Underground / Overground (Again): Taking the Rage Off the Road

I’ve spent most of the last three years purpsefully avoiding publication. It may seem perverse, but there you have it: the idea behind the Rage Monologues was to work on an open-ended project which was about immediacy.

The pieces were penned to be performed in public, and not really to be read in private. The nature of the material and the performance fed into one another synergetically: I wanted to create visceral, raw material to be performed in the most uncompromising, uncomfortable style: each performance was different, with edits being made before each show, meaning the monologues were not fixed, but in constant development, and performed in a fashion which would have an impact. I wasn’t concerned about that impact being positive, and over time, I’ve lost any anxiety about being poorly received: I would rather people walk out in disgust than be impartial or disinterested,  or simply find myself amongst the infinite spoken worders whom audiences would likely consider adequate but forgettable.

Not publishing and keeping the monologues as something which existed only in the moment and in the ether was a deliberate act of rebellion: going offline and making the work available to only a limited audience was  intended to be subversive, a middle finger to globalisation, and ‘the process’: write, publish, tour, or similar. The fact the pieces weren’t published meant the only means by which they were aailable was at performances. A sense of exclusivity so often builds anticipation and can the the key to a cult reputation, and I took the monologues to some substantial audiences at respected – and packed – spoken word nights, wth some major highlights being in Leeds, Sheffield and Manchester.

The rock concert analogy is a fitting one: band shift more merchandise after a strong show: the punters have usually consumed booze and are ‘in the moment’. But ending a set and shuffling off with nothing to sell proved problematic, especially given that as an individual (and , as a writer, a relative unknown) with a full-time job and a young family, my touring actities were – and remain – limited to spoken word night slots in places I could reach, and return from, by train on an evening – and a sale or two afte a performance can go some way to mitigating travel costs, not being a writer who commands ‘guest speaker’ or ‘headline’ slots (and I like it that way, and find ‘guerilla’ appearancs to unsupectin crowds are generally more effective than spouting to a crowd already familiar with my work, which is no way for an author to grow a readership).

And so, while the primary objective of the project remains unchanged, I’m aware that making my work unvailable to practically the entire world is self-defeating. While I would love to perform at evety spkoen word night in every city around the globe, it’s not going to happen. And while going underground as an artistic statement is fine, and keeping things clandestine is cool, rendering one’s work inaccssible and unavilabe can be, to an extent, self-defeating. So this happened: a proper book and e-book, published by Clinicality Press – available at spoken word performances and globally for those who can’t attend live events in the north of England (click on the image to purchase).

Rage Book Cover copy

And if you’d like me to bring the rage to a spoken word night near you, then of course do get in touch…

The Changing Face of Consumerism XI: Back Down on the Street, or, Going for Bust

So a mere matter of days after my last piece on the struggling high street, I woke up this morning to more news of high street stores experiencing a drop in like-for-like sales in comparison to the same time last year, with HMV delivering particularly disappointing figures marked by sales being down 8.2% in December 2010. It is disappointing, too. Of the bigger chain music stores, I always preferred HMV (although Andy’s records had the edge for a while both in terms of pricing and range). First and foremost, they carried a broader selection with less mainstream releases sitting alongside the chart material. And, while a tad pricey, their range of back-catalogue titles was far superior to Overprice / Virgin.

But rather than work to their strengths and make a virtue of their difference, HMV followed the template of its competitors and having killed off the (albeit limited) vinyl section in favour of calendars and games, continued over a lengthy period of time to reduce the music stock – to make room for more games, DVDs and gadgetry. When the music occupies the smallest portion of a music retailer’s floor space, you have to ask questions. HMV’s struggling is an example of how diversification can be counterproductive, and rather than appealing to a broader customer base, can serve to alienate the one already established. How can a music retailer seriously expect to compete in other markets already dominated by specialists. More often than not, gamers will head to somewhere like Game for games, just as you’d probably go to a clothes shop for clothes, a bookstore for books, an electrical store for electrical goods – unless, of course, they go to the supermarket for the whole lot. After a while, I stopped asking questions and also stopped going in, because each time I did I found myself leaving empty-handed and frustrated because they never had the title I was after in stock. I’d invariably end up purchasing my music on-line because I couldn’t source it anywhere else.

I don’t for a second mean to suggest that I’m responsible for HMV’s declining sales (and I certainly played no part La Senza, the purveyors of slinky lingerie, being called into administration with a loss of 1,300 jobs, prompting headlines such as ‘Lingerie firm goes bust’ etc.), but while my musical tastes may be ‘minority’, there are many other minorities just like me, and collectively, they represent a substantial market.

As mentioned in passing in my previous piece, it’s not just music that I have problems tracking down, and it’s not always obscure items I struggle to find in shops either. As if to prove the point, only this week I decided I wanted to get a desk lamp. As my desk also happens to be the dining table and space is of a premium, I figured a desk lamp that clamps onto the shelves to the side of the table would be the best bet. But could I find one anywhere? Working out of time, my choices on a lunchtime were limited, but there is an Argos superstore and BHS Home Store (yes, British Home Stores Home Store) which specialises in goods for the, er, home, rather than home and clothing. A quarter of the store is given to a lighting department, but unless I wanted a lime-green desk-lamp with a regular base I was out of luck. That is, unless I wanted a ludicrously glitzy lamp shade with dangling glass bits all over it, which I most certainly didn’t. Argos carry a much more substantial range of desk lights, from bendy to angle-poise, but the only clamping ones are LED lamps, which just don’t give off enough light. I’d still need to put on the main ceiling light to see my screen, which defeats the purpose of a desk light I can angle in my corner without illuminating the whole room. Really, how hard can it be to find a simple item like a clamp-fitting desk lamp that takes a proper, regular bulb?

The answer is that it’s not hard at all. Five minutes on-line and I found I was spoiled for choice. Even so, on-line shopping is no substitute for real shopping as it’s often hard to get a sense of the precise dimensions or appearance of an item – you can’t ‘feel the quality’ from a description and photo, however detailed. Thankfully, it transpired that a local independent store I pass on my way through town after work had the best selection of all. Once again, hooray for the independents!

 

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A clip-on desk lamp, earlier today

 

And if you’re loving my work, there’s more of the same (only different) at Christophernosnibor.co.uk