Whilst Britney Spears wished to be hit, Aguilera insisted on being rubbed before she cooperated in any way, the Sugababes simply requested that people pressed a button. This unassuming approach to life appealed to a great deal of the British public at the turn of the millennia when we were all just thankful the bug had proved a fallacy and we could all reset our cookers without the fear of it bringing down air-traffic.
To fully get to grips with the impact of the Sugababes on Western society, I feel it most helpful to tackle their story chronologically, album by album. So let us start with their first:
‘One Touch’ (2000)
Produced by former England left-arm spin bowler, Derek Underwood, at his mate Kevin’s house, the Sugababes’ debut album included such singles as ‘Overload’, ‘Duck, Duck, Moose’, ‘Run for Cover’ and ‘Gabby’s Thrush’.
The girls had worked on material for the album for over a year, performing early versions of ‘Substandard Teleport’ and ‘Wrong-Hole’ as an opening act at Brighton’s ‘La Piñata Festival’, and taking ‘Run for Cover’ and ‘Soft Furnishings Dilemma’ on a tour of nightclubs and breweries of Lower Saxony.
“That time,” said founder Sugababe, Mutya Buena, in an interview with Corporate Milk Magazine in 2011*1, “was crazy, but in so many ways was the best. We were young girls having the time of our lives, and I learnt so much about performing a song, and getting the best out of it, and the intricacies of processing hops in the fermentation process. Which I’ve been able to utilise in my later career.” – When she left the band in 2005, Buena set up her own microbrewery where her light ale, ‘Veronica’s Yeast Infection’, won Best New Light to Medium Ale at CAMRA’s annual awards.
The recording process for the album was quite arduous with Underwood insisting the girls spent an hour in the nets each morning before he’d even consider pressing ‘record’. Their later hit single, ‘Push the Button’ was a homage to their time spent with the former England international.
The critical response to the album was overwhelmingly positive with Smash Hits magazine describing it as “the shizzle”; NME raving about its “ability to heal the deep political divisions in war-torn Sierra Leone” in its five star review (a feat that was eventually achieved with their release of 2002’s ‘Angels with Dirty Faces’); and Cat Deeley giving it two thumbs up on SM:TV Live whilst sitting in a bucket of gunge.
The video for the single ‘Soul Sound’ was the girls singing in front of a large projector screen showing Underwood’s seven wickets for fifty runs in Australia’s second innings at the Oval in 1968 to win the Test Match. It failed to garner a nomination at that year’s MTV Music Video awards, though was short-listed for the Turner Prize.
‘Is that you, Kenneth?’ (2001)
‘Bring the Hammer, Batman’ was commissioned as the main-track for the abandoned fifth Batman film ‘Quid Vadis Batman?’ in which Batman was scheduled to face-off against the concept of ennui in a 3-D metaphysical struggle to the death or existential enlightenment – whichever came first. Despite waiting for four years after Joel Schumacher’s disastrous ‘Batman & Robin’, the project was abandoned as Time, that great healer, was still not sufficiently up-skilled in the art of necromancy to bring back to life that particular version of the franchise.
Instead, the track found a home on the Sugababes’ second studio album, 2001’s ‘Is that you, Kenneth?’ alongside singles ‘Conjugal Dishcloth’, ‘The Planes! Kimosabi’, and ‘Aquatic Dysentery’. This last track was inspired by an incident when Keisha Buchanan, in ticking off her bucket-list wish of swimming with dolphins, discovered that they too can suffer from gastric distress, and the result was less dream-fulfilment and more akin to that scene in ‘Trainspotting’.
The trauma of putting such a strong yet commercially impotent album together led to Siobhán Donaghy leaving the band and setting herself up as a dental hygienist in Merthyr Tydfil. “I found the slurping gurgle of the spit vacuum sonically cleansing after recording the harmonies for ‘Conjugal Dishcloth,” declared Donaghy in an interview with Spittoon Magazine*2.
The recording of the album itself had been a relatively quick process. The girls were locked in a studio in North London with their chosen producer, Ludwig Cheesehammer who had previously produced AC/DC’s ‘No thank you, Margaret’, and Jon Bon Jovi’s solo album ‘Erotic Flush’. Being nocturnal for religious reasons, Cheesehammer insisted on recording tracks between the hours of 1 and 5 in the morning. This led to quite an out of body feel to many of the tracks, and Keisha receiving three months of therapy to convince her she wasn’t a badger.
‘Angels with Dirty Faces’ (’02)
‘Freak Like Me’, a cover of Cypress Hill’s ‘A to the K’, ‘Round Round’, and an acoustic version of the Albanian national anthem ‘Himni I Flamurit’ with Mutya and Keisha on bongos and new girl, Heidi Range, on the piccolo, were all smash hits off the Sugababes’ third studio album, propelling them from girl-band also-rans to the top of the heap.
Heidi replaced Siobhán in time for the early song-writing stage of recording the album, though was reticent to over-assert herself initially. However, Mutya and Keisha encouraged her to take a lead on the track ‘Incompetent Geographer’, and such she did, providing the melody and the majority of lyrics for the song including the classic couplet: “You is fakin’ this oxbow lake thing, there’s more rock knowledge in ma Nana’s cake tin”.
“I felt,” said Heidi, devoted scouser and part-time dog-handler for the Oxford Constabulary, in a later interview with Brian Blessed on Heart FM, “that I could bring the rap element that the Sugababes had never really had.”*3
Heidi had spent her early teenage years entering local talent contests with her Tupac Shakur act, described by the Arts Critic for the ‘Wirral Warbler’ newspaper as “breathtakingly racist” and that it had left audience members in the Knotty Ash Social Club “visibly shaken”*4. Once she’d left the juvenile detention centre on the eve of her 14th birthday, she was determined to reignite her fledgling career and found herself involved with ‘Atomic Kitten’. She soon left after being disappointed to discover that shoving weapon’s grade plutonium up tabby cats was not part of the band’s raison d’etre.
‘Three’ (’03)
“It felt different,” said Keisha in an interview with ‘Sainsbury’s’ Magazine about their new album ‘Three’ back in 2013 on the album’s tenth anniversary. “The stars were aligning: this was our third album after our debut; there are three of us in the band; it was the year two thousand AND three; three members of my family had just had gallstones removed; and the famous Russian mathematician, Grigori Perelman, had just discovered that triangles had three sides – although at that stage it was still being called ‘Fermat’s Lesser Square’. We just had to call the album ‘Three’, it was fate.”*5
“They had certainly captured the zeitgeist,” explained Professor Klimt Kloof, Chair of 21st Century Culture Studies at the University of Bath, in his seminal 2015 work ‘Sugababes, Banksy and Reversible Anoraks – the Three Cornerstones of Modern Cultural Society’*6. “Not since those lollipop whistles you used to get from corner shops and chemists in the 80s has anything had such an impact on the wider society. Not only had they captured the zeitgeist, they’d given it a makeover, dressed it in their own cerise pantaloons and sent it back out into the world to turn everything it lighted upon into an extension of the Sugababe’s ‘Three’ cult.”
Its influence was indeed seen everywhere. The Texan State University Football Team, the Texan Racists, found themselves chanting the track ‘Nasty Ghetto’ at the opposition in a slightly more effeminate and flamboyantly choreographed version of the Haka before games.
The second hit single off the album, ‘Wigwam Whiff-Whaff’, was a racially insensitive tribute song to the story of the Native American, Running Sore, and his failed attempt to qualify for the table tennis tournament at the 1984 Los Angeles Olympics. The girls had all been tremendous fans of the 1993 film, ‘Cool Runnings’, and even attempted to get John Candy to provide guest vocals on the track – an attempt ultimately foiled by the minor inconvenience of his death nine years earlier.
‘Hole in the Head’ was inspired by Keisha’s watching of a National Geographic documentary on trepanning. “I couldn’t believe,” she said in an interview of ITV’s ‘This Morning’*7, “that it wasn’t available on the NHS. The number of people suffering from headaches, migraines and demonic possessions from the pits of Hell, who could find relief through state supported drilling of the skull would be huge.” Keisha’s keenness to drill into her bandmates’ noggins was one of the tensions that eventually led to Mutya’s departure a couple of years later, and also the basis for the B-Side to the later single ‘Red Dress’, ‘Get Away from my Head, You Nutter.’
In the year between the album ‘Three’ and its follow-up ‘Taller in More Ways’, tensions grew between Mutya and Heidi, sparked mainly by a fall-out over a sticker from the Panini’s Euros 2004 sticker album. Mutya describes the incident in her 2020 autobiography ‘Mutya’s Marvellous Memories’: “I had nearly all the stickers apart from Bayern Munich and Germany Midfielder Bastian Schweinsteiger. You can send away for the last few, but I don’t like to cos I think it’s cheating, and Heidi had a Bayern Munich and Germany Midfielder Bastian Schweinsteiger, but she wouldn’t give me the Bayern Munich and Germany Midfielder Bastian Schweinsteiger. Said she wanted to keep Bayern Munich and Germany Midfielder Bastian Schweinsteiger just in case. But she didn’t even collect them, she just got a packet in a party bag from her niece’s birthday and it happened to have a Bayern Munich and Germany Midfielder Bastian Schweinsteiger.”*8 It’s interesting to note that Mutya won the award for most appallingly written autobiography for 2020, narrowly beating Lulu’s “Shouty Shouty Shouty”, and Tomasz Schafernaker’s “Southerly Breezes and My Top Ten Sneezes”.
‘Taller in More Ways’ (’05)
2004’s abandoned concept album all about the cottage cheese industry, “More Than A Residue”, did at least produce the singles ‘A girl’s got to have curds’ and ‘no wey, José’ before Mutya Buena left citing irreconcilable artistic differences in an interview with Smash Hits magazine: “I just don’t like cottage cheese,” says former-Sugababe Mutya, “I find it cloying. I don’t trust anything with lumps ever since I was startled by a Dutch boy hiding under a rug on a family camping holiday near Utrecht.”*9
The only survivor from this ill-fated project that made its way onto 2005’s ‘Taller in More Ways’ was the ballad ‘I feel for ya, like Philadelphia’. Mutya was contractually obliged to complete work on this album as she’d lost a bet about whether Norwegians were marsupials or not. “I got confused by all those pockets on their big coats,” she wrote in her memoir ‘Mutya’s Marvellous Memories’ (Penguin ’20), “I assumed that’s where their young grew.” She was only really convinced otherwise when she bumped into Ole Gunnar Solskjaer in a municipal baths in Warrington.
The recording process was a tense affair, not helped by the record label’s choice of producer, Davros, who insisted on using Pret a Manger for all catering including salads, and refused to record in any building that had stairs. Buena refused to be in the same postal code or altitude as the other two, which meant that if she needed to go to the toilet downstairs in Greenwich, Heidi and Keisha had to hide in the basement in Hammersmith. And with both buildings having stairs, Davros had to do the recording in a bungalow in Chipping Norton. Quite how the record came out so well was a testament to Davros’ mixing skills and his constant threats of disintegration if anyone was off-key.
The album saw several hit singles including ‘Push the Button’, ‘Try Waggling it a Bit’, ‘Ugly’, ‘Red Dress’ and ‘Hurray for Cling-Film!’, all of which had a serious sniff around the top 10. When Buena left, Range and Buchanan re-recorded several songs with new girl, Amelle Berrabah, and a couple of non-spiteful additional tracks, ‘Now You’re Gone’, and ‘Ding-Dong the Witch is Dead’.
Mutya’s first solo album, ‘Pilates with Castrati’ released in early (’06) won her a coveted MTV music video award for the single ‘Fascist Loofa’. The video, produced by Aardman Animation, featured a clay stop-motion Mutya having all sorts of problems bathing due to the right-wing political beliefs of an automated sea-sponge, set in the whimsical background of a small Lancastrian town.
‘Warm like Dukakis’ (’06)
Coming hot on the heels of ‘Taller in More Ways’ was the smash hit, double platinum album, ‘Warm Like Dukakis’, whose maturity and newfound sophistication helped broaden the Sugababes’ audience. They were now getting kudos from the music industry intelligentsia. Singles ‘If it floats, we shall kill it’; ‘Angel Muff’, and the double A-Side ‘Captain Gastric’/’My Gastric Harmony’ all had the black polo-necked brigade chomping on their homemade focaccia to sing their praises. “It’s like Keats has come back to us all and decided to tell us about his bowels,” enthused poet laureate, Andrew Motion on Radio Four’s ‘Front Row’. ‘Angel Muff’, with it’s repeated refrain of ‘Stop your jerkin’, you’ll dislodge me merkin’ was hailed by Harold Bloom as breath-taking – “If Shakespeare is at the center of the Western canon, the Sun in a Solar System metaphor,” he wrote in 2009, “then the Sugababes are Mercury – hot as Hell, and about as close to the Bard as you can get without melting into space dust”*10
‘Pagan Pigs’, a pseudo-techno ditty about the rise of Druidism amongst the porcine population was a late addition to the album. It’s lyrics, “I hate to be a boar, but I told you this before, my perfect precious piggy is Wiccan to the core,” are repeated ad infinitum, and made the track rarely off the playlists at Belgian acid house raves.
“I feel sick in my bowels, cos my baby’s counting owls,” is the brutally stark chorus to the top ten hit ‘The Owl Counter’. A thinly veiled analogy about perceived media bias in the 2004 Russian Presidential Elections, the song strengthened the band’s anti-Putin position, whilst simultaneously highlighting the impact obsessive avian tallying can have on a romantic relationship.
‘Change’ (’07)
Massive in Estonia, ‘Change’ also hit the top of the British album charts, turning platinum and garnering the Sugababes fresh critical acclaim. The singles ‘About You Now’, ‘Think zinc!’, ‘Denial’, ‘Phosphorous Concubine’ and ‘Change’ all caused a stir, with ‘About You Now’ becoming the band’s biggest selling single.
“Although less of a commercial behemoth, I always thought that ‘Phosphorous Concubine’ was always a far more powerful and personal song than ‘About You Now’ – certainly for me,”*11 said Amelle Berrabah in an interview with ‘The Beano’ in 2013. “For me, I didn’t really learn about phosphorous until my early twenties, I’d missed the Science lesson at school as I’d got wedged in a pony, so the whole glowing thing and that its right at the heart of life, a constant companion or concubine if you will, fused into our DNA, came as a revelation, and it just had to come out in song form. Whereas, ‘About You Now’ is a pun and tribute to modern sheep farming.”
‘Change’ was one of the few mainstream songs about transgender rights at the time. The lyrics, ‘Johnny was Janet and Janet was Johnny; I wanted to change but it costs lots of money’ highlighted the financial restrictions on the transgender community in the early 2000s.
The recording process of this album was relatively straight forward, given the trauma of the previous couple. Shunning the trend for heavily computer-edited and auto-tuned affairs, the entire album was recorded on wax cylinders and later transferred to other formats by Galvanism.
‘Catfights & Spotlights’ (’08)
The stand-out track on this album was ‘Cockney Ravel’, an instrumental piece where the girls played the ‘Baléro’ on spoons, accordion and banjo, shouting out “he’s ‘avin’ a larf” and “me ol’ china” every alternate bar.
“Rhombus, my rhombus,” is a haunting ballad about Heidi’s obsession with geometry. She has the largest collection of octagons in the British Isles and dresses up every Halloween as Freddy Kruesquare, a four-sided tribute to the ‘Nightmare on Elm Street’ antagonist, like a psychopathic version of Roger Hargreaves’ Mr. Strong.
The number one single, ‘Girls’ was a tribute to ‘The Beverley Sisters’ and sampled heavily from Queen’s ‘Fat-Bottomed Girls’ and Mussorgsky’s ‘Night on Bald Mountain’. Amelle was a particular fan of The Beverley Sisters and once glued herself to Babs’ Austin Allegro as a child in an attempt to meet her hero. Unfortunately for Amelle, it turned out to be the Austin Allegro of Babs’ neighbour, a Mr Arthur Winkle, a travelling salesman, whose short-sightedness led to him not discovering the infant Berrabah until three days later, by which time he was selling novelty ironing board covers in Arbroath. The incident had a lasting impact upon Amelle, and if you notice in the music videos she is never filmed in the presence of an ironing board. – Note that for the single “Ironing for Einstein”, the ironing boards were added by CGI at a later date. As were the penguins. And Einstein.
‘Significant Gravy’ (’09)
The album’s title was inspired by a traumatic incident from Keisha’s youth: when pouring gravy over her Yorkshire puddings, the handle had broken and the entire contents of the boat had drenched her puddings, leaving them essentially formless. The lyrics “sponging desperately, can’t you see, it’s futility, they’ve disintegrated utterly” won the Robert Ludlum Award for Poignant Verse that year.
The album is almost entirely acoustic with a jaunty cover of the traditional Cornish sea-shanty ‘Bude Glandular Intrusion’, the rondellus ‘Alan Whicker Wore my Jim-Jams’ and ‘Winceyette Widow’ about a woman who lost her love to flannel-based clothing, being the stand-out tracks. The only exception to the acoustic nature of the album is the questionable inclusion of the death metal track ‘Screaming Whores of Babylon’ – designed, according to the album’s producer, Clint Ovaltine, to break the listeners out of the reverie of flannelette-induced mourning.
The pressures of being a Sugababe for over a decade finally got to Keisha Buchanan, and she left the band citing a need to spend time with other people’s families. Due to a clerical error, she was briefly replaced by Neil Buchanan, but his insistence on trying to form audiences into large ‘Art Attacks’, drove Range and Berrabah insane, and they had him sacked and replaced by Eurovision entrant, Jade Ewen, in time to start recording their next album.
‘Sweet 7’ (’10)
This album started as a satirical piece about S Club 7 in which the Sugababes mercilessly lampoon their fellow popstars for their inability to do Magic Eye pictures. The tracks ‘Can’t You See it’s a Porpoise’, and ‘Mr Magoo Got Nothing on You’ led to very public spats with Hannah Spearritt and Rachel Stevens. By this time S Club 7 had been broken up for seven years and Spearritt and Stevens felt such mockery was ‘unnecessary’, and ‘that anyway lots of people can’t do Magic Eye pictures, you have to have weird eyes to be able to do them, so there’.*12
Non-S Club belittling tracks included the singles ‘Get Sexy’, ‘Wear My Kiss’, ‘Humperdinck my Hootenanny’ and ‘About a Girl’. ‘Get Sexy’ was originally recorded for the soundtrack of the porn version of ‘Get Carter’ – the then 76-year-old Michael Caine declined to appear in it, and Bryan Mosley (Corrie’s Alf Roberts) had died a decade before the film, though there is a fitting tribute with a look-a-like being tossed off in a car-park.
‘Wear My Kiss’ is actually a homophonic plea to get people to invest in Mike Tyson’s range of casual sports wear and undergarments. The former World Heavyweight boxing champ had just brought out his own clothing line and used his connections to Jay-Z (whose Roc Nation company produced ‘Sweet 7’) to advertise his products (hence ‘wear Mikey’s’). Such adverts can be also found in the lyrics of Jay-Z’s own ‘Empire State of Mind’ where he opens with the words:
‘Yeah, I’m out that Brooklyn, now I’m down in Tribeca
Right next to wear Mike Tyson sells his simply enchanting line in silken undergarments and fur-lined jeggings’
On paper, the lyrics seem ungainly and clumsy, but fit seamlessly into the rhythms Jay-Z created.
‘Humperdinck my Hootenanny’ is self-explanatory. ‘About a Girl’ is a cover of the Nirvana song, with an additional rap-break where it becomes clear that the ‘girl’ in this case is former CBBC and Robot Wars presenter, Philippa Forrester.
The album was a commercial and critical disaster with the then Archbishop of Canterbury, the Very Reverend Rowan Williams, describing it as “like Hell has been squeezed into a lycra boob-tube and been made to gavotte for our eternal torment”*13
As a result, Range, Berrabah and Ewen went their separate ways and the name ‘Sugababes’ went into legal cryogenic stasis.
The Sugababes-less Years
Shortly after the collapse of the Sugababes, the original line-up of Buena-Buchanan-Donaghy formed Mutya-Keisha-Siobhán. “We got the idea for the name from our coat-hooks”*14 stated Donaghy in an interview with ‘Nomenclature Fortnightly’ in 2013. Although they wrote and recorded an album during 2011 to 2014, it wouldn’t be released until 2022 as according to Buena they “couldn’t be arsed”*15
During the albumless decade, the girls toured but also worked on projects independently, and in many cases with great success.
Mutya wrote the incidental music for the second series of CBeebies’ Rastamouse. Her ‘President Wensleydale’ light motif winning a TV Award for ‘Best Original Music Representing an Animated Rodent’, narrowly beating out Chas and Dave’s work on ‘Ratty’ for Channel 5’s ‘Wind in the Willows’ adaptation.
Siobhán spent part of the intervening years working in advertising, coming up with the slogan “Beef it!” for a chain of butchers in Warwickshire, and for Ipswich’s ‘Sharon’s Seafood Emporium’, the classic ‘If you’re in a bit of a clam, we can help you winkle out a whelk’. Both of which failed to garner any industry awards, but did result in three restraining orders.
Keisha went into hairdressing consultancy, becoming responsible for all of Jake Humphreys’ hairstyles from 2012 to 2019 inclusive, and for a quiff sported by Adam Woodyatt at a barn dance in 2017.
‘The Lost Tapes’ (’22)
Once they had regained the name of Sugababes in 2019, Buchanan, Buena and Donaghy wasted no time (except for three years) in releasing the album they had recorded a decade earlier. Songs such as ‘Flatline’, ‘Igneous Pop’, ‘Diaries of a Tardigrade’ and ‘Funk Up Your Mother’ all hit the download charts like an explosion of poptastic delights, and marked the Sugababes’ glorious return to the top of the British music scene.
The Sugababes took advantage of their well-earned reputation in the music industry to collaborate on several songs with some impressive people. Track, ‘Supermarket Swept’, a loving tribute dedicated in memory to long-term friend Dale Winton, featured the guest vocals of former Formula-1 racing driver, David Coulthard. Dame Maggie Smith played bongos on ‘Jungle Fever Fandango’, and former Liberal Democrat MP Vince Cable can be heard going batshit crazy on a harmonica solo in the blues number ‘Regrettable Felt Puppet’.
The Sugababes were inducted into the Pop Music Hall of Fame (sponsored by Cadburys) in 2019, entering alongside fellow pop luminaries, The Bootleg Beatles, and, due to a typo from an admin assistant who didn’t know when to stop, Betty Boothroyd, former Speaker of the House of Commons.
The Future
As of writing this article, the Sugababes’ future is a bright one with the single ‘When the Rain Comes’ reaching number 12 in the downloads chart and being a foretaste of the album to come later in 2024, with the tentative title of ‘Big Up Ya Yams’.
Sugababes:
Keisha Buchanan (’98-’09 then ’11-present day) was briefly replaced by Neil Buchanan then Jade Ewen (’09-’11)
Mutya Buena (’98-’05 then ’11-present) – Amelle Berrabah (’05-’11)
Siobhán Donaghy (’98-’01 then ’11-present) – Heidi Range (’01-’11)
Sources:
*1 Abrahams, J. (2011) ‘Bueno Buena – Interview with a Sugababe’. Corporate Milk Magazine Vol. 3 (Apr ‘11)
*2 Jenkins, S. (2005) ‘Donaghy’s Dilemma – Sugababes’ Siobhán Reveals All’. Spittoon Magazine Vol. 57 (May ‘05)
*3 ‘Ballads with Blessed’ – Heart FM (4th Oct ’09)
*4 Lee, S. (1997) ‘Knotty Ash Racial Hell’. The Wirral Warbler (8th March 1997)
*5 Weimark, R. (2013) ‘Three is the Magic Number – Sugababes’ Keisha on that album’. Sainsbury’s Magazine Vol. 147 (Oct ’13)
*6 Kloof, Prof. K. (2015) ‘Sugababes, Banksy, and Reversible Anoraks – The Three Cornerstones of Modern Cultural Society’. New York. Faber & Faber.
*7 ‘This Morning’ – ITV (12th Nov ’03)
*8 Buena, M. (2020) ‘Mutya’s Marvellous Memories’. London. Penguin.
*9 Richards, W. (2005) ‘Sugababes Break-Up – Why Mutya Left’. Smash Hits Magazine Vol. 11 (June ’05)
*10 Bloom, Prof. H. (2009) ‘Literature Solar System’. New York. Hodder & Staughton.
*11 Minx, M. (2013) ‘Bonkers Berrabah!’. The Beano Vol. 33 (July ’13)
*12 Scoops, B. (2010) ‘S Club Strike Back!’ The Daily Mirror (22nd October 2010)
*13 Williams, Very Rev. R. (2010) ‘Sweet 7 is Not Heaven’. Church Times Vol. 109 (7)
*14 Smith, R. (2013) ‘What’s in a Name – Former Sugababe Explains!’. Nomenclature Fortnightly Vol. 16 (Nov ’13)
*15 Buena, M. (2020) ‘Mutya’s Marvellous Memories’. London. Penguin.
Treatises of Gloria 