Quiet Words

Graham started at Royal Mail sometime in the nineties. New recruits came and went but if they lasted the first three weeks, they usually stayed for at least another couple of years. Graham immediately made an impression, if not necessarily a great one.

He was about my age, late twenties to early thirties, and cut a peculiarly slight figure. He was small without being either short or seeming necessarily weak. It wasn't that he was feminine, but neither was he particularly masculine. He seemed like a small, slightly fierce Charles Hawtrey without any of the camp. There was a suggestion of upper class heritage, or at least equivalent delicacy. He had short dark hair and pretty eyes, like a male Sinéad O'Connor, and naturally we all assumed he was probably gay. I imagine that being homosexual in a blue collar profession as was ours must be a pretty tough gig, but probably not so tough as people might imagine.

We were postmen, and of course postwomen, predominantly working class. We liked a pint. Many of us were into football, and not actually that many of us were into performance art or tone poetry. Of those of us who were into football, a few were in it mainly for the joy of kicking someone's head in after the game. Some of us read the Sun - but not everyone - and many of those who read the Sun did so in the knowledge of it being mostly complete bollocks. With one or two exceptions, the shit thick, xenophobic generic Sun-reading working class you may have heard about never really existed except in the imagination of a terrified middle class. Everyone at Royal Mail knew somebody who was gay, and mostly we were past caring because we all had our own shit to worry about; and those few suffering from raging homophobia presented a much bigger, weirder target than the actually homosexual. Gay people were easier to get along with and would even joke about uncomfortable particles of sweetcorn trapped beneath the foreskin, just for the sake of getting a reaction.

No-one knew whether or not Graham was gay, but in any case, that wasn't the problem. The problem was that he was quiet, and quiet to the point of being rude. He didn't speak to anyone. He didn't engage in small talk. If you asked him a question, he'd answer with three or four clipped words or he wouldn't answer at all, wouldn't even look at you. Most of us took offence at one point or another, but no-one acted on it because he seemed kind of intense and he did his job, which was all anyone could ask. Maybe he was just pathologically shy.

Years passed, and those clipped three word responses gradually blossomed into sentences, even exchanges which, if not exactly friendly, at least suggested there was a human being in there somewhere, just one who tended to keep his mouth shut unless he had something to say. He did his job, and no-one had any reason to complain, excepting one summer morning so hot that he went out on delivery wearing just shoes and a pair of shorts so brief that locals phoned the office to complain that their postman was walking around in just hotpants, and it was weird. Whatever Graham's thing might be, we guessed that being shy wasn't really part of it.

Another year passed and Graham volunteered to be our union rep on the grounds of no-one else wanting the job. To everyone's surprise - now that he had something to say - he revealed himself as erudite, fiercely intelligent, and riotously outspoken. He went to all of the union meetings and made many enemies, not least being Jim Cunningham, our area manager, the individual charged with shuffling in all of the changes to which the union and particularly Graham as our representative, were opposed.

I am hopeful that I never again receive correspondence from you written in the manner of this letter, Cunningham wrote in response to one of Graham's missives. Graham was amused, apparently enjoying sparring with upper management types, most of whom were unfortunately nothing like so sharp or canny as they believed themselves to be. Graham made copies of his exchanges so that we could all enjoy the spectacle of him going full Paxman on the mealy-mouthed tosspot who was doing his level best to make our working conditions that much less bearable in the name of savings.

If a man gets in the habit of dealing out blows, Graham told our common enemy, sooner or later he ought not be too surprised to receive a blow in return!

We were impressed, and I found in Graham someone with whom I was able to have an actual conversation. He remained a private person, disinclined to give away too much about either himself or his upbringing, but he was clearly educated and had read books. We talked a little bit about Mexico as it turned out that he had spent six months in South America, apparently in an effort to find himself although he didn't seem to regard the expedition as a success. He hadn't found whatever it was that he'd been looking for.

We sort of became friends, in so much as that one can become friends with anyone so private. We became close enough to laugh at each other's jokes. I asked about the apparent change in his personality from when he had first arrived at our sorting office.

'I think it would be fair to say that I was having a nervous breakdown at the time,' he told me with a confessional smile.

His parents hadn't wanted him, he told me, and so he had been raised by nuns. This seemed to explain almost everything.

He took an interest in my first attempts to write, notably an article on indigenous Mexican music proposed for Ed Pinsent's Sound Projector magazine.

For a start, a mythological figure who disputes the necessity of human sacrifice has as much place in pre-Colombian Mexico as a sped-up Benny Hill comedy chase sequence in the Bible. The very notion is completely inconsistent with indigenous thought of the time. The rest of the tale provides a good example of the Nahua propensity to explain and justify the present as the conclusion of a predestined past, even if that predestination only occurred in retrospect. The fact of the story of Quetzalcoatl disappearing on a raft appearing in no native record until a long time after the events it explained is clear indication that the tale is of interest more as an example of the Nahua attitude to history than as something worthy of consideration as a literal historical occurrence.

I was not accustomed to writing long articles with academic aspirations, but felt I was doing fairly well with this one. My writing style was significantly influenced by the strident and often sarcastic tone of Andy Martin's writing in SMILE magazine and on the covers of various records by the Apostles.

Somewhere on a Pima reservation two families are enjoying a civilised evening meal to the delicate accompaniment of Traditional Songs and Chants of the Millwall Wrecking Crew. Glasses are refilled and a second course approaches as the earthy and mysterious refrain of you're gonna get your fucking heads kicked in rattles the speakers.

Having effected what I considered to be a reasonable impersonation of Andy Martin's tone, I asked Graham to take a look at my most recent draft of the unpublished article. I asked for his feedback but didn't really want it. What I wanted was for him to confirm that my borrowed wit was indeed as sharp as I imagined it to be, perhaps even to join me in laughter as we considered all those unenlightened people quaking in fear as I set them right on a few of their silly assumptions regarding indigenous Mexican music.

He took what I'd written, and then came back with a response, mainly taking issue with the tone I'd adopted, and my tendency to switch between sarcastic funnies and po-faced self-importance. He quoted Cervantes in illustration of his point, and at the time I had no idea who Cervantes was, or even what Graham was trying to say beyond that he had apparently failed to recognise my genius.

You may have made the mistake of thinking that, as an 'expert', you can cry sanctuary, and be exempted from the ordinary rules of successful communication. Or, you may be thinking that, unless your subject is made to look suitably complicated, even gloomy, you won't win the respect of fellow experts.

I was stung, but above all I was embarrassed because I knew on some level that he was absolutely right. I recognised his criticism as both valid and helpful, but couldn't get past the idea that I'd written something which was essentially ridiculous, even if that hadn't been what Graham was suggesting.

Things became uncomfortable between us, and our tenuous friendship seemed to dissolve, vanishing like mist on a warm summer morning. At some point he left the job, and then I left the job, and that was that. He has no internet presence that I am able to trace, because more than anything I want to be able to tell him that he was right, and to apologise for having taken his criticism so personally, and I would at least like to know that he's still alive and is approximately happy, but some stories simply don't have any tidy ending. Clearly this has been one of them.

From the Cheese Cave to the End of Days

'My friend Jeremy will be in Dallas,' Bess said. 'We need to go.'

'We need to go to Dallas?'

'Yes. He has a one man show. The cats will be okay for one night and I haven't seen him in ages.'

'He has a one man show?'

'Yes, and it's in Dallas.'

'Despite our having been married for eight years, this is the first time you've ever mentioned anyone called Jeremy.'

'It is?'

'Yes, and that's why I have certain reservations as to the urgency of this proposed visit to Dallas even before we get to your use of the term one man show.'

'We've been friends for ages, since we were at school. I can't believe I've never mentioned him.'

'Well, maybe you have, but I already have a friend called Jeremy and it's not a very common name in my experience so I'm sure I would have noticed your mention of this additional Jeremy.'

'Well, we need to go to Dallas.'

'For a one man show?'

'Yeah. I don't know. It could be awful, but I have to see him. Even if it's really bad, it will still be exciting to go. We can visit Dealey Plaza.'

'Can't I just stay here? That way we won't have to worry about the cats. I hate leaving them on their own overnight. You should go and meet your friend and have fun.'

In the end we reach a compromise because Bess is similarly uncomfortable with the thought of leaving the cats unattended. We're going to set out early in the car, see Jeremy's one man show, then drive back the same day. It will be a long time spent on the highway, but we did it back in 2013 when we drove to Fort Worth to see a baby elephant then recently born at the local zoo. It's a bit of a hike, but we've done it before.

We leave at around nine. By ten we're already passing through Austin, which seems weird. Austin is usually to be found at the conclusion of a long road trip, but the travel time has passed more quickly on this occasion with Austin now marking off just one segment of a greater distance.

Bess explains how she first encountered Jeremy during a school trip to Washington DC. The trip brought together kids from all across the country rather than from any one specific school, and she and Jeremy were in the same hotel. They hit it off immediately and have kept in touch ever since.

The next major conurbation through which we pass following Austin is Temple. I look at the map and deduce that we should be in Dallas shortly after midday. We've been on the road since nine, it's now eleven, and Temple isn't far short of Waco which looks like two thirds of the total distance to me. We've been listening to a CD of a lecture by Howard Zinn entitled Stories Hollywood Never Tells, about political bias in the movie industry. Andy Martin gave me the CD many years ago and I recall having once found it interesting and enlightening. We tend to listen to either spoken word or stand up comedy on our road trips, and Howard Zinn seemed like a good choice as I hadn't heard the thing in a long, long time. Unfortunately, whilst I continue to sympathise with Zinn's general position, he pauses and mutters and doesn't seem to speak well in public, and there are a whole string of movies conveying anti-establishment, anti-war, or otherwise left-leaning messages to refute his theory; which leaves him sounding like your archetypal whining snowflake - as I believe is the current nominative - and this is a realisation which places me in the company of your archetypal whining Trumpanzee, which is awkward. Bess feels the same so we eject the disc.

Approaching Waco, we begin to notice billboards advertising the Cheese Cave.

'The what?' Bess asks, having missed the billboard.

'It's a cave, probably one of the old mine shafts where they used to dig for cheese,' I propose.

'We need to go there.'

Traffic slows as we come into Waco.

'We could just go to the Cheese Cave and tell Jeremy the traffic was too bad,' I suggest.

'I'm tempted.'

We crawl along, idly making an assessment of the city of Waco based on what can be seen from the highway. We already know they have a Cheese Cave. They also seem to have something to do with a mammoth. Inevitably we get onto the subject of David Koresh and whether or not the city has chosen to remember him with a statue, or at least a blue plaque. Realistically we both know that a theme park would be expecting too much.

By now, we're both hungry. We make several attempts to dine at branches of Cracker Barrel, an eating establishment dedicated to the dining requirements of crackers such as ourselves, but it's Father's Day so the parking lots are all crammed and with lines of customers trailing out of the entrance awaiting seating. We settle for Heitmiller Steakhouse, and Bess takes the opportunity to learn more of the Cheese Cave by reading about it through the agency of her phone. Apparently it's a store selling all sorts of cheese, so we definitely need to go there at some point.

Duly fed and watered, we return to the road. Dallas, when we arrive about an hour later, reminds me of Austin. At least the city centre has the same look about it, which I didn't expect. I think of this as being my third trip to this locality, but the two previous visits were actually to Fort Worth, the neighbouring conurbation which I've tended to regard as being simply west Dallas, at least up until now.

Dallas, the TV show, was pretty big when I was a kid growing up in England. Its influence was such as to have impacted upon the language of myself and my peers, specifically in the coining of a verb, to do a Dallas. Holding two slats of a window blind apart with one's fingers whilst peering out at an approaching visitor, perhaps with a look of suspicion forming upon one's face, was doing a Dallas. I seem to recall that Sue Ellen Ewing spent quite a lot of screen time doing a Dallas, and presume that's where it came from. It seems that I must have watched Dallas, and enough so as to negate the need for anyone to have explained the verb to me, but it was a long time ago and all I can otherwise remember are grassy plains, skyscrapers, and big hats. So this is, after all, a new thing for me.

We pass what curiously resembles a British pub, then find ourselves at Theatre Three. Jeremy's one man show will be performed in the basement, in a subsidiary venue wittily named Theatre Too, and we're here with twenty minutes to spare, which seems like good timing. We purchase drinks in special theatrical sippy cups from a goth wearing a Church of Satan pendant, then head downstairs.

Jeremy sees us in the queue - which isn't too surprising given that the queue comprises just Bess and myself - and is overjoyed that we've made it. Introductions are effected, breeze is shot, and I am relieved to realise that he's a nice guy. This is because my wife is disinclined to befriend arseholes.

The show, which is called Keeping Up With the Jorgensons, isn't well attended, just five or six of us for whatever reason, but is nevertheless an exceptional performance of a wonderful piece of writing. Jeremy spends an hour talking us through the events of a road trip taken with his father when he was a kid. It's both hilarious and horrifying, and most impressive is that I somehow forget I'm watching one man playing all of the parts - himself as a kid, his father, grandfather, neighbours and others; all are brought to life in detail so agonisingly plausible that you can almost smell the booze and the foot odour. It's exhausting to watch, but in a good way.

The hour is up. Jeremy comes out to take a bow, seemingly unconcerned by the poor turnout, and Bess and I get back on the road. The woman who sold us our tickets said something about a tornado warning, which is worrying. Back upstairs, we stare from the theatre doors at a Biblical deluge where before there was sun. We were going to take a look at Dealey Plaza, but this changes things; and Jeremy was supposed to be heading off to the airport to catch his flight immediately after the performance, so it probably changes things for him too. We run for the car, having reasoned that it may get worse, and maybe we can get ourselves out of Dallas before it hits.

It takes less than a minute to get to the car but we are both soaked by heavy blobs of rainfall sluicing from the heavens. We drive cautiously around Dallas, back onto the highway. The streets empty as everyone else takes cover. The sky darkens and we hear thunder. Visibility drops and the vehicle in front reduces to red lights in the dark grey haze of noisy water.

Back at Theatre Too, the woman selling tickets showed us the animated weather forecast, horizontal waves moving west across Dallas and Fort Worth. It looked as though we would be okay south of the city, with the storm proposed to hit Waco no sooner than 6.30PM, and it's only just gone four. I try hard to keep from visualising our car sucked up into the sky.

The rain eases a little and the sky brightens, but the roads are still slick with water and the car hydroplanes across the highway from time to time. Bess grips the wheel and drives slowly.

'It looks okay up ahead,' I suggest.

'Yes,' she says, 'once we're clear of the city…'

The sky darkens, thunder cracks, the rain renews its efforts, and this happens over and over for the next hundred miles or so. Sometimes we even see a thin stretch of blue running along the horizon or hit a dry patch of highway allowing us to go a little faster, but then I look away and when I turn back the storm has somehow revived itself. Lightning flashes, our wheels lose traction, and golfball hailstones batter the car, on and off for the next couple of hours, all the way through Waco, and then Temple. At one point a lightning bolt strikes a light pole about fifty feet away, so quick and loud it makes us both jump. The light at the top of the pole seems to explode and it resembles a special effect.

It's after six as we approach Austin, with more and more blue sky somewhere ahead of us. We're hungry so we stop in at a Cracker Barrel, reasonably confident that it will have cleared by the time we've eaten. We eat and the rain is harder than ever as we once again run for the car.

We drive slow, and eventually it no longer feels as though we're driving through the Biblical end of days, and it's after nine by the time we get home. We survived, and next time we'll go looking for that Cheese Cave.

Tonight I'm Gonna Party Like It's 1989

'It's an eighties party,' my wife tells me. 'It's Mari's husband's birthday.'

I know I've probably met Mari being as I've met quite a few people from the place where my wife works, but as usual I can't summon a face. The other two factors here are that I'm not really big on parties and I hated the eighties.

Okay, that's not entirely true, but given that when we say the eighties we usually mean either music or whatever music happened to be wearing, my eighties was characterised mostly by bands no-one had heard of or which were at least an acquired taste. If asked which names of that decade have left an enduring impression on me I'd have to say acts like the Apostles, Test Department, Einstürzende Neubauten, and whatever Jim Thirlwell was calling himself that particular week. Many persons whom I knew during the eighties now seem to spend a lot of time taking quizzes on facebook, particularly quizzes resting on whether or not one is able to recall that Spandau Ballet existed. I actually do recall that Spandau Ballet existed and if forced to say something nice I'd have to admit that Instinction was a decent song, but let's not go crazy. It was a decade like any other, no better, no worse, and all the really, stupid stuff only appears significant when it's your childhood and you haven't had much going on since. Personally I think the seventies were funnier with marginally better music, or at least the rubbish wasn't quite so bad, as illustrated by Bros making the Bay City Rollers sound like the Sex Pistols; but then it's all subjective.

My wife has chosen to approximate Madonna with big hair, lace, and a ton of jewellery. Following Halloween, I'm reluctant to let fancy dress become a way of life. Maybe I could go as Paul Mex or one of Opera For Infantry. In the end I just wear the suit and tie I wore for Noah's Bar mitzvah. It's a skinny tie like Joe Jackson favoured - or if that doesn't work, I'm one of those guys who wore a suit and tie in the eighties. Let's just pretend I was in a synth band who had a hit single about androids or something.

We drive out to Cibolo, a town about half the way between San Antonio and New Braunfels. Mari lives in the suburbs, so it takes us a few minutes to find the place.

I remember her immediately, a Latina with a face which makes it appear as though she's always excited about something. She doesn't quite look old enough to remember the eighties; and she is apparently married to Slash from Guns 'n' Roses. Also present are a number of goths as distinguished by backcombing, black clothes, and t-shirts of bands I didn't like even then. Introductions are effected.

Yes, I'm from England.

'Dude,' bellows Slash jovially, 'the eighties in England, man - punk rock and the Clash...' His point is that I don't seem to have made much of an effort in the wardrobe department, which is true.

This is the juncture at which I remember I'm in America, and everyone else's eighties was different to mine. Once past the brief splash of colour provided by Prince, Madonna, and the occasional British artist, the American eighties seems to have been mostly hair metal and related bands I've customarily spent my life crossing the road to avoid. Heavy metal, and specifically the New Wave of British Heavy Metal, was pretty much the village idiot of the musical landscape of my youth, and everyone in the town where I grew up fucking loved that shit except for me. Of course there are exceptions - Motorhead, Iron Maiden, Black Sabbath and a few others managed to crank out a few decent tunes without falling over - but the rest...

Unemployed pipe-fitters from Studley pretending to be Vikings, a weird sort of pride taken in being a bit of a cunt, and a shitty sludge of widdly-widdly-guitar-solo music which never fucking realised that Spinal Tap was supposed to be funny: it's not that rock 'n' roll really needs 'O' levels as such, but it's nice when it can at least tie its own shoelaces. The Ramones managed it fine, and no-one ever accused them of talking down to their audience. Heavy metal is a man who realises he's pissed himself, and continues to piss himself even as it's pointed out to him, and instead of shuffling off to make use of what facilities are available, he roars with laughter and calls for more ale; and somehow they loved all that cartoon crap over here - Judas Priest, Saxon, Def Leppard, Cinderella, Mötley Crüe, Ratt, Twisted Sister...

I help myself to food, then head into the garage in search of beer. The garage doubles up as a man cave. There's a fridge full of beer, a flat screen television, weight lifting paraphernalia, and a humourous information poster listing the rules of the man cave as a series of bullet points. I'm too scared to read it because I don't want to think ill of anyone, although in any case the light is not good, flashing red and green and provided by some piece of disco equipment.

I take a Bud Light, which tastes about as interesting as I thought it would but gets the ball rolling. I have a second can back in the kitchen as more guests arrive and I study the posters on the wall - mostly films in which Michael J. Fox taught the adults a lesson about what it means to be young. Hopefully the posters have been put up for the sake of the party.

We stand out in the back garden for a while because it's now cold and dark, which is a novelty in Texas, and Slash's brother has built a small wood fire which blazes and spits and smells good. It makes me think of bonfire night back in England, back on the farm - the bonfires we built at the back of Rex Harding's house with dead conifers dragged all the way from the spinney.

Bess is having a great time but I'm still feeling awkward and slightly out of it. I need more drink. Slash's brother is telling us how many important people and big knobs were once in the scouts. He seems to think this is a good thing but to me it makes the scouts sound like the Freemasons.

I try jello shots which either Slash or Mari have made. I've never had them before. In fact I'd never heard of them until I saw Parks and Recreation, but I gather it's jelly made with vodka or similar, or jello as it's termed over here. There's a tray of them, red and orange in little plastic cups. Slash demonstrates, holding one up to his mouth, his head tipped back. 'You squeeze it at the sides, then like flip it out onto your tongue,' - he swallows - 'and back like an oyster.'

I've never eaten an oyster either. I try, but it doesn't go smoothly. I'm stood in a stranger's kitchen apparently giving a demonstration of cunnilingus to a little plastic cup of orange flavoured jelly. It tastes alcoholic but not so strong as I expected, so I have another.

Fuck it.

Back in the man cave, Slash is playing Kiss, which is okay as they're one of the few bands who got this sort of thing right. I Love it Loud comes on, which is one of my favourites.

'You're from England, ain't you? Judas Priest, man...'

Again, I am unable to grasp the thrust of his thesis but I nod anyway, which seems to be the right answer. Slash grabs me a beer from the fridge, from his special collection. It's in a bottle and I've never heard of it, but I notice that it was next to a bottle of Flat Tire in the fridge. This seems ominous because I don't like Flat Tire, and sure enough this one has a bit of an unpleasant tang too it - like barley wine or Special Brew, one of those things designed to get teenagers as hideously pissed as possible thus alleviating their boredom.

Bess and I talk to one of the goths, and it turns out that she grew up in Suffolk back in England. Her family are American but they lived in England for a while. She remembers the day Channel Four first went on air, but not Brookside.

Never mind.

She works at San Antonio zoo, which is sort of interesting because Bess and I are regular visitors. Slash continues to ply me with whisky in shot glasses whilst howling things from time to time. He's one happy guy.

A black dude arrives with his wife. He's gone for the metal look, whilst his wife is something in the general direction of Madonna. Our host changes the music to rap, specifically the Beastie Boys and LL Cool J. Bess and I exchange an uncomfortable glance, but I suppose it's no more weird than people cueing up to relate their anecdotes of the time they went to England, or the English guy they met fifteen years ago, or the eighties in England, man - punk rock and the Clash...

I somehow impress my wife by immediately recognising the voice of Ice-T and knowing the words to Public Enemy's Bring the Noise.

Doesn't everyone?

I'm drunk, but not drunk enough and I guess I never will be, so we leave. We've managed three hours which seems like plenty to me. I've had a good time whilst nevertheless feeling awkward for most of it. I never have been a party guy, and I don't really like getting drunk, and as for the music...

Three nights later, Bess has one of her semi-regular Mom's Night Out meet-ups. She gets together with Andrea and Jana and a few of the others for food and drink and to talk about mom stuff. For the first time ever, I am invited along because the numbers are down what with everybody having gone away for Thanksgiving, so I go along as a sort of honorary Mom.

I fit right in.

English Telly in Texas

Apparently the BBC and ITV continued to make and broadcast new shows after I left England back in 2011, meaning that when I summon Hulu or Netflix to my massive Texas-sized HD flatscreen gogglebox, looking under categories headed either British Television Shows or Because You Watched Fresh Fields, I find tons of shit that I've never heard of. I sort of imagined the British would stop making new shows once I'd left and probably just stick to either repeats or Only Fools & Horses reimagined with Ant and Dec in the lead roles or something, but no...

So here are the English shows which I've watched since I moved, shows which I've only seen whilst slouched across a Texan sofa, eating tacos, and plucking cactus thorns from my shins. English telly looks very different now that it comes from five-thousand miles away.

Auschwitz: The Nazis & the Final Solution - My wife has always been fascinated by Nazis - although not in the sense of simply exploring controversial ideas and images like the man out of Death in June. In fact, as a general fascination it may even run in the family. I bought her mother a book about psychiatry during the Third Reich for Christmas, a title she said she had wanted. 'Nazis and psychiatrists - my two favourite things,' she chuckled as she opened the present and saw what it was.

'You can't go wrong with Nazis or psychiatrists,' I opined.

'Oh for sure,' she confirmed happily. 'Sometimes I can't decide which I like more.'

Anyway, this one had dramatisations - which always strikes me as a bit Discovery Channel and is something I don't usually like in my documentaries - but for once it worked; and this was a great series, and humongously disturbing, which is as it should be. It's nice to know that the Beeb can still make stuff of this calibre when they put their collective mind to it, assuming it was the Beeb.

Coogan, Steve - I've lost track of what we've watched because my wife fancies him so we've watched everything, some of which has been new to me. The most recent one was Happyish, although admittedly it was an American production presumably resulting from a massive team of writers attempting to turn Coogan into the next Seinfeld without actually understanding what makes him funny. We managed about five episodes but the last of these was so monumentally shite that we've left it at that. Happyish is about an advertising tosspot experiencing a mid-life crisis whilst married to a whiny analyst-seeking woman, in case you're wondering. In one scene we experience his wife's near unendurable suffering as, looking forward to an afternoon's ceramic work in her private craft studio, she is waylaid by a very boring man who won't stop talking, thus keeping her from making a few pots. It really put all the complaining and grousing of those moaning minnies at Auschwitz in perspective.

Detectorists, The - The skinny one from The Office teams up with that lumpy looking bloke who turns up in all the films these days for a comedy about metal detecting, which is mostly funny.

Doctor Who - I think I've seen three of these since I moved and they were all shit. One of them was called The God Complex, which I watched because everyone said oh it's a pity you missed The God Complex because it was by far the best of the season, much better than the rest, but that was shit as well. Doctor Who is unique in this list in being a show I've seen prior to my moving to Texas, but I've made the exception in the hope of upsetting a few people, particularly those whose enjoyment of Doctor Who is somehow ruined just by the simple concept of there being people who regard it as a pile of wank.

Helm's Heavy Entertainment, Nick  - This seems to be an hour-long one-man variety show in which the host invades the personal space of various audience members to comic effect. I've only watched one, and I sort of found it funny, but there was something about the tone I didn't like and I can't quite put my finger on what that might be. It somehow has a touch of the Mumford & Sons about it. It's probably significant that I can't help but regard anyone under the age of forty with a full beard as a complete arsehole.

Impressionists, The - Sometimes one yearns for a more elevated discourse, such as what you get with the arts 'n' shit; and thusly did we watch this four part documentary presented by a man who was such a total cock he could almost have been Robert Elms. The historical and biographical detail of the artists under examination was all very interesting, not least concerning the mighty Camille Pissarro who painted a house to which I delivered mail when I was a postman some hundred years later; but the presenter resembled Cosmo Smallpiece as portrayed by Les Dawson, and he kept playing the ordinary workin' class geezer like what I am card despite clearly being nothing of the sort, and it was all this Monet was the Liam Gallagher of his day crap so as to avoid alienating anyone too stupid to understand unless handed some laddish contemporary comparison every five minutes. It was approximately watchable but our man was no Robert Hughes.

Inbetweeners, The - I see this slagged off left, right and centre, but personally I think it's great. It's a sitcom about four teenagers failing to have sex. It reminds me of the sort of shit people used to talk about at Royal Mail, and as such fills me with a warm glow of nostalgia.

IT Crowd, The - The IT Crowd derives from the same hand that penned Father Ted, and if not quite as good, it's a reasonably close second. I've a feeling this may have been aired whilst I was still living in England but indentured to Marian, which might explain why I wasn't able to watch it. Humour wasn't really her bag. I seriously doubt she would have appreciated The Inbetweeners either.

'Do you think it's a good idea to encourage young boys to rape women?' she probably would have asked me.

Kingdom - I can't remember if his name's supposed to be Dave Kingdom or something, but I expect it's along those lines - as with so many current television productions utilising a single enigmatic word for the title. Dave is played by Stephen Fry and is a crime-fighting lawyer who specialises in gentle, scenic crimes soundtracked by classical music and maybe just a pinch of Sting. There was possibly also a horsey woman in green wellies called either Jocelyn or Margaret. It's okay, I suppose - maybe a bit plummy, which is sort of what I expected.

Lee's Comedy Vehicle, Stewart  - I'm amazed that I'm able to watch this here in Texas given that it's probably tantamount to communism, and I'm really not sure quite how many of my neighbours will be reduced to tears by a relatively esoteric English comedian sneering at Asher D of So Solid Crew. Jeremy Clarkson is unfortunately popular over here, so maybe there's a backlash and Netflix or Hulu or whichever one it is are attempting to cash in. That said, I see Jimmy fucking Carr is also available for my viewing pleasure here in the States, so maybe they just license English stuff because it's English, regardless of quality.

Miranda - This is a show about a woman called Miranda as played by a woman called Miranda. It's a comedy about how she's awkward and is easily embarrassed in certain situations. It's not very funny. I think I saw her live once at some stand-up comedy event. Her routine was mostly focussed on how awkward and embarrassing it was being on stage, and how we probably weren't going to find any of it funny, and we didn't. One of my wife's co-workers thinks Miranda is one of the funniest shows ever made, although to be fair said co-worker isn't actually from Texas.

Misfits - I wish we could go back to writers making the effort to come up with proper titles for what they've written, and could draw a veil across this collective noun thing. Close Encounters of the Third Kind was definitely a better title than Flying Saucers, and Dinosaurs would have been a terrible name for Jurassic Park, and thank God Steinbeck went with Of Mice and Men rather than Thick Losers. Misfits is about a bunch of super-powered ASBO types, and there's a lot of swearing and self-conscious efforts to appear edgy and down with the kids on the street, yeah? I found it difficult to care about this show and only watched two of them.

Moone Boy - This is about a small, rural Irish child and his imaginary friend. It has the potential to be the most twee thing ever broadcast - late period Last of the Summer Wine looking at itself in a mirror - and yet somehow it gets the balance just right and is very, very funny. Amazingly it's written by the bloke who plays the imaginary friend. I had kind of forgotten that written and starring shows don't necessarily have to be shite by definition.

Only Way is Essex, The - I know I've watched at least five minutes of this but I can't remember anything about it. I have a hunch that it might not be Alan Moore's favourite show, although I can't even remember where I got that impression. I have a feeling The Only Way is Essex may even be the English equivalent of Jersey Shore, which means I should probably make the effort to have another look*. Jersey Shore is horrible and yet fascinating.

Peaky Blinders - I watched five minutes of this, waiting for someone to say something, but it was mostly just moody high contrast and high definition shots of nineteenth century squalor with music which sounded like Nick Cave. It was a bit like watching a Nine Inch Nails video, and after five minutes I decided to watch something else. On the other hand, Paul Mercer defriended me on facebook after I posted disparaging comments about this show, so the five minutes weren't entirely wasted.

Plebs - This is a cross between The Inbetweeners and Up Pompeii but missing the crucial ingredients which would have rendered it watchable, namely Frankie Howerd and jokes. I vaguely recall the single episode I watched revolving around misunderstandings relating to women's tits, or something of the sort. It wasn't very good.

Pramface - I think this was sort of like The Inbetweeners but with the humourous content replaced by wry, touching observations about school kids getting knocked up. All I can remember for sure is that it didn't make me laugh.

Primeval - Well, it's no I, Claudius but it has CGI dinosaurs and can be watched without my having to shout oh fuck off and throw things at the screen every few minutes, so that's good enough for me. I think the most recent series was made in conjunction with some sort of US-based nerd channel and was thus a complete waste of time, but then nothing lasts forever. I quite liked the one where they went into the future and encountered weirdly evolved monsters which looked like something from a harrowing Hungarian claymation.

Rev. - This is about a regular Church of England vicar living in Hackney and struggling with the fact of no-one giving a shit about going to church any more. Despite the not particularly promising premise, Rev. was fucking brilliant once it got going. Weirder still was watching this thing and recognising bits of London in the outside shots filmed around where my friend Andy once resided. In one episode there's a block of flats in the background and you can clearly see that it's Fellows Court which I used to visit regularly when Andy lived there. I even knew a bloke who went mad and tried to jump from the roof of Fellows Court whilst believing he could fly. The character of Mick also brought back some happy memories for me.

Spy - Crap dad inadvertently becomes a secret agent in an effort to impress his shit son, or so it is claimed, although I didn't watch enough of this to get to the part where he presumably phones MI5, or however it's supposed to happen. All BBC dramas now look like this one to me - same bit of suburbia with the granite effect work surface and the coffee machine and someone chopping up a kiwi fruit, same comically apologetic father figure taking his kid to football practice with the Arctic Monkeys playing in the background. He's played either by Martin Clunes, that bloke who looks like the blonde one from The Green Wing but isn't him, or the funny one from The Now Show, Outnumbered, and Mock the Week - funny being very much a relative term here, obviously.

Stella - Happily nothing to do with McCartney's jumper-designing kid, but instead a drama with jokes - as the format is known in the telly biz - concerning the trials and tribulations of Ruth Jones as a Welsh cleaning lady. It also features a bloke called Alan who strongly resembles my old boss, one of the few Royal Mail managers I didn't actually hate, so I find that somehow pleasing. I also find Ruth Jones both entertaining and very easy on the eye, so it's nice to discover that I have a whole five series of this thing to get through. Some of them get a bit drippy in places, and I could do without the turdy indie music, but otherwise it's mostly watchable.

Surf-Twat Disappoints Girlfriend's Father - Teenage girl brings digeridoo-playing knob-end back from a festival and her father accurately identifies him as a digeridoo-playing knob-end, with hilarious consequences, or probably just consequences. I think the father was Martin Clunes, but I don't remember what the show was called and there's no way of finding out. Perhaps we will never know.

Wrong Mans, The - This one featured James Cordon and some dude resembling Silvio's right-hand man from Lilyhammer, which was actually why I watched it - because I thought it was him, the ferrety looking chap with the baseball cap and the bumfluff. Anyway the two of them endure a series of improbable scrapes and chuckles derived from having been mistaken for other people. I've never hated James Cordon with quite the same venom as almost everyone else I know, although he can occasionally be irritating, but I thought he was okay in this. It was fairly funny, although the second series was stretching it a bit. It's hardly the greatest show ever broadcast, but it could have been worse, and Alison Steadman's always good.

*: I did and it was horrible.

Anarchy in Maidstone

It was 1986 or maybe 1987, a date left unrecorded in diaries which I usually managed to keep going up until about June, at which point I would tire of writing the same introspective crap every fucking evening and take six months off. I was a student at Maidstone College of Art and lived in an old farmhouse with four others in the village of Otham in Kent. It was seven in the morning, which was an unusual time for someone's fist to be hammering quite so hard at the door, and none of us really knew anyone with fists that size. The fist was hammering at the door of the middle room, adjacent to my bedroom on the ground floor, specifically the door which opened onto Otham Street. This suggested that the owner of the fist was either a stranger, or someone who had never before visited any of us at our student accommodation because the door which opened onto Otham Street actually didn't open at all, serving instead as an oversized frame to our letterbox. I rolled across the bed to the window side and peered through dusty glass into strong morning sunlight of the kind seen on the covers of early seventies folk albums. I could see a cop at the door, and it was his fist which had woken me. He had a few friends with him and a police car was parked on the grass verge a little further down the road. I waved an uneasy wave and then jabbed a finger, pointing towards the side of the house, the universal sign language for use the other door.

I pulled on my dressing gown and went through a mental Rolodex of possible reasons as to why the forces of law and order could be at my home at seven on a Sunday morning. The most obvious possibility was that they had the wrong place. I went through to the kitchen and opened the door to ID badges, search warrants and all the stuff you see on the telly, at least I think I did. It's difficult to be sure of the sequence of events, to separate what happened from that which I've since seen in cop shows. Had there been no search warrant - which is also a possibility - I probably would have invited them in regardless on the grounds of it making me appear less suspicious, and less likely to have committed crimes.

Holy shit, I thought, wondering if I could have murdered anyone and then found the incident so traumatic as to have completely blanked it from memory. I'd been raised to feel guilty about any number of indeterminate crimes and I let them in, understanding that whatever I had done wrong, slamming the door and telling them to piss off probably wasn't going to help the situation even had I been capable of such a demonstration. I recall the senior officer as having resembled Warren Clarke in the role of Detective Superintendent Dalziel from Dalziel and Pascoe, a television series which wouldn't be made until 1996, and which I would never watch because I find it irritating when the spelling and the pronunciation of a proper noun have no letters in common. His resemblance to Warren Clarke should accordingly be taken as indicative of the accuracy of my memory, or not as the case may be.

'We're investigating an act of vandalism,' Mr. Dalziel probably said. 'Mind if we take a look around?'

'Of course not,' I responded with a huge smile, a huge and casual smile, the smile of somebody with nothing to hide.

They came into the house, these four massive cops, or at least I remember the count as having been four. I returned to my bedroom. It was Sunday morning and only Gill and myself were at home. Gill had heard me answer the door and some of the subsequent conversation. Our three housemates were away and this was a problem because this visit was apparently something to do with Yellow Hair Woman, or at least the police saw it as a problem. They really wanted to speak to her. They were reluctant to explain quite why, but this being seven on a Sunday morning suggested that it probably wasn't a fine on an overdue library book.

Yellow Hair Woman worked at some pizza place in town on Saturday evenings and usually stayed in Maidstone at her boyfriend's place; so I said no, I had no idea where she was.

Would Gill or I mind if they had a look around Yellow Hair Woman's room in her absence?

I didn't really get this, having already seen a search warrant, or at least seeming to recall having seen a search warrant; but there obviously wasn't much to be gained from suggesting they go fuck themselves. Gill and myself felt we knew Yellow Hair Woman well enough to know she probably wouldn't have either a gun or a Sainsbury's carrier bag full of heroin stuffed behind her bookshelf, and she'd never been particularly keen on the old space fags. On the other hand, Yellow Hair Woman had spent some time at the women's peace camp at Greenham Common protesting the presence of cruise missiles at the RAF base, which somewhat placed her political sympathies in opposition to certain aspects of government policy; and while it wasn't that I didn't believe in that sinister knock on the door at seven in the morning or secretive government agencies who might resort to Orwellian tactics, I genuinely didn't see how they could be interested in us. Yellow Hair Woman hadn't said much about Greenham, but I was fairly sure that she hadn't blown anyone up or anything.

Tap tap tap.

The knock was on my bedroom door, just a knuckle rather than the entire fist. 'Mind if I come in and take a look around?' Warren Clarke asked, coming in and taking a look around.

My room was fairly tidy for a room in an old house occupied by someone with a heavy comic book and record album habit. Warren Clarke's eyes widened a little, doubtless impressed by my record collection, and his eyes scanned the posters I'd blutacked to the wall. They came to rest on one which had been sent to me by Andy Martin of the Apostles, a non-anarchist and not especially punky band associated with certain London counter-cultural types. The poster showed a stylised police officer handing money to a female figure whose profession is identified by the slogun Social Workers: Paid to Grass. The design satirised the sort of information leaflets handed out at dole offices and medical centres. The implication, for anyone missing the reference, was that government workers assigned to assist the unemployed or otherwise disadvantaged will happily relay your supposedly confidential information to the forces of law and order for money. It wasn't that I felt strongly about social workers or their allegedly flapping mouths - although I liked the general message of  distrust for authority - but mainly I had it on my wall because I thought it was funny.

I found it less funny as Warren Clarke glared at the image and gruffly observed, 'well, I'm not sure what I think about that.'

I knew I was doomed, and that this was the moment described on all those Crass albums in which the system would reveal its true face unto me. This time tomorrow I would be found dead in a cell, found in possession of something which had been planted in my room, resisting arrest blah blah blah...

Warren Clarke sniffed my ash tray, peered under the bed, and then left. The cops gathered in the kitchen and apologised for the inconvenience, at last deigning to tell us what they had been looking for. A cashpoint at one of the banks in town had been vandalised during the early hours of the morning. Yellow Hair Woman's card had been used to raise the perspex security screen, and then someone had gone at it with emulsion paint, screwdrivers, hammers and the like. We told them it really didn't sound like the sort of thing Yellow Hair Woman would do, because it really didn't.

Days later, the fugitive from justice reappeared. She knew all about the investigation and had already been interviewed and released without charge. She told the police she had lost the card, which was true in so much as she had given it to Revolutionary Mollusc Man. His name wasn't really Revolutionary Mollusc Man any more than her name was Yellow Hair Woman, and she had given him the card because it was expired and he had asked for it. Revolutionary Mollusc Man was an anarchist engaged in a one-cephalopod war against the forces of capitalism.

'So he used your card to smash up the cashpoint?'

'Yes.' Yellow Hair Woman had the sort of brow which leant itself to an impressive frown, not unlike Little My from Tove Jansson's Moomintroll books - small and fierce but inherently likeable. She frowned impressively as we sat in the pub smoking our roll-ups, taking stock. 'It was stupid of me. I wish I hadn't done it now.'

'Well, you didn't really do anything. Not if it was him, I mean.'

'I knew why he wanted the card, but I didn't think about it. I feel pretty rotten about the police searching our house. You and Gill—'

'Oh don't worry. I suppose it was a bit of an adventure, if anything. There was no harm done.'

I'd known Revolutionary Mollusc Man for most of the three years of my course. He'd started an anarchist group at the college and I'd joined, not because I was an anarchist but because I was incredibly lonely. We met every so often around his house to discuss a fanzine he produced on his own personal spirit duplicator, or to plan attendance of marches and protests going on in London or elsewhere. I agreed with the spirit of the enterprise, if not always with its purported aims, whatever they were. I wrote a couple of short, self-involved, and probably barely literate articles for the fanzine, but my heart wasn't really in it. I didn't really know what I thought of anarchy as an ideology but it sounded a little dubious to me, and my distrust of authority was not then so well formed as to be rubbed in people's faces; and whilst I really didn't like to say anything, this seemed to be mainly what Revolutionary Mollusc Man was about, or it looked that way from where I was stood.

He could be generous, funny, and was often great company, but at other times his company became exhausting. To be at his side was to be on trial, inevitably to be found lacking sufficient anger in regard to this political outrage or that fiasco perpetrated by an oppressive capitalist society. He presented himself as a moral beacon, something to which the rest of us might aspire. I never understood how anyone could be quite that angry about matters of which they seemingly had little direct experience, or the need for that anger to be acknowledged as a mark of character.

Either the Revolutionary Mollusc Man fanzine or an issue of Class War he had taken to distributing had featured an article calling for the head of PC Keith Blakelock to be paraded in some undefined capacity upon a spike in general celebration of class anger. Blakelock had been killed during the Broadwater Farm riots on a housing estate in north London following the death of a black woman whose house he had searched. Aside from the fact of Blakelock already being dead, I tend to find calls for heads impaled on spikes uncivilised, unnecessary, and unhelpful regardless of which side of the fence you happen to be stood upon. Revolutionary Mollusc Man was very much with the heads impaled on spikes camp in regard to this issue, which apparently made me either a bleeding heart middle class liberal with no experience of just how tough it can be out on the mean streets, or a Nazi sympathiser. Personally I preferred to see myself as simply someone not actively seeking causes upon which to pin my angry slurping noises in an effort to make everyone else feel bad about themselves.

Revolutionary Mollusc Man turned up on facebook many years later, as everyone does in the end. I'm still causing trouble, he told me, the neutral black and white text on the screen seeming to communicate something like glee. I congratulated him because I suppose that was what he wanted to hear - or rather to read - and I recalled Revolutionary Mollusc Man discovering me stuffing a cheeseburger into my face outside McDonalds one afternoon, and then I recalled my friend Carl catching him eating a sausage in the kitchen of the student house in Terrace Road.

'You can't eat that,' observed Carl. 'I thought you were a vegetarian!'

'No-one tells me what to do,' Revolutionary Mollusc Man explained testily.

After about a week he began setting me straight regarding my facebook posts, pointing out that what I had said was bollocks, as I would surely realise had I been right there on the picket line fighting off hordes of EDL thugs. I wrote piss off, and deleted him from my friends list, which felt good but also a little sad because I genuinely like to think the best of people.

Despite a cashpoint getting knackered thirty years ago, capitalism is still with us, now more voracious than ever and busily transforming the opposition into smaller versions of itself. I don't know if one broken cashpoint achieved anything, whether it made some worthwhile point about the nature of the beast, or even caused anyone to question anything which needed questioning. That act of nocturnal sabotage may well have achieved some of this, but it also dropped one of my housemates in the shit, and probably further galvanised the authoritarian resolve of some men in suits who tend to regard anyone not in a suit as a potentially dangerous anarchist. So whichever way you look at this one, there was never really anything much to look at.

Adolf Bunter

'Lawrence is okay,' McArbuckle muttered as he sat. 'He's one of us.'

'Huh?' I was trying to work out if he'd really just said that.

'I was just saying that you're okay. You're a decent guy.'

Adolf Bunter sat smiling, giving no response, a great human dome of flesh in a black polo-neck occupying the corner of the pub as though recently dolloped out from a catering spigot in the ceiling, Satanic goatee arranged neatly around a mouth in a configuration suggesting sea creatures, and the eyes wobbling left to right in that massive head. I had the impression he was on his guard, and my apparently necessary introduction as someone who could be trusted did nothing to dispel this. He had an oddly craven look to him, like one of the more pathologically uncomfortable characters played by Roy Kinnear.

He had seen my cartoon in a fanzine, possibly Gneurosis, and now he wanted more. It was kind of a relief that he hadn't taken offence given how the point of the cartoon had been to extract great quantities of Michael out of him, his previous band, and their pal, the one resembling Jasper Carrott. In some ways it was also quite flattering, even encouraging to know that purveyors of such stentorian gloom had a sense of humour - if that's what it was.

Adolf Bunter was busily reinventing himself as a man of culture, some sort of patron of the arts, the sort of guy who eats paté whilst listening to that Pavarotti. To this end he was putting together a magazine of some description. It would be square-bound and would look reet classy, and there would probably be a compact disc with it too. It sounded pretty much like Re/Search or Rapid Eye from what he told me, the usual routinely outré subjects and suspects. He was after a cartoon strip and would be happy to pay.

Of course, I had to ask about the group of which he was once a member, the group I'd had such fun taking the piss out of in the pages of Gneurosis. 'So what happened? How come you split up?'

'It was three people in a room, each trying to be loudest.'

He talked a little about the past, about poor decisions made whilst young and stupid. This I took to be a reference to his having once been a member of the National Front, concerning which I hadn't asked because I wasn't sure I really wanted to know, and it hadn't helped that we had been discussing Coventry, the city from which I had moved just a few years before, the city in which my parents still live. He'd said it was terrible what the Luftwaffe had done to Coventry during the war, although of course what Dresden had suffered was many times worse. I observed that Coventry City Council had pretty much finished the job Hitler started during the fifties and sixties, tearing down a great number of old buildings which really could have been left standing. He seemed to warm to this idea, I suppose enjoying the notion of Hitler as the lesser of two evils.

This was not the first time I had encountered representatives of the extreme right, or at least a person with such vile politics lurking in his past like the turd that just won't be flushed. One such individual I had already forgiven on the grounds that he'd seen the error of his ways, learned from the experience, grown up, and was somewhere to the left of Tony Benn by the time I met him. The other had been Nick, whom it was incredibly difficult to dislike. I suppose he became our pet Nazi skinhead because everyone had already been endlessly entertained by his wit and charm by the time anyone realised. He was funny, seemingly very intelligent, and strangely disinclined towards the sort of racist remarks you would expect from someone who regularly attended No Remorse gigs dressed as Alex from A Clockwork Orange. The only truly awkward moment I recall was my mentioning having recently watched the film Romper Stomper, which Nick said he had also seen, happily reporting that he and his friends had chanted filthy yellow monkey at the screen whenever one of the Vietnamese characters appeared.

'Charming,' observed Andy without any obvious sincerity. Andy was also present in the kitchen, and was then a volunteer at Hackney Chinese Youth Centre and therefore regarded Nick as an idiot. With hindsight, the anecdote had almost certainly been forged for the sake of aggravating Andy.

I say Nick was our pet Nazi skinhead, although it's not like I was particularly in a rush to hang out with him for reasons which are hopefully obvious. He lived in a squat with some of my friends, none of whom had bothered to enquire as to his views on who should have won the second world war, and it can be quite difficult to get rid of somebody when you've already been their mate for three months.

Eventually he moved out of his own accord, which solved the problem. We all had an anthropological root through the cardboard box containing his record collection just before he vanished - all of those horrible bands: Skrewdriver, No Remorse, Skullhead and weirdest of all, what appeared to be a Chas & Dave rarities and out-takes album.

Nick's story became weirder still when in later years it emerged that he had been the son of some Lord or other, or at least someone with a country estate, and had moved to Italy to marry a woman of Indian descent. Either he had renounced his brief flirtation with racism - as claimed - or it had all been some peculiar put-on for the benefit of a father whom he apparently hated.

Adolf Bunter was somehow different. There was about him, for want of a better word, an unpleasant vibe I hadn't noticed in association with either of those mentioned above. It didn't help that his band just happened to fixate on north European imagery, Odin, runes, laments about the death of culture which never quite seemed to name any names of those apparently held responsible, and very little in the way of covers of ska, bluebeat, or reggae standards. Having grown accustomed to extending the benefit of the doubt to the sort of musicians who might slap a picture of Hitler on the cover of a record and then explain how they are simply exploring controversial images and ideas, I likewise extended the benefit of the doubt to Adolf Bunter.

Besides, I'd explored my own fair share of controversial images and ideas going right back to the Good Old Hitler cassette album recorded with friends at school as Eddie & the Ogdens. The cover showed Stan and Hilda Ogden along with their lodger Eddie Yeats from Coronation Street stood upon the podium at Nuremberg, each with Hitler's face. The music was as close an approximation to Oi! as we could manage on acoustic guitar and cardboard box drum kit, which was actually surprisingly close. Week after week we had howled with laughter at Garry Bushell's reviews of skinhead bands in Sounds music paper, particularly the occasional weedling attempts to pass off a few genuine bad lads as being not so much racist as simply proud of something or other. Good Old Hitler was our addressing this unpleasant phenomenon by trying to make ourselves laugh, specifically by seeing how offensive we could be if we tried really hard; and we succeeded in producing something that was pretty fucking offensive. Then of course later came Do Easy, my own flirtation with badly recorded industrial music and the increasingly predictable exploration of controversial images and ideas, and mostly for the sake of upsetting the sort of people who would be upset by controversial images and ideas; see also most major art movements since 1909; none of which is to say that recording a song called Exterminate All Weaklings and slapping a picture of Dennis Nilsen on the cover of the tape isn't necessarily an extraordinarily retarded thing to do, only that it isn't always indicative of where the author's true sympathies may reside. Personally I draw the line just this side of the point at which fans turn up to your gigs dressed in full SS regalia, and this doesn't cause you to take a long, hard look at what you're doing with your music and how it's presented. Anything short of that can probably be justified as art, if not necessarily great art. Anything beyond will most likely be either straightforward horrible bullshit, or horrible bullshit reliant upon being given the benefit of the doubt because it's simply exploring controversial images and ideas blah blah blah...

Adolf Bunter seemed to like my cartoon. He came to my home to pick it up, occupying the entire width of my couch much as Hitler's forces had occupied the Rhineland in March 1936. I showed him my paintings assuming a mutual interest in mythology, but he flicked through with the speed of someone searching for a specific image, something familiar. So much for patron of the arts boy. Maybe he was looking for Odin, or something a bit more Caucasian in spirit.

I met Adolf Bunter on just two further occasions in a pub near the Imperial War Museum in London. McArbuckle, whom I knew a little better, had invited him along as we went for one of our laboured Saturday evening drinks.

The less said about McArbuckle the better, but he was Scottish and he fucking loved his pies. Whilst he didn't really appear actively racist, it sometimes seemed dependent on who he was with and what mood he was in. He would go on at length about how much he loved his Public Enemy albums, oblivious to Public Enemy often being the choice group of those who otherwise hate rap but wish to appear open-minded - those for whom Public Enemy represent socially responsible black people, not like those gangstas with their sexism and glorification of sex and violence. He loved Public Enemy, but hated that awful Snoop Doggy Dogg, seedy little man that he was and not much better than some dope dealer; and then next week he'd always had time for good old Snoop - a genuine entertainer in the traditional sense of the term if ever there was, and could I burn a couple of CDs? I don't think it was that McArbuckle was so much a racist as just a complete prick.

The two of us were sat drinking with Adolf Bunter in some pub near the Imperial War Museum when a black man entered as though the universe was about to illustrate some point for my benefit. He came over to us and asked how to get to Borough tube station, which was at about ten minutes distance from the pub. Adolf Bunter politely delivered a series of directions, pointing and smiling. The man left and Bunter and McArbuckle sat chortling away like Beavis and Butthead. I looked out of the window and saw our man heading off in entirely the wrong direction.

'Borough tube is that way,' I said, pointing, initially confused.

'I know!' Adolf Bunter's many, many chins bounced happily as though someone had emptied a dustbin of ping-pong balls onto a squash court. Whatever the conversation had been, I found it difficult to return to our subject, and so the evening descended into idle observation of red London buses passing by the pub or waiting at the traffic lights just outside, mostly with some commentary on how you never see a white man driving one of those things any more.

The final encounter, another one of those meetings which just seemed to occur for no good reason, was in the same pub and served to introduce us to the surprisingly unpleasant Mrs. Bunter, whose contribution mostly seemed to comprise smirking, occasional comments which you couldn't quite work out whether or not they were meant to be insulting, failing to buy a round, and then requesting cocktails which cost as much as everything that everybody else was having added together. Happily I fell out with McArbuckle soon after, and was no longer subjected to either his peculiarly toxic friendship or his peculiarly toxic friends.

Years later, I noticed one of the cartoon strips I had drawn for Adolf Bunter had turned up on his website testily credited to some closet queen from South London. Elsewhere the site carried a notice protesting that Adolf Bunter deeply regretted certain political affiliations held in the past when he was young and stupid, adding that if people weren't going to believe him then they weren't going to believe him and there probably wasn't much he could say to change anyone's mind. My take on this, being older and hopefully less gullible, is that what you say is more or less irrelevant if you can't pass the fans turning up to your gigs dressed in full SS regalia test; and that like McArbuckle, he probably wasn't so much a racist as just a complete prick.

Once in the town of Guildford fair, a rotund minstrel he did strum,
Songs of liking not the foreigners written mostly with his bum,
On the stage in old Valhalla, that silly fat fucker I did hear,
and listen to those songs I would, but that in this world is too little beer.

The Don Maclean of the Rapping Scene

I invented rap in 1979. I was a slightly dishevelled underachiever at Shipston-on-Stour Comprehensive school, and I invented rap having found myself embroiled in beef with Gordon Everett who had slandered me in a poem read out before the entire class during the English lesson. Gordon's poem suggested that I farted quite a lot and might consequently be considered a somewhat pungent child, and it cleverly made these suggestions whilst eschewing the sort of language which would have prevented it being read out loud and therefore validated by Mrs. Jones, our English teacher. The poem was pretty funny. I recall the hysterical laughter of my class mates as Gordon painted a picture of my supposedly persistent trumping in awkward situations, and despite the humiliation, I myself laughed because it was funny.

To be fair, Gordon's poem may have been composed in retaliation to some earlier character assassination fired from my own cannon, figuratively speaking, but if so then I don't remember what it could have been. Perhaps the memory of some previous victory was eclipsed in that moment when an entire class of kids were driven to clutch their sides and roll around on the floor by the hilarity of the suggested scale of my energetic flatus.

If Gordon wanted a war, I decided, then I was down for whatever, if not by those precise terms. I wrote Gordon Everett and His Hand, which followed the same basic rhyme scheme as Captain Beaky by Keith Michell but carried a cruder, more confrontational message:

The biggest benders in this land,
Are Gordon Everett and his hand,
That's his hand, his balls and dick,
A-doing things that make you sick.
His hand it then goes up and down,
And Gordon makes the people frown.

I had just turned fourteen and had been given a tape recorder for my birthday, a mono portable with a built-in condenser microphone by which I made hissy recordings of my fluting, pre-pubescent voice. My first act with this fantastic new bit of technology had been to invent the mixtape - as they have become posthumously identified by fedora wearing tosspots. I borrowed Paul Moorman's extremely well played copy of K-Tel's Loony Tunes album and compiled two volumes of what I named Songs for the Hard of Thinking in order to have a whole ton of novelty records in one convenient and hilarious place - My Boomerang Won't Come Back, Susan Christie's I Love Onions, Transfusion by Nervus Norvus and others supplemented by the Goodies, Toast by Streetband, and some Sex Pistols - whom I considered to be pretty much cut from the same cloth because they said rude words; and naturally I drew my own cover for Songs for the Hard of Thinking. I wasn't really into music as such at that age, but I loved novelty records, and inevitably it occurred to me that I could make my own.

Soon after inventing the mixtape, I invented rapping and then sampling. I pressed play and record and flowed with the maniac lyrical of Gordon Everett and His Hand directly onto the tape, punctuating my verses with the trumpet break from the original Captain Beaky 7" by my boy Keith Michell - just pausing, then unpausing and dropping that wax right into the cut. That shit was dope.

I took the tape to school, and although that shit was perhaps a little too dope for the classroom, I made sure everyone got to hear it. I recall Gordon's face, a mixture of amusement and horror as he listened to me drop science, implicating him in acts of enthusiastic masturbation - something I myself would certainly never have done - and possibly also homosexuality, bestiality and cross-dressing. I don't remember the lyrics in their entirety and I don't have the tape to hand, but I don't recall pulling any punches. I'm pretty sure that was where 2Pac got the idea for Hit 'Em Up.

With hindsight, I find it all a bit regrettable, not so much because of the juvenile homophobia - which, in case it isn't fucking obvious, might be blamed on it being 1979 and my being fourteen years of age - but because I liked Gordon; and even though I haven't seen him since the early eighties, I still theoretically like Gordon and have no bad memories of him as a kid. Anyway, I suppose what matters is that from conflict was born innovation and enterprise, in this case my inventing both rap music and sampling - or at least scratching given how I was cutting Keith Michell's beats on a wheel of steel. Many sources will credit my developments to that guy out of the Fatback Band, or to the Sugarhill Gang, or Kool DJ Herc and his Bronx pals, but they're all lying.

Anyway, the point is that I was messing around with tape recorders at an early age. The machine upon which I'd recorded my damning indictment of Gordon's alleged love of wanking conked out after about a year and had to be replaced. Specifically the pinch roller wore down meaning that tapes were eaten as often as they were played, but the tape head still worked so I yanked it out of the casing, reattached it on a length of wire, and drew sections of magnetic tape across it by hand in order to create sound. Laurie Anderson did the same thing, mounting her tape head upon a violin body with which she would play lengths of tape suspended in a violin bow in place of the traditional strings. Emboldened by the success of my experiment I also made clunky cassette sized tape loops, and larger ones played on a 1960s reel-to-reel tape player donated by a friend of my mother. By the time I first came to hear a Throbbing Gristle record, I was already acclimatised to the notion of raw noise as music, of blocks of sound jammed together as part of a larger composition.

Around the same time I had joined the Pre-War Busconductors, roughly speaking a punk group with three of my friends from school. We improvised and recorded songs through a combination of ham-fisted instrumentation, cardboard box percussion, noises and shouting. Thematically we explored areas not dissimilar from those investigated in Gordon Everett and His Hand - songs about people we knew and whom we suspected of engaging in amusing sexual practices. At least a few of the songs featured rapping mainly because Graham had worked out how to play the bassline from Good Times. Unfortunately, although we were all familiar with Rapper's Delight, our rapping was very much the rapping of clueless white people who don't really understand rapping - the singy-songy bollocks heard on twee, light-hearted news features about rural schools who record their own charity rap single.

Mr. Thompson is always in class,
Unless he's shouting 'keep off the grass!'

Still, pitiful though our efforts were, we all liked the general idea of the form, and before I left home much of my final summer in Shipston was spent cruising around the tiny market town in Anders Longthorne's car blasting his tapes of Grandmaster Flash, Afrika Bambaataa and various Street Sounds label compilations whilst pretending to be American. We had outgrown the Pre-War Busconductors - just about - but I was still recording my own music as Do Easy - a name taken from a William Burroughs novel on the grounds that I'd seen some bigger boys do it and I wanted to be like them. By now I had a double cassette deck with a fancy microphone input and was able to layer sounds to create complex if slightly hissy pieces of experimental music. I made covers for my tapes and sold them mail order through the posthumously eulogised network of DIY tape folks. I didn't sell enough to make a living out of it, but enough for the operation to at least pay for itself.

Years passed and I drifted in and out of making my own music, just as I drifted in and out of bands formed with other people. By the mid-nineties I had reached a sort of crisis point. I was done with bands and with being helping hand to someone else's vision of a band. The Dovers had sort of fizzled out for no particularly good reason that I can recall. I hadn't really liked the single compact disc I'd helped record as a member of Konstruktivists, and whilst I'd enjoyed playing with UNIT - or Academy 23 as they had been when I joined - the task of remembering how to play someone else's increasingly baroque chord changes and time signatures was becoming more chore than fun, and Andy - our main man - had proposed a number of Doctor Who themed tracks, one of which was to be called Travels in the TARDIS. Deciding I would rather repeatedly slam my penis in a fridge door than be involved with such tomfoolery, I brought my guitar home and elected to concentrate on War Drum.

War Drum was the name for whatever it was I was doing during the nineties, rhythmic but mostly instrumental music produced by unorthodox means, sometimes harsh and noisy, but not industrial because I still had some measure of self-respect. War Drum was thematically fixated on Mesoamerican culture because that was my absorbing passion and it seemed like an area I could explore through the medium and at least come up with something a bit more interesting than David Tibet's milkman grunting Aleister Crowley's favourite limericks through a digital reverb with the decay set to fifteen minutes.

I was trying to make the music which I wanted to hear simply because no-one else was. I felt I had learned a great deal from the process of putting out my earlier tapes, and this time I was going to do it right. So I borrowed as much equipment as I could, and took my time playing and recording, refusing to regard anything as finished until I was absolutely confident of it being the best that could be achieved within the limitations of what technology was at my disposal. Over and over I revised that which could have been better until it was better, and if I couldn't get it working it was scrapped. I spent time on the design of the covers, and the printing of those covers, and had copies of my tapes professionally duplicated onto high quality TDK chrome cassettes at Gold Dust Studios in Bromley - which was a good and somewhat hilly hour away by Royal Mail bicycle. A great deal of work went into producing those cassettes as a quality product, as something aspiring to represent the tape cassette as a vital, democratic, and accessible medium.

Sadly not everyone took the same view. I received the occasional enthusiastic fanzine review, and shelled out for advertising in the pages of The Sound Projector, but cassettes were apparently over, and no-one cared. I could barely pay people to listen to my music. Scat Feed Fever fanzine - which seemed to loom relatively large in weirdy music circles of the time - had denounced cassettes as the unworthy fruit of those who were merely mucking about on the grounds that the true artist would blow sailors for five dollars a pop if that's what it took to press a compact disc. The editor of Scat Feed Fever - just one of many Gira-felating industrial music autograph hunters busily turning himself into Phil Collins - seemed to typify the process of an underground becoming its own orthodoxy, which was depressing.

This didn't really make much difference to my recording habits because while an audience numbered in double figures would have been nice, the music was its own reward. By the end of the century, the composition of that music had changed considerably in reflection of my own evolving tastes. I'd more or less given up on listening to rock music, bands of four blokes with guitars or grunting industrial wankers programming their way back to 1988. From where I stood, the music I had known was half-lifing into a jangly sludge of undifferentiated corporate toss. Meanwhile all I heard at work was hip-hop, rap and R&B, and that's what the people whom I liked at work generally listened to. With Oasis and the Kaiser Chiefs as the alternative, it was probably inevitable that my ear should drift in that direction.

Whilst I'd never been what you might call a hip-hop head, not by any definition, I had kept tabs on the form at least up until the advent of LL Cool J, whose career had struck me as largely pointless. I didn't mind putting my hands in the air, but it took more than was on offer to induce me to wave them in the manner of someone who just didn't care, and I was fucked if I was going to listen to some bloke reading out his bank statements over a tinny drum machine just because the record had turned up in the same section as Whodini and Public Enemy. By the time I'd taken my fingers out of my ears, rap had become huge and confusing, and it was difficult to know quite where to start so I didn't bother; but gradually and inevitably I did bother, because for the most part it was sounding pretty good on the radio at work. I picked up a couple of CDs - having finally caved in and allowed my friend Eddy to furnish me with his old compact disc player - and I liked what I heard. The music had thankfully evolved beyond whatever that tinkling sound had been on those LL Cool J records, and no-one seemed to give a shit about what all the ladies in the house were saying; and as music built from sources which themselves weren't always conventionally musical, it suddenly began to make a lot of sense. Having served the first quarter of a twenty plus year sentence in Royal Mail, I could at least appreciate the mood of the shirtier rap numbers, so I bought more and more of it, immersing myself in the form until it became obvious why it had taken me so long to get it.

Rap, I realised, is more or less its own self-contained world. It draws references from all over, but there's no point in expecting a rap record to provide a variation on that which is done by other musical forms. It is something which can only be truly appreciated on its own terms, not some pool into which toes may be dipped between Killing Joke albums. Rap is, amongst other things, about being shat upon from a great height whilst maintaining a sense of humour, or at least venting screw-faced wrath in entertaining terms. My job was my life, and it was often hellish, and MC Ren rapping about shooting as many white people as possible before the cops took him down made more sense than it probably should have done given that I myself am white. The anger was universal, and it it made Motorhead sound like flies buzzing around in a jar. This, I would suggest, is because rap speaks mostly to the individual, usually specifically to three or four mates of the bloke holding the microphone. It tends to take a personal rather than a general view, and is as such the opposite of Sting telling us all to behave. The bottom line is that if you don't get rap, then it probably wasn't speaking to you in the first place; and yet for some reason it was speaking to me.

Inevitably its influence began to emerge in my own music, although initially as a shift of emphasis rather than any radical revision of what I was already doing; at least until I went back to rapping. I had to try it, just as I'd kicked off twenty years before with Gordon Everett and His Hand - my own version of the novelty records which constituted everything in my collection not featuring Ringo Starr. My first efforts weren't much better than charity raps about Mr. Thompson telling us to stay off the grass, but they were fun to write and record, and failure only inspired me to try harder. On the twentieth anniversary of the formation of the Pre-War Busconductors I commemorated the occasion with a CD single released in a limited edition of two copies, one for myself, one for Pete, the only other former Pre-War Busconductor with whom I was still in touch. I built the track from samples of our tapes and the sort of unlistenable crap that usually emerges when white people decide that it's funny to pretend to be a gangsta. In my defence, it wasn't actually much worse than most of Kid Rock's oeuvre, but that's hardly a recommendation.

The song was called 2 Deadly 4 Fame.

Of course it was.

The thrust of 2 Deadly 4 Fame was that the Pre-War Busconductors had been such a potentially revolutionary force that the authorities had found themselves obliged to ensure that we remained just a bunch of potty-mouthed school kids whom no fucker had heard of making a racket in Graham's bedroom whenever his mum and dad went to Stratford. I played the track to Nadim from work, seeing as how we spent most mornings comparing notes and he had become, by default, my rap sensei. He listened in silence, and then regarded me with genial pity, somehow finding it in himself to concede some points for my at least having a go.

'Your beat is nice,' he observed generously, and in that moment I heard the lyrics through his ears as borne of Peter Glaze wearing a backwards baseball cap on Crackerjack whilst complaining about Bernie Clifton's comedy ostrich to Don Maclean in rhyming couplets. I threw myself into the task of becoming less shite, writing and rewriting over and over until the smell was at least not quite so bad as it had been. This music was rooted in honesty, so I was fucked if I was going to let myself turn into Tim chuffing Westwood keeping it hot to death for the yoo-kay. I had a ready-made angle in that it was difficult to miss the parallels between your rap basics and the punky DIY tape aesthetic which had informed my earlier efforts; so I emphasised this with samples from old Sex Pistols or Adam & the Ants records. I had recorded 2 Deadly 4 Fame as Loc Dogg B in a general spirit of piss-poor satire, which I abbreviated to the more pragmatic LDB, roughly a variant of my initials suggesting decibels.

I bought a CD burner and began to work just that little bit harder, bouncing between four-track portastudio master tape and a CDR, playing samples by hand on my tinny Casio SK1 keyboard or a borrowed Alesis Quadraverb, cueing and dropping in tapes with the sort of split second timing I hadn't realised was possible. The music began to take shape, and my vocal began to improve to the point of becoming something I could listen to without wincing.

'You've gotta let me jump on one of your tracks, Lawrence,' Nadim told me after the latest tape I'd sent his way. I was keen. By this point I had thrown my efforts entirely behind rap, reasoning that if people preferred Current 93 and Lustmord to my previous, more abstract and atmospheric work, then that was their tough shit and they got what they deserved. The weakest aspect of my new music was my own voice. Lyrically I felt that I was okay, or not too much worse than the average, but my delivery lacked force. It wasn't convincing. If I could just get more able tonsils to talk shit over my beats...

I'd given a tape of one of my instrumentals to Bert, another guy from work who already had a successful day job producing R&B flavoured garage at his own studio. One of his tunes had received heavy rotation on Kiss FM back before the station turned into the audio equivalent of Nuts magazine. He had an incredible voice and would wander around the office singing about his own penis with the lungs of Alexander O'Neal or one of those guys. My head is small but my seed is large, he crooned in surreal fashion, then why is my top lip so big? suffixed with the bewildering locative Brixton, yeah!!! running up and down the scale with the kind of flourishes which made the aforementioned O'Neal sound like Mark E. Smith. Bert seemed impressed with my tape, having apparently assumed my musical endeavours would probably be a bit of a tuneless racket. He said he would work something out and already had a few ideas. I said I was quite keen on the big, big seed in Brixton theme and he seemed to lose interest. With hindsight, I suspect he didn't like the idea of being a performing seal on my track.

Eventually I settled on the idea of pulling together an album length CDR, simply as something on which to focus. I recorded and re-recorded the tracks over and over until they sounded right, and I even managed to get in some guest vocals from Andy Martin and members of the Ceramic Hobs with whom I shared common ground in the DIY tape thing, and who at least understood what I was trying to do. Eventually I finished a thirteen track album called May Contain Sexual Swearwords but found myself unable to burn a definitive CD master copy for numerous tedious technical reasons which inevitably arise when reliant upon faulty or borrowed equipment because, despite working a back-breaking forty hour week, I still couldn't afford decent gear; or I could have done had I been prepared to live on bread and jam for a few months so as to prove my worth to the editor of Scat Feed Fever, but I'd been down that particular aisle of Morrisons in my twenties and had no desire to return. Additionally, my day job was so physically and psychologically demanding as to require a certain degree of post-toil luxury in order to keep me from spazzing out and doing a Hungerford - real milk rather than a big weekly can of powdered, that sort of thing.

Unable to mix May Contain Sexual Swearwords, I kept on recording, honing my craft, then going back and reworking the aforementioned May Contain Sexual Swearwords as soon as it began to sound a bit rudimentary. I continued writing, working on my rhyme schemes, getting metaphors to perform double or even triple duty, how to build secondary internal rhythms into each line, and so on. The more I wrote, the more I began to appreciate just what you can do with rap. It isn't just about making stuff rhyme, because any wanker can do that. The skill of rap is in saying whatever the hell you want to say, regardless of the limitations of the most obvious available terms, bullying the language into doing exactly what you want it to do. Whatever you want to say, there is always a way to say it even when every other word has to rhyme with bicycle.

Anyway, as I waited for equipment repairs, the tracks kept coming. I put tapes together for the sake of keeping tabs on my own progress, and Nadim seemed to think I was getting somewhere. He particularly seemed to enjoy a number called Fuck the Boss.

You fucked up good. Top marks. Well done.
When you started this job we all thought you might be the one
guy we could rely on to not be a cunt,
But now you're hated by almost everyone.
Almost? Yeah okay, Joe still thinks your cool,
But the poor fucker never really was the sharpest tool
in the box. You cock! You pain in the neck!
No-one fucking likes you and you look like Shrek.

'I've got to get on one of your tracks,' Nadim told me with renewed enthusiasm.

Either I'd been asking him to drop by and record some vocals after work for most of the previous six months, or I'd only imagined myself doing so and had in reality said nothing.

'Okay,' I told him. 'Have you got any tapes?'

He had sent plenty of cassettes and CDRs my way, but mostly mixes of the Dogg Pound, Xzibit, C-Bo and others; nothing of himself. I'd begun to doubt that he had amassed much actual time on the microphone, and the claims that would suggest otherwise had been made so long ago as to make it difficult for me to recall the details.

'Come over this afternoon. We'll sort something out, yeah?'

'Sure.'

He lived in one of the Bredinghurst flats, a peculiar architectural jumble resembling a Cubist ocean liner just off Overhill Road, the road in which Bon Scott, the singer of AC/DC, was found dead back in February, 1980. Bredinghurst was on the top of a hill and could be seen from all over East Dulwich and beyond. The story ran that the architect had committed suicide, and the flats certainly looked as though they had been conceived by someone busily in the process of losing their shit. I chained my Royal Mail bicycle to the fence at the back, overlooking Dunstans Road, and entered the labyrinth. After ten minutes of walkways leading to nowhere, I found the place by following my ears. I banged on the door for about five minutes until the music dropped a few decibels and Nadim emerged.

'Come in, man. I was listening to some music.'

'Yes. I can tell.'

I went in. He had one of those CD turntables, the first I'd ever seen. It seemed weird and futuristic and had been set up at the centre of the main room. Deafening bass rumbled through the red tiled floor, rattling large glass windows overlooking the road of much sorrow and pilgrimage for AC/DC fans all across the world - deafening bass like a truck passing and with something electronic pinging away. It sounded familiar.

'What's this?' I had to shout, mime and point.

Nadim had already slipped his headphones back on and was cueing up the next track. I had kind of expected come in, my brother followed by cups of tea and maybe even a few biccies, but that scenario was looking increasingly unlikely.

He picked up a CD case and waved it in illustration - the Goodfellas album by the 504 Boyz. I had it at home and now I realised why I hadn't played it much, because it was supposed to sound like this, not the bass-free twanging with which I was loosely familiar. I knew Goodfellas as mainly a pinging noise over which Master P suggests his listeners might like to Wobble Wobble.

A secondary, clearly unrelated noise intruded. I looked around and saw the rubberised tip of a walking cane banging against the window. We were on the fourth or maybe fifth floor, and the windows of these flats each surmounted a thin balcony with walls dividing each section from that of its neighbour. Some person living next door was out there, leaning over and reaching around to bang their walking stick against the window.

The music stopped dead.

I could hear just the tip of the cane bouncing off the glass and some tinnitus from the music. 'Maybe he wants you to turn it down a little,' I suggested helpfully.

'That fucker!' Nadim slid back the window frame and leaned out but the walking cane had already been withdrawn. He cursed and shut the window. 'One time I pulled it out of his hand and threw it.' He gestured in illustration and I imagined a walking sticking spinning into the sky, high above the grass towards Overhill Road.

'He probably thinks the music is a little bit loud.'

'Every time I play, that old cunt always starts up.' Nadim sucked at his teeth and shook his head. He hit a button on the deck and the 504 Boyz came back, still inviting us to Wobble Wobble.

I thought of my own upstairs neighbour who would stamp or drop heavy furniture in protest to the volume of a television set turned down so low that I could only follow half of the dialogue.  Nadim was a funny guy, but I was glad I wasn't his neighbour.

After about an hour I left. There had been neither tea nor biccies, just myself stood watching Nadim cue up tunes on his CD turntable until it was obvious that I've got to get on one of your tracks had been meant as a sort of figurative suggestion, a measure of approval rather than preface to anything which was going to happen in the real world.

I soldiered on, eventually accruing the material for a double CD - my second album, I suppose - and my best work, I thought. Equipment came back from being repaired and I was at last able to capture the definitive mixes and burn copies of both albums. I wasn't sure how to go about promoting any of this, but I'd paid for eighteen minutes on Godspunk, a compilation CD released by Pumf Records; and on the 21st of June, 2003 I jumped on stage with the Ceramic Hobs and performed a three minute rap at a Mad Pride event held at the Garage in Islington. I did okay. I'd rehearsed my lines over and over for weeks, and I remembered most of them, and I drew a polite round of applause as Jim MacDougall called out very swanky just in case anyone had stopped thinking about him for a minute and because he'd seen it all before.

Then nothing happened.

I had vaguely intended to build up a decent back catalogue before attempting to promote any of it, and LDB now sort of had a decent back catalogue, but nevertheless nothing happened. No-one was interested in the Pumf Records compilation, or the two that came after, and I eventually ended up leaving a huge box of my contributor copies outside Oxfam. I'd had a single enquiry as a result of my paying to put tracks on those discs, and that had been from one of the other bands. More depressing still, I didn't even particularly like the compilations. They sounded disjointed, as I suppose is inevitable given that the selection process was based on who felt like paying to be included; and the sound of my own tracks had been compressed into something I wasn't sure I really appreciated.

Equipment continued to fail, and a number of the discs I had burned degraded, becoming unplayable after about a year, a problem which I've never had with cassettes but have often found with CDRs; and I simply became fed up of paying for the repair of equipment which should have been better made in the first place, of catering to a seemingly unanimous lack of interest whilst Andy of my previous band referred to me as a gangsta rapper in the manner of an indulgent elderly uncle. I was nearly forty, and suddenly none of the effort I had put in over the years seemed to matter, or to have amounted to anything in the real world. Even had I managed to fool someone into buying my LDB tapes or compact discs or whatever, it's not like I was ever going to take to the stage with this stuff, or do anything to push it any further. That one night at the Garage had been fun, but not the sort of thing I cared to repeat.

My rap ambitions had never really been any more substantial than those of Nadim, and in 2005, faced with the prospect of having to get my borrowed portastudio - already an obsolete piece of equipment - repaired yet again, I stopped caring. I'd given up on band membership, and now I was dropping music entirely. I'd sold a few tapes over the years, but no-one had ever really cared, and I'd spent most of the time banging my head against a wall. People don't really want anything they haven't heard before, whether it be rock or rap or yet another dolt who once met David Tibet in a betting shop releasing another droning album with Crowley on the cover. People want product, something they recognise, something with a logo serving to guarantee certain expectations. Novelising, writing and publishing aren't even significantly better, but I find myself able to take more satisfaction from the finished work.

So I suppose LDB - or whatever the hell that was - has left the building. It was fun while it lasted.