There was a whole lot of ’90s nostalgia this year (no, this is not the last time 80 ’08 (and Heartbreak) will be addressing it), and it’s fair to say that the recent spate of one-hit ’90s alt-rockers penning memoirs of their times in the major-label alternative trenches (almost called this one “Indie-Rock Memoirs” until I remembered my own modest proposal from a while back) isn’t exactly new. In fact, Jacob Slichter, drummer for Semisonic (“Closing Time,” No. 1 Modern Rock, 1998), kicked it off in 2005 with his wry So You Wanna Be a Rock & Roll Star.

The baton was taken up again in 2007 with three more books. Published in the UK only (and out in the US this year in paperback) was Bit of a Blur, by Alex James, bassist for the just-reunited Blur (“There’s No Other Way,” No. 5 Modern Rock, 1991; “Girls and Boys,” No. 4 Modern Rock, 1994; “Song 2,” No. 6 Modern Rock, 1997). Yank-wise we saw Everything I’m Cracked Up to Be by Boston singer-songwriter Jen Trynin (“Better Than Nothing,” No. 15 Modern Rock, 1995), which earned wide praise, and Petal Pusher by another Minneapolis rocker, Laurie Lindeen of Zuzu’s Petals.

The trend continued apace in 2008. The two already extant by Minneapolis band members are now balanced out by a second Boston singer-songwriter’s memoir: When I Grow Up, by Juliana Hatfield (“My Sister,” No. 1 Modern Rock, 1993), which I’ll probably devour it if I ever lay hands on a copy—though the fact that I haven’t yet probably means I won’t for a while. (Unless someone wants to present a case in the comments—one that doesn’t involve the Truth About Evan, please.)

The one I did read, and rather enjoyed, was Dean Wareham’s Black Postcards. That’s not surprising: I’ve long loved Luna (and preferred them to Galaxie 500), not least because while his lyrics in that band often veered into whimsy, Wareham has always struck me as a good storyteller, and on the page he is.

But the major reason is that Wareham’s got the best, or anyway most dramatic, story to tell. Not about his career or his dealings with major labels or his humble origins—about falling in love with Britta Phillips, who joined Luna in time for Romantica (No. 15 Independent Album, 2002), while still married to the mother of his son. Wareham lays out the tale with clipped aplomb, sticking to the facts and not sensationalizing—an instinct that seems to be at the heart of these books coming out all at once. That, of course, and ’90s nostalgia.

80 ’08 (and Heartbreak)

Alex James, probably best known for being in Blur and not being Damon Albarn or Graham Coxon, is now in the cheesemaking biz, although he hasn’t left his love for music behind. James is beginning production on a blue veined cheese inspired by New Order, cleverly named Blue Monday. To keep the references coming, James is producing the cheese in a twelve-inch wheel, although it was not revealed if he plans to take a financial loss on each cheese sold. [Contact Music]

Recently, Salon’s Thomas Rogers investigated the even-larger-than-usual spate of American TV shows based on foreign programming. It’s an intriguing piece, especially if you’re already a fan of certain British shows that, while translatable to U.S. tastes, are ingenious as they already exist. (Hello, Top Gear.) Still, it wasn’t until today that I found myself actively hoping for a U.S. network to rip off a BBC series. So let’s just say it outright: Bravo, please adapt Maestro for American television.

Anna Fielding of 17 Dots describes Maestro as “a celebrity reality show where a selection of newsreaders, comedians etc competed against one another to be the best conductor of the BBC Concert Orchestra.” As a non-classical listener this in itself isn’t an automatic in for me, but as a Project Runway/Top Chef fan, the possibilities are immediately apparent. Obviously, the Ego Trip shows have taken the contest format in entertaining directions music-wise, but the idea of Americans working their way into orchestral pieces–and us seeing them do it–is certainly appealing in the sense that much of what’s great about ProjRun and Top Chef is the age-old truth that there is huge inherent entertainment value in watching people make something tangible with their hands. If nothing else, a conductor certainly works with her hands.

At the top of this post is a clip featuring drum & bass producer/DJ Goldie. Below is one featuring Blur’s Alex James. Seriously, America, wouldn’t you rather see a Yanked-up version of this than another season of Top Design?

[HT: 17 Dots]

Alex James interrupted his anti-cocaine promotional activites to let Blur fans know that someday, someway, he and his bandmates will put get together and siphon all your cash with a big ol’ vacuum cleaner. “”We’re all pretty busy but I’d be surprised if [a reunion] never happens. But I would be terrified if it was happening on Monday.” It’s only been about five years since Think Tank, so there’s no reason to interrupt solo careers and philanthropic ventures when the potential pay-off will increase every time a summer passes and they put this off. [Digital Spy]