Coming to Grips With Fame
David Gray is an English singer-songwriter. His most recent album is Draw the Line. Although he released his first studio album in 1993, he did not receive worldwide attention until the release of White Ladder six years later. It was the first of three UK chart-toppers in six years for Gray, the latter two of which also made the Top 20 in the U.S.
Question: How did your relatively late popular success affect your perspective on fame?
David Gray: Yeah, a good deal, because the formative period since putting my first record out—that seven or eight years before success really kicked in—some of it was quite a harrowing experience. And it stays with you; it gives you a perspective on things. It also stood me in good stead in a way. We all know that the world functions on nonsense and so it has sort of debunked a few sort of myths and or cleaned my eyes a little bit as to how things worked, and also allowed me to develop some relationships which proved to be very important. Whereas, if success had come very quickly—you just immediately turn into a parasite in everyone's eyes—it's more difficult to form some sort of— there's a degree of nurture that's necessary if longevity is what you're after. That’s really the way that I saw the world.
Occasionally people would put the question to me, “Do you ever pine for these days when you were free of all of this, press, or hassle, or people being on your case in this way—[when] you were this very credible, obscure artist?” But that's just a fantasy that people have. They just put those words together. I’d say, “If you knew what it was actually like, you'd never wish anyone back there.” It's the toilet tour, as it’s known, when you are playing the smallest and least pleasant venue in town on a regular basis. It's not for the fainthearted, and [for] anyone who had just watched the film repeatedly, it's like Spinal Tap in the back of the bus—[it] used to be quite a sort of painful experience [to] watch, as funny as it is, because it was that close to the bone. And they’d at least been successful and are now less so.
I was billed under spareribs famously at one club: “Spareribs sold out, David Gray, 9:00.” But I went through many permutations of the same sort of miserable story. It's not for the fainthearted. So that stuff stays with you, and negotiating success is equally complicated and riddled with illusion as well—a lot of it of your own creation. I think the world of success is a much more self-conscious place, it's essentially a hall of mirrors [that] shines you a distorted view of yourself back repeatedly from many different angles until you start to get a bit paranoid about what everybody thinks about you. Everybody has to go through that and I don't think it completely leaves you. You are essentially exposed and vulnerable [when] you are in the public eye, and you can be criticized or categorized or drawn in a sort of cartoon version of yourself freely by people however they see fit, and you just have to live with that. But there is no way of winning; you just look worse the more you struggle and resist, the more people try and enclose you in a little bubble. And you go, "No, that's not me. I'm deep and meaningful,” or whatever, whatever it is you're particularly trying to prove. But it's just quicksand the more you struggle, the quicker you sink. The only way to escape is through the grandeur of surrender—just not giving a fuck about the whole thing and getting a sense of perspective above and beyond. So I think having an audience is a wonderful thing and should never be taken for granted. Much as it also should be your job as an artist to challenge them as well as challenge yourself. You just give them what they want.
But playing music has got to be one of the best jobs in the world, so if you’re ever torturing yourself to the point that you can't see that, then you've lost your perspective. So, I think that unquestionably, just like a plant having a bit longer to get its roots down into this earth – yes, the early years were useful in a way, because when I started out, I was totally green as to what the music business even was, what was its modus operandi. I didn't know, I didn't care—making a record, someone was giving me money to make a record, that was just enormous. That was all I cared about. And beyond that I didn't have a clue what was going to happen. I didn't have world domination penciled in the diary. You know, it wasn't like that was on my radar; it was just get to make another record that was basically it. Try and find some people who want to listen to the music. And strangely it all sort of made its own sort of sense that the music got out there and even though I couldn't really tell, it did do something, the first record. It lit a few fires and those ended up being vital because some of them were in Ireland ,which became a stronghold for me, and then that was eventually the springboard to my success. So I guess coming upon the whole thing gradually, and I would say this about, it was obviously advantageous in some ways but just to give in to make it to the point where I became successful could be considered an achievement of sorts because it wasn't particularly easy. But when success comes, and everything that comes with it, it doesn't matter how long you've been in obscurity it doesn't make the transition any easier I think.
Question: Have you made your peace with fame?
David Gray: I think it's just an ongoing project. For many reasons, I feel like things have taken on a certain perspective now. And I'm in a very good place with it all. I’m at ease as much as I could be with the whole thing. In a weird way, my Greatest Hits record was a very cathartic experience, because I don't think I completely acknowledged what had happened because some of it I wasn't very comfortable with. For example, the record I made directly after my very successful record, for all kinds of reasons, some of them to do with me, some of them do with other things, it didn't come together in the way that it should have. And it was kind of [an] anemic end product, it went on to sell loads of copies simply because the record before it had been so popular and this is the way it works. So it got a lot of attention and people liked the first one so much, White Ladder. So I'd never kind of really wanted to look, it's just like that happened, now I have to get back to what I do best which is reconnecting. But you've got to acknowledge everything that happened. You can't leave large portions of time unaccounted for. So putting the Greatest Hits together and then going out and playing all of these songs which I didn’t even want to touch for so long brought them all back to me, and it made me whole again.
White Ladder is the sound of me escaping from the demons of failure, or lack of success, or lack of attention—all this sort of doubt and negativity and accusatory glances [I was] throwing in the direction of the world and the media. All perfectly justified. But they don't get you anywhere, and essentially you have to ask yourself the question, “Have I got anything else to give? Can I do better?” Whether the record company did a bad job, or journalists or some sort of strangely disappointing breed of human that should be shot with a crossbow at every opportunity, whatever, you have to think: “Could I do more? Can I get more to my music? Could I have done more?” And I knew I could. So all right, let's go again. And that record is very openhearted—there is no fear. I put everything in there and that's one of the reasons it connects I think, in a big way. It's not defensive, there's no defensive stance to it, it's just very open, very melodic.
And this record I just made is like the sound of me escaping from the demons of success in a way—this sort of complicated bag of complexities that comes with the packaging you get with success and audience and millions of people suddenly getting involved. There is a strange vertigo that comes with that and it takes some adjusting to. But yeah, the Greatest Hits thing somehow is part of a coming to terms with the whole thing for me, which was very healthy.
Of course, I was changing a lot behind the scenes, a new band. I have made a lot of very empowering decisions. And suddenly music came back to me very, very strongly and my work was very, very alive for me—I've never been so connected to it. And as a writer, I mean obviously, lyrics are very big part of what I do. I've never enjoyed myself more than at this kind of time with the writing aspect. And there's a real vivacity in the work, and a joy of language, and expression that, well I think, it shines through. It's like I've started all over again in a weird way.
Also, life passes so quickly. As you get a bit older you think, “Wellm, hang on, I'm 41, I'd better get on with it; what's with this farting around?” You can't give fear 10 percent or 15 percent of you. It's like that's a wasted life, even that much. Got to the completely in unguardedly. And that's the only way you can defeat all this sort of cynicism that is out there is just by being openhearted I think as an artist.
Question: What unexpected ways did fame change your life?
David Gray: Well, yeah, you sort of know the shape of fame, but until it rests upon you, you don’t really know what it feels like—but that’s not really unexpected. One of the unexpected things that happened was a wonderful thing: I was offered the opportunity to play in a charity football match. So, my dreams of being a musician, they go back a long way, but playing a famous football game, that goes back even further.
So, I got the chance because of my fame, and no other reason to play – Robbie Williams had this massive UNICEF charity football [match] with many, many very famous footballers, old, retired footballer involved and celebrities. And England took on the rest of the world. It was staged at my team’s ground, and all the traffic in front of 75,000 people, live on national television with a week’s training with the England coach. The whole thing was ridiculous, ludicrous, a complete fantasy. And I got to play with people I had watched as a kid, and again some of the most famous – that was unpredictable. That was absolutely incredible. That was like – oh, what a thing. It’s in its own little time capsule in my head. It’s like I remember looking out the hotel window and seeing all of these famous footballers saying good-bye to each other the next day and I realized it was over. I could hardly walk because I just played 90 minutes of chasing the ball. So, that I’ll treasure forever, and that would never have happened. I’ve gone into a few restaurants and I’ve had a few whacky experiences that I wasn’t bargaining on all because of my newfound fame. But that was the most notable thing.
Question: Does White Ladder’s past success ever feel like a yoke?
David Gray: No. Well, as I say, I seem to be seeing everything slightly differently. It’s sort of totemic presence casts a long shadow right across everything I’ll do forever. It did the numbers. Do you know what I mean? People like numbers, you know, so it proves something apparently. So, it was a special record. I won’t get drawn into what’s best and what’s better. All you’re trying to do is get tapped into that magic again, but in a different way, in a different place. It had a magic to it. It was fearless in is own small way and it didn’t let you down as a record.
When we made it, we tried to make a record that would just flow from the very first note right to the end without you ever wanting to go like, “Ah, no, don’t like this one. Skip.” It was very much supposed to have that. Because I felt like I hadn’t accomplished that since my first record and that things have been too schizophrenic. Its like, “I want to be loud.” “I want to be quiet.” “I want to be rocky.” So, we had a very limited pallet, which helped in a way, so we set it in this new world that we had found with weird little samples and things. So, that record has magic to it and just because it became ubiquitous, doesn’t lessen the depths of some of the music; it’s got soul. So, it will always be there and something that people seem to have a real deep affection for in a kind of Tapestry by Carole King-type way. It’s like one of those. Everyone can listen to it. So, from the moment of its inception, when we started to play it, you could just see the breadth of the different types of people who were getting into it. It’s so small and the audience was younger and cooler because it was like a cult audience in Ireland and then it grew and it began to involve everybody.
Question: How does it feel to be an Englishman who first found a large audience in Ireland?
David Gray: Well great. God Bless the Irish. Certain kind of things can still happen there that are much harder to get off the ground in the UK. So, it’s a wonderful place, it’s a magic place. And the word accounts for a lot there. The passion for expression is like. The thing is, it’s changed a lot since I’ve been going there. It’s become much more European, that sort of homogenized, wealthy look has sort of seized some parts of it. But still, when you go West and you get out there, you’ll see a different world where people don’t have a great deal of money and life is very simple. But there are huge passions; sports and music and writing and ideas. So, it is so very different from England in so many ways. There is something that happens over there, that anyway, I’ve been the beneficiary of. So, there’s an Irish magic for sure, and– well what more can I say about it really? I mean, that was just an unbelievable chapter. The success that happened there and the lengths that it went to are difficult to comprehend really, even now.
Question: What is the main thing that motivates you to keep making music?
David Gray: It’s not a selfless act. It’s an obsession. It’s taken a huge part of me. It is a huge part of me. I’ve poured so much into it and it just wants more. It’s the beast that wants more. So, music, and the ideas, and writing songs, it has a huge chunk of me. And I’m always thinking of how can I get – it’s like A New Path to the Waterfall; it’s the title of a Raymond Carver book. How do I get there again? And will it be even better this time, that song. But you work away at it, work away at it. And the more you work the more likely it is that you’ll write a good one. But that really good one, you just don’t know where [it’s] going to turn up. You can’t make it happen, that really magic song, it happens once every few years if you’re lucky. Well, how do I get more of that stuff? And you make it right so that people can plug into it. It’s a connection – music’s a connection. It’s like, if you make a song that has all the nerve endings on the outside of it that people can sense it, how alive it is and how alive they are through the listening to it—that’s what you want. You want to connect. You’re not in a bubble, but you’re not making it for them—but in the making of it you’re thinking of other people encountering it.
Recorded on: September 21, 2009
David Gray toiled in relative obscurity until his album "White Ladder" propelled him to international stardom. He talked with Big Think in depth about his experiences as an overnight star; he considers his unique perspective on fame, the ways that his life is forever changed, his Irish fan base, and how he feels about White Ladder’s lasting success.
Political division is nothing new. Throughout American history there have been numerous flare ups in which the political arena was more than just tense but incideniary. In a letter addressed to William Hamilton in 1800, Thomas Jefferson once lamented about how an emotional fervor had swept over the populace in regards to a certain political issue at the time. It disturbed him greatly to see how these political issues seemed to seep into every area of life and even affect people's interpersonal relationships. At one point in the letter he states:
"I never considered a difference of opinion in politics, in religion, in philosophy, as cause for withdrawing from a friend."
Today, we Americans find ourselves in a similar situation, with our political environment even more splintered due to a number of factors. The advent of mass digital media, siloed identity-driven political groups, and a societal lack of understanding of basic discursive fundamentals all contribute to the problem.
Civil discourse has fallen to an all time low.
The question that the American populace needs to ask itself now is: how do we fix it?
Discursive fundamentals need to be taught to preserve free expression
In a 2017 Free Speech and Tolerance Survey by Cato, it was found that 71% of Americans believe that political correctness had silenced important discussions necessary to our society. Many have pointed to draconian university policies regarding political correctness as a contributing factor to this phenomenon.
It's a great irony that, colleges, once true bastions of free-speech, counterculture and progressiveness, have now devolved into reactionary tribal politics.
Many years ago, one could count on the fact that universities would be the first places where you could espouse and debate any controversial idea without consequence. The decline of staple subjects that deal with the wisdom of the ancients, historical reference points, and civic discourse could be to blame for this exaggerated partisanship boiling on campuses.
Young people seeking an education are given a disservice when fed biased ideology, even if such ideology is presented with the best of intentions. Politics are but one small sliver for society and the human condition at large. Universities would do well to instead teach the principles of healthy discourse and engagement across the ideological spectrum.
The fundamentals of logic, debate and the rich artistic heritage of western civilization need to be the central focus of an education. They help to create a well-rounded citizen that can deal with controversial political issues.
It has been found that in the abstract, college students generally support and endorse the first amendment, but there's a catch when it comes to actually practicing it. This was explored in a Gallup survey titled: Free Expression on Campus: What college students think about First amendment issues.
In their findings the authors state:
"The vast majority say free speech is important to democracy and favor an open learning environment that promotes the airing of a wide variety of ideas. However, the actions of some students in recent years — from milder actions such as claiming to be threatened by messages written in chalk promoting Trump's candidacy to the most extreme acts of engaging in violence
to stop attempted speeches — raise issues of just how committed college students are to
upholding First Amendment ideals.
Most college students do not condone more aggressive actions to squelch speech, like
violence and shouting down speakers, although there are some who do. However, students
do support many policies or actions that place limits on speech, including free speech zones,
speech codes and campus prohibitions on hate speech, suggesting that their commitment
to free speech has limits. As one example, barely a majority think handing out literature on
controversial issues is "always acceptable."
With this in mind, the problems seen on college campuses are also being seen on a whole through other pockets of society and regular everyday civic discourse. Look no further than the dreaded and cliche prospect of political discussion at Thanksgiving dinner.
Talking politics at Thanksgiving dinner
As a result of this increased tribalization of views, it's becoming increasingly more difficult to engage in polite conversation with people possessing opposing viewpoints. The authors of a recent Hidden Tribes study broke down the political "tribes" in which many find themselves in:
- Progressive Activists: younger, highly engaged, secular, cosmopolitan, angry.
- Traditional Liberals: older, retired, open to compromise, rational, cautious.
- Passive Liberals: unhappy, insecure, distrustful, disillusioned.
- Politically Disengaged: young, low income, distrustful, detached, patriotic, conspiratorial
- Moderates: engaged, civic-minded, middle-of-the-road, pessimistic, Protestant.
- Traditional Conservatives: religious, middle class, patriotic, moralistic.
- Devoted Conservatives: white, retired, highly engaged, uncompromising,
Understanding these different viewpoints and the hidden tribes we may belong to will be essential in having conversations with those we disagree with. This might just come to a head when it's Thanksgiving and you have a mix of many different personalities, ages, and viewpoints.
It's interesting to note the authors found that:
"Tribe membership shows strong reliability in predicting views across different political topics."
You'll find that depending on what group you identify with, that nearly 100 percent of the time you'll believe in the same way the rest of your group constituents do.
Here are some statistics on differing viewpoints according to political party:
- 51% of staunch liberals say it's "morally acceptable" to punch Nazis.
- 53% of Republicans favor stripping U.S. citizenship from people who burn the American flag.
- 51% of Democrats support a law that requires Americans use transgender people's preferred gender pronouns.
- 65% of Republicans say NFL players should be fired if they refuse to stand for the anthem.
- 58% of Democrats say employers should punish employees for offensive Facebook posts.
- 47% of Republicans favor bans on building new mosques.
Understanding the fact that tribal membership indicates what you believe, can help you return to the fundamentals for proper political engagement
Here are some guidelines for civic discourse that might come in handy:
- Avoid logical fallacies. Essentially at the core, a logical fallacy is anything that detracts from the debate and seeks to attack the person rather than the idea and stray from the topic at hand.
- Practice inclusion and listen to who you're speaking to.
- Have the idea that there is nothing out of bounds for inquiry or conversation once you get down to an even stronger or new perspective of whatever you were discussing.
- Keep in mind the maxim of : Do not listen with the intent to reply. But with the intent to understand.
- We're not trying to proselytize nor shout others down with our rhetoric, but come to understand one another again.
- If we're tied too closely to some in-group we no longer become an individual but a clone of someone else's ideology.
Civic discourse in the divisive age
Debate and civic discourse is inherently messy. Add into the mix an ignorance of history, rabid politicization and debased political discourse, you can see that it will be very difficult in mending this discursive staple of a functional civilization.
There is still hope that this great divide can be mended, because it has to be. The Hidden Tribes authors at one point state:
"In the era of social media and partisan news outlets, America's differences have become
dangerously tribal, fueled by a culture of outrage and taking offense. For the combatants,
the other side can no longer be tolerated, and no price is too high to defeat them.
These tensions are poisoning personal relationships, consuming our politics and
putting our democracy in peril.
Once a country has become tribalized, debates about contested issues from
immigration and trade to economic management, climate change and national security,
become shaped by larger tribal identities. Policy debate gives way to tribal conflicts.
Polarization and tribalism are self-reinforcing and will likely continue to accelerate.
The work of rebuilding our fragmented society needs to start now. It extends from
re-connecting people across the lines of division in local communities all the way to
building a renewed sense of national identity: a bigger story of us."
We need to start teaching people how to approach subjects from less of an emotional or baseless educational bias or identity, especially in the event that the subject matter could be construed to be controversial or uncomfortable.
This will be the beginning of a new era of understanding, inclusion and the defeat of regressive philosophies that threaten the core of our nation and civilization.
A study on flies may hold the key to future addiction treatments.
- A new study suggests that drinking alcohol can affect how memories are stored away as good or bad.
- This may have drastic implications for how addiction is caused and how people recall intoxication.
- The findings may one day lead to a new form of treatment for those suffering from addiction.
A new AI-produced commercial from Lexus shows how AI might be particularly suited for the advertising industry.
- The commercial was written by IBM's Watson. It was acted and directed by humans.
- Lexus says humans played a minimal part in influencing Watson, in terms of the writing.
- Advertising, with its clearly defined goals and troves of data, seems like one creative field in which AI would prove particularly useful.
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