PDF Ebook Strangled: Identity, Status, Structure and The Stranglers, by Phil Knight
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Strangled: Identity, Status, Structure and The Stranglers, by Phil Knight
PDF Ebook Strangled: Identity, Status, Structure and The Stranglers, by Phil Knight
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The Stranglers occupy a paradoxical position within the history of popular music. Although major artists within the punk and new-wave movements, their contribution to those genres has been effectively quarantined by subsequent critical and historical analyses. They are somehow "outside" the realm of what responsible accounts of the period consider to be worthy of chronicling. Why is this so? Certainly The Stranglers' seedy and intimidating demeanor, and well-deserved reputation for misogyny and violence, offer a superficial explanation for their cultural excommunication. However, this landmark work suggests that the unsettling aura that permeated the group and their music had much more profound origins; ones that continue to have disturbing implications even today. The Stranglers, it argues, continue to be marginalised because, whether by accident or design, they brought to the fore the underlying issues of identity, status and structure that must by necessity be hidden from society's conscious awareness. For this, they would not be forgiven.
- Sales Rank: #1785651 in Books
- Published on: 2015-01-30
- Original language: English
- Number of items: 1
- Dimensions: 8.58" h x .40" w x 5.43" l, .45 pounds
- Binding: Paperback
- 180 pages
About the Author
Phil Knight is a professional engineer who may well have built and installed the escalator you are standing on as you read this from your tablet. He lives in Cambridgeshire, UK.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Meninblack
By Rich Moreland
An iconic punk band and its extraterrestrial visitors know as “Meninblack” are the focal point of Phil Knight’s sharply written account of The Strangers, a British musical phenomenon. The author investigates the ticking mechanism that is The Stranglers, a compendium of politics, genetic engineering, Biblical implications, heroin addiction, and a morass of collective self-doubt that fuels inevitable dust ups with the music media
Highlighting each of the band’s early albums, Knight deconstructs every song with the fine eye of an academician, historian, and sociologist. Insights into anti-structuralism and its play dates with the Trickster archetype define The Stranglers' rocking and reeling in 1970s Europe. Interspersed throughout the narrative are intelligentsia like Ernest Hartmann, Jacques Ellul, Lewis Mumford, and Alfred Adler. Yes, even Leon Trotsky, Lenny Bruce, and the ever modernized Nostradamus make the cut.
The expansive first chapter (there are only two in the book) centers on singer/guitarist Hugh Cornwell and is limited to the band’s early years. Drummer Jet Black and bassist JJ Burnel merge their self-images with Cornwell's to form The Strangler archetype. It is, according to Knight, a "paranoid worldview" that centers on a "framework" of "conspiracy theory" and "creation myth" known as "The Men in Black."
Their fifth album's opening number, "Waltzinblack," carries an ominous message. "Whatever the thing was directing them, it seemed to have the intention of preventing them from creating this very record." Jail time, exploding studios, and stolen band instruments are just part of whatever Trickster curse hovered over the group. At every corner, The Stranglers have to "band" together to survive, creating their own cultish enclave in a tribalist, disconnected youth universe.
The crisis of identity that infects the young and the newly emigrated into a Britain identified as a “dying empire” forms the basis for the second half of the book. Recounting the birth of punk at the height of the Cold War, Knight reveals that the university educated JJ Burnel set out to “forge an identity in which he could comfortably exist.” Self-described as a “frog immigrant with a chip on his shoulder,” the French born bassist forges his place in a musical group dismissed by the subculture of which it is a part. Within that framework, Brunel's personal harpy is inferiority, “you don’t belong” because you are foreign. As he does throughout the book, Knight delves into theory, this time Adlerian, to explain JJ Burnel's place in the mosaic that is The Stranglers.
The book's lengthy second chapter is political history interpreted within the blueprint of Burnel's Stranglers' persona. It's the zenith of Punk and violence with hooliganism (the Finchley boys and Hells Angels step up as Strangler supporters) its metaphoric album cover (or sleeve as they say in Britain). Falling into modes of hostility and misogyny, The Stranglers reflect a 1970s Europe rife with anti-Americanism and a post World War II malaise haunted by the slipping away of world hegemony. Particularly interesting is the invective of racism that permeated UK. The author comments on Eric Clapton's "I'm into racism . . .we are a white country," and Rod Stewart's "The immigrants should be sent home." The rockers support the hard-right's signature politician Enoch Powell who falls in with Britain's "neo-fascist National Front."
Despite citing David Bowie's admiration of fascist leadership (the singer describes Hitler as "one of the first rock stars"), Knight does give these musical icons a pass, however lame, on their politics. After all, the 1970s were British angst at its finest.
The Stranglers is a brooding story about alienation and rigid class identity in an economically stressed Britain. With moments of darkness and revelation defining the band, author Phil Knight has turned out a gem that sparkles with solid history and marvelous storytelling.
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