It was a Plymouth Fury, the GT Sport, a two-door 440 V-8 with hidden headlamps and a four-barrel carb. The color scheme was red over white, and its vanity plates read "Coco." White interior made it a woman's car. The bright finish and the personalized tags would render the vehicle easily identifiable around town, but Robert Lee Jons was unconcerned. To him it was important that he be remembered and that what he did got done with style.
After an encore, as the revelers filed out toward the frigid night and the year ahead, the DJs slipped on a gentle acoustic number: a cover of Suicide's
'Dream Baby Dream" by, of all people, Bruce Springsteen. Springsteen played the song as a coda to nearly every show on his solo 2005 Devils and Dust tour. This particular version, a hypnotizing mantra-cum-lullaby-cum-benediction, was released on an import-only compilation right around Alan Vega's seventieth birthday.
Springsteen had always liked Suicide: he was especially impressed by the story-song "Frankie Teardrop." When he was working on The River in '79, he and Vega crossed paths up at 914 Studios in Blauvelt, where Springsteen had recorded so much of his early work. Vega and Marty Rev were finishing their second LP, which included "Dream Baby Dream." Bruce and Vega talked about rock 'n' roll, taking nips off Vega's flask. "You know, if Elvis came back from the dead," Springsteen said later, "I think he would sound like Alan Vega."
Back then mums and dads didn't go in for quality time or anything so fey with their kids. They lived their lives (whatever that involved) and you were left to yours. You could play football in the street. Or lie flat on a railway sleeper floating through a culvert on the canal. Or you could follow the motorway for miles on the other side of the fence, passing through factory units and farm yards. Or you could see who could jump furthest down concrete steps on the stairwells at Ashfield Valley flats, carrying the whimpering victor home later. Or you could get out your bike and ride to Hollingworth Lake where the tougher kids, knees knocking, chins trembling, waded out into the icy blue, fearful of gigantic child-eating pikes.
It was just my luck to get Coach Bielski for driver's ed. Even when I played football, he hadn't been that crazy about me. He didn't like my attitude, the way I'd shrug when he asked me why I'd thrown a bad pass or missed a tackle. And he didn't like the way my hair stuck out from the back of my helmet or sometimes curled out the earholes. He'd tug on it at practice and say, "Cut that fucking hair, Garfunkel, or I'll cut it for you. I just got a chainsaw for my birthday." (He always called me Garfunkel, because of my hair and because he'd once seen me in the hallway, strumming someone's guitar. To Bielski, Simon and Garfunkel represented the outer limits of hippiedom.)
(From the short story, 'You Start to Live')
Sunday, 3rd March, 1974
The game, though, falls into the Twilight Zone. Eric Probert, Arthur Mann shut down the supply route to the front men. John Robertson and Ian Bowyer aren't getting time to exert their considerable talents on the game. For a quarter of an hour, nothing happens, literally. The crowd is silent, not baying or taunting, more dozing off after a good Sunday lunch.
"For Christ's sake David, get a fucking tackle in on him." It is Don Masson; Masson the Miserable, Masson the Merciless, our leader. He's right, of course. Despite being a most obnoxious piece of work and about as popular as a turd arising in the communal bath, he's absolutely effing right.
Must clobber the flash bastard. Supposed to man-to-man mark him and haven't even seen his backside yet. The game's just passing me by. Come on, get a grip. Here's the ball, there's McKenzie - whack. That was easy.
"Well done Davie. Well fucking done son. That's fucking better, eh." Masson the Merciless has passed judgement. I have pleased our leader. I feel 10ft tall. McKenzie looks hurt as if to say: "Who the hell are you to kick me you fat bastard?"
I don't care. Today, the Notts County shirt seems a liitle loose and baggy.
We have no extradition treaties with the past. That is, we can't bring our younger selves back into the present to account for our doings there. At best, all we may have are a few scribbled notes on faded paper and perhaps a handful of faded Polaroids to tell us that events ever really happened at all. These recollections begin in the late summer of 1964 and end in the early spring of 1975. They are not, therefore, an autobiography as such.
Back at Claridges they tried Mrs Gunning's suite again. No joy. I sat in the lounge and read the Standard. A loud cross-section of rich America trailed back and forth from the door to the desk.
I crossed my legs a lot. Nothing much was happening in the papers, a wages gang had got away with £89,000 in Pinner, London's new Labour bosses were planning radical moves but not now, an old widow had been raped and strangled in Camden Town, David Frost had a new girl, Battersea basements had been flooded by a cloudburst, new revelations were rocking the White House, the London football managers were again guaranteeing brighter soccer to bring back the missing millions, Centre Point was still empty, a teenager had been stabbed to death on his own doorstep, more old buildings were to come down to make way for more empty office blocks, London airport customs had pounced on cannabis worth £800,000 while London airport police were looking for a stolen consignment of diamonds worth £300,000. Oh yes, and our trade figures were the best for ten years. Or the worst, I can't remember.
Seeing it was dry again I went out and had a stroll round the interior of Mayfair. Wealthy middle-aged people brayed to each other in the entrances to restaurants that didn't have price menus outside. There's class for you. Uniformed chauffeurs relaxed with cigarettes in their masters' Rolls-Royces. A covey of bright young things in society gear whinnied on a balcony.
I knew they couldn't be real society. I mean, nobody hangs around dreary London in August, Jeremy. They didn't even chuck plovers' eggs at me.
When the Ropers were given their own series, George and Mildred, they moved out of their Earl's Court home (compulsorily purchased by the council) and bought a new house in the distinctly middle class Hampton Wick, despite George’s misgivings about suburbia: 'All BBC2 and musical toilet rolls.' A new element was added to the existing mix in the form of naked class war between Roper and his next-door Tory neighbour, Jeffrey Fourmile (Norman Eshley). 'I’m working-class and and bloody proud of it,' declares George and the resultant tension between his determination to cling to his class roots and his wife's desperation to escape hers provided many of the series' sharpest lines. When Mildred tries to persuade him to join the Conservative association - in the hope of getting a cheap holiday - she insists that the Tories are essentially a social organisation who just organize events, at which he spits, 'Yeah, whist drives in aid of the death penalty.' Meanwhile the estate agent Fourmile was sitcom's first overt Thatcherite; 'Socialism: The Way Ahead,' he says, reading the spine of a book as he sorts out a stall at a jumble sale. 'Hmm. put that with the fiction, I think.'
Despite his protestations, it's not hard to see Roper secretly putting his cross on the ballot paper for Thatcher, nor to see him joined in the polling booth by Garnett, Fawlty, Rlgsby and even perhaps Eddie Booth. Alongside them would have been not only Fourmile, but also Margo in The Good Life and from Whatever Happened to the Likely Lads? - Bob Ferris, an aspirant member of the middle class who might have voted Liberal in 1974, but would surely have opted for Thatcher in 1979. Against these massed ranks, British sitcoms in the '70s could offer few genuinely left-wing characters, possibly Wolfie, the parody of a revolutionary in Citizen Smith, certainly Mike in Till Death Us Do Part, who would ostentatiously read copies of the Morning Star, Milltant and Workers Press in front of Alf Garnett, but there were very few others.
The Jam
Royal College of Art, London
It's a godawful small affair . . .
Stage as long as Platform six at Victoria station. Baggageless porters The Jam 40 feet apart and monitorless. Full house. Lights! The Tyla Gang before and the Cimarrons after.
An artless audience at the Royal College of Art show their appreciation of the white-soul boys up there on the stage with the huge Union Jack backdrop depicting the three moods The Jam take you through at a gig - red hot expanding into white heat, contracting into teenage blue.
In case you’ve forgotten, guitarist Paul Weller, bassist Bruce Foxton and drummer Rick Buckler are The Jam. They are not, I repeat not a recycled Who. They write concise, contemporary songs like ‘ln The City’, ‘Bricks & Mortar' and 'I’ve Changed My Address’ enhancing the overall effect with a shrewd selection of old material 'Batman’, ‘So Sad About Us’ and ‘Midnight Hour'. The result? A well-equipped show; incisive, dynamic, piebald. Black suits, white lights, black ties, white shirts, black thoughts, white rock. They won't blow it now.
The Jam always come across as much younger than other bands, like Brian Kidd in a team of Bobby Charltons. They have the pace and the sneer - Paul Weller could hardly be described as ‘this smiling man’. He drinks but refuses to take drugs on the grounds that they are immoral, debilitating and, well, uncool. Drug-induced confidence is unnecessary for the cool dude that's Paul Weller. But he gets more hangovers that way.
Paul is cool because he's a man with a genuine talent who hasn't quite realised it yet. And that's when the good stuff comes.
I get on the coach last and make Allan Clarke shift so I can sit next to Billy Bremner again. I try and make chit-chat. To break the ice. But Billy Bremner doesn't give a fuck about President Nixon or George Best. He's not interested in Frank Sinatra or Muhammad Ali. He doesn't want to talk about the World Cup, about playing against Brazil. Doesn't want to talk about his holidays. His family full stop. Bremner just looks out of the window and smokes the whole way down to Birmingham. Then, as the coach pulls into Villa Park, he turns to me and he says, 'If you're looking for a pal, Mr Clough, you can count me out.'
