When your teenage icons are no more

The first icon death I can recall is Elvis. I was putting stickers of world war 2 bombers into my RAF Hendon commemorative brochure when the news filtered through. I knew him as a myth, as so many people are when you are eight years old, an image, a poster, a thing in an Easter holiday movie.

I was at school art club when I heard about John Lennon’s death. Alex Thomas told me. I don’t think it was the same day that I accidentally stabbed Robert Boughton in the hand with a craft knife. When the blood first poured out across his fingers, I thought it was a trick. Craft knives were banned after that. I usually created the same thing every art club, a gravestone and hand in clay. The stabbing of Robert Boughton was an awkward moment of my art being made punctured flesh. I only stabbed one more person at school, Adrian Chorley in the cheek, with an ink pen. I never had to see a psychologist. I knew John Lennon was important, but my cultural knowledge meant I was still a bystander in the multitudes outpouring of grief for a legend.

I am now older than either of these idols were when they died. I was at my sister’s house when the news came through that Kurt Cobain was dead. “How selfish”, she said, “he has a child and he was successful”. I’m 45, and I’m not stabbing anyone anymore, and it’s my icons who are dying now. 2014 has not been a good year for people who used to be blu tacked on my wall.

First to die was Bob Hoskins. I presume my obsession with him began when I saw a ruthlessly “edited for language and content” version of The Long Good Friday on Thames TV. What a charismatic turn as Harold Shand, the smallest man in the room, but rarely a doubt he was the most powerful. I can still recite the “The Mafia, I’ve shit ‘em” speech from the denouement of that film. How anxious I was to see Mona Lisa. Advertised in Time Out for the whole of the summer holidays, I obsessively photocopied the poster and palced the inky monochromes around my room. I saw Who Framed Roger Rabbit? in San Francisco and loved it. I sat in an arthouse cinema in Birmingham and watched Birmingham in Felicia’s Journey. He conveyed strength and fragility, often men concealing weakness or showing kindness when employed for cruelty. He told whopping lies with such delight that they became true. Like other acting heroes of mine, Alastair Sim or Montgomery Clift, the eyes brimmed with humanity.

“Rik Mayall is dead”, said Michael Legge as I walked out of the toilet. We bellowed lines from Comic Strip films as we walked through Leeds. Michael had broken my glasses during a cushion fight that morning, it was the right day for two middle aged men who will never know better to have a slapstick accident. In October, I organised a Rik Mayall night at my local art deco cinema (everyone should have one). I sat with Michael Legge, Alexei Sayle and Richard Turner, bellowing with wet-eyed laughter as we watched Rik on the big screen asking, “why did the pervert cross the road? Because he had his knob stuck in the chicken.” How I wish there was more footage of Ade Edmondson and Rik Mayall’s violent Beckett like plays, the 5 minutes of hammer attacks, nipple tweaks, and Johnny Craddock confused for a Volvo jokes from The Oxford Road Show will have to do for now. Rik Mayall’s sudden death held up a mirror to the blatant theft Michael and I have committed with much of our work. Genius steals, and idiots do too.

And I have drunkenly written of Robin Williams suicide already. In the nineties, his performances could sink too far into the maudlin for my taste, but when he perfected the balance, and he did many times in films like Dead Poet’s Society, Awakenings, Good Morning Vietnam and The Fisher King, oh especially The Fisher King, his acting was beautiful and beguiling.

The eyes have it.

I never knew any of them, only their work. Their work has changed now, death changes the performances and perception of it all. People say, “a bit of my childhood has died now”, but none of mine has, their work is there in cases and on memory sticks, and I’ll keep returning to it.

They are sadly dead, but their influence on me and my shouting and showing off and being an idiot will never go away, until I can make no more memories or movements obviously.

(oh, and I was in a minibus with band who were on their way to support The Wedding Present when I heard Vincent Price had died)

Brian Cox and I are on tour in the USA next year, see HERE

And I am off to Australia

plus tickets left for our UK Christmas gigs with The Cure, Alice Roberts and many experiments and surprises, and I’m off to Edinburgh, Swindon, Salford and beyond.

And finally, a new terrible Vitriola Podcast by Michael Legge and I 

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3 Responses to When your teenage icons are no more

  1. liliannberg says:

    I am of a generation that grew up with Elvis and Lennon – I still play their songs – each one bring back memories, which grow stronger as I grow older. When I die, my memories will die, but Elvis lives on…Lennon too, in other people’s memories. Life is strange that way.

  2. r says:

    The Young Ones was something like nothing else, but Bottom was where Rick Mayall came to life. He was obviously having so much simple, ordinary fun portraying a character of a type I don’t think we saw before or have seen since. My favourite moment was when he and Eddie had robbed the gas from next door so they naturally turned on all the hobs at all times. The sense of *glee* with which Mayall set up that conceit as the basis for everyone hitting each other with frying pans is worth watching again and again. Glee is how I remember him.

  3. The first time I deliberately swore in front of my mother was when she told me John Lennon had been shot. Pretty much the only band we had in the house growing up was The Beatles as my dad is a classical music fanatic, whom I thank for my love of opera in general and Wagner in particular. While I had begun my musical odyssey by then, I was aware of how important Lennon (and McCartney) was to music, and how importantly to me. I wasn’t even told not to swear, I think that was our Kennedy moment.

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