A few years ago I read Literally, a biography of The Pet Shop Boys by Chris Heath. It was utterly compelling. Brilliantly written, totally transporting. So I was excited to see that he'd done the same for Robbie, who I lurve.
And Feel is everything I expected and more. It's not just a biography of a star, it's a meditation on and expose of celebrity and modern culture. And it's really funny:
'The first time Gary Barlow was on TV,' [Robbie] declares, 'he was so unsexy they had to shoot him from the waist down.' He's fond of this statement. He thought of it a while ago. The only thing is, he can't make up his mind whether he'd rather say it about Gary Barlow or Noel Gallagher.
One thing that becomes clear is how gleeful the British press were (are) about Robbie's failure to break America. What also becomes clear is that Robbie really doesn't want success in America. His reasoning being, he is relatively free in the US at the moment, if he was as famous there as he is almost everywhere else, he would have nowhere left to go. But it made me think - why are we so obsessed with our stars 'making it' elsewhere? Do we not value ourselves? Do we think 'yeah, they're famous here, but we'll listen to anything' and demand the validation of other audiences? It's very odd. And then, of course, we love it when they fail. And if they don't try. And if they claim not to want it.
One of the headlines is a quote from Louis Walsh HE'S NOT GOOD ENOUGH TO MAKE IT IN AMERICA. 1) This reinforces what I've just said - how come he's good enough to sell millions of albums elsewhere then? Have Americans got more sophisticated tastes than the rest of the world? And 2) This leads to one of the most exciting moments of the book when Robbie bumps into Louis and confronts him. It's fabulously cringeworthy and very admirable. Bet Louis wishes he hadn't opened his mouth now.
Chris Heath's description of what it feels like to be very famous these days is brilliant:
It may not seem much measured against all the favours that fame grants you, but imagine it like this. Imagine if, when you walked down the street, one person gently threw a small, light foam ball at you - not hard enough to hurt you, its impact barely enough for you to feel it. Who could possibly complain about that? But now, instead, imagine that, as you tried to get on with your life, every single person you met threw a foam ball at you. Imagine if, for nearly every moment you were outside the sanctuary of your home, these balls continuously cascaded upon you from all sides. Nothing that each ball-thrower was doing could possibly be said to be so bad, but all together, the incessant soft pelting might seem unbearable. And if some people would have the temperament and constitution to ignore such a barrage, it's easy to imagine that others wouldn't.
But maybe even that doesn't quite capture it. Imagine that, instead of everyone you met throwing a foam ball at you, you could see a foam ball in every single one of their hands, but that only one person in five actually threw them. And you could never tell which of them it was going to be. So, almost worse than the impact of the balls themselves was the way you were always tensing for a shot that sometimes didn't come. Flinching at nothing as often as you failed to flinch at something. Forever trying not to jump the gun and blame those who didn't throw for the actions of those who did. Forever trying to pretend that none of it was happening, as each new incoming salvo reminds you that it always is.
Maybe it is just a little bit like that.
The above is a perfect example of how this book made me feel. Vulnerable. Hyper-sensitive. I read it for an hour on the train and when I headed into the crush of the station I felt afraid. Quite a feat.
One of the guests reviewing this book on Richard and Judy was Piers Morgan, ex editor of the Daily Mirror. His attitude was entirely one of 'Robbie asked for fame, he should put up with everything that goes with it'. But why? If someone's job is a celebrity, why does that mean people can wait outside their houses (speaking as one who has done that very thing), break into their houses (I haven't done that) and have quite staggeringly unreasonable expectations of what the celebrity 'owes' them. What does someone like Robbie 'owe' his fans apart from music? What else can you reasonably ask for? But a section of Robbie's fans once waited around a corner for him (and Nicole Appleton) to come out of a restaurant and simultaneously let their camera flashes off in their faces. This was in protest because he'd told them not to wait outside his house. How is this justifiable? How is it acceptable? It's staggering.
Piers Morgan did highlight one of the contradictions of this book. If Robbie values his privacy so highly, why did he agree to a journalist spending a year with him and writing a book which includes intensely private moments and emotions? But Robbie is totally contradictory. He claims to hate everything about his fame, even his music, but he clearly loves it too. I've said before, if he hates it so much he could stop. But he doesn't stop, even though he threatens to repeatedly.
This is a brilliantly written, thought-provoking, gripping, funny book. Whether you love, like, hate, are indifferent to, Robbie Williams, I recommend you read it.
(Just as an aside, something that really drives me deranged in books is factual or spelling errors. Chris Heath writes that Robbie got Shaun Ryder to sign his Toshini jacket. It's Tacchini. Really, with the internet, there's no excuse.)