Morrissey: First of the Gang to Die

10 Songs That...

...are little known classics performed by great bands. In no particular order, I give you:

"Please, Please, Please Let Me Get What I Want" by The Smiths

Yes, it is Morrissey being miserable, but this time it is an almost touching (and faintly optimistic) version of his typical complaining. It is a simple song with a beautiful tune - that has been used many a time in movies, including a very unlikely one. Poignant and just a little heartbreaking - and therefore one of the very best songs the Smiths ever created.

"Open" by The Cure

The ultimate song about getting unexpectedly drunk at some sort of social occasion. It even has an odd, swirling tune that merely enhances its near perfect evocation of being suddenly a drunken arse when you never intended to get drunk, but also to avoid attending the party in the first place.

"I Look Alone" by Buzzcocks

I really don't get why the Buzzcocks weren't one of the most popular bands of the punk era. They could write spiky pop songs, but they could do so in a way that had an ear for melody and for quirky and intriguing lyrics. This song - which I found at the very end of Product almost like an afterthought - is a great example. Upbeat, optimistic, but still lyrically playful - and all still backed up by a catchy tune. Seriously, what isn't to like about this tune?

"Too Cold Here" by Manic Street Preachers

The Holy Bible has no shortage of lyrics showing the crippling depression that ultimately killed (?) Richey Edwards - but no lyric shows better his icy alienation from the world than this simple song - just a voice, and a guitar, and some of the most alienated lyrics in the history of rock music. A song that is difficult to like, but compelling nonetheless.

"Smithers-Jones" by The Jam

Poor old Bruce Foxton. He's not a bad songwriter, and in most bands he would have got probably 50% of the attention. However, he happened to join at band that contained the young Paul Weller - who was at his best. Foxton was always going to be overshadowed. Nonetheless, certain songs shine through - this one in particular. Basically, it's The Fall and Rise of Reginald Perrin set to music. And it doesn't matter whether to hear the rock version of the song or the orchestral one - it remains a clear unequivocal peer of Weller's best tracks.

"Lost For Words" by Pink Floyd

A perfect song for anyone who has ever tried to rebuild a friendship only to find that their efforts are not appreciated by the other party: "So I opened the door to my enemy/And I asked "Could we wipe the slate clean?"/But they told me to please go and fuck myself/You know you just can't win." Oh, and keep in listening for the next track on The Division Bell - the wonderful, atmospheric "High Hopes".

"Ant Farm" by the Eels

Make no mistake about it, Electro-Shock Blues is, as the title might suggest, a pretty bleak work. But in among the songs of suicide, cancer and the grudging realisation that, for those left behind, life does have to go on, there's this little slice of slice of hope. It is a love song sung by a misanthrope who has realised that actually he can love someone - and the fact that it is basically performed by a man with his acoustic guitar adds to the fresh feeling (pun intended) offered by this song.

"The Kill" by Joy Division

Most Joy Division songs have been analysed to almost absurd lengths owing to the suicide of the lead singer. However, there are some songs that - owing to not being present on one of the band's two albums - have remained largely under the radar. And while there is nothing extraordinary about this song, it is a striking example of just how good Joy Division were. Immediately urgent, menacing but not cliched, this is quintessential Joy Division - disciplined, ambiguous, but instantly identifiable as the work of one of the best bands there has ever been.

"I Don't Even Know Myself" by the Who

From the Who's Next era, this song is a classic example of a band at the height of its power. The fact that this song - an energetic number performed by a band whose talents have been honed by endless gigging to the extent where they are nearly flawless - didn't make it on to any album shows just how good they were are the time. Nonetheless, this song is definitely worth seeking out - and, if you can, find a live version of it: at this point, the Who were one of the greatest live bands ever.

"Can't Hardly Wait" by the Replacements

The Replacements were an indie rock band from the eighties - like REM, but much better. Unfortunately their inability to stay sober for too long limited their career (indeed, early in their career they had to change their name because no-one would employ them as an early gig was just too drunken). Which is a shame because, as this song shows, they had real talent - both to provide memorable tunes but also lyrics that are both striking (see the line about Jesus) and perfectly encapsulate certain emotions - in this case, impatience, exuberance and hope. The reason why a song like this wasn't one of the indie anthems of the eighties remains a mystery to me.

Morrissey the Racist

Morrissey talking shite - and not for the first time:

"Did you see the thing on the news about their treatment of animals and animal welfare?" he said. "Absolutely horrific. You can't help but feel that the Chinese are a subspecies."

It is always fun when Morrissey says something like this because many of his fans start to make excuses for him, and try to dress up what he's said because he happens to make music they like. Unfortunately, I can't do that. As much as I like the Smiths and some of Morrissey's solo stuff, there's not way of hiding that his comments are pure racism; the malign blathering of a man who cares more about animals than he does humans, and is prepared to make broad sweeping assertions about an entire people based on nothing more than ignorance.

Morrissey; talented singer songwriter. Morrissey; ignorant racist.

The Best Songs of 2000-2009

The first of two "best of..." lists that will be published on here today. The second one, in the highly unlikely event that the anticipation is killing you, will be on films.

Of course, all best of lists are inherently idiosyncratic and reflect the personal preferences of the compiler. That seems obvious, but really comes across when you consider that every track in my Top 20 is from an indie band. And several bands get multiple placings even though we are dealing with over ten years worth of music. But seriously, I think - if nothing else - these 20 tracks make an awesome playlist for anyone's MP3 player:

20: Hey Man (Now You're Really Living), Eels.

The Eels are a pretty depressing band. And the lyric here - about how life-affirming both unhappy and happy experiences can be - is pretty typical of the Eels. But the tube is positively upbeat, and this is a great song for those who realise that life cannot be perfect all the time.

19: Smokers Outside the Hospital Door, The Editors

This is what Coldplay would sound like if they had the decency not to be shit.

18: You Have Killed Me, Morrissey

Morrissey doing what he does best - a moping lyric, replete with obscure references and the sort of chorus that will strike a chord with lovelorn teenagers everywhere. Plus, the backing track is rocking.

17: Bride of Theme From Blinking Lights, Eels

Not a song as such, but a poignant, gentle tune that for some reason really makes me happy.

16: There There (The Boney King of Nowhere), Radiohead

Now, I thought that this decade would be the decade for two bands - Manic Street Preachers and Radiohead. In the event, both bands have proved to have had a disappointing ten years. However, they've still managed to produce some good work, and this track captures for me what once made Radiohead such a great band - namely, good songs.

15: Eleanor Put Your Boots On, Franz Ferdinand

A love song to the lead singer of The Fiery Furnaces by the lead singer of Franz Ferdinand. It is poignant, sweet and tender without ever becoming sickly or over-the-top. It's a shame that Franz Ferdinand didn't go in this direction with their third album. It is one hell of a lot better than the lumpen, sub disco direction they eventually headed in.

14: Decent Days And Nights, The Futureheads

Spikey post-punk from a band who are far from essential, yet still manage to produce great songs. The Futureheads are not one of the best or most essential bands in the world, but their music is well worth listening to and there is at least one potential anthem on each of their albums. This is the one from their debut (and best) album.

13: Open The Door, British Sea Power

A great little song by one of the two best bands of the decade. Yep, I seriously believe that British Sea Power are one of the best bands to emerge since 2000, alongside...

12: Intervention, Arcade Fire

...the Arcade Fire, who have produced two of the most striking albums I have ever heard. This is from their second album, which is grander and angrier than their first record - something that is clear in this track. Which also manages to use an organ effectively; a feat few other bands have ever managed.

11: First of the Gang to Die, Morrissey

By rights, Morrissey should have faded away in this decade. Yet, with You Are The Quarry, he managed to produce perhaps his best work since the Smiths and an absolute return to form. Something that is best demonstrated with this song. It has the lyrical word play and the curious juxtaposition of images that is pure Morrissey, backed by a deft and catchy tune that sticks in your head without irritating you for far longer than you ever thought possible.

10: Mykonos, Fleet Foxes

It starts like every other Fleet Foxes song you have ever heard. Which is no bad thing. Yet halfway through it switches, and becomes impassioned, urgent, compelling and vital. It features one of the best voices in modern music giving it his all, and is worth hearing for that reason alone.

9: Fingers in the Factories, The Editors

Many bands have discovered the edgy post-punk made famous by Joy Division; no-one has ever done it as well as the Editors in this track. A breathless race through a song that offers ominous yet obscured warnings, whilst the singer constantly imploring the listener to "keep with me". You need to, as well - a song that moves this fast is in danger of sweeping you away.

8: Running the World, Jarvis Cocker

This lacks the subtle word-play of the best of Jarvis Cocker's work, and the basic sentiment is the sort of relentlessly cliched left-wing bile that went out of fashion with Neil Kinnock. Nonetheless, the tune is catchy and the chorus is simply wonderful. It is true, Jarvis, now as it ever as been. Cunts are still running the world.

7: Carrion, British Sea Power

If you want an encapsulation of what British Sea Power are like - and how brilliant they are - then listen to this track. It has all their trademarks; the breathless vocal delivery, a lyric packed with obscure references and faintly disturbing images and an anthemic feel to the song as a whole.

6: Hey Ma, James

This is perhaps the most potent and vitriolic protest song in a decade where protest has become fashionable again. James have always been a good band, capable of mope rock, romantic songs, and just great tunes. Yet with this track they commit to posterity a track that sums up this decade; a warning about unthinking revenge, about rage, about how deadly consequences can be. When you consider the fate of other "Madchester" bands, it is staggering to realise that James are still capable of writing songs this good after so long in the music business.

5: Grace Kelly Blues, Eels

A gentle song that deals with the pedestrian minutiae of everyone from hot dog vendors to queens, before the lyric becomes simple yet intensely personal and the singer - E - reveals after all the tragedy that informed his previous album, he is going to be OK.

4: Matinee, Franz Ferdinand

Clever wordplay and a great tune from one of the best debut albums in a long time. In fact, the whole of Franz Ferdinand's debut still stands as a classic to this day, whereas other albums of the same vintage sound pretty terrible now. Yes, Keane, I'm talking about you.

3: William's Last Words, Manic Street Preachers

A terribly sad and very poignant tune. Because, for all the world, this is one man singing what sounds and reads like a suicide note of one of his best friends. What is most striking of all is that there is none of the rage or strident anger that informed The Holy Bible here. Instead, there is a sense of restfulness and an understanding of the transient nature of life throughout the song, which is amplified and made deeply moving when you consider that what is about to end here is a man's life. To my ears, this song is heart-breaking without being gut-wrenching.

2: Please Stand Up, British Sea Power

I understand that this track is far from a fan favourite, and I have no idea why. To my mind, it is a wonderful song, and whilst it is more commercial than many other BSP songs, it is the perfect introduction to their music and a great track. Besides, how commercial can it really be given it was banned by some radio stations and video channels for the line "a little excitement makes us wetter, wetter"?

1: Rebellion, Arcade Fire

Simply awesome. A song that hints at some many different things, and zooms in on both the fear of and the love of sleeping. It is backed by a deceptively simple tune that makes the whole track simple yet utterly compulsive. On an album about death, bereavement and mourning, it is this song that seems to engage most with, at the risk of sounding deeply pretentious, the reality of being human - and being mortal. "Time to close your eyes..."

Oh, Morrissey, so much to answer for?

No stranger to controversy, Morrissey has again left himself wide open to accusations of racism with some comments in the NME.

This is not the first time that Morrissey has been accused of racism. Back in the days of The Smiths, his song Panic was considered by some to racist as it was perceived to be an attack on black dance music and the solution offered by Morrissey ("Hang the DJ") becomes very controversialin that context (as if hanging people wasn't controversial enough anyway). This charge was relatively easy to dispel – as Johnny Marr pointed out, New Order made great dance music, and there were no black members of New Order.

But there were more incidents of apparent racism – not least in the lyrics to his songs. Bengali in Platforms is a good example (and probably ties in with his most recent comments), as is the song National Front Disco (with the "catchy" lyrics: "Oh, you're going to .../Yeah, yeah, yeah, yeah/England for the English!/England for the English!") Then there is Morrissey performing draped in the Union Jack. Of course, you could argue that draping yourself in the Union Jack is not racist, and that just because Morrissey writes certain lyrics that suggest the characters in his song are racist doesn’t mean he is racist. But after a while, all the evidence mounts up, and you have to ask the question "is Morrissey racist?"

All of his comments and songs stop just short (and I mean just short) of him being openly racist. His most recent controversial comments, as relayed on the BBC News website (couldn’t find them on the NME website) are a good example of this:

"Although I don't have anything against people from other countries, the higher the influx into England the more the British identity disappears. So the price is enormous. If you travel to Germany, it's still absolutely Germany. If you travel to Sweden, it still has a Swedish identity. But travel to England and you have no idea where you are."

The loss of British identity is not a concern unique to Morrissey, and it is not directly attacking immigrants in his statement (although they are indirectly, in his eyes, responsible for the woes befalling Britain). However, his ideas are not that far away from the politics of the BNP and of the Far Right, and what I wish the NME reporter had asked him was what he proposes to do about the loss of British culture, Because that is where things get funky, that is where things get fucked up.

In a later interview Morrissey attempts to clarify his comments:

"It could be construed that the reason I wouldn't wish to live in England is the immigration explosion. And that's not true at all. There are other reasons why I would find England very difficult, such as the expense and the pressure."

The expense and pressure of living in the UK are certainly bad, although surely not that much dissimilar to LA, where Morrissey lived for a long time. But the controversial point of Morrissey’s statement was not so much where he lives (because, let’s face it, who really gives a fuck where he lives?) but rather his comments on the negative effect of immigration on British culture. Ultimately, Morrissey’s comments are not explicitly racist, but they reek of "don’t like the foreigners coming into my country". It all lies in how you interpret the comments, but ultimately I would see them as depressingly ignorant and xenophobic.

But then again, why should it really matter what Morrissey says? I don’t agree with his comments, but I am not going to rush home and throw my Smiths and Morrissey CDs in the bin. Because you know what? The reason why I like Morrissey and The Smiths is the songs, not the ideas, prejudices and ignorance of the person singing the songs. Let’s not get hung up on believing that everything Mozzer says drips with wisdom and sagacity – because, frankly, it doesn’t. And let’s not expect him to be a well balanced political thinker, because he is now a portly, middle aged, bitter outsider. Ultimately I’d be concerned if Gordon Brown was expressing this sort of opinion (which he kind of has) because Brown is in a position where his thoughts could become policy. He’s in a position of power. Morrissey is a position where he can do little more than get into a pissing match with the NME.

And you can make this wider. Let’s stop looking at singers and perfomers like they automatically have some sort of greater political insight because they have had a hit album. Bono isn’t a sound exponent of foreign policy because The Joshua Tree was a hit album. Actually he’s a cliched little shit with appalling taste in sunglasses. Likewise, Thom Yorke isn’t a spokesman for a generation – he’s a twisted little misanthrope who happens to jump on every "right on" bandwagon that he sees. Being a successful singer/in a successful band doesn’t make someone superhuman, with deep and meaningful insights into all aspects of life. In fact, all they become is successful singer/band performers with big gobs. More fool anyone who looks to Bono, Yorke, Morrissey or any other pop star for their knowledge of politics.

Yes, I understand that these people are role models to some, and as a result Morrissey's xenophobic comments could influence other people. But you know what? If you are really going to slavishly follow everything Morrissey – an ageing, stuck in a rut, beer bellied middle aged misfit – says, then you are either hopelessly naïve and need to grow up a bit, or you’ve lost your grip on reality, and need to get out more.

Heroes

No, not a post about the TV series which I have still not seen, despite a lot of positive comments from a lot of different sources. And it is not about the David Bowie song, although he is referenced later on. It is about heroes in the technical sense of the word – what I would define as people you would want to be.

Inevitably it was a conversation in the pub that got me thinking. A mate mentioned that his heroes were slightly, shall we say, idiosyncratic. If memory serves, they were Lance Armstrong and Spike Milligan. And he said that he would bet that my heroes are idiosyncratic choices as well. Which is where the problem arises.

I couldn’t think of anyone. I could not think of one person who I would class as a hero. Not one person. And, one week on, I still can’t.

There are people who have played a role in politics who I admire. Thatcher would be an obvious choice for the erstwhile ex-Tory in me, and I do admire her single minded determination and her refusal to be brow beaten by an often virulent and vile opposition. That said, she did make mistakes, and ultimately disappeared into her own her own legend and lost power as a result. She can’t be a hero, she is too flawed.

Likewise, I admire Lyndon Johnson. He was a ruthless political pragmatist, someone who clawed his way up to being US President and managed to win one of the most spectacular victories in US history despite the many problems he had in presenting himself to the media. Above all, he was responsible for taking the practical steps that ended segregation and advanced civil rights so much in the US. Martin Luther King and John Kennedy may have talked about it, but it was actually Johnson who did it. But again, there is a flipside to Johnson. He was the president who sleep walked his way through foreign policy and as a result escalated the Vietnam War to the point where America could not win. And the stories of his womanising and of his boorish behaviour, such as conducting meetings with aides whilst he was on the toilet and flashing his genitalia to other men to prove how well endowed he was, do little to endear him to me. Lyndon Johnson – hero in some areas, irrevocably flawed in others.

Whilst I primarily bang on about politics on this blog, music is also an important part of my life. And there are musicians I admire. Morrissey, for example, displays a wit and an eloquence that has seldom been matched in modern music. But I really struggle with the undertones of racism and child abuse that pervade some of his music. And I do feel that anyone who, from the deepest reaches of middle age, has as the refrain to the lead single of their last album, “As I live and breathe, you have killed me, you have killed me/Yes I walk around, somehow, but you have killed me, you have killed me” probably needs to realise that they are no longer a teenager. I also like some of the music of David Bowie, but his eclecticism is sometimes too much for me. “Let’s Dance”? No thanks, Dave. “Rock And Roll Suicide”? Now you’re talking. Even the likes of Manic Street Preachers are flawed – their politics is heartfelt and eloquently expressed, but is overwhelming negative and naively left wing.

As a would be/wannabe writer, there are writers and scriptwriters that I admire. Russell T. Davies, Stephen Volk, Nigel Kneale, Dennis Potter, J G Ballard, Iain Banks and Tony Marchant are the names that spring to mind. But all of those authors have created work that I am less than fond of, and I would maintain that it is more healthy for a writer to try and carve out there own identity rather than slavishly follow a literary hero.

And there are people in my personal life who I admire and have personality traits that I would aspire to. But that doesn’t mean I want to be like them, and doesn’t mean they are heroes to me.

Which I suppose indicates where I am coming from with this post. For me – rightly or wrongly – I feel that the word hero is pretty much synonymous with worship. I don’t have a hero because there is no-one that I know of that I feel I could worship. At the end of the day – as my summing up of Johnson and Thatcher shows – we are all human beings, so whilst we may have a lot of good features, we also have flaws. There is a lot I can learn and a lot I can take from both people and I know and people I know of. But that does not make them heroes, because no-one is perfect. It may sound arrogant, and I don’t mean it to, since if the question had been “who do you admire”, then I could spieled off a list that lasts for hours.

But, as I always say at the end of this type of post, that is enough navel gazing. Normal service (ie calling our leaders an ancient slang word for a particular part of the female anatomy) will be resumed as soon as possible.

Eurovision...

Apparently we might have an extremely unlikely entry into this year's Eurovision - Stephen Patrick Morrissey.

So the former lead singer of the Smiths, the man who wrote such sing-a-long greats as "Last Night I Dreamt That Somebody Loved Me", "You Just Haven't Earned It Yet Baby", "We Hate It When Our Friends Become Successful" and "You Have Killed Me" will be representing is at the cheese fest that brought us "Waterloo" by Abba, "Congratulations" by Cliff Richard and "Making Your Mind Up" by Bucks Fizz. Riiiigggghhhhtt, that sounds like a well thought through plan. Perhaps I'm wrong but I can't help but feel those who watch Eurovision perhaps will not appreciate songs such as "I Have Forgiven Jesus", "Life Is A Pigsty" and "The Boy With The Thorn In His Side".

Still, perhaps it makes sense to have a quirky, off beat entry this year - after all, Lordi were hardly a conventional choice last year. And even Morrissey at his most depressing and morbid is bound to be better than Daz pissing Sampson...

In the future, when all's well

Last Friday I went to see Morrissey play. Now I know in the past I have been critical of Mozzer, and I maintain that teenage angst is more credible for the young than it is for an increasingly portly, middle-aged man. But I couldn't pass up on the chance to see the man who c0-wrote There is a Light and It Never Goes Out, even if I am seeing him play when his prime has been and gone.

So we arrived quite early at Wembley Arena, keen to get a space near to the front. We managed to get a decent spot, but as a result we had to listen to the support band. I forget what they were called but they were quite possibly one of the worst bands I have ever seen (and hopefully will ever see). They were like an inverted version of The White Stripes - a male drummer and a female keyboard player who yelped and shreiked like a rabid cat in tumble dryer. To say that they out stayed their welcome would be a massive understatement - by the end of their incredibly repetitive set the crowd was in the right mood to lynch them. My friend was convinced Morrissey had put them on as a wind-up, I was convinced that he put them on so that, no matter how badly he played, he would seem good by comparison.

Anyway, whilst the roadies went around the stage, preparing everything for the arrival of the former Smith, I nipped from the hall to get a beer and go to the loo - my friend was left to guard our space in the increasingly packed hall. As I wandered out and looked around for the nearest bar I saw a group of middle aged men stood in the corner, chomping on various hot dogs and burgers. And stood in the middle of them, forcing a hot dog into his fat face, was a podgy, middle aged man. He was wearing a brown leather jacket and had his foppish hair brushed back. He really reminded me of someone, and it wook a moment for me to work out who he was. Then it struck me. It was the King of the Cunts - David Cameron.

I did a double take. I was convinced I must be seeing things - that my simmering hatred for Cameron that has been burning so bright over the past few weeks had made me delusional. But even on second, and third, glances it was still him. And then I remembered that Davey boy is a fan of the Smiths as well.

So I sent a text to my friend in the hall saying "you will never guess who is out here - David fucking Cameron."* I quickly got a message back - something like "No way - punch him." I replied that I probably wouldn't be punching the Leader of Her Majesty's Opposition. The text I got back read "Do it! I've got my camera!". However, in the event the need to go to the toilet outweighed the need for me to try to think of something to say or do to the man whose idiotic approach to being Conservative leader led me to leave the party. But I did wonder to myself whether Morrissey would play Last Night I Dreamt Somebody Loved Me, and if he did, whether Cameron would appreciate the irony. Probably not.

Inevitably, an idea of what I should have done did occur to me - halfway through Saturday, when it was about as much use as a whore in a church. I realised I still had my Tory party card in my wallet (the original plan was to chuck it in the recycling bin at work but that might be a bit "green" and therefore might appeal to Cameron). I should have taken out my card, gone over to Cameron, torn it in two and handed it to him. It would have been a cheap stunt, sure, but let's face it, Cameron is not above cheap stunts himself...

* I actually wanted to go with David cunting Cameron, obviously. But unfortunately that particular word was not in my phone's dictionary (for some strange reason). That oversight has now been corrected, as has the absence of fucktard as well.

Racist Musical Taste?

"Does it bother you that your musical taste is almost exclusively white?"

A friend of mine asked me that question many moons ago in a terrible pub in the Midlands. The question was completely out of the blue and somewhat surprising - this particular friend is not one for deep, thought-provoking questions about music and the pub (which was so bad that they actually had to lower the height of the bar for all the under-age drinkers) was not the sort of venue where you do any thinking. And as a result I really couldn't think of answer. Initially I wanted to contradict him and point out that my musical taste is not exclusively white, but, barring a few albums by Massive Attack and The Specials (who are mixed race bands), his assertion is fundamentally right. I have never liked rap, and I have never liked reggae. So at the time I spluttered an answer about how I had never really thought about it and how it didn't really matter to me anyway. But every now and again, in a slow or boring moment, I have found my mind returning to that question.

And finally I have reached an answer. Of sorts.

I'm not racist - I see racism as not only grossly unfair and counter-productive but also extremely ignorant. It is true that I have no issue with disliking some people, but any dislike is always based on what I think about their personalities and the way they act. Not based on their race, skin colour, sex, religious beliefs or anything else. So I do not think my musical taste is in anyway racist, even though it is almost exclusively white.

Now, given my background, it is hardly surprising that I like music that I tend to describe as being made by "four pasty white boys earnestly clutching guitars." My musical taste tends to be either Indie or Prog rock. I love the likes of Pink Floyd, The Smiths, The Who, The Arcade Fire, The Clash, New Order - the list goes on and on. And given my background - white, public school and red-brick university educated, with much of my childhood living in a small village listening to the likes of the Beatles, it makes sense that I would listen to guitar based music backed up with lyrics that can relate to. I can't relate to urban music because I am not from an urban background. Equally, I cannot stomach country music but may have been able to if I had grown up in the American Mid-West.

And I would actually argue that it would be more patronising for me to claim that I love rap or reggae when I don't. It would almost imply that those who produce that sort of music require me to like them - that me admiring their type of music would in some way vindicate their artistic work. And I know my opinions of them and their music is wonderfully irrelevant to them. They do not gain anything by me pretending to like their music. Just as I would not gain anything other than soothing my liberal ideals by pretending to like their music. I like music based on my background and music that I can relate to. There is nothing racist in that.

Furthermore, I would now argue that the question itself is, on some levels, racist. It highlights colour, and it highlights race. I firmly believe that racism only ends when people stop thinking about race and colour when asking questions and making choices. It is racist to stop someone getting a job based on the colour of their skin, just as positive discrimination/affirmative action is inherently racist. By giving someone a job because they are a particular race is racist because it is using race as the selection criteria for the job, rather than suitability for the job. So it is racist to chose music based on the race of the people who write and perform it. It is not racist to chose music based on what you like, even if that means that your musical collection is more based around your own race rather than other races.

So, to answer the question, no, it does not worry me that my music taste is almost exclusively white.

Of course, I concede that answer, and reasoning, would be a little more convincing if I had come up with it five and a half years ago. Rather than reaching the above conclusions earlier today, whilst doing the ironing.

The Nauseatingly Self-Absorbed Post

Does exactly what it says on the tin.

Spent quite a lot of yesterday stroking my chin and pondering life, the universe and everything (and I mean life, the universe and everything rather than the crappy book by the over-rated Douglas Adams). Partly because last week left me with one or two things to think about, but mainly because I had two day's worth of hangover to contend with and frankly doing anything other than sitting still and thinking was a bit painful.

One of the things that crossed through my mind was exactly what I am doing with this blog. Reading some of the previous posts, there is a level of anger and misanthropy that I don't feel in my day to day life. Sure I remain irritable and the smallest things can really piss me off, but the evolution of this blog into a collection of hectoring posts (particularly against our *beloved* political class) and little else is mildly surprising to me. No intention of changing the content of this blog, mind, but it was originally meant to be a little more eclectic than the way it has turned out.

For example, I have a post floating around in my head about how the lyrics to Morrissey's Irish Blood, English Heart make me feel patriotic, which is no mean feat given I feel no great bond with my home country. In fact, I would argue Morrissey's song would make a much better National Anthem that the dirge like, monarchy worshipping pile of toss that we currently use. I also have a blog about how much I love living in London, in spite of the tube, the number of people stopping me in the street and in spite of the exorbitant price of a pint because of the number of wonderful buildings and places. Seriously, go to St Paul's Cathedral and take a look. Regardless of your religion, it is awe inspiring. Go inside, and look at the ceiling. Feel the history in there, feel the passion. And if you still aren't convinced that there are things in London worth enduring the hundreds of minor irritants for, then all you have to do is leave the Cathedral and walk across the Millenium Bridge to the Tate Modern. I could write about how I think The Girl In The Fireplace is one of the most poetic and romantic stories I have ever encountered, in spite of being both Saturday night TV and being science fiction. But I don't write those posts. Instead I go onto the BBC website, see a story on there about something that gets under my skin, and spend 5 minutes venting about it online. Which makes this blog both good and bad - good that I have a random outlet for random anger. Bad that I am too lazy to put more varied posts on this site. So today's naval gazing aside, don't expect any changes or variety on The Appalling Strangeness. The standard post will say something like "John Prescott is a cunt." Mainly because he is.

But that got me thinking about something else. The use of profanity on this blog. My original thought was not to swear on here. As anyone reading this post will be aware, that has changed somewhat. There are several reasons for this. Firstly, as the Moai points out, the best of the right wing blogs have no issue with using swear words, so why should I? Also, in my day to day life I have no issue with swearing. The fact that I have no real accent (the closest to describing how I speak is received pronunciation) means I tend to be able to get away with being a little foul mouthed on occasion. So if I swear when I am speaking, it seems only natural to swear when I am blogging. But the real reason is this - I swear because sometimes profanity is the best way to describe someone. Take the statement "John Prescott is a cunt." Now I could say that Prezza is a cad, a bounder, an oaf, an ignorant fat pig, a misogynist, a lazy cliche, a talentless nadir for an administration that is now renown for lack of competence. And all those things would be true. But it is much more punchy, and effective, to say he is a cunt. I appreciate that some people find that word appalling (I have friends who refuse to say it) but it perfectly sums up how I feel about that pathetic bloater of a man.

But any road, that is enough jabbering from me. I am off to watch the tele', go for a walk, and maybe find something on the BBC website to rant about...

Like Flames Around The Sun

To something other than politics... namely, music. Or more particularly, U2 winning the competition for the best lyric - ever. Now, I quite like One, but I cannot see how this has won this award. Likewise, Morrissey has come up with some very moving/clever lyrics, but How Soon Is Now? is a fairly dirge like song and the lyrics quoted in the chart are just an observation of a rubbish teenage night out. I could go on, and attack each and every lyric in the chart (don't get me started on Yellow) but that is not my point.

Basically, as the BBC points out, John Lennon's Imagine topped a similar poll in 1999 but is not in the Top 5 of this poll. The Nation's Favourite lyric will change from year to year, probably from month to month, and possibly from day to day. How do I know this? Well, my favourite song lyric changes from day to day. Earlier in the week, I would have said it was Shine by New Order subsidiary Monaco. Today? Well, without a shadow of a doubt it is L.Wells by Franz Ferdinand. And next week? It will probably be something completely different again.

Although I am impressed by Pink Floyd doing so well here: Roger Waters is genuinely one of the greatest lyricists there has ever been.

"They were the only ones who stood by you"

I see Morrissey is at the top of the album charts. Frankly I am staggered - who is still buying his records? Morrissey makes music for miserable teenagers. Don't get me wrong, I think the Smiths were one of the best bands of the 1980's. The Queen Is Dead is a classic album. But Morrissey solo is nowhere near as good as the Morrissey of the Smiths. And most importantly - surely all those teenagers who fell in love with the Smiths have grown up now?

Morrissey himself predicted that he would fade away. In the excellent song Rubber Ring he sees his fans - those who depend on his music for an emotional crutch - growing up, becoming happy, and forgetting about him. With a wry self pity he says "And when you're dancing and laughing/And finally living/Hear my voice in your head/And think of my kindly/Do you/Love me like you used to?" The logical turn of events is the teenagers grow up, and Morrissey becomes a fond memory.

So how is a man who is resolutely unable to move on emotionally in his music number one in the album charts?

I'm probably the missing the point.

This really amused me. Alan Milburn positioning himself as Blair's successor. A failed health minister, a failed general election campaign manager, and one of the few people in New Labour who genuinely appears more media obssessed than Blair himself - Milburn, you haven't got a chance. But I suppose when one of Blair's few other high profile supporters is this man, Milburn suddenly appears to be a good choice.