Good Morning Nantwich: Adventures in Breakfast Radio
Good Morning Nantwich: Adventures in Breakfast Radio
Phill Jupitus
What possesses a right-minded comedian to quit the day job for life as a breakfast radio DJ?The opening DJ on the Beeb’s new alternative radio channel, 6Music, Phill Jupitus was a maverick on the flat landscape of inane commercial breakfast radio. Disregarding the prescriptive chart-led schedule and showing no fear in the face of BBC management, this ex-performance poet’s personal crusade against the bland, the predictable and the smug self-satisfaction ensured that he never had any trouble practising what he preached.Not one to pull punches, Phill recounts with acerbic wit, honesty and more affection than he would care to admit, his encounters with petulant band members, tedious showbusiness jargon, colossal salaries and four-letter firewalls.Inviting world-weary media cynics and radio enthusiasts to sit back and revel in a heady dose of painful banter ensuing from the absent interview technique, The Clash, the perils of idols as on-air guests, Black Umfolosi and The Coasters, Nantwich remorselessly dissects the limply beating heart of breakfast radio and reconstructs it one playlist, anecdote and transcript at a time.
Good Morning Nantwich
Adventures in Breaklast Radio
Phill Jupitus
Table of Contents
Cover Page (#u9bf56e7b-4f66-5f99-a397-3fdb33083807)
Title Page (#ub54bb405-efbe-559e-ab0b-9ff8e2312ea5)
Foreword by Lauren Laverne (#u65aa0161-a77e-507e-a2d5-47d66a752270)
Introduction The Life Pursuit (#u63fd6a57-de95-57e1-9aaa-2b96fe8ff91c)
Chapter 1 Workers’ Playtime (#ubb47bf15-9b51-5a97-831b-66c40b71790b)
Chapter 2 The Boy in the Corner (#u714054c3-bd91-5660-ac23-e96ac030c49d)
Chapter 3 The Golden Age of Wireless (#uf3bb02c0-57f1-5817-8a49-70d0b534f2cf)
Chapter 4 London Calling (#u34f33332-305b-5cfe-b461-5386d1006446)
Chapter 5 Employment (#u6ccc43a7-a33f-5ec3-a24a-605cb570a416)
Chapter 6 Equally Cursed and Blessed (#uce1e10e0-28cb-54bd-9c77-e3fe10560a15)
Chapter 7 Now We Are Six (#ua8231ae2-4dab-5caa-bf5a-de513e71329e)
Chapter 8 Waiting (#u2d623ad3-1191-53dc-8cf3-b4a7304517d7)
Chapter 9 We’re Not Happy Till You’re Not Happy (#ufebbbd10-79ab-5218-a151-6b4560e94c27)
Chapter 10 New Morning (#u9eaadf42-4a59-54ec-8a61-613643e2c8b1)
Chapter 11 What Once Were Vices Now Are Habits (#u3e29b328-87c5-5cf1-90be-33bbf4548092)
Chapter 12 Pleased to Meet You (#u97776c63-2210-5633-aa92-f1ddb40581c9)
Chapter 13 Impossible Broadcasting (#ucdc7b789-ea04-583c-8cc4-71860d664dd6)
Chapter 14 Odds and Sods (#u540b1525-bbbc-5a09-a1c3-024aed090383)
Chapter 15 Closing Time (#u22bef7b0-e536-50a3-a582-6b7373d3656a)
Epilogue (#u7034bd43-b3b6-595d-aeaf-d5dba4a29830)
Appendix (#u93b63a87-c805-5da0-9459-1d5bab84a85a)
Acknowledgements (#u978b7094-d07a-50c3-99d4-aabdd272570c)
Copyright (#u5f6ef9d0-4611-5fbb-b925-e702e4cc4f3d)
About the Publisher (#u39273a21-e6f9-5f15-9de8-9ce17972fdb6)
Foreword by Lauren Laverne (#ulink_67262a4a-a87f-5f3c-b83d-5fd86c90b6ac)
I first met Phill Jupitus when I was nineteen and a guest on Never Mind the Buzzcocks. I was in a band he liked at the time and, in exchange for a promotional badge for the defunct kids’ show No 73 (of which I had fond, childhood memories, and which he had visited during a stint as The Housmartins’ tour manager), I gave him a C90 of our unreleased demos. I probably would have given him the tape anyway, since he was the only person on the show who (a) liked my band and (b) had not laughed at the fact that I was wearing chopsticks in my hair and makeup purchased from an actual clown shop. But the badge sealed the deal – we became firm friends. That Jupes was happy to part with this small but significant artefact in pursuit of new music is also, I think, testament to his enthusiastic and eclectic attitude to the stuff. I can’t say I’ve come across that many people who can appreciate Vitalic’s electro face-melter La Rock 01, hit the stage with The Specials and belt out a show tune in full drag with equal ease.
A few years after our initial meeting I had started presenting, which seemed (as it still does) like ludicrously well-paid fun. I didn’t know that Phill had recommended me to his boss, Lesley Douglas, for the show after his on BBC 6 Music. Clearly I didn’t get it. But I did get a gig covering Glastonbury festival with him, John Peel and Jo Wiley, and our first trip to Pilton was my introduction to the station. I agreed to pop in as a guest on Phill’s Monday morning show, to round off the festival before catching a lift back to London with him and his producer. I arrived at the small hotel function room, from which the outside broadcast was taking place, to find my friend and colleague minimally rested and maximally refreshed after a belter of a weekend. And so it was that the very same day I was introduced to 6 Music, I was re-introduced to driving after letting my licence lapse for some five years. Specifically, driving Phill’s automatic, left-hand-drive, tank-sized Jeep down the insanely busy M4 back to London while its owner slumbered in an ursine fashion on the back seat.
Not long after that, I deputised when Phill took a few weeks’ holiday from his Breakfast Show slot. I was 23 at the time and had the kind of life where 5.00 a.m. is a time you’re still up, not a time you get up. It was a huge shock to the system, and after my stint was up my then-boyfriend-now-husband made me swear I would never take another breakfast job because I’d been such a nightmare to live with. Suffice to say, I did. It was supposed to be a holiday romance with Dame Radio, but she had seduced me with her silky intimacy, immediacy, ability to communicate directly and her stellar taste in music. Within a couple of years I was hosting the XFM breakfast show, some of the best broadcasting fun I’ve ever had, even though I started so early the audience for the first hour consisted exclusively of milkmen and adulterers.
You see, TV is great – like being invited to a glitzy, ridiculous, gossipy party, packed to the rafters with fabulous people (OK, maybe not Countryfile, but you know what I mean…). Who wouldn’t want to get involved? Radio is the opposite. It is not for the popular. It is not pretty. There is an infamous story about a much-lauded TV presenter who arrived at the country’s biggest commercial station to start her new show and asked her producer, ‘Where’s my script?’ When she was informed that there was no script, this was radio and she was required to think of something to say, she turned on her Louboutined heel and ran like the wind, never to bother a popshield again. In essence, the job is sitting in a windowless room, clutching a foul-tasting beverage from an inevitably malfunctioning coffee machine, talking to yourself and occasionally putting a record on. Yet for some reason, for some of us, it’s bliss. And we know we aren’t talking to ourselves, not really. We’re talking to people like us. Radio is an industry largely run by oddballs and misfits, and specialist radio – like 6 Music – is the thick end of the nerd-wedge. To paraphrase Spinal Tap: There is none more geek. If you were ostracised, flushed, ridiculed and/or obsessed with music everybody else thought made you gay or a Satanist at any point during your school career, well…welcome home.
It’s almost a decade since Phill introduced me to radio, and I haven’t been without a show of my own since. In fact, I currently occupy the 10–1 slot on BBC 6 Music that he suggested that Lesley Douglas give me all those years ago. It’s the most fun I’ve ever been paid to have. And the 6 Music audience are some of the cleverest, most interesting and hilarious people I have ever met. They also have impeccable taste. At the time of going to print the station’s future is uncertain, which seems unjust. There should be a place like 6 on the dial – somewhere idiosyncratic and surprising where you can hear Jarvis Cocker present a Valentine’s Day show dedicated to the Chaucerian idea of love, or get your favourite Zombies record played out at 10.00 a.m. Somewhere that imagination, creativity and music are held so dear must be of value. I hope that the station Phill helped launch is allowed to carry on and – if not – that it will be remembered fondly by the people who loved it. I also hope that this book gives you an insight into the mind behind the mic, some tales that make you laugh and an insight into the way a man’s love of broadcasting might drive him to madness and beyond. Possibly to Nantwich.
Introduction The Life Pursuit (#ulink_e467fa73-7dbc-5faa-bdd0-ce4378e293ce)
By the spring of 2002 I had spent over a decade as a successful stand-up comedian in the UK. This job not only gave me a creative outlet, it provided immediate feedback from my audience and, above all, complete autonomy. So why exactly would I chuck in such freedoms for a job, which would give me a good deal less control? Where I would be answerable to a lengthy chain of management and feedback would be minimal at best and the audience reaction was something we would not discover for eighteen months? As I look back at things now, this is a question that I wish I had asked myself a lot sooner in life. But even if I’d had the prescience to ask it back then, the answer would have been the same then as it would be now. I love radio and I was reminded of that fact a week before Christmas in 2009.
18 December was quite a busy day one way and another. I woke up weary and a bit achy as I’d been singing and dancing while dressed as a lady in the musical Hairspray the night before. I had a day off scheduled in order to go up to the NEC to do a gig with The Blockheads and on the way there I was going to do all my Christmas shopping. It was also the day that Terry Wogan would broadcast his last-ever breakfast show, Wake Up to Wogan.
In September of that year Terry finally announced the day that his be-cardiganned legions of fans had been dreading. He would be pulling down the final fader on his breakfast show just before Christmas after twenty-seven years. The outcry was almost immediate at his replacement, the titian-haired host of Radio 2’s drivetime show Chris Evans. Listeners had been irate enough when he was brought in to replace Johnny Walker, but replacing Sir Terry? Yet to be honest, whenever anybody stops doing anything there is an immediate outcry from somebody who’s not happy about it. The British as a race are resistant to change. We felt it more so in Wogan’s case because there were a few million of them.
When I first heard that Terry was going, I thought back to our rare snatched conversations on the pavement outside Western House or in the lift to the studios. Occasionally I would work up the courage to ask him the question. ‘How long are you going to give it?’ He’d always briefly ponder before saying: ‘I don’t know. Maybe next year. But I’m still enjoying it…’ Then after a beat: ‘You don’t want to overstay your welcome…’
We shared a knowing glance. Sir Jimmy Young had overegged his Radio 2 pudding by at least a decade, finally departing his lunchtime show with about as much ill humour and as little grace as anybody could possibly muster. Then in his Sunday Express column he proceeded to retrospectively bite the hand that fed him – quite nicely, thank you – for over thirty-five years. I frankly think if he’d kept doing the recipes and left the politics to the professionals, he’d have been alright. But one gets the sense that he genuinely thought he was the new Robin Day. As I listened open-mouthed to his grumpy and bilious final show in December 2002, I do remember thinking, ‘Make sure to jump before you are pushed…’
With the loss of Terry, people were going to have to make a huge adjustment. Indeed the effect on many would not be unlike a bereavement. Terry had been a huge part of their lives for decades. They’d had almost thirty years where they would get up, stretch, reach out and turn on their radios and hear the very same voice from Monday to Friday. Without really meaning to, he subtly wove himself into the fabric of the lives of millions. His easy-going manner, ready wit and soothing voice had been heard in the bedrooms, bathrooms, kitchens and cars of the nation for decades. This wasn’t going to be some bloke quitting a job. This was like losing a member of the family.
But surely the comings and goings of who presents what at which radio station are insignificant in the grand scheme of things? Indeed so, yet it’s worth bearing in mind that avid radio listeners somehow take it more personally. They develop a kind of symbiotic relationship with favoured presenters. And when that relationship, as is customary, ends abruptly, they have no control over it. They feel powerless against such sudden unwanted change. Conversely, those who manage radio stations do have power, but think about their networks as a whole. They strive to find the right chemistry between their many diverse presenters who fill the schedules. Usually this involves tinkering around until they get just the right mix. Unfortunately they often forget that their tinkering affects the listening routines of thousands, and as a listener this can be frustrating. It’s not like football, when the manager takes off your favourite player and you get to scream and shout at him for ninety minutes. If your favourite deejay gets bounced, your only recourse is to fire off a surly email or phone Feedback.
When I heard the news about Terry, I thought back to my own somewhat smaller-scale departure from the breakfast show for BBC 6 Music at the end of March 2007. I pondered our respective statistics. Wogan had a commanding twenty-seven years behind the mic to his name, while I had only managed a paltry five years and three weeks. His audience was a stunning 8 million while at my final peak I’d hit just under 500,000 with a following wind. Terry was a national institution while I remained the big bloke who was always rude about Van Morrison on that pop quiz thing.
With each passing record that Terry played on that last morning, I found myself getting quite misty. Even though it was a rare occasion when I’d turn over from Today on Radio 4 to tune in to him, I simply felt better just knowing he was there just a few kilohertz down the dial. I knew my mother would be listening to him, just as she had done ever since the 1970s. Oddly enough she listened to his last show on the DAB radio I had bought her so she could listen to me on 6 Music. To the best of my knowledge she only ever listened to my show a few times, if that, but like my relationship with Wogan I assume she felt better just knowing I was on air, so didn’t feel the need to actually tune in.
On that final Friday, Terry was obviously only playing songs from his own collection, but each one seemed just that bit more mournful that the last. Even though he was mostly cheerful and upbeat during his links, you could feel the audience were in tears from the moment he went on air. When he played Peter Gabriel and the Black Dyke Mills Band’s haunting ‘That’ll Do’ even I found myself welling up. As he launched into his final link on the show, a tear rolled down my cheek…
‘This is it, then. This is the day I have been dreading – the inevitable morning when you and I come to the parting of the ways, the last Wake Up to Wogan. It wasn’t always thus. For the first twelve years it was the plain old Terry Wogan Show and you were all Twits, the Terry Wogan Is Tops Society. When I returned to the bosom of our family, it became Wake Up to Wogan and you all became TOGs, Terry’s Old Geezers and Gals. It’s always been a source of enormous pride to me that you have come together in my name, that you are proud to call yourself my listeners, that you think of me as a friend, someone that you are close enough to laugh with, to poke fun at and occasionally, when the world seemed just a little too cruel, to shed a tear with.’
Halfway through this poignant final moment I pulled into a lay-by as I felt sure that my constant eye wiping might pose a hazard to other drivers. It was the perfect goodbye from a perfect gentleman. It’s difficult to explain to someone unless they’ve grown up with Wogan as part of the cultural landscape how important he was, but I’ll give it a go. Imagine that you have a favourite uncle. (Perhaps you don’t have to imagine.) He’s the slightly wild one who would take you shark fishing, or out in his sports car with the top down in the rain, or let you have a go on the aerial runway over that bonfire, or insist you stay up late on a school night, and he was always hilarious at weddings so you desperately wanted to sit next to him, and he was kind and polite and only ever swore by leaning towards you in that conspiratorial way so auntie couldn’t hear. That is how I saw Terry Wogan, and now he was gone.
As the Jeep churned through the December morning slush, I realised that this was truly the end of a radio era. With Wogan gone the way was left clear for the ragtag assortment of ‘popular’ deejays hoping to profit from the chaos that would ensue in the wake of his departure. The Harriets and Jamies and Evanses and Moyleses and Neil Foxes of this world – loud, hugely successful, unchallenging, award-winning, lowest-common-denominator, ratings-busting radio, which I have always found, in a word, unlistenable.
As the tracks of my tears dried on my cheeks I remembered that the very show I had left nearly three years ago was currently in the hands of a fine broadcaster in the shape of Shaun Keaveney. A former alumnus of XFM, Keaveney was a laconic Northerner with a soothing voice and a snappy line in banter. Not for him the early morning histrionics of his peers. No, Keaveney had, if anything, an even more laid-back style than I did. I have to admit that when I was told he would be taking over the show I hadn’t heard him. But when I did tune in from time to time, he was funny, he knew his music, and was a cracking listen. As a member of the audience, my breakfast radio future would be kept safe in the bosom of the station I had launched, BBC 6 Music!
Then, just two months later, my inbox pinged with the arrival of an email from my mate Celine who worked at Guardian Online. ‘Hey, wanna do something for us on 6 Music? Gimme a bell…’
To be honest I wasn’t all that keen. I’d left and the station had taken a new direction. An ambitious young man called George Lamb had been given the mid-morning show. He was dead set on a television career but for some reason was approaching it via niche radio. He was an absurdly handsome West London hipster, whose interest in music seemed secondary. Despite this he picked up a whole new chunk of listeners whilst simultaneously drawing the extremely vocal ire of old regulars with his shouty shenanigans. He rapidly became 6 Music’s first Marmite deejay and was even regularly lampooned in the pages of Viz. You have to wonder at the logic of following the breakfast show with what was ostensibly another breakfast show, but to be fair if I knew how to run a radio station then I’d be doing that instead of writing this book.
In the wake of ‘Sachsgate’ and Lesley Douglas’s controversial departure from radio and 6 Music, Lamb’s employer and principal advocate was gone. He was quietly moved to a weekend show and the sassy and bright Lauren Laverne was given his slot. This went down very well with the majority of the audience as she was not only someone with a broad musical knowledge, but had been in a band, was a regular on BBC2’s Culture Show and the main host of the corporation’s annual Glastonbury coverage. The high points of her show were always when she strayed away from the playlist and introduced us to new sounds. Her obvious enthusiasm for the job is infectious. When I heard Lauren was joining 6 Music I couldn’t help but laugh as I had suggested her to Lesley Douglas as a presenter back at my very first meeting in 2001.
But I didn’t really understand why the Guardian wanted me to write about 6 Music, so I called Celine. After two rings she picked up.
‘Alright, girl, it’s Jupitus.’
‘Hey you, how are you? Missing frocking up for Hairspray?’
I reverted to my standard response to mates on the phone when I was doing fuck all.
‘Only the eyeliner really. Other than that I’m not bad. Trying to get going with that radio book I told you about…’
‘Well, it’s funny you should say that, we were wondering if you wanted to do a piece about 6 Music closing down?’
‘What?’
‘Oh no, haven’t you heard? Yeah, apparently Mark Thompson’s got some budget review they’ve been working on and they’re losing a load of online stuff. Asian Network’s going and so is 6…They’re announcing it officially next week.’
A mix of emotions welled up inside me. Even though I had nothing to do with the network any more, I had mates still working there. And it was a really really good radio station catering for an audience of licence-paying outsiders who had never had any kind of representation during the daytime radio schedules. At least, not since the original XFM sold out to GCAP. My head fell into my free hand and I ran a hand down my face and shouted in my kitchen, ‘Oh, for fuck’s sake…’
The dog looked up, somewhat startled.
‘I know,’ Celine continued, ‘just as they got rid of George bloody Lamb and started to turn things round…’
First Wogan, and now this. I always knew radio was due for some radical changes but assumed they’d come from the competition posed by podcasts and internet radio. When 6 Music was launched I was hugely optimistic about its chances of success as there was no radio station like it. And now after spending over £40 million on running the station and building up an audience, and a year before the digital switchover, they were cutting them loose. Genius.
Radio was something that I had grown up with, and through a combination of sheer luck and the odd bit of conniving I had managed to do it for a living for five years. Now it appeared to be all changing for the worse. Wogan was doing weekends, 6 Music was on notice and I wasn’t on air any more.
I had been a Radio 1 listener since its launch in 1967. Broadcasters like Tony Blackburn, Dave Lee Travis and Jimmy Saville were known to millions through their daily shows as well as countless television appearances on Top of the Pops. So as I walked into a building that represented everything that I knew about radio, it is fair to say that I was a little overwhelmed. It was on a Saturday afternoon in the autumn of 1985 when, as a fresh-faced twenty-two-year-old, I wandered hesitantly into the reception of Egton House, the then headquarters of the nation’s favourite radio station.
The interview had been organised by the promoters of a gig I would be taking part in the following day called The Ranters Cup Final. East London’s legendary performance space, the Theatre Royal Stratford East, would be playing host to the aforementioned ‘Ranters’. Ranting Poetry was a briefly popular movement of poets, most of whom were absolutely terrible. This ragtag bunch of new ‘young’ performers would spew justifiably terrible things about the government of the day while simultaneously attempting to be funny about their personal lives. This might not have been quite so bad if they’d had the decency of sticking to iambic pentameter. At the time I was known as Porky the Poet, a name combining my habit of self-deprecation along with the self-delusion that I was any kind of poet.
Myself and another performer at the event, Bradford’s excellent Little Brother, had been selected to go on national radio in order to give the people a flavour of what they could expect from the gig, and hopefully in the process sell a few tickets. In the mid-1980s performance poetry was in the ascendancy. In the late seventies John Cooper Clark and Linton Kwesi Johnson had opened the doors for a whole new raft of performers in the post-punk years. The music papers gave glowing reviews of some of these new acts, which I can only assume is the reason that Radio 1 were interested. If it’s good enough for the NME then it’s good enough for us, seemed to be their modus operandi.
It was only when I had worked in radio myself that I began to understand the constant demand for content to fill the hours of airtime. Combine this with the fact that the promoters weren’t about to knock back some free national exposure and we were dispatched to the West End and a short walk north from Oxford Circus tube. Egton House was tucked away in a tiny mews off Portland Place to the side of Broadcasting House just behind All Souls Church. As we walked up to the very ordinary-looking doors, I was somewhat underwhelmed at what I saw.
In my imagination, the premises of the country’s top pop radio station had always been a vast, beautifully designed concrete, steel and glass affair, dense with exotic palms and ferns. As you wandered through the silently welcoming automatic doors, a bird of paradise would streak past you and perch on a nearby stone plinth. You would look away from its dazzling plumage and notice with delight that set upon that very same plinth was a shining bronze bust of Simon Bates, smiling beatifically. As you cast your gaze around the regally appointed lobby you would see a number of similar likenesses of the Radio 1 greats of the day: Gary Davies, Noel Edmonds, Bruno Brookes, DLT – The Hirsute Cornflake – the completely hilarious Adrian Juste…every few yards you would spy yet another broadcasting legend. The base of each of these monuments would be surrounded by the offerings of their loyal legions of fans: soft toys, underwear both unwashed and brand new, flowers, cakes and home-made cards all declaring never-ending devotion.
Oh it wasn’t like that at all…
A large and lightly perspiring man sat on the opposite side of the counter in the standard security guard uniform of white shirt with epaulettes and dark blue tie. We nervously gave our names and our reason for being there, just in case the names alone weren’t enough. He jotted them down in a book and handed us each a yellow sticker stamped with the day’s date and the familiar BBC logo. He barely looked at us while picking up a telephone and mumbling into it before pointing in the direction of a nearby cheap sofa. ‘They’ll be down for you in a minute. Take a seat please…’
The reception area could best be described as ‘utilitarian’. I felt like a character marooned in some backwater of the Eastern Bloc in a Cold War spy novel. This thought had me muttering ‘Yes we have no bananas’ under my breath in Russian. You couldn’t fault my tradecraft. Presenters of the day grinned forlornly from framed photos on walls, which clearly looked embarrassed about having to display them, and by the doors a rack groaned with cheesy postcards of the same faces and a few others. I wandered over and took out a John Peel postcard for myself, simply because he looked so deliciously uncomfortable at having his picture taken. Dave Lee Travis, on the other hand, appeared to be over the moon. He had opted for ‘wacky’ from his extensive catalogue of looks.
Once we were introduced and on air the time whizzed by. As I glanced around our surroundings I was delighted to note that studios really did have a red light up on the wall that said ‘ON AIR’ when the microphones were faded up. I had always thought that was just a Hollywood conceit. Little Brother performed his excellent parody of Stanley Holloway’s monologue about Sam the soldier, which he had re-imagined for the recent Falklands War. We both chatted with the presenter for a bit and then I read out my poem ‘They’ve All Grown Up in the Beano’. I can remember that as I spoke I experienced the dizzying sensation of my heart hammering in my chest combined with a simultaneous delight in what I was doing. It was a feeling I’d only ever experienced before when kissing girls.
Our segment was soon finished and we were politely ushered out just as quickly as we had arrived. And before we knew it, we were stood out on the windy pavement of Portland Place like nothing had happened. This being the age prior to mobiles, there was no instant debriefing phone call like one might expect these days. David and I looked at each other and wandered off to a nearby pub to drink the remainder of the afternoon away. I was fizzing with excitement. I had just made my first broadcast on the radio. And it was so cool, they had microphones and soundproofing, and a control booth through the glass; and everybody who wasn’t on air still had a role to play.
While the experience was a bit of a let-down in one sense, the actual working environment was oddly inspiring. These people were being paid to do what I had done for pretty much every day of my life since I was thirteen, which was to play records and chat. This could very well be a future career! When I really thought about it, radio was the only thing that I was in any way qualified to do. So why not do it? It was one of the first times I experienced any kind of aspiration. I wanted to get myself a job in radio.
Even though this was the first time in my life I’d felt such a powerful surge of ambition, it took another ten years of poorly attended benefits and ropey gigs in the back rooms of pubs, plus the rise and fall of Red Wedge, my debut at the Edinburgh Fringe, a tour with Paul Weller, a few illadvised television shows and the birth of two daughters, before I was to walk into a radio studio again…
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Phill Jupitus
What possesses a right-minded comedian to quit the day job for life as a breakfast radio DJ?The opening DJ on the Beeb’s new alternative radio channel, 6Music, Phill Jupitus was a maverick on the flat landscape of inane commercial breakfast radio. Disregarding the prescriptive chart-led schedule and showing no fear in the face of BBC management, this ex-performance poet’s personal crusade against the bland, the predictable and the smug self-satisfaction ensured that he never had any trouble practising what he preached.Not one to pull punches, Phill recounts with acerbic wit, honesty and more affection than he would care to admit, his encounters with petulant band members, tedious showbusiness jargon, colossal salaries and four-letter firewalls.Inviting world-weary media cynics and radio enthusiasts to sit back and revel in a heady dose of painful banter ensuing from the absent interview technique, The Clash, the perils of idols as on-air guests, Black Umfolosi and The Coasters, Nantwich remorselessly dissects the limply beating heart of breakfast radio and reconstructs it one playlist, anecdote and transcript at a time.
Good Morning Nantwich
Adventures in Breaklast Radio
Phill Jupitus
Table of Contents
Cover Page (#u9bf56e7b-4f66-5f99-a397-3fdb33083807)
Title Page (#ub54bb405-efbe-559e-ab0b-9ff8e2312ea5)
Foreword by Lauren Laverne (#u65aa0161-a77e-507e-a2d5-47d66a752270)
Introduction The Life Pursuit (#u63fd6a57-de95-57e1-9aaa-2b96fe8ff91c)
Chapter 1 Workers’ Playtime (#ubb47bf15-9b51-5a97-831b-66c40b71790b)
Chapter 2 The Boy in the Corner (#u714054c3-bd91-5660-ac23-e96ac030c49d)
Chapter 3 The Golden Age of Wireless (#uf3bb02c0-57f1-5817-8a49-70d0b534f2cf)
Chapter 4 London Calling (#u34f33332-305b-5cfe-b461-5386d1006446)
Chapter 5 Employment (#u6ccc43a7-a33f-5ec3-a24a-605cb570a416)
Chapter 6 Equally Cursed and Blessed (#uce1e10e0-28cb-54bd-9c77-e3fe10560a15)
Chapter 7 Now We Are Six (#ua8231ae2-4dab-5caa-bf5a-de513e71329e)
Chapter 8 Waiting (#u2d623ad3-1191-53dc-8cf3-b4a7304517d7)
Chapter 9 We’re Not Happy Till You’re Not Happy (#ufebbbd10-79ab-5218-a151-6b4560e94c27)
Chapter 10 New Morning (#u9eaadf42-4a59-54ec-8a61-613643e2c8b1)
Chapter 11 What Once Were Vices Now Are Habits (#u3e29b328-87c5-5cf1-90be-33bbf4548092)
Chapter 12 Pleased to Meet You (#u97776c63-2210-5633-aa92-f1ddb40581c9)
Chapter 13 Impossible Broadcasting (#ucdc7b789-ea04-583c-8cc4-71860d664dd6)
Chapter 14 Odds and Sods (#u540b1525-bbbc-5a09-a1c3-024aed090383)
Chapter 15 Closing Time (#u22bef7b0-e536-50a3-a582-6b7373d3656a)
Epilogue (#u7034bd43-b3b6-595d-aeaf-d5dba4a29830)
Appendix (#u93b63a87-c805-5da0-9459-1d5bab84a85a)
Acknowledgements (#u978b7094-d07a-50c3-99d4-aabdd272570c)
Copyright (#u5f6ef9d0-4611-5fbb-b925-e702e4cc4f3d)
About the Publisher (#u39273a21-e6f9-5f15-9de8-9ce17972fdb6)
Foreword by Lauren Laverne (#ulink_67262a4a-a87f-5f3c-b83d-5fd86c90b6ac)
I first met Phill Jupitus when I was nineteen and a guest on Never Mind the Buzzcocks. I was in a band he liked at the time and, in exchange for a promotional badge for the defunct kids’ show No 73 (of which I had fond, childhood memories, and which he had visited during a stint as The Housmartins’ tour manager), I gave him a C90 of our unreleased demos. I probably would have given him the tape anyway, since he was the only person on the show who (a) liked my band and (b) had not laughed at the fact that I was wearing chopsticks in my hair and makeup purchased from an actual clown shop. But the badge sealed the deal – we became firm friends. That Jupes was happy to part with this small but significant artefact in pursuit of new music is also, I think, testament to his enthusiastic and eclectic attitude to the stuff. I can’t say I’ve come across that many people who can appreciate Vitalic’s electro face-melter La Rock 01, hit the stage with The Specials and belt out a show tune in full drag with equal ease.
A few years after our initial meeting I had started presenting, which seemed (as it still does) like ludicrously well-paid fun. I didn’t know that Phill had recommended me to his boss, Lesley Douglas, for the show after his on BBC 6 Music. Clearly I didn’t get it. But I did get a gig covering Glastonbury festival with him, John Peel and Jo Wiley, and our first trip to Pilton was my introduction to the station. I agreed to pop in as a guest on Phill’s Monday morning show, to round off the festival before catching a lift back to London with him and his producer. I arrived at the small hotel function room, from which the outside broadcast was taking place, to find my friend and colleague minimally rested and maximally refreshed after a belter of a weekend. And so it was that the very same day I was introduced to 6 Music, I was re-introduced to driving after letting my licence lapse for some five years. Specifically, driving Phill’s automatic, left-hand-drive, tank-sized Jeep down the insanely busy M4 back to London while its owner slumbered in an ursine fashion on the back seat.
Not long after that, I deputised when Phill took a few weeks’ holiday from his Breakfast Show slot. I was 23 at the time and had the kind of life where 5.00 a.m. is a time you’re still up, not a time you get up. It was a huge shock to the system, and after my stint was up my then-boyfriend-now-husband made me swear I would never take another breakfast job because I’d been such a nightmare to live with. Suffice to say, I did. It was supposed to be a holiday romance with Dame Radio, but she had seduced me with her silky intimacy, immediacy, ability to communicate directly and her stellar taste in music. Within a couple of years I was hosting the XFM breakfast show, some of the best broadcasting fun I’ve ever had, even though I started so early the audience for the first hour consisted exclusively of milkmen and adulterers.
You see, TV is great – like being invited to a glitzy, ridiculous, gossipy party, packed to the rafters with fabulous people (OK, maybe not Countryfile, but you know what I mean…). Who wouldn’t want to get involved? Radio is the opposite. It is not for the popular. It is not pretty. There is an infamous story about a much-lauded TV presenter who arrived at the country’s biggest commercial station to start her new show and asked her producer, ‘Where’s my script?’ When she was informed that there was no script, this was radio and she was required to think of something to say, she turned on her Louboutined heel and ran like the wind, never to bother a popshield again. In essence, the job is sitting in a windowless room, clutching a foul-tasting beverage from an inevitably malfunctioning coffee machine, talking to yourself and occasionally putting a record on. Yet for some reason, for some of us, it’s bliss. And we know we aren’t talking to ourselves, not really. We’re talking to people like us. Radio is an industry largely run by oddballs and misfits, and specialist radio – like 6 Music – is the thick end of the nerd-wedge. To paraphrase Spinal Tap: There is none more geek. If you were ostracised, flushed, ridiculed and/or obsessed with music everybody else thought made you gay or a Satanist at any point during your school career, well…welcome home.
It’s almost a decade since Phill introduced me to radio, and I haven’t been without a show of my own since. In fact, I currently occupy the 10–1 slot on BBC 6 Music that he suggested that Lesley Douglas give me all those years ago. It’s the most fun I’ve ever been paid to have. And the 6 Music audience are some of the cleverest, most interesting and hilarious people I have ever met. They also have impeccable taste. At the time of going to print the station’s future is uncertain, which seems unjust. There should be a place like 6 on the dial – somewhere idiosyncratic and surprising where you can hear Jarvis Cocker present a Valentine’s Day show dedicated to the Chaucerian idea of love, or get your favourite Zombies record played out at 10.00 a.m. Somewhere that imagination, creativity and music are held so dear must be of value. I hope that the station Phill helped launch is allowed to carry on and – if not – that it will be remembered fondly by the people who loved it. I also hope that this book gives you an insight into the mind behind the mic, some tales that make you laugh and an insight into the way a man’s love of broadcasting might drive him to madness and beyond. Possibly to Nantwich.
Introduction The Life Pursuit (#ulink_e467fa73-7dbc-5faa-bdd0-ce4378e293ce)
By the spring of 2002 I had spent over a decade as a successful stand-up comedian in the UK. This job not only gave me a creative outlet, it provided immediate feedback from my audience and, above all, complete autonomy. So why exactly would I chuck in such freedoms for a job, which would give me a good deal less control? Where I would be answerable to a lengthy chain of management and feedback would be minimal at best and the audience reaction was something we would not discover for eighteen months? As I look back at things now, this is a question that I wish I had asked myself a lot sooner in life. But even if I’d had the prescience to ask it back then, the answer would have been the same then as it would be now. I love radio and I was reminded of that fact a week before Christmas in 2009.
18 December was quite a busy day one way and another. I woke up weary and a bit achy as I’d been singing and dancing while dressed as a lady in the musical Hairspray the night before. I had a day off scheduled in order to go up to the NEC to do a gig with The Blockheads and on the way there I was going to do all my Christmas shopping. It was also the day that Terry Wogan would broadcast his last-ever breakfast show, Wake Up to Wogan.
In September of that year Terry finally announced the day that his be-cardiganned legions of fans had been dreading. He would be pulling down the final fader on his breakfast show just before Christmas after twenty-seven years. The outcry was almost immediate at his replacement, the titian-haired host of Radio 2’s drivetime show Chris Evans. Listeners had been irate enough when he was brought in to replace Johnny Walker, but replacing Sir Terry? Yet to be honest, whenever anybody stops doing anything there is an immediate outcry from somebody who’s not happy about it. The British as a race are resistant to change. We felt it more so in Wogan’s case because there were a few million of them.
When I first heard that Terry was going, I thought back to our rare snatched conversations on the pavement outside Western House or in the lift to the studios. Occasionally I would work up the courage to ask him the question. ‘How long are you going to give it?’ He’d always briefly ponder before saying: ‘I don’t know. Maybe next year. But I’m still enjoying it…’ Then after a beat: ‘You don’t want to overstay your welcome…’
We shared a knowing glance. Sir Jimmy Young had overegged his Radio 2 pudding by at least a decade, finally departing his lunchtime show with about as much ill humour and as little grace as anybody could possibly muster. Then in his Sunday Express column he proceeded to retrospectively bite the hand that fed him – quite nicely, thank you – for over thirty-five years. I frankly think if he’d kept doing the recipes and left the politics to the professionals, he’d have been alright. But one gets the sense that he genuinely thought he was the new Robin Day. As I listened open-mouthed to his grumpy and bilious final show in December 2002, I do remember thinking, ‘Make sure to jump before you are pushed…’
With the loss of Terry, people were going to have to make a huge adjustment. Indeed the effect on many would not be unlike a bereavement. Terry had been a huge part of their lives for decades. They’d had almost thirty years where they would get up, stretch, reach out and turn on their radios and hear the very same voice from Monday to Friday. Without really meaning to, he subtly wove himself into the fabric of the lives of millions. His easy-going manner, ready wit and soothing voice had been heard in the bedrooms, bathrooms, kitchens and cars of the nation for decades. This wasn’t going to be some bloke quitting a job. This was like losing a member of the family.
But surely the comings and goings of who presents what at which radio station are insignificant in the grand scheme of things? Indeed so, yet it’s worth bearing in mind that avid radio listeners somehow take it more personally. They develop a kind of symbiotic relationship with favoured presenters. And when that relationship, as is customary, ends abruptly, they have no control over it. They feel powerless against such sudden unwanted change. Conversely, those who manage radio stations do have power, but think about their networks as a whole. They strive to find the right chemistry between their many diverse presenters who fill the schedules. Usually this involves tinkering around until they get just the right mix. Unfortunately they often forget that their tinkering affects the listening routines of thousands, and as a listener this can be frustrating. It’s not like football, when the manager takes off your favourite player and you get to scream and shout at him for ninety minutes. If your favourite deejay gets bounced, your only recourse is to fire off a surly email or phone Feedback.
When I heard the news about Terry, I thought back to my own somewhat smaller-scale departure from the breakfast show for BBC 6 Music at the end of March 2007. I pondered our respective statistics. Wogan had a commanding twenty-seven years behind the mic to his name, while I had only managed a paltry five years and three weeks. His audience was a stunning 8 million while at my final peak I’d hit just under 500,000 with a following wind. Terry was a national institution while I remained the big bloke who was always rude about Van Morrison on that pop quiz thing.
With each passing record that Terry played on that last morning, I found myself getting quite misty. Even though it was a rare occasion when I’d turn over from Today on Radio 4 to tune in to him, I simply felt better just knowing he was there just a few kilohertz down the dial. I knew my mother would be listening to him, just as she had done ever since the 1970s. Oddly enough she listened to his last show on the DAB radio I had bought her so she could listen to me on 6 Music. To the best of my knowledge she only ever listened to my show a few times, if that, but like my relationship with Wogan I assume she felt better just knowing I was on air, so didn’t feel the need to actually tune in.
On that final Friday, Terry was obviously only playing songs from his own collection, but each one seemed just that bit more mournful that the last. Even though he was mostly cheerful and upbeat during his links, you could feel the audience were in tears from the moment he went on air. When he played Peter Gabriel and the Black Dyke Mills Band’s haunting ‘That’ll Do’ even I found myself welling up. As he launched into his final link on the show, a tear rolled down my cheek…
‘This is it, then. This is the day I have been dreading – the inevitable morning when you and I come to the parting of the ways, the last Wake Up to Wogan. It wasn’t always thus. For the first twelve years it was the plain old Terry Wogan Show and you were all Twits, the Terry Wogan Is Tops Society. When I returned to the bosom of our family, it became Wake Up to Wogan and you all became TOGs, Terry’s Old Geezers and Gals. It’s always been a source of enormous pride to me that you have come together in my name, that you are proud to call yourself my listeners, that you think of me as a friend, someone that you are close enough to laugh with, to poke fun at and occasionally, when the world seemed just a little too cruel, to shed a tear with.’
Halfway through this poignant final moment I pulled into a lay-by as I felt sure that my constant eye wiping might pose a hazard to other drivers. It was the perfect goodbye from a perfect gentleman. It’s difficult to explain to someone unless they’ve grown up with Wogan as part of the cultural landscape how important he was, but I’ll give it a go. Imagine that you have a favourite uncle. (Perhaps you don’t have to imagine.) He’s the slightly wild one who would take you shark fishing, or out in his sports car with the top down in the rain, or let you have a go on the aerial runway over that bonfire, or insist you stay up late on a school night, and he was always hilarious at weddings so you desperately wanted to sit next to him, and he was kind and polite and only ever swore by leaning towards you in that conspiratorial way so auntie couldn’t hear. That is how I saw Terry Wogan, and now he was gone.
As the Jeep churned through the December morning slush, I realised that this was truly the end of a radio era. With Wogan gone the way was left clear for the ragtag assortment of ‘popular’ deejays hoping to profit from the chaos that would ensue in the wake of his departure. The Harriets and Jamies and Evanses and Moyleses and Neil Foxes of this world – loud, hugely successful, unchallenging, award-winning, lowest-common-denominator, ratings-busting radio, which I have always found, in a word, unlistenable.
As the tracks of my tears dried on my cheeks I remembered that the very show I had left nearly three years ago was currently in the hands of a fine broadcaster in the shape of Shaun Keaveney. A former alumnus of XFM, Keaveney was a laconic Northerner with a soothing voice and a snappy line in banter. Not for him the early morning histrionics of his peers. No, Keaveney had, if anything, an even more laid-back style than I did. I have to admit that when I was told he would be taking over the show I hadn’t heard him. But when I did tune in from time to time, he was funny, he knew his music, and was a cracking listen. As a member of the audience, my breakfast radio future would be kept safe in the bosom of the station I had launched, BBC 6 Music!
Then, just two months later, my inbox pinged with the arrival of an email from my mate Celine who worked at Guardian Online. ‘Hey, wanna do something for us on 6 Music? Gimme a bell…’
To be honest I wasn’t all that keen. I’d left and the station had taken a new direction. An ambitious young man called George Lamb had been given the mid-morning show. He was dead set on a television career but for some reason was approaching it via niche radio. He was an absurdly handsome West London hipster, whose interest in music seemed secondary. Despite this he picked up a whole new chunk of listeners whilst simultaneously drawing the extremely vocal ire of old regulars with his shouty shenanigans. He rapidly became 6 Music’s first Marmite deejay and was even regularly lampooned in the pages of Viz. You have to wonder at the logic of following the breakfast show with what was ostensibly another breakfast show, but to be fair if I knew how to run a radio station then I’d be doing that instead of writing this book.
In the wake of ‘Sachsgate’ and Lesley Douglas’s controversial departure from radio and 6 Music, Lamb’s employer and principal advocate was gone. He was quietly moved to a weekend show and the sassy and bright Lauren Laverne was given his slot. This went down very well with the majority of the audience as she was not only someone with a broad musical knowledge, but had been in a band, was a regular on BBC2’s Culture Show and the main host of the corporation’s annual Glastonbury coverage. The high points of her show were always when she strayed away from the playlist and introduced us to new sounds. Her obvious enthusiasm for the job is infectious. When I heard Lauren was joining 6 Music I couldn’t help but laugh as I had suggested her to Lesley Douglas as a presenter back at my very first meeting in 2001.
But I didn’t really understand why the Guardian wanted me to write about 6 Music, so I called Celine. After two rings she picked up.
‘Alright, girl, it’s Jupitus.’
‘Hey you, how are you? Missing frocking up for Hairspray?’
I reverted to my standard response to mates on the phone when I was doing fuck all.
‘Only the eyeliner really. Other than that I’m not bad. Trying to get going with that radio book I told you about…’
‘Well, it’s funny you should say that, we were wondering if you wanted to do a piece about 6 Music closing down?’
‘What?’
‘Oh no, haven’t you heard? Yeah, apparently Mark Thompson’s got some budget review they’ve been working on and they’re losing a load of online stuff. Asian Network’s going and so is 6…They’re announcing it officially next week.’
A mix of emotions welled up inside me. Even though I had nothing to do with the network any more, I had mates still working there. And it was a really really good radio station catering for an audience of licence-paying outsiders who had never had any kind of representation during the daytime radio schedules. At least, not since the original XFM sold out to GCAP. My head fell into my free hand and I ran a hand down my face and shouted in my kitchen, ‘Oh, for fuck’s sake…’
The dog looked up, somewhat startled.
‘I know,’ Celine continued, ‘just as they got rid of George bloody Lamb and started to turn things round…’
First Wogan, and now this. I always knew radio was due for some radical changes but assumed they’d come from the competition posed by podcasts and internet radio. When 6 Music was launched I was hugely optimistic about its chances of success as there was no radio station like it. And now after spending over £40 million on running the station and building up an audience, and a year before the digital switchover, they were cutting them loose. Genius.
Radio was something that I had grown up with, and through a combination of sheer luck and the odd bit of conniving I had managed to do it for a living for five years. Now it appeared to be all changing for the worse. Wogan was doing weekends, 6 Music was on notice and I wasn’t on air any more.
I had been a Radio 1 listener since its launch in 1967. Broadcasters like Tony Blackburn, Dave Lee Travis and Jimmy Saville were known to millions through their daily shows as well as countless television appearances on Top of the Pops. So as I walked into a building that represented everything that I knew about radio, it is fair to say that I was a little overwhelmed. It was on a Saturday afternoon in the autumn of 1985 when, as a fresh-faced twenty-two-year-old, I wandered hesitantly into the reception of Egton House, the then headquarters of the nation’s favourite radio station.
The interview had been organised by the promoters of a gig I would be taking part in the following day called The Ranters Cup Final. East London’s legendary performance space, the Theatre Royal Stratford East, would be playing host to the aforementioned ‘Ranters’. Ranting Poetry was a briefly popular movement of poets, most of whom were absolutely terrible. This ragtag bunch of new ‘young’ performers would spew justifiably terrible things about the government of the day while simultaneously attempting to be funny about their personal lives. This might not have been quite so bad if they’d had the decency of sticking to iambic pentameter. At the time I was known as Porky the Poet, a name combining my habit of self-deprecation along with the self-delusion that I was any kind of poet.
Myself and another performer at the event, Bradford’s excellent Little Brother, had been selected to go on national radio in order to give the people a flavour of what they could expect from the gig, and hopefully in the process sell a few tickets. In the mid-1980s performance poetry was in the ascendancy. In the late seventies John Cooper Clark and Linton Kwesi Johnson had opened the doors for a whole new raft of performers in the post-punk years. The music papers gave glowing reviews of some of these new acts, which I can only assume is the reason that Radio 1 were interested. If it’s good enough for the NME then it’s good enough for us, seemed to be their modus operandi.
It was only when I had worked in radio myself that I began to understand the constant demand for content to fill the hours of airtime. Combine this with the fact that the promoters weren’t about to knock back some free national exposure and we were dispatched to the West End and a short walk north from Oxford Circus tube. Egton House was tucked away in a tiny mews off Portland Place to the side of Broadcasting House just behind All Souls Church. As we walked up to the very ordinary-looking doors, I was somewhat underwhelmed at what I saw.
In my imagination, the premises of the country’s top pop radio station had always been a vast, beautifully designed concrete, steel and glass affair, dense with exotic palms and ferns. As you wandered through the silently welcoming automatic doors, a bird of paradise would streak past you and perch on a nearby stone plinth. You would look away from its dazzling plumage and notice with delight that set upon that very same plinth was a shining bronze bust of Simon Bates, smiling beatifically. As you cast your gaze around the regally appointed lobby you would see a number of similar likenesses of the Radio 1 greats of the day: Gary Davies, Noel Edmonds, Bruno Brookes, DLT – The Hirsute Cornflake – the completely hilarious Adrian Juste…every few yards you would spy yet another broadcasting legend. The base of each of these monuments would be surrounded by the offerings of their loyal legions of fans: soft toys, underwear both unwashed and brand new, flowers, cakes and home-made cards all declaring never-ending devotion.
Oh it wasn’t like that at all…
A large and lightly perspiring man sat on the opposite side of the counter in the standard security guard uniform of white shirt with epaulettes and dark blue tie. We nervously gave our names and our reason for being there, just in case the names alone weren’t enough. He jotted them down in a book and handed us each a yellow sticker stamped with the day’s date and the familiar BBC logo. He barely looked at us while picking up a telephone and mumbling into it before pointing in the direction of a nearby cheap sofa. ‘They’ll be down for you in a minute. Take a seat please…’
The reception area could best be described as ‘utilitarian’. I felt like a character marooned in some backwater of the Eastern Bloc in a Cold War spy novel. This thought had me muttering ‘Yes we have no bananas’ under my breath in Russian. You couldn’t fault my tradecraft. Presenters of the day grinned forlornly from framed photos on walls, which clearly looked embarrassed about having to display them, and by the doors a rack groaned with cheesy postcards of the same faces and a few others. I wandered over and took out a John Peel postcard for myself, simply because he looked so deliciously uncomfortable at having his picture taken. Dave Lee Travis, on the other hand, appeared to be over the moon. He had opted for ‘wacky’ from his extensive catalogue of looks.
Once we were introduced and on air the time whizzed by. As I glanced around our surroundings I was delighted to note that studios really did have a red light up on the wall that said ‘ON AIR’ when the microphones were faded up. I had always thought that was just a Hollywood conceit. Little Brother performed his excellent parody of Stanley Holloway’s monologue about Sam the soldier, which he had re-imagined for the recent Falklands War. We both chatted with the presenter for a bit and then I read out my poem ‘They’ve All Grown Up in the Beano’. I can remember that as I spoke I experienced the dizzying sensation of my heart hammering in my chest combined with a simultaneous delight in what I was doing. It was a feeling I’d only ever experienced before when kissing girls.
Our segment was soon finished and we were politely ushered out just as quickly as we had arrived. And before we knew it, we were stood out on the windy pavement of Portland Place like nothing had happened. This being the age prior to mobiles, there was no instant debriefing phone call like one might expect these days. David and I looked at each other and wandered off to a nearby pub to drink the remainder of the afternoon away. I was fizzing with excitement. I had just made my first broadcast on the radio. And it was so cool, they had microphones and soundproofing, and a control booth through the glass; and everybody who wasn’t on air still had a role to play.
While the experience was a bit of a let-down in one sense, the actual working environment was oddly inspiring. These people were being paid to do what I had done for pretty much every day of my life since I was thirteen, which was to play records and chat. This could very well be a future career! When I really thought about it, radio was the only thing that I was in any way qualified to do. So why not do it? It was one of the first times I experienced any kind of aspiration. I wanted to get myself a job in radio.
Even though this was the first time in my life I’d felt such a powerful surge of ambition, it took another ten years of poorly attended benefits and ropey gigs in the back rooms of pubs, plus the rise and fall of Red Wedge, my debut at the Edinburgh Fringe, a tour with Paul Weller, a few illadvised television shows and the birth of two daughters, before I was to walk into a radio studio again…
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Phill Jupitus
Тип: электронная книга
Жанр: Кинематограф, театр
Язык: на английском языке
Издательство: HarperCollins
Дата публикации: 28.04.2024
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О книге: What possesses a right-minded comedian to quit the day job for life as a breakfast radio DJ?The opening DJ on the Beeb’s new alternative radio channel, 6Music, Phill Jupitus was a maverick on the flat landscape of inane commercial breakfast radio. Disregarding the prescriptive chart-led schedule and showing no fear in the face of BBC management, this ex-performance poet’s personal crusade against the bland, the predictable and the smug self-satisfaction ensured that he never had any trouble practising what he preached.Not one to pull punches, Phill recounts with acerbic wit, honesty and more affection than he would care to admit, his encounters with petulant band members, tedious showbusiness jargon, colossal salaries and four-letter firewalls.Inviting world-weary media cynics and radio enthusiasts to sit back and revel in a heady dose of painful banter ensuing from the absent interview technique, The Clash, the perils of idols as on-air guests, Black Umfolosi and The Coasters, Nantwich remorselessly dissects the limply beating heart of breakfast radio and reconstructs it one playlist, anecdote and transcript at a time.