which is not an attack on America, as some may suggest, but it’s about ‘how the most empty culture in the world can dominate in such a total sense.’ It’s crazy, when you think about it, how we let America be the standard in its so called culture and lifestyle, while Europe is a true ‘cradle of civilization’. I think we shouldn’t uncompromisingly accept everything America has to offer.