Threepenny Memoir: The Lives of a Libertine. Carl Barat
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of our laughter, and I don’t think we were laughing because we thought the situation funny. Fundamentally, we were pretty scared of her. In the end I took the coward’s way out and fled to Manchester in the middle of the night. Peter had already gone, and I was getting the fear alone in my cage. Someone told me Natasha has since moved to Ireland, but if ever I’m on the Holloway Road I still tread lightly.
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They were lazy days on the whole, though, and when there was no wind to fill our sails Peter and I would drift in slow circles, becalmed, waiting for the currents to bear us away. After we left Holloway, we moved to Dalston, where Peter had a room and I was sort of squatting. Also there was Don, whose place it was, who was eccentric at best, and another guy, Mad Mick, who lived up to his name and was always hanging around. Nothing much moved on those long hot days, cars hummed in and out of sight, and we lay listlessly in sunlit windows trying to feel the world turn. Downstairs there were a couple of French girls who spent their spare time attempting to make ketamine out of rose-water that they’d bought at the chemist. They’d spend afternoons boiling all sorts of ingredients in rose-water, because one night at a club someone had given them a bum tip that that was how you made the stuff, but they were having about as much luck with that as most alchemists have conjuring up gold. Mad Mick was from Brooklyn, and I liked him. He was quiet and self-contained, but a lunatic with it, and it was as if he lived in the shadows: you’d only see him at very strange times, like six in the morning at Dalston Kingsland train station when he really lived over in Kentish Town. We’d always meet him at the most odd, out-of-the-way places with the oddest people. We’d show up at a random squat party in Deptford and he’d be there. I was in a Jobcentre in Hackney once in an interminable wait to see someone and I suggested we start breakdancing and, without another word, he did. He was a damn good breakdancer, and it made the surly staff feel uncomfortable, which was a bonus.
During those early days we got a gig in a nursing home in East Ham because our drummer at the time knew one of the nurses there and we’d been promised £50 if we did this gig for the old people. So we trooped down and were confronted by a room of very fragile and vulnerable old people, the kind of old people, shockingly old, you don’t see on the street any more because they can’t really get around. I feel quite bad about it now. About the most suitable song in our repertoire was a cover of ‘Anything But Love’, the old jazz standard, and we tried to be quiet, but we weren’t especially good at that, and there were a lot of fingers in ears and a lot of confusion. People kept getting up and walking around, as if they weren’t quite sure what was going on, or where the door was. One of the patients there was called Margie, and she took rather a shine to us; the poor lady had alcoholic dementia and kept asking if we’d brought a pint with us. We persisted, though, and by the end of our set a few people seemed into it. Then a couple of nurses came in and quietly drew a curtain around one of the beds. It transpired that its occupant had died during our performance of ‘Music When The Lights Go Out’. It was a pretty incomprehensible moment for us, but the nurses took it entirely in their stride. It might sound cold, but I suppose that’s just how it is in a hospice. It was terribly tragic, but what a pertinent song to go out on. There are, I imagine, worse ways to go.
To add to the surreal turn that the day had taken, before the gig we’d told Mad Mick that he could be our manager. We didn’t really want him to be, and of course there wasn’t a job because we didn’t really need a manager back then, but it was just a cool thing to tell people none the less. We’d said to Mick that if he ran to the gig from Dalston then the job was his. As we left the hospice after this terrible confusion, just as we were driving off, we saw Mick at the end of the road, huffing and puffing. He had just arrived, had run all the way, but there wasn’t room in the car to give him a lift back so we had to leave him there. I remember looking in the rear-view mirror and there was Mad Mick, confused and red-faced, sweating in his jeans, getting smaller and smaller until he was only a speck.
Gigs like that were clearly not going to pay, so I had a series of other, mostly crap, jobs that I sometimes enjoyed but mostly resented. Waterloo had been my gateway to the world, but the altogether less lovely Hammersmith was my gateway to the world of work. The temp agency there saw something in me that I’m not all too sure I saw in myself, dispatching me across London to push paper around like a clerk in the background in an Ealing comedy. For a while, I was at the BBC, and I looked out over west London from my office at Television Centre, a network of endless corridors and boxy rooms that held about as much charm as pleurisy. I was twenty-one, and an easily distracted employee at best. The wages were criminal and, feeling hard done by, I spent my days roaming the corridors wearing a suit and a trilby, which wasn’t really done back then, and flirting with random BBC employees, ambitious girls who really didn’t care if I lived or died, though the hat piqued their interest. I was a purchase ledger clerk, which mean paying the BBC employees, though I can’t quite remember ever paying anyone or not. At the same time, I was performing in the house band at a place called Jazz After Dark on Greek Street in Soho. The four of us played for four hours a night for the princely sum of £20 (between us, not each) and a bottle of beer apiece. Which, considering that none of us could actually play jazz, was probably fair enough. My undoing was oversleeping one morning after a gig and missing my shift. The BBC drafted in another temp to do my job, a temp who accomplished, I was reliably informed, my whole eight hours’ work in the first five minutes of the day. It was fair to say that they were on to me.
After that, I worked at Cobb’s Hall in Hammersmith, which wasn’t a place for a suit or trilby. I was on the front desk, or the front line as I came to think of it, for a building full of social workers. A lot of their clients were mental health patients, a good portion of them schizophrenics, who came in to get their injections to offset their psychosis. I won’t pretend to understand what went on in the clinic or what disorders some of the people were struggling with, but I was pretty much the first face they saw when they came in. So I had people who were overdue their injections, very interesting people, very angry people, some telling me they’re the Son of God and they need to kill me, and there’s no security. Just me sitting there in splendid isolation. I had a little black alarm cord that, when you pulled it, made a sound that I can only describe as inoffensive, and that was my only protection. All for £5 an hour. I never got hurt, although came close to it, but there was an impreciseness to their plans, so when they loomed up it wasn’t too difficult to get out of the way. In quieter moments I used to go through the computer system and see who was on file. I found a few people I knew.
Far more pleasant were the three years I spent off and on as an usher in London’s theatres. The job excited me if only because it let me in on the periphery of the glittering world I’d imagined London to be. I was still outside its walls, but I could finally see in at the windows. Before I moved to London, I’d get home from a day trip to the West End, turn on the TV and there was the city again, and it seemed fantastic to me that I’d been somewhere that was on the box, that it actually existed. When I moved there, I’d go back to places again and again, and remember standing in the cobbled square in Covent Garden early one morning with a light mist on the streets and no one around. I fancied I heard the flower market starting up across the way, blooms brought on trestle tables. I imagined Oscar Wilde, the comings and goings of My Fair Lady, I romanticized it out of all proportion and it took me a long time to realize that it was a modern-day tourist trap. When I was working at the theatres I used to go down to the Piazza in my lunch hours and watch the performers, and I’d see people in sleeping bags waiting to perform for the tourists and people a little too drunk for lunchtime, and I realized that the only place that the romantic Covent Garden lived on in was in the hearts of people like me. And, little by little, the lustre faded. The world inside the theatre, however, still held some magic, and I particularly liked working at the Old Vic. It was near my spiritual home of Waterloo – the portal to this new world for a country boy like me – and I loved its tradition and its history; it signified something and felt real to me. I had one pair of blue trousers and a horrible matching waistcoat that I wore for all my theatre work; the trousers were a pair of flares that were so worn that they shone. They never got washed because I had nowhere to wash them, and at one point I had impetigo on my legs that I couldn’t help rubbing, and the trousers eventually blended with the scab. But those trousers carried me through, from my initial days among shadowy aisles pointing patrons to their seats to the day our Rough Trade