Black Grape

Description

We were confronted by new challenges on drugs and rights and what constituted a thing or as we would call it a text. Both Shaun, Muzzer and Kermit were committed to extremes of cultural expression which had to be documented.

The film about the Mondays turned into a film about them turning into Black Grape. But I was conflicted as a film maker, I had already engaged in so much filming that I had become interactive, moving fluidly between documentarist and friend. I was asking myself now to be interventive, for Radioactive and Universal. But it was a commercial transaction I was unfamiliar with. I was as much a part of the new band Black Grape as I was an objective recorder on film. My strategy was informed by Shaun and Muzzer, my reading of them and their music and music business was to be immersive, to an extent far more destructive of me than I had realised, as a student at Man University, studying literary theory, I had unintentionally found myself at the centre of an engagement of structured interventions, and this book is partly the result of that. Kermit, Shaun and Muzz allowed me, forced me to intervene textually. It was a subject I was mastering at University, and I was teaching it too, so my lexicon of transgressive self-identical items quickly attached itself to every lived experience with them; you see it here in our countering of standard textual accounts, my re-centring of texts, their own living re-genreing. It’s pretty mad stuff. But hey, a book it is.