chapter  1
The tribal rites of Saturday night: Discos and intellectuals
Pages 37

June 1995. Ten years after the release of Jamie Principal’s ‘Waiting on Your Angel’ and J.M.Silk’s ‘Music is the Key’ —the prototypical records of Chicago house-Pulp, a pop band from Sheffield on the cusp of success after an eighteen-year career, are playing their most prestigious gig thus far, headlining at the Glastonbury Festival. They premiere a new song, a forthcoming single about the rave scene called ‘Sorted for E’s and Wizz’ which reflects wryly on the comedowns of the second ‘summer of love’. In the opening lines, frontman Jarvis Cocker asks the crowd of several thousands of people gathered within the grounds of organiser Michael Eavis’s farm in Wiltshire ‘Oh is this the way they say the future’s meant to feel? Or just 20,000 people standing in a field?’3 When released some weeks later, amid much tabloid invective concerning its title (exacerbated by the fact that the sleeve bore a step-by-step illustration of how to construct a wrap, the paper container used to house doses of powdered drugs such as speed and cocaine), it was a hit, entering the UK Top Forty at number two.