'huge, queer and tawdry' but 'much admired by the public'

Theory: neckties were not an echo of the Roman soldier's neck-rag in the past, but a precursor of earphone leads in the future. Which is why the period of their die-off coincides so closely with the gradual arrival of that for which they played John the Baptist.

Friday: to the Wilmington, where you must not step past the green pillar with your drink because of 'Residents'. No, not in the sense that eyeball-headed monsters will get you. Well, I don't think so. This in spite of the fact that the other side of the same residential block is a square solely occupied by teenage girls getting raucously drunk in a manner which would doubtless provoke an appalled Skins reference if the papers got hold of it. The other risk of being outside is that you get girls at that stage where you genuinely can't tell if they're mixed-race or just really overdid the fake tan trying to get you along to Venus 'nightclub' (and it shouldn't need saying, but that's arguably NSFW). Do they really get much success touting for that outside indie gigs?
The band bringing the drums were late, and aren't quite cute enough to make up for the lack of songs. Because of their lateness, no soundchecks: myfirstkitchen and her Maffickers are having monitor trouble but sound fine in the crowd. However, Their Hearts Were Full Of Spring seem to suffer, their usual magic tragically absent on a day when our hearts were full of spring. I decide that although I ought to check out headliners Cats on Fire, particularly now I've finally got it straight in my head that they aren't middle-class student wankers Cats in Paris (three of the top 10 Google results for that phrase lead you to blogs written by people I know called Steve), this is not the time, and hightail it to the Noble, where the Addlestones is now 10p more expensive, and tastes soapy.
Saturday: fugitivemotel's engagement party. The transition from the glorious, barely-even-evening sun of the walk down to the gentle gloom of the bar leaves me feeling suddenly sleepy, and I initially worry that the rape jokes are not giving his fiancee the best impression of his friends, but by evening's end we're siding with her in an argument, which should count for a lot.
Sunday: join the second half of a genteel Soho pub crawl compered by my_name_is_anna. Well, I think it's genteel, but I'm only half as drunk as the rest of them. Soho really is horrifically gentrified these days though, isn't it? Then up to the Noble again. Pints still priced too high, but no longer soapy. That's something.

Neil Gaiman's 'Whatever Happened to the Caped Crusader?' concluded perfectly; in spite of the title, I was reminded less of Alan Moore's 'Whatever Happened to the Man of Tomorrow?' than of the afterlife metaphysics his next novel, Jerusalem will apparently propose. One imperfection, though - you know those 'Got milk?' ads? There's one in here with Chris Brown, talking about how "the protein helps build muscle". Muscle you can use for beating your girlfriend Rihanna black and blue, for instance. Given some of the daft things DC have censored at the last minute (Superman with a beer, for instance) you'd think this could have been pulled.
At the other end of the Gaiman/Batman axis, I finally found in the library the first volume of Mark Waid's The Brave and the Bold, not as Bat-centric as the old title - and like most Waid it's good, undemanding superhero fun. Which makes a mockery of DC editorial's claims that Vertigo and the DC Universe are separate by having a plot turning around the Book of Destiny, and even a scene with Supergirl and Lobo meeting him in his garden. Next time John Constantine gets left out of a big mystical crossover, they're going to need a new excuse.
It's also the first time I've seen more than a couple of panels of the new Blue Beetle, but he seems like a nice kid, and if he was always this entertaining I can understand why people are upset about his title getting cancelled.
Over at Marvel, Apparitions and Ultraviolet writer Joe Ahearne spins off from Mark Millar's Fantastic Four and spoilers the end of his Wolverine in Fantastic Force, whose backmatter has something rather more interesting than the usual set of sketches - a first draft of the script, from comparison of which with the final issue we can see exactly how much a writer new to comics gets smacked around by editorial and told no, you cannot use that character, or have this one doing that. Worth a look even if you have no direct interest in the comic itself, though that's not bad.