James Blunt has misunderstood the relationship between privilege and success

Sarah Perry

January 20,2015

James Blunt has misunderstood the relationship between privilege and success

The burden of making ends meet is often death to creativity

The exchange between Chris Bryant and James Blunt raises a question deserving more considered attention, which is this: does wealth and privilege helps you to artistic success? The answer’s so starkly obvious it hardly seems worth saying, but say it I must: yes. Yes, of course it does.

The operation of privilege in the arts is subtle and misunderstood. For example, the notion that connections secure publishing deals is absurd: no editor risks a hard-won reputation by publishing a book because it was written by an Oxford chum. The slush pile is an equal opportunities employer, and it’s worth noting that Jessie Burton’s The Miniaturist – one of the most acclaimed and successful debuts of this or any year – was discovered there.

Yet lack of privilege remains too high a barrier for too many, and too many voices go unheard (as an aside, Bryant’s having implied that we need working-class voices for ‘grittier’ subject matter is unspeakably condescending).

READ MORE:

JAMES BLUNT WRITES STINGING OPEN LETTER TO 'CLASSIST GIMP' CHRIS BRYANT

Creating a career in the arts when you have no money and no connections is difficult and wearisome. This is not because the door’s locked and the key issued to a select few, but because the ordinary life as lived by most - beginning work at 18 or younger because you must pay rent, or working through college to pay your own tuition and emerging crippled with debt and needing work - leaves little room for art.

We must recognise privilege when we see it, and understand we’re not talking about seven figures in a Coutt’s account. I’ve met those who think six months as a chalet girl before an internship at the BBC constitutes the daily grind; those who protest “I only went to Edinburgh!” as evidence of being on the back foot, socially speaking.

Here’s the thing: if your cousin knows someone who needs an unpaid intern, but that’s OK because you’ve got a room in your Mum’s friend’s house in Shoreditch for peppercorn rent, you’re greatly privileged. If you can manage on a little photography work (using the digital SLR you got for your 21st) because you’re house-sitting for an aunt who’s gone travelling, you may not feel wealthy, but you’re rich in time, the great currency of privilege: time to sing, to write; time to find out if you have what it takes. What’s more, the burden of making ends meet is often death to creativity: never have I felt less like writing than when plunging through every coat pocket in the house in the hope of finding the bus fare to work.

Subtler still, the confidence of privilege enables an easeful move through the social aspect of life in the arts. I’m largely accent-less, and possess a PhD and a piano (the latter brought in evidence against me whenever I plead ‘not guilty’ to being middle class), but find publishing events so alarming I frequently hide in the toilets. And the chance of my spotting across the room a friend of my mother’s or an old college pal, and beckoning them over for a chat, is vanishingly small: arts events are not overly supplied with small town ex-Biblical fundamentalists educated at a polytechnic.

Envy achieves nothing: it leads to a mistrust of those both privileged and gifted, suggesting they cannot possibly have been the latter without the former, which is as unjust as it is illogical (Mitford! Woolf!). The only solution, of course, is the creation of open-access privilege in the form of more and better arts funding. The government’s recent evisceration of the arts risks creating a kind of class-based arts culture that will impoverish us all.

As for me? Well: certainly I’d have finished my first novel years earlier if I’d not been diligently avoiding a repeat of what I call The Bailiff Incident, but I’ve had privileges of my own, and in the publishing world have encountered nothing but welcome. That strange childhood that gave me this strange imagination, the ability to walk miles along the banks of the Cam though I’ll never know one end of a punt from another, great strokes of blinding luck: these are riches too, and I’d not swap them for anyone’s.

Sarah Perry is a writer and novelist. Her first novel, After Me Comes the Flood, is out now from Serpent's Tail.www.sarahperry.net 

http://www.independent.co.uk/voices/comment/james-blunt-has-misunderstood-the-relationship-between-privilege-and-artistic-success-9989541.html

James Blunt's comebacks - would they work for your career?

James Blunt has mastered the art of the comeback. Why don’t more of us take this approach to our critics?

James Blunt's Twitter comebacks are the stuff of legend; and now that legend has a new chapter, with his brilliant reply to MP Chris Bryant on the subject of privilege in the arts. Most people would never dream of trying this approach with the critics and bullies they encounter in the course of their career. They're far more comfortable staying quiet, letting colleagues get the upper hand, seething for days, and then holding a grudge for the rest of their life.

In their mind the comeback is for the playground, where 'Yeah? So's your face' passes for the height of sophisticated wit. This image isn't helped by the likes of Lord Sugar. Even when he's in the boardroom with his so-called Apprentices, saying the things we've been shouting at the screen for the best part of an hour, listening to his comebacks is still a toe-curling experience. Nobody wants to hear a grown man whine "Don't tell me you're just like me. You're not like me. I'm unique."

Blunt, however, has mastered the three step process of replying to his critics in a way that wins the support of everyone around him - something we could all benefit from at work.

1. He chooses his targets carefully

Nobody is going to appreciate you using a masterful comeback against a senior manager or a vulnerable intern. However, if like Blunt you use it to give as good as you get to the bullies, you'll win the support of all those around you.

Great responses to his bullies recently have included one to a tweet that said "James Blunt is one ugly m*th*er f*cker." He replied with "And how's your modelling career going". And when another wrote: "James Blunt just has an annoying face and a highly irritating voice", he replied, "And no mortgage."

2. He knows his audience

The best put downs start with an understanding of the person who has insulted you or attacked your position. You can then respond in a way that will demonstrate both your understanding of their point of view - and your own.

In James Blunt's case, he's mostly dealing with people who hate him and his music, and he has a couple of approaches. One is by joking that he hates himself more, such as his response to the tweet: "I must be 1 of only 2 who genuinely likes every James Blunt song. The other person being him." To which he replied "Nope, you're on your own." And another is by pretending to humour them, such as replying to "I cannot put into words how much I hate James Blunt" with "Try singing it."

3. He's funny

Humour will help you get away with a great deal, and Blunt is funny. To one Tweet claiming "That James Blunt song is utterly horrific, horrific", he replied. "Yet so many people bought it, bought it." While to one who said "James Blunt is a major B*ll end", he replied "That's Captain B*ll end to you."

Nobody is pretending that a witty comeback will silence critics and bullies for good. However, if you can respond to a bully in a way that leaves everyone laughing, and thinking more highly of you, then they'll think twice about attacking again.

So what do you think? Will this approach work for you? Or will you stick with the stiff upper lip and an hour or so of complaining to your other half when you get home?

• By Sarah Coles, Jan 20, 2015

http://money.aol.co.uk/2015/01/20/james-blunts-comebacks-would-they-work-for-your-career/

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James Blunt in 'posh spat' with Labour MP

The singer said he had to overcome lots of prejudice to make it in the music industry 

Continue reading the main story

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Singer James Blunt has clashed with Labour politician Chris Bryant about diversity in the arts after the MP said the singer was part of a public school educated elite "dominating" culture.

The singer, who was educated at Harrow, said the politician was a narrow-minded "classist gimp" who was motivated by the "politics of jealousy".

Politicians, he said, should celebrate success wherever it came from.

Mr Bryant responded by urging Mr Blunt not to be "so blooming precious".

The spat started after Mr Bryant, who was recently appointed Labour's shadow arts minister, told the Guardian that there needed to be more working class actors and "gritty" subject matter in drama output to properly reflect contemporary Britain.

'Looking for votes'

While he was "delighted" that Eton-educated Eddie Redmayne had won a Golden Globe for his portrayal of Stephen Hawking in a new film, Mr Bryant - who himself was privately educated at Cheltenham College - suggested that "we can't just have a culture dominated by Eddie Redmayne and James Blunt and their ilk".

Mr Blunt, a former soldier who sprang to fame when his song You're Beautiful went to number one in 2005, took Mr Bryant to task in a letter to the newspaper.

Mr Bryant suggested there needed to be more of a "level-playing field" in the arts

He said his background - both in terms of his schooling and his time in the army - counted against him when he was trying to break into the music industry and despite his success was still regarded as being "too posh".

"And then you come along, looking for votes, telling working class people that posh people like me don't deserve it and that we must redress the balance," he wrote.

He suggested that Mr Bryant's "populist, envy-based, vote-hunting ideas" were more likely to hold the country back than "my shit songs and my plummy accent".

'Aim high'

Mr Blunt, who has a million followers on Twitter, contrasted carping attitudes to people's success and background in the UK with the US, where he said people "don't give a stuff" about that kind of thing.

Mr Bryant asked where the next Albert Finney would come from

"What you teach is the politics of jealousy," he added.

"Perhaps what you have failed to realise is that the only head start my school gave me in the music business, where the vast majority of people are not from boarding school, is to tell me that I should aim high.

"Perhaps it protected me from your kind of narrow-minded, self-defeating, lead-us-to-a-dead-end, 'remove the G from GB thinking' which is to look at others' success and say 'it's not fair'."

'Wasting talent'

In his original interview, Mr Bryant said the system that had produced British talent such as Albert Finney and Glenda Jackson in the 1950s and 1960s had been "more meritocratic".

He questioned whether the BBC, ITV and Channel 4 were committed to funding the kind of drama which looked at Britain as it was now rather than "Downton (Abbey) programming ad infinitum".

Responding to Mr Blunt, the Labour MP insisted he was not singling out the performer and he was "delighted" at his success.

"Stop being so blooming precious," he wrote. "I'm not knocking your success. I even contributed to it by buying one of your albums.

"But it is a statement of the blindingly obvious that that is far tougher if you come from a poor family where you have to hand over your holiday earnings to help pay the family bills."

He added: "You see the thing is I want everyone to take part in the arts. I don't want any no-go areas for young people from less privileged backgrounds. And I'm convinced that we won't be Great Britain if we waste great British talent in the arts."

http://www.bbc.com/news/uk-politics-30884948

James Blunt’s letter to Chris Bryant - in full

James Blunt said people laughed at the idea of him going into the music business. Photograph: Ken McKay/REX  

Dear Chris Bryant MP,

You classist gimp. I happened to go to a boarding school. No one helped me at boarding school to get into the music business. I bought my first guitar with money I saved from holiday jobs (sandwich packing!). I was taught the only four chords I know by a friend. No one at school had ANY knowledge or contacts in the music business, and I was expected to become a soldier or a lawyer or perhaps a stockbroker. So alien was it, that people laughed at the idea of me going into the music business, and certainly no one was of any use.

In the army, again, people thought it was a mad idea. None of them knew anyone in the business either.

And when I left the army, going against everyone’s advice, EVERYONE I met in the British music industry told me there was no way it would work for me because I was too posh. One record company even asked if I could speak in a different accent. (I told them I could try Russian).

Every step of the way, my background has been AGAINST me succeeding in the music business. And when I have managed to break through, I was STILL scoffed at for being too posh for the industry.

And then you come along, looking for votes, telling working class people that posh people like me don’t deserve it, and that we must redress the balance. But it is your populist, envy-based, vote-hunting ideas which make our country crap, far more than me and my shit songs, and my plummy accent.

I got signed in America, where they don’t give a stuff about, or even understand what you mean by me and “my ilk”, you prejudiced wazzock, and I worked my arse off. What you teach is the politics of jealousy. Rather than celebrating success and figuring out how we can all exploit it further as the Americans do, you instead talk about how we can hobble that success and “level the playing field”. Perhaps what you’ve failed to realise is that the only head-start my school gave me in the music business, where the VAST majority of people are NOT from boarding school, is to tell me that I should aim high. Perhaps it protected me from your kind of narrow-minded, self-defeating, lead-us-to-a-dead-end, remove-the-‘G’-from-‘GB’ thinking, which is to look at others’ success and say, “it’s not fair.”

Up yours,

James Cucking Funt

http://www.theguardian.com/music/2015/jan/19/james-blunts-letter-chris-bryant-in-full

Chris Bryant’s reply to James Blunt – in full

Chris Bryant, Labour MP, writes: ‘I don’t want any no-go areas for young people from less privileged backgrounds.’ Photograph: David Levene for the Guardian

Dear James

Stop being so blooming precious. I’m not knocking your success. I even contributed to it by buying one of your albums. I’m not knocking Eddie Redmayne, either. He was the best Richard II I have ever seen.

If you’d read the whole of my interview, you’d have seen that I make the point that the people who subsidise the arts the most are artists themselves. Of course that includes you. But it is a statement of the blindingly obvious that that is far tougher if you come from a poor family where you have to hand over your holiday earnings to help pay the family bills.

I’m delighted you’ve done well for yourself. But it is really tough forging a career in the arts if you can’t afford the enormous fees for drama school, if you don’t know anybody who can give you a leg up, if your parents can’t subsidise you for a few years whilst you make your name and if you can’t afford to take on an unpaid internship.

You see the thing is I want everyone to take part in the arts. I don’t want any no-go areas for young people from less privileged backgrounds. And I’m convinced that we won’t be Great Britain if we waste great British talent in the arts. You seem to think talent will always out. My fear is that someone like Stanley Baker, the son of a disabled miner in the Rhondda, who rose to be one of Britain’s greatest film actors (Zulu), would have found it even harder to make it today.

That’s why we need more diversity at every level in the arts – in education, in training, on-screen, on stage and backstage – and we need to break down all the barriers to taking part so that every talent gets a chance.

Yours bluntly

Chris

http://www.theguardian.com/politics/2015/jan/19/chris-bryant-letter-james-blunt-in-full

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Historicity is the historical actuality of persons and events, meaning the quality of being part of history as opposed to being a historical myth, legend, or fiction. Historicity focuses on the truth value of knowledge claims about the past (denoting historical actuality, authenticity, and factuality.) The historicity of a claim about the past is its factual status.

Some theoreticians characterize historicity as a dimension of all natural phenomena that take place in space and time. Other scholars characterize it as an attribute reserved to certain human phenomena, in agreement with the practice of historiography. Herbert Marcuse explained historicity as that which “defines history and thus distinguishes it from ‘nature’ or from the ‘economy’” and “signifies the meaning we intend when we say of something that is ‘historical’.” The Blackwell Dictionary of Western Philosophy defines historicity as "denoting the feature of our human situation by which we are located in specific concrete temporal and historical circumstances." For Wilhelm Dilthey, historicity identifies human beings as unique and concrete historical beings.

Questions regarding historicity concern not just the issue of "what really happened," but also the issue of how modern observers can come to know "what really happened."This second issue is closely tied to historical research practices and methodologies for analyzing the reliability of primary sources and other evidence. Because various methodologies thematize historicity differently, it's not possible to reduce historicity to a single structure to be represented. Some methodologies (for example historicism), can make historicity subject to constructions of history based on submerged value commitments.^[

Questions of historicity are particularly relevant to partisan or poetic accounts of past events. For example, the historicity of the Iliad has become a topic of debate because later archaeological finds suggest that the work was based on some true event.

Questions of historicity also arise frequently in relation to historical studies of religion. In these cases, value commitments can influence the choice of research methodology.

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round the tour to the tunnel of goose Swan to the Stow of the pond on primed slip,

shoe to the frog, fortiflex a brand, in the Kopertox green can pong barge abrupt,

pinging the paddle of good Centipede loud Pier 39 is a disney of dimed,

the carousel bargain the Moon on the flip Sausalito for ice cream of snug up the fit,

cones that do scoop a ferry by lanes coins on the Operator oh yea it's called brains.

By Energizer

Great are the hours with the money in the tower as the blast of the fire art tray comes hooray,

so a big cheers to the first step of Rammed on the stand in the process of recognition to land,

the second moment mention as the talk of my lift to the plans of original in the spark of the shift,

out on the fates as the recorder is span a record on the label and the Title of Jam.

Towards all the difficult the burials and dead the smoking of the Signs and burning led be find,

an ashes to Dawn the dust of the shrine in balance of the favorite to the snake that did birch climb,

my Grandfather said that the deep was often bound to be in the living than put to offer ground,

as the priest in the building that cost of the grave in spelling on the shredders oh Hell it is a paved.

Dear to the hatred and the Clam on the bake A Scapegoat on the chainers to the gates of many braked,

burning with the anger that wakes the dying slate Animal the oil and straights to simple coal.

Dark are the Mills of the deadly virus crawl Spiders on the gown to sleep in falling bough,

over the barrel that Hoover built a dam parking lot Las Vegas and butter jelly bam!!

Drunk is the Vodka on orange juice to a stand Poison on the freezer melting to the cram,

credit to the older sister she just pushes with a part placing milk to money pots gold and cone a start.

Smashing destination point to grind the lessor stool,

car rides dropping off the banter and Present day of the school,

 bringing lots of Chandeliers & candles for the say,

just to drill the dolly doll to bank the Peter pay.

To have that shake of call a gain I know I am of gamed,

 jerking on the ear to dance another sent campaign, 

window on the blinking leach to cue the big sis bee,

 Stingers on the stair of case the 815 believed.

So sit on the beetle back and tumble to the seat,

 batch the truth with dice to stick lumber on the feet,

gear that pen dunk pencil art to Texas in R.V.,

 circles on the line,

 to infinity I breathe.

Shock why bother to be trouble with the fleet as each of all the bearings grab to dollars on the greet,

switch the channel station I.D. the tricky seed,

 for now the telephone is off to never be again,

for in the spoke of Tamara broke the declaration glee,

 the program is a rerun on the shovel of a tea,

kettle the steam and boil no water for the frog of a dream,

because in Time the serial Signs are the same in exact to the bitter spell of daft,

copper Talks.

Steak Out

Any Barn that is the require of only a fast and furious type of official is the sled,

as the advent is of an actual to the term of the agree in the pass of a natural cork,

bobbing at the pound of formal depth is the slide of rule to the saddle on shaft,

to crude in the oil as glycerin of sale than the picture stands to more than soap,

washing tack is not a sport for the scrub of the jockies is the reins on the port,

buckled to shape in the bit to the shore is a foot to the leg on the Thunder of fort.

Change the lather to the sweat of a brow sweatshirts for wears or the cloak of a form,

transfer the call to the name asking door on that a muck bucket cleans to the fork,

raking the aisle says to tempo of trot that trails on Vineyards are grapes in the pot,

line the wire to the barrel of soaked where than is the bottle that labeled the torque,

in missing on fraction with the scream of a tire hands making bell hops rabbits on for,

skip to the Paddock of Farm in Montara the movement of tackrooms quest sound.

Simple provisions to a drink on the Candle as the sheet music preference of Sherry,

name on disaster of storming the Vain rooster the cog node and break on the brain,

synapse that snapping of hanging a trade does than the version belch to a stay,

can the list on the finder be the advertised loan is the horse going barefoot a treasury zoned,

band to the concert of era type comb tangled with septic to barf at a bone,

thrown to a knee cap or the bending bough trapped forward to portion the ladle of that.

Special at dinner the lunch on the Cat cougar a venue and I'll talk to fact,

in presented to motion the laugh that choked grab a gut tone of stomach is signed for a rat,

in mouse to the seen of example of scat is then the marrow rich to this pact,

satchel a passing portal of fiend make Hazard a blow job to gather the green,

in experience of had to a bod on the tray service is angled to speak of the sade.

Scrabble on template a board to that grasp is the Monopoly a game to circle this gaft,

can the lines of the air in the clouds of a stare make the evident minds that short snare,

does the spread of the faction that delusional tight straighten to narrow or bright with a kite,

string with a protective game on the Chess pawns are not Rooks but the endgame is moved,

in movie to movie the scene of a slight is telling of answers that create a brand byte,

the billboard of anchor with number on sign spelled to be fetish but kills on the find,

at that being bread to the honey on butter toasting the burned by oven on putter,

womb to a taker the sounding acoustics Ceiling of chapels to feet in the Shoe,

test to the broader on casting a phone Text is the lessor as life is a grown.

Plant a be little to the lost on the gone is than the provide an bounce on the paid,

could the beneath of the grave be digging on timed for that is the instants of shingle on dime,

when is the value of giant a came for on The Geary it was a changer of sign,

copper penny at Coffee the middle night stein Baker Beach of the ocean in China I chime,

as the tidal of seas is the shells of belief in the spice trait I hot to the fire on kind,

path to thee banker that increase a divide Law Street in caliber is check fester shined.

signature product to Hay on the give is the bucket of discipline born to display,

a freeway to Highway the Autobahn shouts that gauge is of gearing to sit on the Louds. 

Stall Doors & Fortex Buckets

The speak of gentle flame flickers in the scribe to sake of the fire on the braked,

in bell to whistle on trunk calendar to bleed a tree in the cut of sheets on the read,

bursting out from a balance of scene with test driven formula to the touch of a key,

drive talk a crowd with litter of lock and the foundation will reveal a card on the knocked,

in brushes that groom to the bucket of Oats alfalfa cubed and Molasses for stock.

Scrub the moss from the tubs on the fleet in the goldfish added remember the pond,

at Bill's Place in the City of the sound on the say,

a bridge in the counter for the Tea garden played.

Shall the walk of the barn consist of a constant,
 on bang the hammer of round pens to the names by the day,

than in the rib of squish on the fates remind a note to the check of the pay,
for an Orchestra difference is the Music on lay!!

Restaurant appeal with that quest in the corn to paint a pretty picture while ruining the storm,

while Tunnels are drives and Oceans are Sees it is the reliance of the Wave to seat brave,

trotting the worth to a Word on the work,

long lines of carriage to the nostril in rein,
an old fashioned Snort to spook the display,
reason of method has logic on sleighed.

Hook the bait as the street of the Polk,

simple this detail to the lumbering of sail,

in brights of the liquids to the sucking pain work,

ride with a bridle and snaffle the berserk.

No matter the tempo of the time between the slide,

a rule of law is in the hands of the Tribe,

found on the Purchase of the pad at a vice,

rinse the Cavesson with the chord of the Tied.

Spark to ignite and flip a bic cigarette,

smoke on the Venue is a bother to the fed,

in calculations of the monies to the cash in the sled,

change does not come unless the shun broadens spun.

As in my life many a thing has rounded the square,

shoulders that present one thing to bounce skip on a chair,

it of like having an ear,
 to the shredded corn in the stream,

spinach that off to the complexity preen.

To have been in the sole of my foot on a treat,

looking to nothing expecting the sleek,

ever are the lessons that gel Wigs to the bench,

yet on the dismissal are vibrations of beached.

Bank to a notion and color it blue,

bruises of mind are painful to prove,

so tongue on the pole of the winter time freeze,

boil some water or warn of the deeds.

As style of Horse to the stand on the sealed,

letter the complicated with Mail on pailed,

comp on the find to the feed of the signs,

in the first on the paper to show rubber binds.