Election by Tom Perrotta (Berkley Books 1998)

PAUL WARREN

 “SO TELL ME,” said Dad. “Who's gonna win this election?”

Lisa shot me a surprised glance, her pretty eyes widening with alarm. Tammy stared blankly at her pancakes. Mom twisted her head, apparently searching for our waitress. Dad pressed on.

“What's the matter? We're all intelligent people. Doesn't anyone have an opinion?”

The whole brunch had gone like that, Dad playing teacher, the rest of us fumbling for answers. Mom was stiff and tongue-tied, Tammy sullen, Lisa polite. I'd done my best to keep the conversation afloat, but I was starting to lose heart.

“I'm a lifelong Republican,” he went on, “but I'm actually thinking about pulling the lever for Jerry Brown.”

The sense of relief around the table was immediate and conspicuous.

“Jerry Brown?” Mom scoffed. “You've got to be kidding.”

“I'm serious,” he insisted. “This country's corrupt from top to bottom, and Brown's the only one with the guts to say so.”

“Perot's saying it too,” Lisa reminded them.

“He's nuttier than Brown,” Mom observed. “The ears on that man.”

“What about Clinton?” I asked. “He's pretty interesting.”

“Ugh.” Dad looked disgusted. “That guy. He could stand out in the rain all day and not get wet.”

“I'm surprised,” said Mom. “I had you pegged for a Clinton man.”

“Me?” he said. “What gave you that idea?”

Bad Vibes: Britpop and My Part in Its Downfall by Luke Haines (William Heinemann Ltd 2009)

Colonel Klutz

December 1993. End-of-year round-ups in the music press. American bands still holding up – all polls feature Nirvana, Lemonheads, Belly and the Juliana Hatfield Three. Tindersticks by the Tindersticks is album of the year in Melody Maker. New Wave is at number 19. In the NME Writers' Top Fifty Albums of the Year Bjork's Debut is number one, and New Wave comes in at 18. In Select magazine New Wave is voted the seventh-best album of the year. And the best album of 1993 as voted for by the writers of Select: Giant Steps by the Boo Radleys. Suede lurk around the top three of most critics' polls, and Mr Blobby gets the Christmas number one in the singles chart.

The singer – who could now pass for an East End villain – has me pinned against the wall. After our, ahem, early-evening opening slot there had been an ominous knock on the dressing-room door.

'Can I have a word – outside?' says the singer, gesturing grimly towards me. Drunk and stoned post-gig, I follow obediently. I know what's coming. I orchestrated it so I'm looking forward to it. Quick as a flash the headline act pulls off some nifty pugilistic footwork and squares up to me. Jesus, what a knucklehead. I hadn't imagined his reaction to my onstage comments would be quite as physical. True, last night, with righteous anger and adrenalin raging through my veins I had been spoiling for a fight, but now I just wanted to be sacked – minus pasting.

'How much of a fucking prick are you gonna look when I kick the shit out of you onstage?' the singer asks unreasonably. It's a good question, and one that I assume is rhetorical. I drift off into a vision of myself being chased around the stage by a man in a gorilla suit, the gorilla's clumsy paws finally managing to grab me by the scruff of the neck before drop-kicking me high into the air to the whooping delight of the audience. Oh man, that would be entertainment.

'Well, answer me, you fucking cunt.' Not rhetorical then. I snap out of my reverie and slump back against the wall. I'm back in the playground about to take a hiding from a dim bully. There's nothing to do but let the scene play out. Shouldn't take long.

. . .

On paper it was unpromising. In real life it looked even worse. The Auteurs are booked to support Matt Johnson's band The The on a UK tour. All of this organised months in advance, before the recent setbacks, when life was a breeze and I would skip over lawns of freshly mown grass without a care in my head, laughing and doffing my hat to a cartoon bluebird as I bent down to pick a buttercup.

Tour with The The? Sure, if it keeps everyone happy and it sells some more records, why not? My levity lasts for about a day and a half. Reality dawns. The truth is, I don't care too much for Matt Johnson. He's some guy who sold a ton of records in the 80s, and now he's got some new dreck he's trying to flog. Coincidentally, some of the work on the new Auteurs album has been done at a recording studio owned by one Matt Johnson. The studio walls are covered in terrible paintings: some recognisable originals of The The album sleeves, others perhaps specially commissioned. The theme of the paintings seems to be ghastly men and ghastly women giving in to all manner of bodily functions with grim abandon. Oh, and imminent nuclear destruction. A clear indication of Johnson's faultless yet simplistic world view. Human race: awful. Never mind, will probably be extinguished in some sort of self-inflicted Armageddon. Told you so. The bastards deserved it. As I said, sold a lot of records in the 80s.

On no account attempt to tour the UK in December. Your limbs will become brittle with cold as you trundle up and down the country in a freezing tour bus and no one will come to your gigs as they are attending Christmas parties. Christmas parties in your hotel. Oh yes, the late-night bars of the Holiday Inn, Ibis and Radisson hotels – the après-gig drinking stations of the lower- to mid-level rock band. Every nook and cranny of these corporate flophouses taken over by drunken reps and violent drones from the frightening world of real honest work. Civvy Street – pissed up, embittered, trying to get over another empty year and on your fucking case.

Kill Your Friends by John Niven (Harper Perennial 2008)

What do I think? Honestly? I think I would like to see you and the rest of your band die screaming in agony from something like testicular cancer. I think that last week I spent a hundred and eighty pounds on a necktie and lost it a few hours later, drunk in Soho. I think about telling these hopeless, penniless cunts this. But instead, pointlessly, I say, 'Great guitar sound.'

'Yeah,' the manager says, and he starts crapping on about how Doug - or whoever - has been playing guitar since he was a fucking foetus or something. Doug looks up from the floor and smiles bashfully. It's about all I can do not to punch his stupid, talentless face in. To stand up, run the length of the room, and boot him full-force in his pasty, pimply, stinking indie chops. But - ever reasonable - I just nod and listen and say things like 'yeah?' and 'yeah' and 'great' and 'really?' for a long time.

I hate indie music. Until a couple of years ago you didn't really have to think about it. It was just a couple of hundred losers fucking around in Camden. Then a pair of Mancunian losers rock up clutching a Beatles songbook and suddenly you've got to listen to all this shite and take all these meetings in case you miss the next one. It's a fucking nightmare.

The Next 30 Day Song Challenge - day 28

Day 28 - Your favourite song from the 90s


Favourite song from the '90s? You kidding me? I don't have a scooby.

Give me 72 hours, plug me into Rocklist and give me access to a Spotify account and I could maybe come up with a top 30 but, unfortunately, the nineties - and the noughties for that matter -  don't instantaneously throw up tracks and memories like the seventies and eighties do. I'm sure it's an arrested development thing and, now that I think about it, any decade that can throw up garbage like Arrested Development perhaps doesn't deserve the distinction of having a favourite song.

Off the top of my head, I could pick any one of 10 or 13 tracks for this challenge but I'll stick with this 1993 classic from Stereolab. Like a lot of great songs from that era - The Cavedogs 'Love Grenade'/Blur's 'Girls and Boys'/ Pulp's 'Lipgloss'/Portishead's 'Sour Times' - I first heard it on Mark Radcliffe's evening show, and I had the good sense at the time to tape the show. Played it to death until I was able to pick a copy of it up on the Jenny Ondioline CD.



I don't think the performance from The Word does it full justice so, if intrigued, check the original version below:

The Wackness (2008)