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Jarvis Cocker’s ‘Desert Island Discs’ revealed!
10:55 am


Jarvis Cocker

Since 1942, guests on BBC’s long-running radio program Desert Island Discs have imagined what they would take with them into exile. Each “castaway” who visits the show gets to choose eight records, one book—the Bible and the works of Shakespeare are yours for free, so those boring answers are out—and a luxury item. There’s something about contemplating this unlikely scenario over the course of an hour-long broadcast that tends to disarm the guests.

Jarvis Cocker was Sue Lawley’s guest in April 2005, and as you’d expect, he brought along a fabulous playlist. Prompted by Lawley between songs, Cocker tells an abbreviated version of his life story, lingering on events from his youth in Sheffield that are at once sad and hilarious. His mother mistook pregnancy for a case of appendicitis; she forced him to wear lederhosen to school. He fractured his pelvis trying to impress a girl by swinging from window to window. And so on.

Since the podcast version of the show only includes clips of the songs, I’ve linked to the full recordings in the list below.

The songs:

Robert Mellin, “Theme” from The Adventures of Robinson Crusoe, performed by Gian Piero Reverberi

Joy Division, “Transmission”

Lieutenant Pigeon, “Mouldy Old Dough”

Engelbert Humperdinck, “Ten Guitars”

Scott Walker, “The War Is Over”

Dory Previn, “Lady with the Braid”

Johnny Cash, “I See a Darkness”

Ronald Binge, “Sailing By,” performed by the BBC Concert Orchestra (castaway’s favorite)

The book:

Richard Brautigan, Sombrero Fallout

The luxury item:

A bed with a mosquito net

Here’s the full radio broadcast, for your enjoyment:


Posted by Oliver Hall | Leave a comment
Cheeky gold records designed by Jarvis Cocker of Pulp
02:25 pm


Jarvis Cocker

One of the pleasures of crate-digging for old 45s are the colorful labels—the swirly Capitol design to be sure, but also Dunwich, Cameo, Etiquette, Chess, and Laurie, just to name a few. Jarvis Cocker of Pulp currently has an exhibition running at Red Bull Paris that plays on just such glories, an exhibition called “20 Golden Greats” that whimsically imagines an alternate world in which Jarvis was putting out singles for Polydor, London, and Belter Records. In an interview, Cocker mentioned that Pulp has received gold and even platinum records, but he had no interest in them and gave them to his mum for safekeeping.

His interest, however, was sparked by the idea of painting his own record labels for imaginary songs he never recorded for labels he was never involved with. For instance, there’s “22/7” for Map City Records, home of We the People; “Partystopper” for London Records, who obviously put out songs by some band called the Rolling Stones; “Love Handles” for Polydor, home of Slade and Motörhead; and “Am I Missing Something?” on Capitol, of the aforementioned orange and yellow swirl.

Jarvis clearly appreciated the economy of suggesting an entire recording session and radio run of a song with just a couple of words: “Titles are an important part of the music; in just a few words, they reflect an artist’s imagination. ... As a songwriter, someone who works with words, I enjoy the challenge of expressing something in barely three words.”

They started out as regular records, but in an apparent twist of egomania, I decided that they should be Gold records. At certain points in my career I received gold and platinum records but I always felt a little bit embarrassed, I was never quite at ease with the idea and always gave them to my mother because I certainly didn’t want them in my house.

This was the challenge I faced with this exhibition: how to make the gold record something desirable, something with class and sophistication, because as far as I’m concerned, gold records, and especially those you see lined up on the walls of recording studios, are always rather ugly.

The show runs through August 28.

Here are a few of Cocker’s imaginary gold records:




Cocker worked up these three tracks to accompany the exhibition: .

Some more of the labels—click on the image for a better view:


via It’s Nice That

Posted by Martin Schneider | Leave a comment
‘Sick Drugs Stunt’: That time when Pulp were ‘Sorted for E’s & Wizz’

There are not many pop lyricists as good as Jarvis Cocker. Listen to the best of his solo work or the songs written with Pulp and you’ll hear a man who eavesdrops on life and turns the everyday into poetic gold.

When he started, Jarvis had a romanticized view of the writer’s life—the noble poet ensconced in some distant high tower contemplating his own suffering and angst. This all changed after a brief spell in hospital when he tuned into the conversation of his fellow patients and found their lives and tales to be more fascinating than his own. It changed the way Jarvis wrote his lyrics—changing from songs of myself to songs of experience.

When Pulp headlined at Glastonbury in 1995, Jarvis explained his inspiration for the band’s new single:

“‘Sorted for E’s and Wizz’ is a phrase a girl that I met in Sheffield once told me… and she went to see The Stone Roses at Spike Island and I said “What do you remember about it?”. And she said, “Well there were all these blokes walking around saying ‘Is everybody sorted for E’s and wizz?’” And that’s all she remembered about it and I thought it was a good phrase.”

‘Drugs: Pulp Fiction’—NME fire an early warning shot about ‘Sorted…’.
When Pulp released the “Sorted for E’s & Wizz” as a double-A side with “Mis-Shapes” in September 1995, there was a sense that “Sorted…” would have the curtain-twitchers of Tunbridge Wells scratching angry letters to the papers. But as it turned out, it wasn’t the lyrics or the song’s title that saw a tabloid hate campaign launched against Pulp, but rather the single’s sleeve that caused a furore, as music paper Melody Maker explained at the time:

The cover of the single features a photograph of a page from a magazine folded into the shape of a speed wrap. No drugs are shown on the sleeve. The inside booklet features a series of origami-style diagrams showing how to fold a piece of paper to make a speed wrap. Again, drugs are neither mentioned nor shown. However, under pressure from retailers and Island Records, a new, plain white sleeve has been printed.

The press denounced the cover as a “sick drugs stunt,” and the Daily Mirror ran a campaign to ban the single claiming the band were “offering teenage fans a DIY guide on hiding illegal drugs.”

Exhibit A: The offending drug wrap cover.
I think it fair to suggest that most teenagers or twenty-something Pulp fans in the 1990s already knew how to make a drug wrap, because everyone was sorted for E’s, wizz, coke and anything else you could get your jammy little mits on during that decade—and this includes a whole tier of hypocritical Fleet Street journalists and TV producers, who snorted in their executive toilets but damned users in print and picture. Right or wrong, it was just the way it was, and Pulp’s song reflected the ubiquitousness of that culture.

But the Daily Mirror wasn’t just content with keeping down some working class pop stars, their journalists cruelly phoned a father whose son had died from taking ecstasy, and used his experience to damn the band. Classy.
It forced Pulp to change the single’s cover and opt for a clever and rather tasteful knitting pattern design for the song “Mis-Shapes.”

As Jarvis explained the change was more about giving people the chance to hear the song than just giving in to the ire of a few media pundits. In an interview with the Melody Maker, he discussed what happened:

When did you first become aware that the Mirror was going to run with the story?

Jarvis Cocker: It was about half past 10 on Tuesday night. It was my birthday. Usually I would be out on my birthday, but I wasn’t that particular night, and I got a call saying it probably was gonna happen. The next thing I heard about it was my mother calling up at quarter past 10 the next morning, saying breakfast TV and various people had been ringing her up trying to get my number and trying to get her to make a statement about it, and stuff. But me mum’s alright, she’s not daft, so she didn’t say anything to them.

It surprised me, cos the thing that I was anticipating having trouble with was getting the record played on the radio. I’d been told that, because it mentioned drugs, they wouldn’t touch it with a barge pole. They wouldn’t listen to it, and so they wouldn’t realise that it was just a song about drugs. It wasn’t saying drugs are fantastic. So, you know, I thought we were home and dry, but then they started taking exception to the sleeve. It’s stupid, cos that’s basically an origami diagram. Origami does not lead to drug addiction, as far as I know - I might be wrong. Nowhere on the sleeve does it say, ‘Put your drugs in this handy container’. People say it’s obvious what it’s for, but it’s them who’ve spelt it out. It’s like saying if you have a picture of a gun on a record cover, that means you’re gonna go out and shoot people. The subject matter of the song is about drugs, so it’s appropriate that it has drug related imagery.

Any road, the Daily Mirror took it upon themselves to ring up the Association Of Police Officers and get their opinion on it. It was kind of weird, cos they rang back and said they thought the song was great and they had no problem with it, but they thought the sleeve was bad. That was a problem for us, cos basically that could have led to it being banned from a lot of shops. So I thought to myself, I think it’s an important song for people to hear, and if the sleeve is gonna get in the way of people hearing the record, I don’t want that. I’ve been quite angry today cos there’s all this stuff to do with the chart people and all this daft formatting business, and they’re saying if you change the sleeve then it’s another format so it’s not eligible for the charts any more.”

More from the Melody Maker:

Ironically, the pre sales on the single were already well over 200,000 before its release on Monday - the biggest advance figure in Island Records’ history, according to the label’s marketing director, Nick Rowe. Regardless of the tabloid reaction, with Sorted For E’s & Wizz, Pulp seem to have tapped into the wider debate going on in the media concerning drug use in Britain. Recent examples being Channel 4’s ‘Pot Night’ and the current series, ‘Loved Up’.

Jarvis Cocker: I’m not saying I did it cos I thought we could open up a forum for discussion, but I think the drugs thing in Britain now is something that people can’t ignore any more. So many people are doing it you can’t just say it’s these fringe elements and they should be rehabilitated. People are just doing it on a recreational basis and treating it in the same way as they treat drinking or having some fags, so you can’t just say everybody who does it is an evil monster, and you can’t just like shut your ears to it every time somebody mentions it. There’s got to be some kind of a change in attitude to it. That’s why I thought it was great that it got played on the radio, cos that to me showed that there had been a change in attitude to drugs.”

Exhibit B: The offending diagram showing how to make a wrap.
Despite all the unnecessary hoo-hah about nothing much in particular, “Sorted for E’s & Wizz”/“Mis-Shapes” went on to hit the number two spot in the UK pop singles charts.

Below Pulp premiere “Sorted for E’s & Wizz” at Glastonbury 1995.

Posted by Paul Gallagher | Leave a comment
Life-size Jarvis Cocker and Judi Dench cakes, anyone?
11:42 am


Jarvis Cocker
Judi Dench

To mark “Yorkshire Day” today, Yorkshire Tea created life-size cakes of Pulp frontman Jarvis Cocker (who’s from Sheffield) and Judi Dench (who’s from North Yorkshire). There were other life-size cakes made of Spice Girl Mel B and Louis Tomlinson from One Direction. Sadly, there are no photos.

I was in Sheffield a few months ago and saw the premiere of Pulp’s documentary Pulp: A Film about Life, Death and Supermarkets during the Sheffield Doc/Fest. They’re proud of their local heroes there. Even the Pizza Express had paintings on the walls of Jarvis, Phil Oakey from the Human League (no mistaking that asymmetrical hairstyle for anyone else) and Richard Hawley so you could look at them while you ate.

This takes it to a whole other level, though…


via The Star and h/t Nicholas Abrahams

Posted by Tara McGinley | Leave a comment
Pulp: A Film About Life, Death and Supermarkets
02:41 am


Jarvis Cocker

Greetings from the super fun Sheffield Doc/Fest!

After spending a delightful two days in Glasgow, where Tara and I met our friend and longtime DM ally Paul Gallagher in the flesh for the first time (and where we saw the Necropolis, the University of Glasgow and the beautiful West End district, plus ate some insanely good curries), we arrived in Sheffield shortly before the big hometown premiere of New Zealand-born director Florian Habicht’s Pulp: A Film About Life, Death and Supermarkets.

Habicht’s film is as much about the city of Sheffield as it is about the group it spawned. In the few hours before the screening began, I walked about the city center for a while to soak up, you know, the local atmosphere and found myself very charmed by the city and her residents. Young people out and about, laughing and having a good time, families with little children and plenty of old people milling around too (there are lots of older fellows, the type who wear wool caps and call you “guv’nor,” sitting on benches bullshitting all over Sheffield). The Kiwi filmmaker had parachuted into the city in a similar manner—he’d never been here before he started filming—but when he went around looking for local color (and finding it in spades!) he took along a film crew. The results, I thought, were magical, but I’ll get to why in a moment.

When the box office opened, there were probably a good 2,000 people milling around in front of Sheffield City Hall waiting to get in. You could tell that a situation was brewing whereby the whole town basically wanted to be involved. People from all walks of life were queuing up and there was—truly—a “special” feeling in the air. I was excited myself. I’ve been a huge Pulp fan for over twenty years, but sadly I was never in the same city as they were when they played America (which was almost never). When I got back to the hotel to collect my wife, I saw Jarvis Cocker and several of his family members in the lobby getting ready to walk over to the venue (where the band members greeted friends and fans alike on the steps outside City Hall).

Inside the venue, with both balconies packed to the gills, a palpable feeling of excitement was in the air. A huge neon PULP sign topped the screen. When the film started, everyone in that room seemed totally psyched. I know I was.

Pulp: A Film About Life, Death and Supermarkets did not disappoint. It’s not, strictly speaking, a “rockumentary.” It’s close to being one, but it expands on the form so much that the term becomes kind of meaningless to describe it. What it is is an affectionate portrait of a city and of a band that are that city’s favorite sons and daughter. Nominally “about” Pulp’s final hometown show, many of Sheffield’s quirkier denizens get as much screen time as the band. When the film ended, the locals in the movie were asked to stand up and take a bow, and nearly all of them had been sitting in the section we were sitting in. I felt that the film was a triumph—moving, funny, sweet, eccentric—and the reaction from the audience, well, it’s the kind of thing that makes you feel like you are smiling with your heart. Two people who I spoke with were moved to tears. How many rock docs can you say that about?

Well, you can say it about Pulp: A Film About Life, Death and Supermarkets, that’s for sure. There was a mediocre review of the film in The Guardian last week that complained about Habicht’s film that “you can’t help thinking he’s missed the point of Pulp. Their music denigrated the people [of Sheffield] as much as it celebrated them.”

BULLSHIT! Try telling this to anyone in the audience in Sheffield on Saturday night. Introducing “Common People” onstage in the film, Jarvis tells the hometown audience that although the song isn’t about Sheffield and doesn’t take place in Sheffield, it could only have been written by someone who is from Sheffield. I think it was The Guardian that missed the point. Entirely. Would that the reviewer had seen Terry, the newspaper seller who makes a few appearances in the film being treated like he was a celebrity at the afterparty, he might’ve had a different opinion.

PS: After writing this, but before posting it, I ran into director Florian Habicht in the hotel lobby, introduced myself and basically said everything to him in person that I have written above. 

Posted by Richard Metzger | Leave a comment
A belated Britpop Xmas present: a brand new track by Pulp

Don’t blame the band for the late arrival of this brilliant new tune on Dangerous Minds, blame me (though they could have picked a better time to put this out than on December 26th when I’m on my hols, ferchrisakes.)

By far the best of the ‘Britpop’ bunch, you’ll probably be aware that Pulp got back together again, after a ten year absence, for a string of live dates last year.

Well they didn’t just tour. They also went into the studio with none other than LCD Soundsystem’s James Murphy, and laid down a brand new tune called “After You,” a power-disco-pop gem that fits snugly into the band’s canon of modern classics. It leans towards the band’s more uptight-funk sound—it’s even got a bongo breakdown—but as ever is carried along by Jarvis Cocker’s caustic with, and a delivery that combines hard-nosed snark with pure sexiness.

Here’s to more brand new Pulp tracks in 2013!

Pulp “After You”


BONUS! After the jump, the entire, two hour Pulp headline set from the 2011 Reading Festival.

Posted by Niall O'Conghaile | Leave a comment
Pulp’s splendid performance on the Jimmy Fallon Show last night
02:54 pm


Jarvis Cocker
Jimmy Fallon

Pulp performs “Common People” and “Like A Friend’ last night on the Jimmy Fallon Show.

Jarvis Cocker is a rock star at a time when there ain’t a lot of ‘em left.

Pulp is on tour and if you’d like to see Mr. Cocker and his band, here’s some upcoming tour dates:

10 April 2012 Radio City Music Hall New York, NY, USA
11 April 2012 Radio City Music Hall New York, NY, USA
13 April 2012 Coachella Indio, CA, USA
17 April 2012 Warfield San Francisco, CA, USA
19 April 2012 Fox Theater Pomona, CA, USA
20 April 2012 Coachella Indio, CA, USA
23 April 2012 Palacio de los Deportes Mexico City, Mexico
4 May 2012 SOS Festival Murcia, Spain
6 July 2012 Ruisrock Turku, Finland
8 July 2012 B’estfest Tunari, Romania
13 July 2012 Fiera della Musica


Posted by Marc Campbell | Leave a comment
Pulp: A lost interview with Jarvis Cocker and Russell Senior, from 1995

The sound quality is a bit rough and the picture rather watery, but there are still plenty of interesting things going on in this ‘lost’ interview with Pulp’s Jarvis Cocker and Russell Senior from 1995.

Recorded during Pulp’s first tour of Spain, the interview was conducted by writer and poet, Bruno Galindo, who asked Jarvis & Senior about the band, their career, their lives, the success of the album Different Class, and easy-listening music.

Previously on Dangerous Minds

This is Hardcore: Jarvis Cocker talks Pulp at Glastonbury 1995


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This is hardcore: Jarvis Cocker talks Pulp at Glastonbury, 1995
02:10 pm


Jarvis Cocker

Photo by Rankin

DM pal Rod Stanley, editor-in-chief of Dazed & Confused magazine (who is getting married tomorrow, congrats Rod!) recently interviewed the world’s last proper rockstar, Jarvis Cocker, about the moment when Pulp triumphed at their legendary show at the Glastonbury festival in 1995.

Dazed: I watched you play in 1995, when you replaced the Stone Roses at Glastonbury… I remember you walking out on to the stage and taking a photograph of the crowd – do you still have that photo?

Jarvis Cocker: I don’t even remember taking it. When we played there, we were added to the bill very last-minute so we had to camp on site. The night before, I had real trouble sleeping because I was so nervous… and there are these photographs of me there with this haunted look. So, I wish I did have that photograph. There are certain things of that night that are burned into my memory, I can remember going on and I can remember the end, but the middle bit has just been erased.

Dazed: There were a lot of those fisherman hats in the crowd … John Squire had broken his arm… and there was a kind of “impress me” atmosphere – but you won them over. Was that gig an affirmation? You had been together for almost 15 years as a band at that point.

Jarvis Cocker: Yeah it definitely was, especially that particular concert, because the thing that changed things for Pulp was that ‘Common People’ was a big hit – that had happened in May, and we played Glastonbury in June. So, I think it was the first show we’d done since we had become popular… and it was quite a moment because everybody sang along, and you realized that you’d crossed over into a different kind of world. As you say, they weren’t throwing the Reni hats at us. Or stones, or roses… I think they threw more roses than stones.

Dazed: I saw you again at Glastonbury, 1998, when you headlined the main stage on the Sunday night.

Jarvis Cocker: Yeah… very wet.

Dazed: Absolutely mud-soaked. And you congratulated everyone for staying, shouting “You… Are… Hardcore!” And got pretty much the biggest cheer from any audience ever.

Jarvis Cocker: I’m always impressed by audiences… I’m such a poof I would just go home. Especially on Sunday, you know what Glastonbury can be like, it’s a psychic obstacle course – and if you’re wasted and wet and been there for three days and haven’t slept very much, you would be well in your rights to go home. So, the fact that people were still there, I was just grateful.

Read the rest at Dazed Digital.

Below, Pulp achieve lift-off at the Glastonbury Festival, 1995

Posted by Richard Metzger | Leave a comment
Will there ever be another John Peel?
01:52 pm


Jarvis Cocker
John Peel

The great greatest British disc jockey, John Peel would have been 72-years-old today.

In the years since Peel’s death, there has been no one, absolutely no one, who has stepped into his shoes to do what he could do. You’d think that it would be the case that some new golden-eared music fanatic for a new generation would come along and tell us all what’s good to listen to, but clearly—and sadly—that’s not happened. This is a testament, of course, to just how culturally influential this one man truly was.

In the clip below, Jarvis Cocker tells a charming anecdote of a star-struck youthful meeting with Peel that led to a “Peel Session” for Pulp in 1982.

Via the awesome Sabotage Times

Posted by Richard Metzger | Leave a comment
For the love of the ‘Common People’: Fans cover Pulp

Following on from Bob Dylan’s suggestion we should write his autobiography, Pulp are currently running a competition to find the best cover version of one of their tracks:

During the process of learning to play the old songs again we have been consulting the cover versions posted on-line… Vote for your favorites by ‘liking’ them - or upload your own rendition if you think you can do better.

There’s even “a musical prize” for the winner.

As “Common People” is Pulp’s best known song and the one that appears to encourage most cover versions (will anyone surpass William Shatner’s version?) here are 8 covers of “Common People” - just a small selection of the many videos so far uploaded onto the site. If you want to see more, vote for your favorite, or think you can do better check here.

William Shatner’s cover of ‘Common People’ as a Lego animation by niblickthe3rd 
More Pulped versions after the jump…

Posted by Paul Gallagher | Leave a comment
The brilliant Pulp in ‘No Sleep Till Sheffield’ from 1995
02:54 pm


Jarvis Cocker
Brit Pop

Made in 1995, at the height of “Brit Pop” (that much hyped re-imagining of the 1960s), Pulp: No Sleep till Sheffield follows the band on their tour of the UK, which culminated with a gig in Sheffield, the Pulp’s hometown.

While best known for its stainless steel, cutlery production and incredible greenery (with 2.5 million trees, the highest ratio of trees to people of any city in Europe), Sheffield is also famed for its wealth of musical talent, a list which includes Joe Cocker, Def Leppard, The Human League, Cabaret Voltaire, Heaven 17, ABC, Richard Hawley, The Longpins, Moloko, Arctic Monkeys, The Long Blondes and, of course, Pulp.

Though associated with “Brit Pop”, Pulp were formed in 1978, and had released 3 albums, by the time of their breakthrough record His ‘n’ Hers in 1994, which announced a band of talent, originality and wit. This was followed in 1995, by the equally brilliant Different Class, which delivered one of the decade’s greatest pop songs,  “Common People”.

This summer, Pulp tour the Festivals, starting on May 27 at Primavera Sound, Barcelona, followed by the Isle of Wight Festival on June 11, and T in the Park on July 10. For full details check here.

Previously on DM

Pulp set to reform for Summer 2011 Festival shows

Jarvis Cocker: ‘Cunts Are Still Running the World’

When jarvis Cocker Met Michael Jackson

Jarvis Cocker meets legendary ‘Top of the Pops’ DJ Jimmy Savile

Bonus clip of Pulp’s legendary performance of ‘Common People’ at Glastonbury 1995, after the jump…

Posted by Paul Gallagher | Leave a comment
When Jarvis Cocker met Michael Jackson
05:11 pm


Michael Jackson
Jarvis Cocker

Well, it’s been almost fifteen years and Jarvis Cocker still hasn’t gotten his much deserved knighthood for jumping onstage during Michael Jackson’s ludicrous “messianic” performance at the 1996 Brit awards when the King of Pop implied he had the power to heal children and sick people. While the incident is well-known, of course, in the UK, this story is less known outside of Britain.

As Cocker told BBC’s Question Time in 2009:

“He was pretending to be Jesus. I’m not religious but I think, as a performer myself, the idea of someone pretending to have the power of healing is just not right. Rock stars have big enough egos without pretending to be Jesus – that was what got my goat, that one particular thing.”

Cocker and his friend, former Pulp member Peter Mansell jumped onstage and caused comic confusion before being led off by security. It was reported at the time that Jarvis “mooned” Jackson (that’s what I always believed) but this is not true at all.

The incident itself, which took place on live television. GENIUS!!! Even if you’ve seen it before, it’s still laugh out loud funny.

The police detained the Pulp frontman on suspicion of assault. A former attorney, comedian Bob Mortimer represented Cocker, who was released without charge.

Noel Gallagher, of Oasis proclaimed, “Jarvis Cocker is a star and he should be given an MBE.” Clearly the editors of the Melody Maker felt the same way. I was already a huge Pulp fan at the time, but this made me love them—and their lanky, fashionable and intellectual frontman—all the more.

After the jump, Jarvis Cocker’s press conference about the incident, Cocker looking back on the Brit awards stage invasion in 2009 and how the story was reported on at the time in Amercia..

Posted by Richard Metzger | Leave a comment
Jarvis Cocker meets legendary ‘Top Of The Pops’ DJ Jimmy Savile

Jimmy Savile has been a pop culture icon in England since the early 1960s when he was a host on BBC TV’s “Top Of The Pops,”  NME Awards presenter and Radio One deejay. Savile’s pimpalicious fashion sense, platinum page boy, monumental cigar and ego converge in a larger than life character that is both charming and a wee bit appalling.

Jarvis Cocker presents his top ten rules for making the perfect television pop show. Rule number 8: Get Jimmy Savile. From British TV series “Favouritism.” As Savile blows hard, Cocker is like a sail in a hurricane.

Posted by Marc Campbell | Leave a comment
Jarvis Cocker: ‘Cunts Are Still Running The World’
04:03 pm


Jarvis Cocker


Like Mr. Cocker, I hope one day this song will become obsolete. But until then…
With thanks to Suzanne Moore

Posted by Paul Gallagher | Leave a comment
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