Essex Education

London Fields # 97
First published Inpress (Issue # 1196), Melbourne on 19 October 2011, and in Drum Media (Issue # 1082), Sydney on 18 October 2011
NB: Each column has a name, but these do not appear in print; printed versions may differ slightly to those displayed here

It was hard to not notice her, but it proved somewhat harder to remember how or why we all recognised her. We were in a park-side local after work taking advantage of one of the recent strangely warm autumnal evenings when we noticed someone doing the whole ‘don’t look at me, I’m here incognito’ thingy; the one that just makes you tend to take more notice while affecting not to at all. Finally it twigged – she had been one of the housemates in the very first series of the UK version of Big Brother over a decade earlier. When it began here back in 2000 it was an interesting social experiment; by the third year it had degraded into a platform for nobodies who were only involved as they wished to become somebodies (or just had a personality disorder). It could be argued that the decline of the television documentary began with two offerings from the BBC – Airport in 1996 and Driving School in 1997. From these a new phenomenon was born – the reality star; an ordinary person living their normal life who now attained some kind of celebrity status merely by doing what they did (followed by a film crew). This was like some sort of dystopian imaginings from science fiction, and the phenomenon became full entrenched once Big Brother arrived.

The staged reality soap can be seen as the latest incarnation in the blurring of the lines from documentary via reality television to pure soap. What began with MTV’s The Real World de-evolved into Jersey Shore and The Hills, which in turn led to UK equivalents which were something else entirely. Last year ITV2 had a surprise hit (and winner of the BAFTA audience vote) when The Only Way is Essex (TOWIE) arrived and brought vajazzle into the lexicon. This year it was followed by Channel 4’s entry into the genre, the godawful Made In Chelsea, and last week Vice recently reported that auditions are underway for a Shoreditch-based one (which if they had any sense of humour they’d name Hoxton Twats but not tell the participants until it aired). All these bear possibly even less resemblance to real life than EastEnders does to living in East London or Neighbours does to suburban Melbourne. What these staged-reality shows do have in common with the latest version of Big Brother (now on Channel 5) is how the names of the “characters” are embossed on screen each time they appear. Is this just to help first-time viewers, or is it a sad indication of what the makers consider to be the average viewers’ attention span, or merely an honest admission that the people portrayed are so forgettable that you need to be reminded who they are every time they appear?

But a documentary series currently screening on Channel 4 showing real people in their ordinary lives moves away from many of these recent conventions and simply allows the actions to tell the story. That show is Educating Essex and was filmed with real Year 11 and 12 students and their teachers at Passmores School in Harlow, Essex. Placing 65 cameras all over the school meant they were able to film without the intrusion of a film crew (although one was used for interviews after) which meant that people acted more normally. Yes of course the students were aware of the cameras and so subject to the Hawthorne effect, and of course the filmmakers selected the footage and highlighted stories for effect and narrative drive. Yet despite all this, what emerges is a cabal of caring, dedicated individuals with seemingly incredible patience spending a great deal of time on a small percentage of pupils with behavioural problems or personal crises. While series like TOWIE seek to reinforce the opinions, prejudices and stereotypes that we might expect for the subjects that they portray, Educating Essex instead challenges them and does all it can to rewire them. Media coverage of modern schooling in the UK is almost uniformly negative and the continual improvement in examination results is linked to a supposed dumbing down of the tests themselves, while the press if full of stories about the “youth” are out of control, and the cause of so many of ‘Broken’ Britain’s woes. What Educating Essex shares in common with its comic predecessor Summer Heights High, is that the stories of these people are initially funny and finally deeply moving, just as Chris Lilley’s series was.

© James McGalliard 2011

Inpress: Published on page 61
Drum: Published on page 62

That Was The Year That Was

London Fields # 73
First published Inpress, Melbourne on 23 December 2009
NB: Each column has a name, but these do not appear in print; printed versions may differ slightly to those displayed here

With news broadcasts full of stories of retail closures and impending strikes, it’s hard to summon up a spirit of seasonal bonhomie, despite the snow falling outside. Britain is still feeling the full brunt of recession, and as unemployment continues to rise, no one can be sure if they’ll still be in work in six months time. Such an atmosphere means that people seem to avoid unnecessary extravagances, so the great British public has probably spent more time staying in to watch television, or socialising in their own homes instead of pubs than at any time I can recall.

2009 was the year of so-called stripped-programmed event TV. Following last year’s experiment with Criminal Justice, where a drama was screened over consecutive weeknights, this year saw Torchwood return in this format with Children Of Earth, while the same approach was applied at ITV for Collision. Of course, you could argue that this is no different to a nightly soap, but the 43 consecutive weeknights of HBO’s In Treatment demanded intellectual and emotional attention in a way Home & Away never could. With a run of late night screenings on BBC Two, this was the year when The Wire hit the UK mainstream, as you didn’t need a premium subscription or a DVD to see what the fuss had all been about. Although its timeslot and heavy schedule were hard to keep pace with, it still made a major impact - from parliamentary discussions over street drug trade to the creators expressing their annoyance that the BBC policy of subtitling every show they broadcast meant audiences didn’t have to listen to the nuances to pick up what was being said.

The effects of last year’s Manuelgate are still being felt. TV comedy, particularly on the BBC, was visibly running scared, and most of the edgier material ended up back in the clubs, or online. This made Stewart Lee’s Comedy Vehicle especially groundbreaking; most of it was simply a man talking to an audience, in a way perhaps not seen since the heyday of Dave Allen, but this wasn’t about simple jokes. Lee’s lengthy polemics were both witty and vicious and were intermingled with some sharp sketches to illustrate the point. On the other extreme was Miranda; this wasn’t to my taste, but I had to admire they way it attempted to revive the sitcom format of the ‘70s, albeit with perhaps more innocence, but additional Brechtian breaking of the fourth wall. It has been recommissioned; Lee has not. The wowsers also attacked The Thick Of It - its jump from satellite to terrestrial broadcast led to complaints about the wonderfully vivid swearing. Psychoville saw half of The League Of Gentlemen return, while the axed Pulling signed off with a one-off special, and then won even more awards; Sharon Horgan reappeared in Free Agents on Channel 4.

The influence of Skins continues to be felt. While the cast change had a better intent than the eventual reality, it could be argued that it led to both Misfits (E4) and Mouth To Mouth (BBC Three). Both these shows focused on a different central character of an interrelated group each week, so rather than a straightforward story arc, the back-story slowly becomes clear once you’ve heard the story from all the viewpoints. While Mouth To Mouth was literally a string of talking heads monologues, Misfits has a darker humour, and like Being Human nicely subverted expectations and genres. But perhaps the biggest shock on TV this year was Merlin which grew into a secret treat after a fairly risible first season, punching well above its weight in both in scripting and complexity.

The sound of 2009 was the motorik beat, perhaps ringing most clearly in the volte-face fortunes of The Horrors. It was a year that artists tried to work independently of the big labels, either by self releasing downloads (like The Boxer Rebellion or Spc-Eco) or by raising money for recording from fans through Bandstocks and the like (Patrick Wolf). Musical trends bubbling away included a predicted reemergence of C86, as well and a smattering undercurrent of prog, while electro went to mainstream chart success. The reunions continued - The Specials, Th’ Faith Healers, Spandau Ballet, The Comsat Angels, The Primitives, Blur, Chapterhouse, The Lotus Eaters and Ultravox – some as one-offs, and others as ongoing concerns. The charts themselves however were once again weighed down by the heavy influence of TV talent shows. Susan Boyle became a star, seemingly for having a talent more appealing than her appearance. But this also led to the popularity of truncated names (SuBo) in the tabloids, obviously predicated by LiLo (or was it South Holborn being better known as SoHo?). The cancellation of Big Brother after ten years could have been seen as the death of so-called reality TV, if over 20 million viewers hadn’t tuned in for the final of The X-Factor in December, leading to another battle for the Christmas # 1.

Following on from Echo & The Bunnymen performing Ocean Rain with an orchestra late last year, 2009 saw ABC, Elbow and James among others follow suit, with mixed results. Now it appears the trend may be headed your way too as The Angels are going to do this in Adelaide next April. Speaking of Australian acts, where were they this year? Wolfmother and Pendulum can still fill large venues here, and Jet’s take on Iggy Pop is a perennial radio favourite, but with the exception of The Temper Trap, where were the new Australian artists? I can only hope that they take advantage of the comparatively weak sterling and make a stronger contribution to events such as The Great Escape next year.

In London, it was the year that the Circle Line stopped going around in a circle, and that the River Thames disappeared from the iconic London Underground map. February snow brought the capital to a complete halt and the battle of the free evening papers led to the demise of both thelondonpaper and London Lite, while the Evening Standard was forced to become a freesheet. Political sleaze was back on the agenda, with parliamentary expenses claimed for everything from moat dredging to a floating duck house. In a year where only new shops opening were pawn brokers and even big chains like Borders went bust, there were some people who made it all bearable. In print and across his four TV series, Charlie Brooker once again was a brilliantly funny and scathingly critical voice of outrage and reason. On stage, with two entirely different shows, Daniel Kitson covered big topics, but with a human perspective. This clever, erudite and self-effacing chap weaved larger-than-life yarns which eventually revealed the heart-warming joy in the minutiae of the smallest details of everyday life.


© James McGalliard 2009

Black & White TV

London Fields # 70
First published Inpress, Melbourne on 14 October 2009
NB: Each column has a name, but these do not appear in print; printed versions may differ slightly to those displayed here

Perhaps the most contentious section of comedian Richard Herring’s Edinburgh show Hitler Moustache began when he chose to use the term “Paki” to make a point. In the UK it is no mere abbreviation, but one of the most taboo terms of racist abuse, a derogatory catch-all for anyone from the Asian subcontinent. I felt myself catch my breath as he uttered it, for it’s dangerous territory to tread. Herring is not a racist by any stretch, but there’s a risk in being quoted out of context, such as the furore that surrounded his “maybe the racists have a point” comment from elsewhere in the show. His expansive conjecture was that an extreme racist’s ‘us and them’ mentality was only one step away from the truly enlightened state of seeing that we’re all the same; so those liberals who see hundreds of separate races on Earth were hundreds of steps further away from the ideal. He went on to illustrate that if people from India and Pakistan saw themselves as a racist sees them (the same), they’d be no conflict between the countries. Now this was never meant to be a serious proposition; the whole point of his show was to challenge perceptions and assumptions.

There’s been another recent TV race row playing out in the papers, where Strictly Come Dancing contestant Anton Du Beke saw the spray-on tan of his partner Laila Rouass and exclaimed “You look like a Paki”. The comment was made off air, and apologies were quickly made and accepted. Yet it’s still shocking that such a remark could be made, even in ‘jest’. ‘Only joshing’ was Carol Thatcher’s excuse earlier this year too, when she used the word “golliwog” to describe tennis player Jo-Wilfried Tsonga. It was also an off-air remark – the difference was that she refused to apologise (at least initially), saying there was nothing wrong with it. Rightfully, the BBC dismissed her, yet there are those who claim that the Beeb has not been even-handed in its handling of such incidents. Both the Celebrity Big Brother affair and Manuelgate are still fresh wounds in TV Land, and the BBC faces an uncertain future, particularly if there is a change in government at the next election.

Hence the BBC Trust’s latest broadcasting guidelines are reactionary, and the new restrictions on bad language feel like a visit from the ghost of Mary Whitehouse. Yet the modern world is one wherein you need to be more aware that certain, seemingly innocent words may carry a hidden weight. Only the other I week a responded to a ribald remark from a fellow employee with “cheeky monkey”, only to then freeze as I remembered that in England that word has nasty associations to anyone of black decent. And a few weeks earlier I was completely dumbfounded when a handyman at my flat started expressed some pretty hateful opinions, and used some racist expressions I’d never heard used in real life and hoped had been lost in the 1970s.

Yet the most shocking example of TV gone wrong recently wasn’t any of these, but the Jackson Jive act on Hey Hey It’s Saturday. It’s thirty years since Bert Newton wrongfooted Mohammed Ali with his infamous (yet genuinely innocent) “I like the boy” remark, and longer since The Black And White Minstrel Show was consigned to the cultural dustbin. So you’d have hoped that a true multicultural society might have become more attuned, yet the “Where’s Kamahl?” cartoon genuinely served to bundle all races of colour into the one basket that Richard Herring satirised. It isn’t about political correctness; it’s about being aware of a wider world - one in which the Lucky Country, with its detention camps and belated ‘Sorry’ is sometimes viewed as backward, homophobic and racist. Personally, I was simply embarrassed, and somewhat glad that this didn’t become a bigger story here, as it would have been impossible to defend my homeland. It’s not necessarily a question of racism, but it’s certainly one of sensitivity and awareness. Would they have been allowed to perform in blackface holding boomerangs, didgeridoos and a copy of the Mabo Treaty? To put it simply - “Wake Up Australia!”


© James McGalliard 2009

Man In The Mirror

London Fields # 35
First published Inpress, Melbourne on 24 January 2007
NB: Each column has a name, but these do not appear in print; printed versions may differ slightly to those displayed here

There’s nothing the British love more than a good old natter. And recent events on the fifth series of Celebrity Big Brother have provided fodder for countless conversations and debates, as well as thousands of column inches, both here in the UK and around the world. It has also thrown up a large mirror on some aspects of British society, and the picture isn’t pretty.

CBB5 has been all about humiliation as entertainment, and I’m not just referring to the behaviour of the housemates. On the third day Jade Goody, her boyfriend, and her harridan of a mother arrived in the house, and the "celebrities" were told to act as servants to them. Now Jade was ‘made’ by appearing in the third series of the UK version Big Brother back in 2002. Although she didn’t win, she was probably the most memorable housemate, becoming famous for her sheer ignorance and stupidity.

Which was why it was easy to understand why Towers Of London’s frontman Donny Tourette jumped the fence rather than kow-tow to the three newcomers. Next film director Ken Russell walked after a row with Jade (though perhaps it was also because no one in the house knew who he was anyway) and it was starting to look a bit desperate. Finally Leo Sayer went loco and smashed his way out of the house (because thought he didn’t have any clean underwear) and the future of the show was looking bleak.

Now Jade had been put there for her distinct lack of tact, and on her first day she asked Jermaine Jackson if his brother Michael’s pale skin was because he was mixed race like her. While her lack of propriety and complete misunderstanding of other cultures was guaranteed to cause conflicts, I don’t think anyone saw how far it would go. Jade was certainly the ringleader of the bullying, but in her case I think it was more to do with class than race. Class as in place in society, and in the way one purports oneself.

Was it racist though? There’s little you can say to defend Danielle Lloyd comment of Shilpa "She should fuck off home!". In an attempt at damage limitation, Lloyd’s family issued a statement which contains the following: 'F* off home' is a term frequently used sometimes as an insult and sometimes in a jovial fashion between young people today...’. Yeah, so that’s why Lloyd’s agent included this in her list of DON’Ts for her time in the house: "Don't be racist - show you're bigger than that. If you have a strong opinion about something give your reasons for it."

But the production company has to accept blame as well. Jade’s mum Jackiey was like a real-life Margery Dawes – the character in Little Britain who claims not be able to understand a world said by the Indian woman in her Fat Fighters group. Jackiey claimed that Bollywood star Shilpa Shetty’s name was too difficult, and just referred to her as "The Indian". But when she wasn’t challenged over this behaviour in her post-eviction interview.

The producers could also be accused of demeaning acts and bullying. Such as pumping out Michael Jackson’s Man In The Mirror as a wake-up song, coincidentally while Jermaine was styling his barnet. Or asking Jermaine to form a Jackson 5 tribute band, replete with afro wigs, and H to form a rival tribute act from his former life in Steps. It was like an experiment to see how much they could get their celebs to piss on their life’s achievements. This near envy was mirrored by Jade when she met someone who made her feel inadequate merely by her easy manner and grace.

So with Jade gone, did the bullying cease? No it just changed targets. The following day saw Kenny Everett sidekick Cleo Rocos relentlessly flirt with Dirk Benedict in a nasty way, for pay him back for a ribald conversation he had earlier in the day about pornography. And she wouldn’t stop, even when he told her on very clear terms that it wasn’t fun. No, her mission was to see if she could get him to ‘crack’.

Yes, there was some racism in the house, and maybe it indicates that under the guise of a more enlightened politically correct society, deeper divides are still in place. But it was more a battle of class, and Shilpa being one of the few to emerge with any. Yet this show is a sad reflection of modern Britain in another way - no one stood up and said, "Stop!". Not the housemates, not "Big Brother", not the producers. Not, that is, until complaints watchdog Ofcom received a record number of complaints. This is the Bystander Britain; you observe but don’t intervene for fear of being dragged in yourself. I suppose the only positive to come out of it all is that it has got people talking, and hopefully thinking about issues of race and bullying.

All except the TV stations it seems. How else could you explain the new series of Shipwrecked which commenced on Sunday, also on Channel 4? One of the castaways is a posh outspoken brat who believes in the British Empire and is all for the return of slavery… Your fifteen minutes awaits!

© James McGalliard 2007