Today’s Guardian contains a brilliant article by their music writer, Dorian Lynskey, who explains how he went about adapting the London Underground in order to plot the history of 20th century music.
The idea is simple and ingenious: each line takes on a certain musical genre, so the Circle Line is pop (because it intersects with everything else of course), the DLR is classical (controversial), and the Northern Line is hip-hop.
Key stations are then assigned the most eclectic artists (hence Beck’s appearance at the intersection where you’d normally find King’s Cross) and chronology is adhered to wherever possible.
There’ll be the normal over-a-pint arguments about some of the ommissions and inclusions but even the most hardened rock snob will have to admit that Lynskey has done a stirling job. Just the fact that The Clash reside at the station where the Reggae and Rock lines intersect is enough to make us forget the fact that Four Tet has not been awarded a place on the Electronice & Dance line. And no Girls Aloud?!