I had thought Joe Meek as an imaginative character in the eponymous title of electronic music by Matmos until I came upon an article about the real Joe Meek from this month’s History Revealed. Since I liked the music, I read it with relish, which was also a great pleasure entertaining a long commute time on the last train home after work. It was indeed worth the reading because the article was both informative in telling about this highly sensitive artist who was ahead of his time and reflective in leaving the reader to ponder about what rushed into to cancel his own fate in his own hand.
Joe Meek was an innovative and unique record producer in 1960s, but he was more of a maverick figure in the music industry because of his uncompromising individuality in musical taste paired up with his blazing volatile temper, which were attributed to his thespian epilogue. But according to the article, the most capital assumed factor contributing to the tragedy of Meek was said to be his homosexuality in the time when it was an illicit tendency of warped minds and degenerate souls that belonged to Sodom and Gomorrah. That is to say, shoehorning obsession with sexuality into the sine qua non of a man’s demise is a non sequiter without considering other evidentiary elements.
It seems that Meek had cultivated the trauma of violently depressed, pitifully unstable childhood into a grand unified theory of self-loathing that in turn became self-indulgence to an inordinate measure. It was more of a lack of parental love and support in his childhood that fueled Meek’s high-strung disposition like an unquenchable prairie fire in wilderness. It is a precipitately formulated hypothesis that Meek’s tragedy ensued from his paranoia of persecution of homosexuals in his time. For a panoply of unpleasing manifestations, including alcoholism, drug addiction, compulsive copulation, enduring guilt, and an inability to form a lasting emotional relationships, are also shared with heterosexuals. To me what Joe Meek suffered from was his inner conflicts with his unhappy past, his sovereign artistic sensibilities that made him uncommunicative and estranged, and his sense of insecurity, all pitchforked in existential reality of life where he as an indie producer had to constantly worry about what to do next if his records did not produce lucrative results. To corroborate this hypothetical theory, Joe Meek was said to have a Janus personality, redolent of the characters of Dr. Jekyll and Mr. Hyde, because he was also a very affable person with polite manners and a sense of good humor in to the bargain.
Such a man of complex inner world is often prone to fatal mental breakdown, which happened to Joe Meek. What carried Meek over the last sacristy of his sanity was his being interrogated by the police for the infamous “Suitcase Murder,” an epochal murder plastering the headlines of the media in January 1967 when the raped and dismembered body of 16-year-old Londoner named Bernard Oliver was found in two suitcases near the city. The police was hell bent on investigating all homosexuals in the city, especially the high profiles ,one of whom was the unfortunate innocent Joe Meek. Consequently and patently, the Inquisition let loose his sanity, resulting in his shooting his landlady and ending his own life thereafter. He was only 37 years old.
Therefore, to conclude that it was all about his homosexuality and nothing more causing his tragic end seems to ignore other more mental, spiritual, and existential matters that Meek must have struggled with. A spiral of loneliness, insecurity, frustration, and disorientation was Joe Meek’s quagmire, and from this quagmire in turn came his own killing field. “See though fear. Face the fear. Recognize a lie or a masquerade for what it is and deal it with a mortal blew,” said Ralph Waldo Emerson during his lecture to young men. But sadly, Joe Meek was too beaten down in harsh existential life where he felt unwelcome all the time despite his great artistic achievements. Thus, to end himself seemed to be the only escape from emotional turmoils, “for who would bear the whips and scorns of time… the pangs of despised love… when he himself might his quietus make with a bare bodkin?” –Hamlet, Act III, sc I.
Author’s Note: This writing is based upon my review of an article about Joe Meek from this month’s historical magazine History Revealed. Normally, I would bypass an article of similar nature, but this one held my attention for the following reasons: (1) Joe Meek’s dilemmas ensued from his inability to cope with the demands imposed on daily tasks in life due to a constant grip of depression and anxiety; and (2) application of Freudian psychoanalysis on his miserably repressed sexuality in public to the proximate cause of his tragedy disregards the more essential elements of humanness. For these reasons, I felt pathetic toward his life, and thus wrote this writing.
A Cat in the Mirror 