I simply refuse once again to offer Taylor Swift anymore sentences. It is draining and pointless; her oiled machine playing people like a politician, offering little and taking it all. Such an old, old way of doing things; can’t we for once believe in making something new instead of re-treading the past? Nostalgia and clinging to old ways is the single absolute blight on modern culture. Still, sometimes looking back and very, very slightly ripping off a better artist can pay off in spades. Culture is a snowball; everything visible held up by layers and layer of history. It’s impossible to ignore the past as it defines your place in it all. With that in mind I want to talk about the song that has got me through these groundhog days of bland imitation because farq it, it’s my blog. Submitted for your listening pleasure: Somebody’s Going To Get Into This House by Jane Wiedlin.
Sorry if you don’t have Spotify, the one video of this slice of amazement has been blocked by YouTube regardless of the fact that it’s hosted by the lady herself (or at the very least, an uber-fan). Jane Wiedlin, rhythm guitarist and backing singer with The Go-Go’s (of ‘Our Lips Are Sealed‘ fame) is a revelation. I never realised this and I don’t know whether it is absolutely powerful comment or innately depressing that they were apparently ‘the first, and to date only, all-female band that both wrote their own songs and played their own instruments to top the Billboard album charts‘. Why are there so few girls in bands? I know we’ve the Sleater-Kinney‘s and L7’s of the world but other than The Suffrajets (who a vaguely knew for a time) I can think of depressingly few. There’s very much an old world mentality bleaching the music industry that prefers tame starlets selling the commodity of dreams to powerful women with something to say. Yes yes, I know, some get through like Florence and Bat for Lashes. But still, these aren’t even drops in the ocean; they’re molecules in the flood. Somebody’s Going To Get Into This House (or SGTGITH to save my aching fingers) has such insane vitality that gender becomes irrelevant, as it should always be. I digress.
I love this song. I love it with all my being. It makes me look at my middling work and think ‘You know what, you’ve got something going on’. The gift of confidence is the greatest any being can confer, though quite why I feel this way listening to these mad 80’s electro beats is completely beyond me. Maybe it’s the thrusting nature of the pulse and awkward yet singalong chorus. Maybe it’s because it’s the blatant bastard child of Kate Bush’s ‘The Big Sky‘ and ‘Get Out Of My House‘. I see nothing wrong with that, Kate Bush is a legend beyond reproach and probably the greatest Pop Artist (in the sense of merging big P Pop with big A Art) ever produced. There’s just something about her wandering mind that is intoxicating. Jane Wiedlin isn’t quite at that level but, honestly, so few people come even close that it’s not worth bothering about. What Wiedlin has with abundance is an immense sense of joy. So much music is weighed heavy by ‘meaning’, ‘purpose’ or simply the need to sell. SGTGITH is simply adrenaline for the soul. No imperfections.
So you can keep your millions, Taylor. You can keep your legions. I’ve found something far better. Plus it helps that she does a mean Joan of Arc.