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The insipid rebellion of the new "rock royalty"

The bloodless brats of pop have nothing to rebel against - sadly they are the role models for a new generation of teenagers.

What does it say about modern culture when so many of our pop icons are famous primarily for being someone's son or daughter? Following the late 20th century, when musicians, models and artists from every sort of background briefly replaced society belles and high-born dandies in the gossip pages, the children of those artists and musicians have become the new aristocracy, wealthy young debutantes whose arrival on the party scene is breathlessly anticipated in every weekly glossy. Coco Sumner, the pouty progeny of Sting and Trudie Styler, has just announced her arrival in the rigid ranks of pop primogeniture by releasing a debut album with her band, I Blame Coco. I don't know about you, but I can hardly contain my ennui.

"Rock Royalty" is the term that the fashion press uses to describe these phlegmatic youngsters and it couldn't be more apt. As social mobility implodes, we have once again become a society that openly fetishises heredity, aristocracy and class. The real royal wedding is shuffling towards us like the terrifying reanimated corpse of deferential 1980s austerity culture, but in fact we've been comfortably obsessed with the couplings of high-society debutantes for years.

Forget The X Factor. If you really want to make it in show business and can't find a footballer to marry, you'd better have a famous father, like the Jagger daughters, or the Geldof girls, or the Richardses, the Allens, the Osbornes, the Winstones, the Lowes, the Ritchies, the Ronsons and the Hiltons.

The expensively groomed good looks of these young people offset the erstwhile dishevelled, grungy glamour of their parents, but we live in a different world now: one where money and connections are far more important than talent, in the creative industries and everywhere else. Contestants on reality singathons sacrifice every scrap of dignity for a shot at profitable D-list celebrity, but it was barely whispered that Young Mistress Sting was thinking of making a record before every weekend supplement was wetting itself to get an interview.

The album itself, The Constant, is nothing to write home about. Bloated with watery ballads about the symbolic colour schemes of bourgeois young love, it's the sort of unthreatening shopping muzak that plays in every Urban Outfitters in the northern hemisphere. Coco has a huskily acceptable singing voice, and producers who know how to spin out a bridge section -- but Sting she ain't.

This is precisely the album that any listless adolescent might produce if she just happened to have grown up surrounded by top-of-the range recording equipment and most of the wealthiest people in the music industry. It's not dreadful, but you could pick any suburban street in the country and find a teenager making better pop songs in their bedroom.

Pop, of course, is about far more than the music. It's about the making and breaking of cultural icons. Just as there was more to the Beatles than the first jarring chord of Hard Day's Night, and more to Bowie than the off-beat drumline of Rebel Rebel, there is far more to Coco Sumner than vaguely rubbish call-waiting tunes. She is part of the new cultural orthodoxy of rock royalty: a pampered princess in a musical world that has come to worship wealth and heredity every bit as much as the establishment it once rock-and-rolled against.

Many of these dull, rich young people seem genuinely convinced that they are in some way subversive artists, and the press is only too happy to facilitate this delusion. A gushing interview with young Ms Sumner in the Independent recently noted that "although she owns a house in Victoria and has just bought a cottage in Wiltshire, she has refreshingly dirty nails". The dirty nails probably contributed less to the record deal than the millionaire rock-star father, but for the purposes of her personal branding, Coco is definitely a tearaway, a young lady who claims to have found her "rebel" spirit when her nanny played her Blockheads records while driving her to prep school.

Publicists expect a bit of stage-managed rebellion from today's debutantes -- just a soupcon of the sort of bad behaviour that boosts album sales without actually challenge anything, like turning up to Bungalow 8 in a really low-cut designer dress. Iconoclasm, though, is not something that one just inherits along with the family pile. Truly subversive creativity often emanates from personal struggle, and that doesn't tend to feature highly in childhoods where people rush to tell you how wonderful you are every time you fart out a couple of chords.

Whatever she claims, Coco is not to blame. Her tedious songs, however, are the writing on the wall -- precisely the sort of music that French anarchists The Tarnac 9 were referring to when they wrote:

It's enough to listen to the songs of the times -- the asinine "alt-folk" where the petty bourgeoisie dissects the state of its soul, next to declarations of war from [rap artists] -- to know that a certain coexistence will end soon, that a decision is near.

The young people of Britain have grown up being asked to honour the uneasy coexistence of the super-rich and the so-called underclass -- but if this week's planned protests are anything to go by, that coexistence may well be at an end. Real rebellion isn't just a fashion accessory. It's a last-ditch response to social conditions that have become intolerable.

With a few exceptions, pop culture today is more about dynasty than dynamism. The ageing rock stars of the 1960s and 1970s may have sold out, shuffling cheerfully into endorsement deals for butter and car insurance, but those who grew up with their music and iconography still took away the message that with enough raw energy, ordinary people could change the world. For my generation, with only their bloodless brats for role models, it's back to the old rules: look good, do as you're told and make sure your daddy is rich and famous. There's only so long you can follow those rules before something snaps.

Laurie Penny is a contributing editor to the New Statesman. She is the author of five books, most recently Unspeakable Things.

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Calum Kerr on Governing the Digital Economy

With the publication of the UK Digital Strategy we’ve seen another instalment in the UK Government’s ongoing effort to emphasise its digital credentials.

As the SNP’s Digital Spokesperson, there are moves here that are clearly welcome, especially in the area of skills and a recognition of the need for large scale investment in fibre infrastructure.

But for a government that wants Britain to become the “leading country for people to use digital” it should be doing far more to lead on the field that underpins so much of a prosperous digital economy: personal data.

If you want a picture of how government should not approach personal data, just look at the Concentrix scandal.

Last year my constituency office, like countless others across the country, was inundated by cases from distressed Tax Credit claimants, who found their payments had been stopped for spurious reasons.

This scandal had its roots in the UK’s current patchwork approach to personal data. As a private contractor, Concentrix had bought data on a commercial basis and then used it to try and find undeclared partners living with claimants.

In one particularly absurd case, a woman who lived in housing provided by the Joseph Rowntree Foundation had to resort to using a foodbank during the appeals process in order to prove that she did not live with Joseph Rowntree: the Quaker philanthropist who died in 1925.

In total some 45,000 claimants were affected and 86 per cent of the resulting appeals saw the initial decision overturned.

This shows just how badly things can go wrong if the right regulatory regimes are not in place.

In part this problem is a structural one. Just as the corporate world has elevated IT to board level and is beginning to re-configure the interface between digital skills and the wider workforce, government needs to emulate practices that put technology and innovation right at the heart of the operation.

To fully leverage the benefits of tech in government and to get a world-class data regime in place, we need to establish a set of foundational values about data rights and citizenship.

Sitting on the committee of the Digital Economy Bill, I couldn’t help but notice how the elements relating to data sharing, including with private companies, were rushed through.

The lack of informed consent within the Bill will almost certainly have to be looked at again as the Government moves towards implementing the EU’s General Data Protection Regulation.

This is an example of why we need democratic oversight and an open conversation, starting from first principles, about how a citizen’s data can be accessed.

Personally, I’d like Scotland and the UK to follow the example of the Republic of Estonia, by placing transparency and the rights of the citizen at the heart of the matter, so that anyone can access the data the government holds on them with ease.

This contrasts with the mentality exposed by the Concentrix scandal: all too often people who come into contact with the state are treated as service users or customers, rather than as citizens.

This paternalistic approach needs to change.  As we begin to move towards the transformative implementation of the internet of things and 5G, trust will be paramount.

Once we have that foundation, we can start to grapple with some of the most pressing and fascinating questions that the information age presents.

We’ll need that trust if we want smart cities that make urban living sustainable using big data, if the potential of AI is to be truly tapped into and if the benefits of digital healthcare are really going to be maximised.

Clearly getting accepted ethical codes of practice in place is of immense significance, but there’s a whole lot more that government could be doing to be proactive in this space.

Last month Denmark appointed the world’s first Digital Ambassador and I think there is a compelling case for an independent Department of Technology working across all government departments.

This kind of levelling-up really needs to be seen as a necessity, because one thing that we can all agree on is that that we’ve only just scratched the surface when it comes to developing the link between government and the data driven digital economy. 

In January, Hewlett Packard Enterprise and the New Statesman convened a discussion on this topic with parliamentarians from each of the three main political parties and other experts.  This article is one of a series from three of the MPs who took part, with an  introduction from James Johns of HPE, Labour MP, Angela Eagle’s view and Conservative MP, Matt Warman’s view

Calum Kerr is SNP Westminster Spokesperson for Digital