Freaky Trigger And The Lollards Of Pop (Series 4, Week 9)

Glee’s amateur-hour version of Vogue is the one you’re discussing? Huh? (I type this having paused the podcast gob-smacked at 18:26… Hoping a corner is turned soon so that the joke’s on me!)

Whoops – our cuts are showing. That shouldn’t have been the Glee version; in the studio the song was skipping so we edited in a non-skipping version – but the wrong one! Our intern shall be whipped. And by intern I mean me.

I’ll correct this shortly.

EDIT: OK, this podcast has been de-Gleed.

“this podcast has been de-Gleed” – is there a way of applying this process to LIFE ITSELF? #fuckglee

Y’know, I’ve cut Glee every kind of slack, but this second season has just been unbearable. With one exception the eps have been completely charmless shambles. The exception was (2.4)’Duets’, which was all-around excellent. But that’s not enough for me, so I’m out (I may watch the odd well-reviewed ep. henceforth, but that’s it), and I have a feeling I’m not alone. The show’s still rating well, but it’s hard to see how that can last: there’s a bit of cultural bubble that has to be worked through (as all the cultural capital of new faces etc. from the first season gets burned through).

Nice show from Popular’s very own Peter, Paul and Mary. Even though you were discussing a track (and indeed artist) which is everything anti-Swede, it was a good listen. And I don’t think Kat sounded drunk at all. I wonder if they’d allow you back (with Marcello and Waldo in tow) to discuss the bitchfight on “Barbados”… I’ll get me coat.

Loved “Disco Clone” btw. Well done all three of you.

@12 i don’t claim senior FT status, but i do have a clint mansell anecdote.

in 1991 or so, me and my then girlfriend (we were both kind of grebos) were queuing at a cash point in Birmingham city centre. the young woman in front of us was dressed in particularly notable “sharon”* white shell suit accessorised with neon wristbands and completed with a straggly black top-knot. in our horrible teenage way we thought this was most amusing and were raising our eyebrows and sniggering a bit (while looking quite the edward and mrs simpson ourselves, naturally). said Sharon turned around and was – of course! – our idol, clint-from-the-poppies.

*then the local equivalent of the nasty ch*v concept, i suppose. (the male equivalents were “kevins”)

# 14 – That “Popular Comments All-Comers special edition” would, of course, be fabulous but Mr Ewing would without question run a mile from it. Freaky Trigger would be closed down within hours of the broadcast if Marcello, Waldo, Rosie, Erithian et al were let loose unchaperoned…

# 14(2) – Coconut Airways, alas, went to the wall ages ago. Bloody Laker!

RE: the question around minute 50 as to who DJ Sprinkles was playing for. Yes, at the time Vogue came out, Sprinkles was a DJ at a famous NY Latina and African American vogue/ball/transgendered club called Sally’s II – which you seem to laugh as if that couldn’t possibly be the case. He got an “Underground Grammy” there as best DJ of 1991. The liner notes in the CD Midtown 120 Blues from which the track you played came from is clear about this context as a major influence on his own house productions (also printed on the Comatonse website). Sprinkles is also not about “authenticity” – but about “responsibility” in addressing contextual specificities, and the commitments one has to protecting subculture communities. He’s spoken in interviews that it’s not a question of Madonna’s authenticity – because Sprinkles dismisses the very notion of authenticity – and is about responsibilities and relationships. So the actual analysis is not obscure or unclear at all. It’s just that you guys aren’t familiar with the larger critique of Madonna’s Vogue (which is by no means limited to or invented by Sprinkles), and therefore dismiss it as his lone and personal angry rant because you guys had no framework for understanding it. You also mentioned Paris is Burning with absolutely no reference to the criticisms of that either.. and end with a very strange comment about super-sound-thief Malcolm McClaren being more authentic. All very strange. Sorry to say, in this case you guys didn’t do your homework.