From Blair and Britpop to Starmer and the Oasis comeback: why character, not personality, matters

We get both the leaders and entertainers we deserve.

George Pitcher

George is a visiting fellow at the London School of Economics and an Anglican priest.

Tony Blair talks to a member of Oasis at a reception.

Number 10.

Last time we had a new Labour prime minister, there were no Partygate fears in Number 10. Quite the opposite. Tony Blair’s Cool Britannia project threw its front door open to the likes of Britpop overlord Noel Gallagher of Oasis at a bash in 1997. Inheriting a rising economy, things for New Labour, as well as for Oasis, could only get better.

This time around, Sir Keir Starmer has “tough decisions” to make, such as trying to deny a universal winter fuel allowance to most pensioners. Blair arguably never had a really tough decision to make, until his Iraq war nemesis. Since then, Oasis has turned into an unacceptable face of capitalism, as the Gallagher brothers’ reunion tour next year turns into a Ticketmaster greed-fest of “dynamic pricing”. Diabolical pricing, more like.

Starmer and Blair both aspired to usher in an era of change and renewal. The similarity of their circumstances ends there. Nearly 30 years on, Starmer is in a different world. And the transformation of Oasis is totemic of that – from the joys of Britpop to the horrors of rip-off.

That times change is axiomatic. The nineties had busts and booms; the UK’s Black Wednesday currency crisis was of the former, the snarky underclass anthems of Oasis a paradigm of the latter. Now, in the 2020s, there are only busts. Like the note left in the Treasury drawer in 2010 joked, there really is no money left now. Except, apparently, for Oasis.

Which brings us to the false idols of politics. Since personality, rather than policy, became the political trump card it’s inevitable that we would get Trump. Or someone like him.

An engaging question arises as to how the two Labour PMs were and are equipped spiritually for the times in which they lead. The spiritual state of Oasis is a linked matter, which I’ll get to in a moment.

Blair’s government famously didn’t “do God”, though it turned out he did privately, converting to his wife’s Roman Catholicism almost immediately after leaving office in 2007. Perhaps he had a priest hole in the family flat above Number 11. He consistently denied claims that he prayed with American president George W. Bush before or during the Iraq war.

Starmer doesn’t do God rather more formally, as a self-declared atheist. We can conclude that prayer is not a resource that he needs as he faces a more challenging immediate political future than Blair’s early days as PM. I only wish Starmer would appear in a T-shirt with the slogan “No Prayer, Like Blair”.

Arguably the spiritual life doesn’t matter for any leader. The job of PM is all about simple competence, mostly in money management. To paraphrase the pithy quip from Bill Clinton’s 1992 presidential campaign (on which Blair’s so strategically relied), it’s all about the economy, stupid.

So the worship is of mammon rather than God. Here the current and former PMs might care to track the career trajectory of the two Lords Gallagher of Oasis from Blair to Starmer. In 1997, they were in their pomp as authentic Mancunian working-class heroes. Today, the brothers have to make up and go back on the road to subsidise Noel’s £20million divorce settlement. A rather different demographic.

There’s perhaps no great political lesson there for political leaders, but it’s almost Faustian in its scope. See what happens when you bank only with mammon.

Which brings us to the false idols of politics. Since personality, rather than policy, became the political trump card it’s inevitable that we would get Trump. Or someone like him. It doesn’t matter, to his core vote, what he’s done or what he’s incapable of doing, Only who he is. He’s an idol, a cult image, a golden calf. Trump’s bull is sacred, whatever he does.

The UK thankfully hasn’t had one of those yet (though there were warning tremors in Boris Johnson). But it’s telling that Blair is said to have developed a messianic tendency after his premiership’s early intervention in Kosovo during the war in former Yugoslavia. At the termination of hostilities, crowds there sought to touch his clothes as he passed.

Strange that being touched should make him feel untouchable. But that’s the way of messianics. It can be the same with rock & roll stars. Live music, at its best, can offer a transcendent sense of communion. At its worst, it’s the adoration of stage idols that sends them a little mad. Or mad for it.

Oasis’s Liam Gallagher isn’t in this together with his fans anymore. He’s turned into a Marie Antoinette figure online in response to the ludicrous prices charged to watch him from Ticketmaster. He substitutes “Shut up” and “£100,000 kneeling tickets” for “Let them eat cake”.

He and his brother are warnings of what can happen in so short a period between the ascendancy of Blair and that of Starmer. True, pop stars aren’t as dangerous as someone such as Trump. But they do show us that we get both the entertainers and the leaders we deserve.

Review

Comment

Culture

Death & life

14 August 2023

5 min read

'Do you guys ever think about dying...?' - Barbie

Pat Allerton reflects on the Barbie movie, the societal questions that it answers and the existential question that it doesn't.

Pat Allerton

Pat is vicar of St Peter’s Notting Hill and author of A Pocketful of Hope.

Margot Robbie as Barbie in Greta Gerwig's Box-Office smash hit movie

So I’ve just got home from watching the brand new and much acclaimed ‘Barbie’ at the cinema (don’t worry, I also watched ‘Oppenheimer’ last week). It’s 11pm, my wife and our 8.5 month old daughter are asleep upstairs and despite having church in the morning, I feel stirred to write some thoughts.

First and foremost, huge congratulations to Margot Robbie, Ryan Gosling, the whole cast, crew and team. It’s an absolute belter! Full of laughs from beginning to end. I thoroughly enjoyed myself and would encourage anyone else to go and see it.

But secondly, far from being the shallow, plastic cliché that you might expect, what you actually get is an intelligent, searing critique, albeit somehow gently done, of the world we live in and what’s predominantly wrong with it. Which is, you guessed it, men. Or more specifically, patriarchy.

The film begins in ‘Barbieland’ where everything is seemingly perfect, as encapsulated by Barbie when she describes the day we first meet her as, ‘the best day ever. So was yesterday, and so is tomorrow, and every day from now until forever.’ That is, until we meet Ken (played by the excellent Gosling). It is here that the first inkling of imperfection or wrinkle in their world is detected. As the narrator (voiced by Dame Helen Mirren) makes clear, ‘Barbie has a great day every day, but Ken only has a great day if Barbie looks at him.’ (We’ve all been there guys). His niggling insecurity and consequent competitiveness towards other Kens however, still aren’t enough to wake Barbie from her dream-like state and reveal that all is not well in paradise.

Issues of equality, respect, independence and identity are addressed in a way that left this 'pale, stale male' challenged but not condemned.

That moment arrives unexpectedly, during what appears to be a standard evening with ‘a giant blowout party with all the Barbies, and planned choreography and a bespoke song’ to which Ken is told he should ‘stop by’. The dance is breathtaking, the happiness palpable, and yet suddenly, as if from nowhere, Barbie blurts out the pivotal line in the film, the hinge on which the whole (Barbie) world turns, ‘do you guys ever think about dying?’ Cue the DJ’s vinyl record screeching to a halt, the choreography closing down, the dancers looking at her in disbelief, and the general sense of a serious buzz-kill. ‘Dying to dance’, she disingenuously adds, desperate to keep the party going, to shrieks of relieved delight and Dua-Lipa's return. Disaster averted, reality restored.

Except it’s not, it’s simply avoided. Avoided by everyone that is, bar Barbie. Something has changed for her, she knows it, and she must somehow find out why. That wrinkle in her world (along with the wrinkle on her thigh) turns out to be caused by a tear in the fabric separating her plastic world from the real one.

Long-story short, avoiding spoilers where I can, Barbie and Ken then embark on an eye-opening, perspective-shattering, journey from their world to the real world in order to find out where such unnerving questions (and cellulite) were coming from. Major issues with (or norms within) our world are encountered, from the objectification of women (Barbie receives immediate unwanted attention from all kinds of men), to the totally unmerited respect of any man (with someone even asking Ken if he had ‘the time’). They each go on an existential journey of discovery, with Ken delighted to learn that in the real world, men rule the roost (except for a brief time when he thought that horses did). Inspired with fresh vision, he quickly returns home in order to make some fundamental changes to and establish much of the best practice that he’s witnessed in patriarchal L.A.

I won’t say how things end up, but suffice it to say, issues of equality, respect, independence and identity are addressed in a way that left this ‘pale, stale male’ feeling both challenged but not condemned. Kudos to the team for getting that balance right! However, as big and important as these issues are, and as satisfying an ending as was reached from a social justice warrior’s point-of-view, it struck me that the biggest elephant of all was still left there in the room, or at least charging around on the beach. Because the very question that began her journey, the deepest one that woke her up, is the very one that’s just left hanging, unaddressed and ungrappled with.

The music stops and that is it. And yet don't our hearts long for more?

It’s almost as if that moment of existential angst on the dancefloor (and who hasn’t had one of them), realising the fragility of our own mortality, did nothing more than focus Barbie on the need to lay hold of everything she can in this life, rather than exploring the reality (or not) of the next. Our culture has a word for it. YOLO, if you didn’t know, standing for ‘you only live once’. Which of course is true, whether you’ve got faith or not. But the Christian worldview would go further, saying that whilst indeed you only live once, the Scriptures tell us that you also live forever (or YALF, to coin a phrase). Which sounds ridiculous on the face of it (the concept, not the phrase, although granted, YALF might not catch on). After all, as the creator of Barbie, Ruth Handler, tells us in the film, ‘ideas live forever, humans not so much.’

Unless, of course, they do, or can, which only our creator could possibly make possible. And so Ruth’s appearance raises another interesting question, if she made Barbie, who made Ruth? Only when we’re dealing with questions of this nature can we be positioned to take on the big mama (I was tempted to say ‘daddy’) question of, ‘do you guys ever think about dying?’ Which, of course, every one of us does. You can’t be human and avoid doing so. You’d have to be a doll in a made-up world.

But it’s a frightening thing to do, whether in Barbieland, in England’s green and pleasant land or anywhere for that matter. Because it all just looks so final. Like the music stops and that is it. And yet don’t our hearts long for there to be more? For one more song, for the beat to continue? Dare we hope for resurrection where life and light beat death and darkness? Because as beautiful as this life is, with all its opportunity for growth and freedom, be it in self-revelation and actualisation like Ken (the film ends with him wearing a hoodie that says, ‘I am Kenough’), or greater progress and equality on a socio-political level, experience tells us that until we have an answer for Barbie’s first and biggest question, then our own days here on earth, however good, happy and choreographed, will always be rudely interrupted by the reality of death and its long shadow. Find an answer for that... and let the DJ’s music play.