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MacGuffin

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the smiths / morrissey
« Reply #60 on: April 01, 2004, 11:17:57 PM »
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MORRISSEY BLASTS MARR FOR RUINING SMITHS MYTH
Source: Contactmusic

MORRISSEY has slammed former sidekick JOHNNY MARR, blaming him for ruining the legacy of THE SMITHS.

The British singer claims guitarist Marr has perpetrated a myth that Morrissey is "a monster" to disguise his disappointing post-Smiths career.

Speaking in the new issue of men's magazine GQ, Morrissey states, "I think, with time, he realised he had made an awful decision.

"The only way that he could substantiate that decision was to maintain that I was a monster. So that became depressing, and the aftermath of the group's existence became enormously depressing."

Morrissey admits he would never have disbanded the cult group were it not for Marr's decision to leave.

He adds, "I thought The Smiths would still exist and would be on our 30th album."
“Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art.” - Andy Warhol


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Grand Epic

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« Reply #61 on: April 07, 2004, 02:26:40 PM »
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I can't believe there's been so much love for "Last Night" and none for "Stop Me."

godardian

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« Reply #62 on: April 07, 2004, 02:43:50 PM »
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Quote from: Grand Epic
I can't believe there's been so much love for "Last Night" and none for "Stop Me."


Oh, I have much love for "Stop Me." "Last Night" is probably just easier for most to take a little more personally- it expresses more internal yearning than external witticism. "Stop Me" had a great video, "Last Night" had a brilliant sleeve. To wit:

""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

godardian

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the smiths / morrissey
« Reply #63 on: April 07, 2004, 04:07:13 PM »
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From www.morrissey-solo.com:  

"Morrissey's new album You Are The Quarry is released on May 17. Next week, he will give his first interview with NME for twelve years. As a teaser, NME was given an exclusive listen to the hugely anticipated album, his seventh solo record and the first since 1997's 'Maladjusted'.
 
Morrissey is enjoying something of a second coming of late, with bands including The Libertines and Franz Ferdinand declaring him a huge influence. With british music on the rise and his old band The Smiths recently crowned the most influential of all time by NME, the record will be released in a feverish atmosphere.
 
Morrissey told NME: "I think this album is the best I've ever done, absolutely. Though of course only time will tell, but even at this stage of shall we say release I've never felt so excited. I get myself a night at home and I play it and I just feel....fantastic."
 
Morrissey's band for the album includes long-time guitarists Boz Boorer and Alain Whyte, bassist Gary Day and drummer Dean Butterworth. It finds him as complex and seductively contradictory as ever.
 
1. America Is Not The World.
 
Morrissey surveys his adopted homeland and is typically wrenched between the good and bad. As an acoustic guitar gently strums, he lambasts the country of fast food, singing: "Well America...you know where you can shove your hamburger."
Key lyric: "Where the President is never black, female or gay/And until that day/You've got nothing to say/To me, to help me believe/Oooh oooh woah in America"
 
2. Irish Blood, English Heart
 
One of the highlights of 2002's UK live dates and the first single to be taken from the new album (released May 10). Evocative of the magnificent 'Speedway' from Vauzhall and I, it's probably his best single for a decade. Unafraid to be labelled controversial, he tackles the notion of Englishness over a rousing guitar.
Key lyric: "I've been dreaming of a time when/To be English is not to be baneful/To be standing by the flag, not feeling shameful/Racist or partial"  [Hear bloody hear - VB]
 
3. I Have Forgiven Jesus
 
Morrissey flirts with witty self-pity, swingng from egotism to self-loathing with a speed that's dizzying.
Key lyric: "Monday - humiliation/Tuesday - suffocation/Wednesday - condescension.../Thursday is pathetic"
 
4. Come Back To Camden
 
A gentle piano ballad that blossoms into a massive showstopper. Strings well up as the master of the morose has a good wallow in his own version of a sweeping romantic ballad. It's a Broadway hit transferred to grey goth-strewn London streets.
Key lyric: "Drinking tea with the taste of the Thames/Sullenly on a chair on the pavement/Here you'll find my thoughts and I"
 
5. I'm Not Sorry
 
Over a circular acoustic strum Morrissey insists his soulmate must be someone special. A flute solo draws a veil over proceedings.
Key lyric: "The woman of my dreams/She/She never came along/Wel-ell there never was one"
 
6. The World Is Full of Crashing Bores
 
Morrissey takes aim at the world. Essentially a sideswipe at the police, the taxman ("Educated criminals, work within the law") and dullard pop stars.
Key lyric: "Lockjaw pop stars thicker than pigshit/Nothing to convey/They're so scared to show intelligence/It might smear/Their lovely career"
 
7. How Could Anybody Possibly Know How I Feel?
 
A doomy, atmospheric riff - one of the best on the album - gives way to antagonistic, stabbing guitars as a world-weary Moz berates his situation and casts barbs at people in "smelly uniform".
Key lyric: "But even I/As sick as I am/Would never be you"
 
8. The First of the Gang to Die
 
The album's only story song that, like older classics Sweet And Tender Hooligan and Last of the Famous International Playboys, toys with the romanticism of the thuggish. Played on the 2002 UK tour.
Key lyric: "Hector was the first of the gang/With a gun in his hand/And a bullet in his gullet/...The first last lad under the sod"
 
9. Let Me Kiss You
 
Written for 60s legend Nancy Sinatra - daughter of Frank - this is a tale of newfound love with a twist. Features chiming guitars similar to The Queen Is Dead's 'Never Had No One Ever'. Nancy Sinatra's version has been tipped as the first single off her new album, 'To Nancy, With Love'.
Key lyric: "And think of someone you physically admire/And let me kiss you"  [Oh, go on then - VB]
 
10. All The Lazy Dykes
 
This song features a heartbreaking acoustic guitar part reminiscent of the closing riff from The Smiths' legendary I Know It's Over. Morrissey pleads to a housewife to be true to herself and "join the girls".
Key lyric: "Be yourself/Be yourself/Come to the ponds and see yourself/And at last your life begins"
 
11. I Like You
 
Morrissey's plight this time is with a person who treats him badly but he lets them get away with it because he, well, likes them.
Key lyrics: "I like you/You're not right in the head/And nor am I/And this is why I like you"
 
12. You Know I Couldn't Last
 
This is Morrissey handing out advice to a fading pop star and gleefully kicking detractors in the crotch as the chorus crashes in.
Key lyric: "The critics who/Can't break you/They sometimes help to make you"
---------------------
 
Then on the inside of the back cover they have run a preview of next week's feature. They have done a mockup of The Godfather logo reading The Mozfather and MORRISSEY THE RETURN in big letters across a full page photo of his lordship. There is a speech bubble reading "People always say to me 'You changed my life' and I just feel a flush of pride. It's quite something to have helped people through their darkest hours".
 
Then in the corner is a lovely photo of next week's cover, with the header Morrissey: The guv'nor returns. It gives a list of topics Moz will be discussing reading as follows:
Sex, Death, The Smiths, The Strokes, Racism, Tea, Kurt, Courtney, Ipods, Love, Fans, Jack White, Eminem, Pop Idol, Lesbians and THAT Union Jack incident.
 
All sounds very tantalising, I'm sure you'll agree.
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

Ghostboy

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the smiths / morrissey
« Reply #64 on: April 07, 2004, 04:54:14 PM »
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I heard Irish Blood, English Heart the other day and I dug it.

godardian

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« Reply #65 on: April 09, 2004, 01:05:09 AM »
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From tomorrow's Guardian, today!


'Somebody has to be me'

Morrissey loves his new album, his comeback show sold out in hours and he's been given London's Meltdown festival to curate. So why the long face? By Dorian Lynskey


 Now 44, Steven Patrick Morrissey is, to quote one of his songs, a handsome devil. He looks iconic. His quiff is as vertical as it was when he fronted the Smiths 20 years ago, his sideburns laced with a distinguished steely grey. He wears an expensive-looking grey striped shirt over a white vest over a broad chest, coloured pink by the sunshine of his Californian home. He's surprisingly brawny but if you closed your eyes and just listened to his languid, mellifluous voice you'd imagine he was built like Alan Bennett. The words sigh out of him. What does he feel when he looks in the mirror? He considers his response. "Extreme reluctance."

Morrissey slides into the sofa of his palatial suite at a swanky London hotel. Visibly, his wilderness years are at an end. He has finally finished You Are the Quarry, his seventh solo album and his first since the disastrously received Maladjusted in 1997. That same year he and guitarist Johnny Marr lost a court case against their former Smiths colleagues Mike Joyce and Andy Rourke, at the end of which Judge John Weeks famously branded him "devious, truculent and unreliable". Shortly afterwards, he relocated to Los Angeles. He toured frequently, but got through a string of managers and aborted record deals without releasing a note.

He admits he was unsure if anybody still cared. "I doubt that on a monthly basis and I'm always surprised when they listen. In the midst of the seven-year gap I went through great gulps of doubt wondering whether there was actually any point to it." And yet he is hardly crippled by excessive humility. Later on he says: "I think if I was shot in the middle of the street tomorrow a lot of people would be quite unhappy. I think I'd be a prime candidate for canonisation."

As it turns out, Morrissey's absence has made hearts grow fonder. His hometown comeback show at Manchester's MEN Arena sold out within hours and his cultural stock is sky-high. The best young bands in Britain, Franz Ferdinand and the Libertines, can trace their prickly intellect and pop flamboyance to the Smiths. Small wonder, then, that Morrissey has booked both of them for his Meltdown shows at the Royal Festival Hall, along with such personal heroes as the New York Dolls, Alan Bennett (naturally) and Maya Angelou. So far only Shelagh Delaney, author of A Taste of Honey, has politely declined. And You Are the Quarry is up there with his best solo work. All in all, life is good.

"I've found a very nice label [Sanctuary] and I've made an album that I really love, and it changes my life and pushes me forward," he says.

Does he need to be making music to feel happy? "Well, yes, because if you're not making music then what are you? I mean what am I, anyway? I don't know what I am. I've been trying for 30 years. I feel undefinable actually." He chuckles to himself.

Morrissey intends to remain undefinable. He's a conversational escapologist, eluding any attempt to pin him down. Take, for example, his sexuality. It's 20 years since Rolling Stone magazine described him as gay, much to his annoyance, and he still refuses to specify. Often he denies any kind of sex life at all. That's his business, but it's a long time to maintain ambiguity.

Actually he's not so much an escapologist as a verbal fencer, thrusting and parrying. Sometimes when I think he's being serious he says he's joking, and vice versa. He contradicts things he's reported to have said in previous interviews, then claims he never said them. He plays with the wording of questions or suddenly interrogates me about my private life.

Even his body language is a choreography of discomfort. He fidgets around the sofa, crossing his arms, chewing his lip and wearing a curious smirk that could either mean he's having a high old time or that he's never hated an interview more.

Not that it matters. He has never liked anything anyone has written about him. I ask him if he thinks interviewers miss the point and he fires back: "What point?" So there's a point to Morrissey? "Absolutely no point whatsoever, but they think there is - which is extraordinary."

I ask if he means everything he says and he looks incredulous. "Nooo. I'm not that silly. But some people do, which fascinates me. It's like being a scriptwriter for Blind Date. But I suppose some people find it frustrating."

Even now he's dogged by statements he made years ago, like the time he told the NME "reggae is vile", despite being a reggae fan."I said reggae is wild," he protests.

No he didn't. But did he say it just to wind up the right-on 1980s NME? "Yes, I did. And God knows it works. Let's not underestimate our power to wind up."

Does he still enjoy doing that? "No, I don't. Not now. I've got other hobbies. Cycling for instance." He gives a brittle giggle.

Morrissey's greatest fear is being caged. That's how he felt back in Manchester before meeting Johnny Marr - raging against school or the dole, playing his beloved records, dreaming of escape - and perhaps it explains his flightiness in the years since.

These days he feels "as free as a bird". At first it seems perverse that the poetic voice of drizzle-damp England would choose the eternal sunshine of Los Angeles, but it is a good place not to belong because nobody belongs in Los Angeles, a city with neither heart nor history. "I don't think anybody feels at home there," he agrees. "Everybody has come from somewhere else and belongs somewhere else, and quite rightly so."

He says he ended up there by "complete accident" but how can you buy a house by accident? "Oh, you do," he smiles. "Life's full of tricky snakes and ladders. I decided earlier that I would revolve through the 40th door somewhere else other than England. And I did. I just didn't want to turn 40 sitting in the same old armchair by the same old window."

He loves the weather and the landscape and "the endless drives into nothingness". "America's such a fascinating monster that we all think that it's just too grotesque to imagine waking up to every single day. But there are good aspects to it, even though the awful are truly awful. The arts are a struggle. Television's appalling. And after all the American enlightenment we end up with George W. That's frightening."

He misses walking in England, and the shared TV programmes. "I miss the drab everydayness and I miss the common experience that everyone has. And I quite like the absurdity and ridiculousness of British people." You have to ask yourself if he misses the real England or the long-gone, three-channel, Sunday-closing England that he sings about.

The Smiths were always a band out of time, which is why they have aged so well. Their record sleeves celebrated icons from Alain Delon to Yootha Joyce, and many of Morrissey's lyrics were rooted in the past, whether his wretched schooldays at St Marys Secondary Modern or the Moors Murders that cast a pall over the Manchester of his childhood.

It's remarkable how witty and strange these songs still sound. The Smiths' four studio albums, three compilations and 17 singles between 1983 and 1987 comprise arguably the most consistent body of work in British pop.

Morrissey is famously weary of people asking if the Smiths will reunite. I don't bother because he only has to start talking about his erstwhile bandmates to make the very idea absurd. He refers to drummer Mike Joyce, venomously, as "this Joyce character", as if he were some malevolent stranger whom Morrissey had never actually met.

The subject of the court case, which Morrissey raises without prompting, has a transformative effect. His usual droll wordplay is replaced by earnest, fluid monologues about the frightful behaviour of judges and former Smiths. To sum up: Joyce and Rourke sued Morrissey and Marr for 25% of the Smiths' performing royalties (rather than the songwriting ones), not the 10% they were paid, even though they never officially appeared on a contract. Judge Weeks found in the rhythm section's favour, and Morrissey's subsequent appeals have failed.

Like his hero Oscar Wilde, Morrissey feels persecuted by the legal establishment. "How a judge can offer a judgment with 50 mistakes is absolutely unbelievable," he fumes. "Of course judges speak with such extreme authority and their own error is completely unthinkable. You can see that if they still had the power to hang you they'd do it with a smile on their face. They're enraged they can't actually hang you."

He says it's now impossible for him to remember the Smiths fondly. "It's destroyed. It really is destroyed. Because Joyce and Rourke and Marr could have stepped in and said something in my defence. But they didn't. They let the judge say the most extreme and hateful things about me, which they knew weren't true."

So, no reunion then. He feels the press victimised him, too. On his new single, Irish Blood, English Heart, he sings of "standing by the flag not feeling shameful, racist or partial". He's referring to his notorious performance at Madness's Madstock weekender in 1992, when he wrapped himself in a Union flag and was branded a racist by the music press, casting a long shadow over his solo career. Four years later, Noel Gallagher emblazoned the flag on his guitar without censure, an irony that did not escape Morrissey's.

Could he not have simply explained his intentions? "Well, you know, I haven't just arrived from the village," he snaps. "I did think of all these things. I knew the people I was dealing with and there was no point in reaching out to them. It's more dignified to step away than to run towards them and say, 'Please forgive me for something I haven't done.' I think it was a couple of journalists who couldn't stand the sight of me and wanted to topple me. And they tried. And now they're gone. And I'm sitting here in the Dorchester talking to you." He smirks triumphantly.

Morrissey is thin-skinned but hard-headed. He was devastated when Johnny Marr left the Smiths, effectively finishing the band, but bounced back with his excellent solo debut, Viva Hate, just six months later. Not that he has ever forgiven Marr, whom he didn't see again for years afterwards. Does he find forgiveness difficult?

"I treat people the way they treat me, to be honest. I feel very open at first and you just wait for people to betray your trust. And they do."

Do you find that people always end up disappointing you?

"Yes, I do. Always. I think it's pretty much impossible to come across anybody who can do a decent job. Most people are completely inept."

Is that why you've cut so many people loose over the years?

"Well, no, there have been many reasons for the departure of many people, and many people go willingly. But friendships aren't necessarily meant to last. People come and go. Don't you find?"

Not really. Not yet.

"Give it a few more weeks."

Morrissey's attitude to relationships is not entirely slash and burn - he has been friends with performance artist Linder Sterling since 1976 and retained guitarists/co-writers Alain Whyte and Boz Boorer for over a decade - but the picture he paints of life in Los Angeles is one of splendid isolation.

"I'm not really that hot on the human race to be honest. Very few people have anything to offer."

Offer you? "Offer offer. Offer the world. Offer themselves."

Sometimes he gets visitors, like Nancy Sinatra, who will be covering one of his new songs, the yearning Let Me Kiss You. God forbid he should invite anybody round, though. "I'm not part of any Hollywood set," he firmly insists. "Quite the opposite. In a way I lead a very British life. It's still very much inanimate objects and a television screen and jolly old books and things like that."

A fundamental trope of Morrissey's work has always been loneliness and the longing for affection. It is there on 1986's Never Had No One Ever. And here it is, 18 years later, on Let Me Kiss You. And yet in his own life he goes to great lengths to avoid company, even though he does get lonely. "If I didn't I'd be superhuman. I'm sure even the Pope gets lonely."

So why does he choose to be alone? "Well, you see, I consider that to be a privilege. I don't feel like I live alone because I've made a terrible mistake or I'm difficult to look at. Can you imagine being able to do what you like and never having to put up with any other person? And their relatives.

"You can constantly develop when you're by yourself. You don't when you're with someone else. You put your own feelings on hold and you end up doing things like driving to supermarkets and waiting outside shops - ludicrous things like that. It really doesn't do."

I suspect Morrissey likes his own company because he considers himself the only person who's halfway good enough. He concedes he refuses to compromise but regards it as a virtue. "We feel that there's a shame to being uncompromising and there's a terrible sadness to solitude, but none of the great poets ever thought that."

It's the sort of thing you can imagine the 17-year-old Morrissey saying, and part of Morrissey's appeal is the way he retains his teenage intensity and stubbornness into his fifth decade. No lyricist has ever so articulately voiced the defiant, self-aware misery of adolescence.

"I was diagnosed with depression before they knew what gender I was," he quips. "I was only depressed because I had a very poetic instinct about things and I didn't want to walk in a pack. That's very frustrating when your prospects are minus zero. So I'm not going to be running around laughing hysterically, am I?"

He took antidepressants when he was 17 in order to help him sleep, and he has had therapy intermittently since then, but he is almost proud of his black moods. "I think if you're remotely intelligent you can't help being depressed. It's a positive thing to be. It means that you're not a crashing bore. I mean, you don't get support groups for rugby players, do you?"

This is a very Morrissey thing to say. You wonder if he ever plays to type, a suspicion compounded by some of his new song titles, especially How Could Anybody Possibly Know How I Feel?

"It's amusing when you say it," he says, sounding miffed. "I don't know why."

Well, I thought it was meant to be funny.

"But isn't it something we all feel at some stage? So why is that particular sensation attributed to me alone?"

I mention another line, from Let Me Kiss You: "But then you open your eyes and see someone you physically despise." Does he really see himself that way or is that just his lyrical persona - the self-hating eternal loser?

He regards me witheringly. "Oh right, so you think I sit down and say, I think I'll write a Morrissey song tonight and I grab out the old discs to see what a Morrissey song sounds like. Not at all, no."

Every now and then, Morrissey turns abruptly waspish. When I ask if the song I'm Not Sorry is his Je Ne Regrette Rien he replies: "No. It's my Chirpy Chirpy Cheep Cheep." From someone as sharp as Morrissey, blunt sarcasm is enormously disappointing. For the most part, he is faultlessly courteous, albeit sometimes passive-aggressive. He's not one for making a fuss. It wouldn't do.

I decide to broach the subject of his sexuality and mention his splendidly titled All the Lazy Dykes, a song about the liberating effects of coming out of the closet.

"Trying to get somebody to," Morrissey corrects, smiling. "And telling her if she came to join the lazy dykes she'd be one herself. And she needed me to tell her, of course, because she can't come to that conclusion herself."

Doesn't that invite speculation?

"No. Andy Williams could have sung that song. It just happens to be me who's singing it."

This is nonsense but let's press on. Does he believe in love?

"Um. I believe it does exist, yes. I've skirted it on a few occasions."

But never plunged in?

"Plunged? I think I've plunged, yeah."

Were all these people women?

"They seemed to be, as far as I knew. They would all be women if they had a choice." He laughs as if to say: "That's all you're getting."

What is both admirable and exhausting about Morrissey is that he doesn't change. While other musical heroes get their teeth fixed, date models and accept honours from the Queen, Morrissey remains proudly remote from the throng. It means he is still a vital lyricist, a mesmerising performer and a perplexing human being. He is much as he was.

"Dear God, if only I could change," he says theatrically. "We'd all be so relieved. But not yet."

You're stuck with you, I suggest.

"Despite massive discouragement, I remain myself," he says, invisible Wildean quotation marks popping into the air. "Somebody has to be me so it might as well be me."

Who could do it better? Who would dare?

· Irish Blood, English Heart is out on May 10 on Attack. The album You Are the Quarry is out on May 17.
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

godardian

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« Reply #66 on: April 09, 2004, 04:06:46 PM »
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A pretty good picture of the new, "mature" Morrissey, methinks:

""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

mogwai

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the smiths / morrissey
« Reply #67 on: April 09, 2004, 04:10:52 PM »
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i don't like the new "grey hair" look.

godardian

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« Reply #68 on: April 09, 2004, 04:39:30 PM »
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Quote from: mogwai
i don't like the new "grey hair" look.


That's called age... it'll happen to us all, you know. He is 44! I don't think it looks bad on him. A dye job would look worse, probably, although lord knows he has the inside track on professional stylists!
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

mogwai

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the smiths / morrissey
« Reply #69 on: April 10, 2004, 05:24:16 AM »
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i think he looks alright and all but if he had an armani suit on him i'd kill him.

cron

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« Reply #70 on: April 10, 2004, 07:48:07 AM »
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Quote from: mogwai
i think he looks alright and all but if he had an armani suit on him i'd kill him.



what's wrong with armani suits?
context, context, context.

godardian

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« Reply #71 on: April 10, 2004, 01:19:19 PM »
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Quote from: cronopio
Quote from: mogwai
i think he looks alright and all but if he had an armani suit on him i'd kill him.



what's wrong with armani suits?


I think what he's saying is that Morrissey is now a snappy/flashy dresser who can afford to drop thousands at designer boutiques, not an indie-boy Urban Outfitters demographic like most of us... but, I mean, he can afford it, so which is worse: Wearing fine, expensive tailored clothes, or pretending that you're poor when it's painfully obvious that you're not? I know he doesn't lord it over anyone that he can afford luxuries, or feel that it makes him a better person, so... I wouldn't kill him for wearing an Armani suit. But I actually don't think he would; that particular design is associated with things Morrissey is definitely not.
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

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cron

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« Reply #72 on: April 10, 2004, 01:40:28 PM »
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This is what I was referring to when I said I love people with style.
context, context, context.

Sigur Rós

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« Reply #73 on: April 10, 2004, 02:16:16 PM »
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Quote from: cronopio

This is what I was referring to when I said I love people with style.


....and eyebrows

cron

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« Reply #74 on: April 19, 2004, 02:17:17 PM »
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context, context, context.

 

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