RC 374: Midnights Are The New Afternoons / Black Sheep

Hello welcome to Radio Clash, this is 374, and it’s Midnights Are The New Afternoons.
Yes, we’re taking the Insomnia Express.
That was Low with Hey, from their sadly last album.
I don’t know if they’re going to continue without Mimi.
We had the sad death of Mimi Parker, which I’m playing that because of her.
And as I said at the start of the last podcast, my love goes out to Low and Chair Kickers and everyone.
And then before that, we had the intro, which is by Cecile deMilla, remixed by me.
And then before that, we had from one of the Crumplbanger challenges, Peggy_P with Challenge Three.
And the challenge was from Reconthuse and about making a track, an original track, a track that was copyright of all.
Didn’t include any mashup sources.
And that was all done with, actually with her, I don’t know, with Peggy’s mouth.
So it’s sort of very, very sort of beatboxy.
I like it a lot.
And we’ll hear another track from that challenge later on because it’s quite interesting one because usually Crumplbanger’s discord is very much about mashups and remixes and to actually create a neutral tune.
I created a few original tunes and not playing them because I don’t think they were that great.
But it was good to dust off the equipment and see what worked, which is interestingly, most of the gear worked.
A few things like my midi interface, sadly, bit the dust in the upgrade, but pretty much everything else actually did work because it’s either just standard midi or the makers have actually upgraded the drivers, which is always good.
Roland used to be very good at support.
I don’t know what happened with the my UM midi interface, but it doesn’t work anymore.
So we’ve got a podcast called Midnights Are The New Afternoons.
And that’s after the new ish, new ish ish.
It’s been out, I think it was a few weeks or weeks.
So Taylor Swift, song Anti Hero, which will hear a mashup very shortly from Aggro1 of that track.
And the podcast is very based around that.
And I have a real personal resonance with that lyric because for the past couple of years, I’ve sort of been working through the night and going to bed about some nine, 10 in the morning.
I’ve kind of shifted back to being more daytime recently, but a lot of it was to do with my depression.
So I totally understand that lyric about midnight saw your afternoons.
Just the general lyrics in that song about being Anti Hero, the black sheep after the black moon podcast from last time.
This is more the black sheep podcast, certainly in families.
If you’re the one that stands up to people or you don’t take the people’s shit, you become the black sheep, you become the anti hero, you become the person that’s deemed to be wrong and other.
And there’s a lot of that in there.
And it weirdly reminds me of Ye’s runaway.
And obviously I wouldn’t mash up anything with Ye anymore.
He’s got too toxic, but I felt the same way about Runaway.
But interestingly, how Ye never really listens to what he was talking about.
It was all, where is me?
And it was like, well, why is that?
Ye’s.
So here is Aggro1 with Taylor Swift and hero versus Ghostdata Become God.
He doesn’t give titles to things.
So that was M(h)aol, spelt M, brackets H, AOL,
which I looked up and it’s Irish for bear or bold.
Both versions are male with M, A, H, O, L, this thing is Ulster.
Elsewhere it’s male.
But Ulster is a ? on male because they’re a female punk group.
That’s Gender Studies from their 2021 EP Gender Studies.
And then before that we had Witch Fever from their very recently released album
congregation that’s at the core.
I’ve not been digging the singles so much.
I’d say the album is better.
It came out just before HalLowen, appropriately,
for the album cover and their occult shouty style.
I think I preferred them when I saw them live supporting John Grant’s.
And it was a bit more punk.
Now they seem to have gone more into the shouty stuff,
which is sometimes good and sometimes it’s just shouting blessed be thy.
Repeatedly, it doesn’t really tell it to me.
I’m like, what are you saying here?
What are you saying with the occult witch theme?
Above from, you know, the obvious.
And then before that we had IDLES with 1049 Gotho.
And that’s from 2017’s Brutalism.
So we had a bit of a punk section.
And then before that we had a couple of mashups that was Marc Johnce
with Nothing Compares To ABCDEFU.
Gayle versus Sinead O’Connor.
And that’s from, I think it’s been around for a while actually, that one.
From 2022.
I think it’s from earlier in the year.
Not as only ABCDEF.
Mashup.
We did a good one with Pet Shop Boys that we Plaid.
And then before that we had Aggro1.
Though for some reason I’ve typed it as Aggro1.
Like agricultural.
Just Aggro1.
Agro.
I don’t know why I did that.
Because of course I had to tag it because he never tags anything.
Doesn’t name anything.
My rant about tagging on Twitter.
Oh, RIP Twitter.
Who knows, who knows what’s happening.
I do hope Twitter is not going to bite the bullet.
Because it is an important part of promoting the podcast and also my works.
So, yes, I don’t know if Elon Musk has destroyed it.
But I had a rant about tagging and it was about Aggro1.
And a few others.
It’s just like, because there was a problem I was having with the download
or it was downloading everything as a bunch of numbers.
And apparently it was my fault.
Although the rant still stands because seriously,
if you’re going to put your stuff up to download on the interwebs,
you can’t necessarily rely on the file name staying as it should be.
And so, yeah, you should really tag your shit.
Tag your shit.
So, yes, we’re going to continue this sort of punky theme.
It is a track from the tribute to Dr. Demento covered in punk.
I said punk, nothing else.
Album, which is from 2018, which I only recently heard.
It’s the one which has William Shatner doing garbage man on it,
which almost got Plaid.
But I think my favorite is this.
And I have to say, I only heard the Taylor Swift.
I don’t know if it was released before HalLowen or just before HalLowen,
but it was certainly too late for the HalLoweny show.
And this, again, I heard it too late to put into the HalLowen October show.
And I’m playing it anywhere.
I was like, well, I could keep it for a year.
I was like, well, screw that.
It’s really good.
So this is from Rocky Horror.
The science fiction double feature in the song from it.
This is Joan Jett and the Black Hearts and it fucking rocks.
That was Dry Cleaning with Hot Penny Day off the latest album, Stump Work.
It was released very recently, October.
Somewhere.
And then before that, again, released in October was from Blush.
That’s PVA with Bunker.
Oh, and I love the fact that in the Dry Cleaning,
obviously it mentions about I was having too much fun.
I didn’t go to bed.
I always have subconscious and conscious sub themes running through the whole thing.
And certainly there’s a lot of female hunk and voices and fem voices.
And in this podcast intentionally, probably because I was a lot of the disturbing stuff
that’s been happening in America and elsewhere.
And a lot of the turfy, evil conversations which I have sometimes inserted myself in to try and protect people.
There’s a lot of that shit going on.
So it’s like a background thing.
And we always like to support fem female presenting, female artists and bands on this podcast
and queer and minority and black and, you know, it’s just a question of finding them
and what you’re exposed to, which leads me to Iran.
But I’ll save that for a little bit later about a certain radio station.
So yeah, that was PVA with Bunker before the Dry Cleaning.
It sounds like apocalyptic acid in a bunker somewhere.
We talked about stop piling and I suspect it came out of the lockdown.
I mentioned in a previous podcast, I talked about the album wanting to have a live sound,
just that sound they would have live.
It sounds very interesting if they can do that echoey acid, live drums, spooky thing.
I do approve of that.
You know, I love schizophrenic music anyway.
Music that just has that kind of dark, you know, confusing, even depressing.
And then before that, we have Maps with Witchy Feel.
That’s from the Counter Melody EP.
I think also from 2022.
I heard that with Plaid.
Plaid did a, well Plaid have released an album, which you’ll listen to,
and you might hear the odd tune in future.
It’s not as grabby as previous works, their early works.
Although it’s not as kind of distorted and as, they went through a stage of being all very distorted
and they didn’t go back to the more melodic thing, although a bit kind of ironic midi things going on.
It’s a bit like music.
And they did a mix for Mary Anne Hobbs.
And I heard bits of it and went, oh, and I actually went through.
Sometimes do this with a good mix.
I went through and tracked back all of the things listed on the BBC website
and then tracked the ones I liked.
And one of the ones I really liked was that one Witchy Feel,
which I like the sort of the bells and the, yeah, I mean, it does have a witchy feel.
There’s sort of a witch theme in this podcast as well,
which is kind of an extension of Black Moon.
Lilith’s the last podcast, really.
Although, yeah, no updates on the horoscopes, no definitely.
Yeah.
And then before that, we had some rave meets,
some 90s hip hop with Cecil Demilia,
No Harmony, Liquid versus TLC.
That reminds me so much of, well, DJ Lumpy and, you know, AndrewHerring and Lee Spoon.
There’s a bunch of people doing mashups of rave early on.
And that has that vibe.
And that’s why I like it.
I would say the No Scrubs is a little bit fast,
but I don’t really care because it’s a good combo.
And then before that, we had from the copyrightable Crumpl Challenge,
we had Ian Fondue with CrumplAcid, Idea 1 and 2.
I don’t know if he knows I’m playing that.
By the way, they’re really good.
Original productions and liking, obviously.
Hello, the Hoover Sounds.
I didn’t realise there’s a, unfortunately paid,
so I can’t really afford it at the moment,
but there’s an emulation plugin of Alpha Juno,
but it has, I’m so much to a geek.
I know that it’s actually Alpha Juno 2 in there as well,
because they’ve got the Hoover Sounds,
which were only in Alpha Juno 2, the Roland synthesiser.
It’s the only synthesiser I ever knew how to programme.
It was the only synthesiser I ever felt comfortable with the way it was set up.
It made sense to me.
And I’ve been trying to get one ever since.
They go for silly money.
All those Prodigy wannabes buying up, I think.
And the other one was weirdly, I started on,
and I still use today in plugin form,
and I used it on one of the tracks I did for the challenge.
Or, as you know, yeah, I think I did, actually.
I think I used one of the cool legacy plugins.
I think it might be the MS-20.
Yeah, the MS-20.
The one with all the looks like a telephone switchboard.
I actually found that quite interesting.
Quite creative the way you could use the process sounds.
Yeah, I found that not as complicated as it looks.
And that harks back to Wendy Carlos.
I’ve listened to a lot of Wendy Carlos.
The latest stuff that I didn’t check out.
And also a really good album called Sonic Seasonings.
There’s a bit of a problem, though.
I’d love to play Wendy Carlos.
Her Serendip LLC are a bit of a Universal.
They’re very sort of litigious and takedown stuff.
So I don’t really know if I can get away with playing any Wendy Carlos.
I’d love to.
Because these are like 17, 20 minutes.
These are the precursors of ambient music.
Because it predates Brian Eno and all that up.
So it’s an amazing album from 72, I think?
Or 72, 73, 72, I think it’s really good.
I’ve heard it’s about times of the year.
And also there’s an extended version with extra tracks.
A brilliant track called Aurora Borealis.
Totally on my street.
You know, I like my new age.
Amity stuff.
It is like the star of all that, really.
She said herself that this was said to have invented New Wave.
New Wave? New Age.
New Wave? Yes, yes.
She invented New Wave, no.
New Age, you know.
Which I don’t see as a slur.
I really don’t.
Because I like New Age music.
A lot of really interesting electronics came from New Age.
BS, anyway.
And then before that we had Bicep.
With Waterfall from a recent release.
I missed this.
It’s a bit confusing because they released a couple of EPs
that had one original track on them.
The rest of them seem to be tracks from the album Miles, which I love.
But they seem to be exactly the same.
That’s one of the newer tracks, that’s Waterfall.
And that came out in 2022.
In 2021 they did another similar EP.
Again, with apricots and glue.
Yeah, those classic stuff from previous albums.
On there as well, I’m not going, that’s a bit weird.
But maybe the different versions I didn’t know.
But I listened to them.
I listened side by side and I couldn’t hear the difference.
But yes, Water is one of them.
And the B-side of Waterfall.
And there’s another track, which is a new one as well from the previous EP.
I assume this is things that didn’t fit on Miles.
And I do like that a lot.
Again, it feels very similar to what you feel.
And I think it was water that was used in the Plaid mix.
So it’s kind of a flip from that.
I don’t really call it.
I wouldn’t use the word progressive.
But sort of, I don’t know, New Age.
Yeah, New Age Techno.
Sort of New Age Techno.
And then before that, definitely not New Age Techno.
We had Orbital with sleep and mods.
That’s Dirty Rats.
That’s a new single from them.
Brilliant video.
I don’t know where it’s filmed.
It’s on Seaside Town.
They forgot to close down.
But the people still there love the politics of that.
Which seemed to work very well with the track before,
which is Vandals covering Tom Lehrer’s National Brotherhood Week.
And that’s again from the tribute to Dr. Demento covered in punk,
which is basically a bunch of Dr. Demento tracks.
He plays a lot on his long running.
Was it four or five decades now?
Must be five decades, I suppose.
They’re covering a lot of those tracks, Shaving Cream,
which you might hear later on in another form,
not from that album.
And I like Trees and that kind of stuff.
There’s a lot of those outside of tracks,
all covered in punk fashion.
But that’s not an outside of Tom Lehrer.
I’m sure he’d love that.
And then before that, we had Amyl and the Sniffers
from 2021’s Comfort to Me album.
That’s Capital.
Initially, I heard them.
I was like, no, they couldn’t be talking about the capital rights.
Because maybe, no, they couldn’t really.
The thing when it came out was like, no, maybe.
But no, it’s capital.
And it’s obviously about capitalism and exploitation.
So that’s a nice bit of Marxism for you.
But you know about female exploitation and gender
and all that stuff.
Look at the lyrics.
It’s quite deep for a punk song.
And Amyl and the Sniffers always have a bit more bite to them
and a bit more in their songs than Ram-a-Lama Ding-Dong.
And then the style of that section,
we had Joan Jett and the Black Hearts
from The Rocky Horror Picture Show.
That song is Richard O’Brien in The Nutshell.
His obsessions and it was interesting.
It’s interesting, there was a whole bunch of people,
B-52s being one of them, who were just obsessed with
a new wave of people obsessed with the 50s,
but in that sort of kitsch way.
It works really well as a punk song.
I’m losing my voice.
This is not good during a podcast.
Better get back to the music then.
So this is Grove with Sound of the Underground.
And yes, that Sound of the Underground
is a very new single, released a couple of days ago.
And partly inspired this whole thing.
I mean, it’s one of these things where someone releases
something and they go, you think,
this is so brilliant, I have to do a podcast now.
There’s a few tracks in here that have been like that.
I’ve come across some really good music recently
and just gone, yep, this has to go out.
We have to do a podcast.
And I wanted to do another podcast before we hit,
yeah, the C word.
I’m not going to mention it.
Yes, he’s coming.
He’s coming.
And he’s very pissed off with his jingle bells.
So yeah, that is coming.
So I wanted to get a podcast in before all of that crap.
And yes, it is crap.
I’m not going to look forward to this year
having a very austere.
So it is not going to be fun.
But yes, there’s lots of really good music.
I actually checked Irony.
I talked about this, I think, in a recent podcast.
When you actually release a podcast,
especially about the HalLowen one,
Sod’s Law, literally a week later,
two weeks later, a couple of days later,
you hear something that would be absolutely perfect
for the podcast, but you’ve already put it out.
And that happens a lot.
And I checked Grove’s Bandcamp just before I did the last podcast.
I actually went to it.
I wonder if Grove could have known you recently.
Because Bandcamp is really well worth checking out.
And of course, there was nothing there.
And the podcast and literally a day later,
it was like this dropped for two days later or something like that.
So yeah, this is pretty new.
So this is a cover of in drummer based style
of the girls alLowd classic.
Yes, it is.
It is a classic.
No, it is a classic.
No, you’re wrong.
It is a classic.
Hopefully my voice is recovered.
The Shells, otherwise known as the four shells on stacks.
Four shells, four shells on the seashore.
And that was Whiplash from 1965.
Before that we had Andre Williams’ Mr. Rhythm.
And his new crew, I don’t know what I’m doing with the old one.
Maybe it fell into a black hole.
That was Bacon Fat from 1956.
It sounds amazing in 1956.
Early rock and roll.
And then before that we had Shaving Cream.
Nice and clean.
The Doctor Demento classic, but covered not for that punk album, but from 1975.
It’s one of the songs that kind of got reissued and reissued and reissued, Shaving Cream.
It was Benny Bell who did it.
Although it was an older track that was done from the, I think, 30s or something like that.
And then it was reissued in 1975, and obviously that’s when Fabulous Five recorded it in Jamaica.
That’s on the Trojan X-rated box set, which was also another deep dive.
Because I went looking for, I think the original Shaving Cream, and then saw that.
I went, oh, what’s that? Trojan Shaving Cream.
It can’t be a cover of the Benny Bell track.
Oh it is!
Then by association with other things, I found out about Andrew Williams, Bacon Fat,
and, separately, The Shell’s Whiplash, on various compilations that have each other on.
So yeah, it was like, oh, okay.
I can’t find a label link between them.
I don’t know what the compilations were.
And yeah, no, I’m liking the old-school rock and roll.
The dance crazes.
I don’t know what the dance The Whiplash was, but it would have been a dance.
It almost guaranteed would have been dance.
Then before that, we had Vibe, If I Back It Up, by Cookiee Kawaii.
Yeah, that’s Jersey Club.
Yeah, I went through a whole black hole about Jersey Club as well.
A lot of these are the fruits of various deep dives that have gone through.
Yeah, someone mentioned Jersey Club.
I was like, what’s Jersey Club?
And I went to, oh, I think I know what that is.
What’s happening nowadays with Jersey Club?
Because a long, long time ago, I was really into my New Orleans bounce.
And then I, you know, obviously Bmore.
And then I heard something about Jersey Club.
So I know, and you sort of tangentially about it.
And I heard about Cookiee Kawaii who did that in 2020.
It was re-released with Tyga.
It’s about with the Y.
And I quite like the version.
And I wasn’t a player until I realized he’s one of the people playing Quatar
for the World Cup.
And that’s a whole other rant.
The World Cup starts tomorrow.
Unfortunately, apparently having red hair, according to Infantino,
he is very childlike, isn’t he?
Yeah, if he’s a president, Gianni Infantino,
he said that he understood discrimination because he had red hair and freckles.
And then how to go the West, how daring to criticize Quatar on their human rights abuses,
the fact that you can be killed for being queer in Quatar.
And certainly those officials have raped and then thrown out the country,
people who discovered to be gay.
So it is horrible.
And also the migrant deaths building the stadiums.
There’s a festival called MDL Beast.
And they’re doing Arabia during the World Cup.
And sort of David Guetta, Steve Aoki,
weirdly Fat Boy Slim, Jorja Smith,
and Calvin Harris.
But Tyga is also playing that.
Whenever they pop up and say,
Oh, we care about LGBTQ rights.
Oh, we want the pink pound.
Everyone should just remind them that they didn’t give a shit.
They just took the money and ran when it came to the World Cup.
So fuck him.
Fuck Nicki Minaj, who is definitely part of the single and also playing.
Yeah, there’s a whole bunch of people.
David Beckham, Gary Neville, who are involved in the World Cup.
And don’t give a shit about LGBTQ rights or immigrants.
Yeah.
Apparently to raise that is, yeah,
we’re not facing to our colonial past.
I’ve seen that thrown back already on Twitter.
It’s become a party line from FIFA and a few other people.
And the right wing, the right wing and FIFA,
which is an interesting combination.
A Jungkook from BTS is also playing as well,
which is a surprise.
I thought there was a lot of queer BTS fans.
So yeah, it’s all just like, just as tasteful.
Anyway, I was going to play a version,
there was a re-released version with Tyga.
Mix into that one.
And then I realized I was like, Tyga, Tyga.
And then I looked it up and I was like, no,
we’re scrapping that.
I scrapped it halfway through the mix.
And then before that, we had Caterina Barbieri with Transfixed,
which is from her Spirit Exit album.
And that is not drum and bass,
because it mixes very well into Buunshin.
Forget about me from 2022.
I’m loving the Buunshin.
Buunshin.
I think we pronounce it Buunshin.
Which is Japanese, Buunshin, to use.
And then before that, we had the thing that gave the name
to the subtitle to this podcast, Black Sheep.
That’s RD and Degs.
She Wants You, Black Sheep, Spray Out.
And that was part of his first mix tape, Spray Out.
He did another one as well, but that’s from 2018.
He took a bunch of drum and bass tracks
and did a freestyle over them.
Yeah, I totally cross-signed the message about Black Sheep.
To stay in line, sometimes you need to be outside.
It’s a very productive place to be.
Though sometimes lonely.
And then before that, we had another Buunshin track.
That’s I’m Okay, Featuring Idle Days from 2022.
And then at the start of the session,
we had Grove with Sound of the Underground.
Yes.
So we’re going to go into a dub section
before I lose my voice again.
Dubxanne, I hope you pronounce it, D-U-B-X-A-N-E.
And a dub Roxanne, Dubxanne.
Police and dub, but this is So Lonely, So Dub Featuring Big Youth.
Oh, we love Big Youth.
It does remind you of something else as well.
And if anyone thinks, oh, I’ll mash it up with that.
I’ve already had that idea, so don’t do it.
Till I do it.
Yes, you might get sort of deja vu here on this next track.
That was the gay lads.
Yeah.
There was a Jamaican group called The Gay Lads.
I think the main school or college is called man gay or something.
And that’s Over The Rainbow’s End.
Which is basically a reggae rewrite of Somewhere Over The Rainbow.
A reggae rewrite, reggae rewrite, reggae rewrite.
We can’t speak.
And before that we had the wonderful Tamino from his latest album, Sahar.
That’s my dearest friend and enemy.
I guess I had to have a certain someone.
Then before that we had Khruangbin with Como Te Quiero,
scientist dub mix.
And that’s from a rather odd 2019 live album
which had a couple of dub remixes by the Scientist of Khruangbin.
I’m not going to tell you what Khruangbin.
Everyone knows what Khruangbin means now, doesn’t they?
Now look it up.
Then before we had, as a tribute to the sad death of Mimi Parker,
that’s Low with Let’s Stay Together.
That was in the stack.
Why did I not play that before?
It’s such a wonderful sort of dubby version of the Al Green classic.
That’s from 2018.
They did a single.
I think it was a split single.
I remember when I was talking about how Al Green was important to them.
Then before that, from the latest album from Hollie Cook.
Yes, Hollie Cook.
I love Hollie Cook.
I mean, her last album has not left my iPod.
That’s high praise indeed.
A new one is pretty good as well.
I wouldn’t say necessarily it’s as instant as all the tracks on the last album,
but there are some really good tracks.
The one that’s very much a gold girl, which is like a Bond reggae track.
It’s very Bond, it’s very wide screen.
And also on Happy Hour, as it’s called, there is some really,
and I mentioned schizophrenic moments,
really kind of bittersweet things going on.
I would expect very much reflecting the times however,
but I couldn’t say that for sure.
But whenever I hear that sweet song,
but you listen to the lyrics and you go all listening deeper here,
like Happy Hour is unsettling, like sharks in the hall and so forth,
you’re like, hmm, yes.
Maybe not.
Maybe it’s more about a relationship that went wrong,
but there is a feeling that it’s about something else.
And yeah, I like that one.
And I’m moving on.
Yeah, definitely.
Then before that, we had the wonderfully named Dubby Stardust,
featuring Jasmine Ash.
That’s Heroes.
Yes.
There’s not very much in there from the original song.
I heard it on one of the compilations I was looking for.
I think it was Dubxanne track elsewhere.
And it was like, oh, what’s this?
What’s this compilation?
It was a compilation of various dubby reggae tracks.
And that one came up and I was like, that’s perfect.
But yeah, it sort of sneaks up on you, that one.
You hear bits of the song.
But is that really it?
Those chords tell me, what is that?
And then the vocal comes in and you’re like, oh, it is?
Heroes by David Bowie.
Yeah, it’s very subtle.
And before that, we had Dubxanne Stardust section
with So Lonely So Dub featuring Big Youth.
So which is, yeah, there’s some real Bob Marley references
in there as well.
At some point soon, I will see if it works as a mashup.
I was reticent about playing it.
Someone was still the idea, but it was like, well, you know,
if someone gets to do it before me,
then you’ll save me some work, really.
I really am losing my voice.
I better wind this up.
I did promise you a rant.
You can see it on Twitter, if Twitter is still going,
but it almost goes out.
A Radio Clash blog, Twitter, about queer artists and six music.
Because I was listening to a mix on six music.
And it was very bosh-bosh, really kind of hyper-pop.
Happy Hardcore hyper-pop, bosh-bosh-bosh.
And I looked up who it was, and it’s a queer trans artist.
And we were going to come up with the Christmas things,
or probably a queer takeover or something.
It’s always the same sort of housey, hyper-pop-y pop people.
You know, not the same people,
but it’s had it before about, you know,
they had a queer house collective on there,
and it was like, it was quite cliche,
and they’re all very middle-class.
And as of today, I heard, on Jamz Supernova,
she had someone on there who runs a space,
is ahead of her, some kind of space,
you know, a museum or gallery.
And she had such a posh accent,
talking about baseline culture,
and I’m like going, yeah, that’s a problem.
And, you know, similar thing,
it’s like not only a class thing,
but also, there’s so many queer artists out there,
you know, if you want to focus on queer music,
don’t just focus on club music,
because that is a very small niche of the queer artists out there
and what queer musicians and queer bands do.
They’re the queer punk and queer reggae and queer country
and queer metal, and we play on this podcast.
All the other music’s queer jazz, you know, you name it,
there is queer LGBTQ artists doing it.
And it’s kind of depressing how the sixth music
is very ghettoized, it’s the idea that,
oh, queer must be queer, be more bouncy,
sort of, or skippity-skippity New York house,
sort of drag queen house, as I call it,
but yeah, the sort of skippity 90s house,
or it’s kind of like the more queer and black,
but then it’s sort of more be more Jersey Club,
that sort of thing.
It’s all very 90s, weirdly, early 90s,
but yeah, very much that for now,
but they never get beyond that.
And so, the representation is,
hey, we’re being all diverse with queer artists,
but they’re all in the same, well, very similar genres.
The clubs I went to didn’t play that kind of music.
You went to XXL, and it was like the bosh, bosh, bosh stuff,
but more from the hard house world.
Then you go to Duckie, and it’s a mixture of sort of pop and indie
and rock and sixies and all kinds of things.
Then you go to Pink GLove, and that’s all Britpop.
You know, it’s like, I can just list off a whole lot of clubs,
you know, and it’s just like, you can’t just go,
oh, yeah, queer scene must be this.
It’s a very niche thing, you know.
It’s like, oh, it’s skippy skippy 90s house.
Well, I struggle to think of a club that plays that,
but I’m sure there are.
But, you know, it’s very weird.
It’s a bit like the whole drag queen, Drag Race thing,
which has become edged out any other representation.
You know, it’s not in itself a bad thing,
although I don’t like RuPaul,
and I think there are issues of RuPaul, very big issues of RuPaul.
Let’s show you until fairly recently,
about trans people being involved, gender and non-binary people
being involved, biocoins,
although I have mixed feelings about that
because of a certain person, but although it’s quite funny
when they did have bio queens, she wasn’t included.
That made me laugh.
But yes, yes.
This is your tea, children, yes.
Just bring up a seat and bring the other shade.
It just becomes a monoculture of this is the only thing,
oh, drag, oh, it must be drag race.
No, there’s a long history outside of drag race.
Drag race is an American thing.
World of Wonder, Fenty Bailey and all that lot
did party monster and used to do United States of Television
but yeah, all the late night Channel 4 programs,
that’s World of Wonder and they went on to do drag race.
I mean, reality television isn’t great anyway.
As we can see from Matt Hancock, Et Al,
and Boy George trying to get rehab validated
through I’m a celebrity, get me out of here, you know,
and it’s just, it’s not good.
And you know, anyway, it’s a format.
And yeah, I always had massive reservations
and also, you know, it’s not drag.
Drag is rude.
Drag is the sort of stuff you shouldn’t be on television.
Drag has always been very blue, very rude,
very transgressive and always had, you know,
drag kings and gender non-conforming people
and you know, it’s very, very indefinable.
And so the idea of trying to put it into a box
is really weird, I just find that really weird.
Anyway, enough renting.
I mean, it is a very similar thing to Quatar
and you know, it’s just deafness to the community,
deafness to my community, deafness to other communities.
You know, and it’s not a good look.
Well, it’s not a good look.
So yeah, don’t talk to me about the World Cup already
or drag race.
So I’m going to play out with a track which,
there’s only one track I can play in the podcast
that properly commemorates Mimi Parker of Low
and say Fuck Cancer.
I wish I’d known, although, you know,
I’ve seen them a couple of times
and they were just cancelled anyway,
but yeah, I’ve seen them a couple of times
and they were really good and I’m glad I have.
I wish I’d seen them all though.
So this is Low with their cover of Dylan’s
Knockin’ on Heaven’s Door
and this is from The Uncut presents Dylan Revisited from 2021.
And so yes, I will speak to you soon
and have a good, have a good one.
Next podcast will probably be the Christmas podcast.
Possibly, probably.
I’m only going to do one this year, I think,
because I just cannot, I just cannot do that.
I just can’t face it.
I can’t face it anyway.
I’ve got some good tunes to play,
but yeah, I just can’t face Christmas generally.
So anyway, I’ll speak to you soon.
Nothing compares to A, B, C, D, F, U
Thank you for watching