DOCSLIB.ORG

Blind Date Is a Bloated, Lifeless Attempt at Comedy by Paul Grden Brother

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Blind Date Is a Bloated, Lifeless Attempt at Comedy by Paul Grden Brother SHHHi ■m ■■■■■■■■■■■■■nBHnii THE RETRIEVER APRIL 14, 1987 PAGE 3 ENTERTAINMENT "Louder Than Bombs" might catapult The Smiths to stardom by Annette Lepore unusual for tunesmun jonnny Marr. sound. The theme is cool, breaking up comment on the angry, wasted energy featuring Kirsty Maccoll (who is Smiths. It contains the second best The vocals are classic Morrissey, and the monotony and escaping the de- of adolescence. super in her own right) on backup lyric ever written: "The sun shines out The new Smiths album,"Louder he doesn't wait long to treat us to his mands of a boring world by stealing. Another song receiving a fair vocals. It condemns idleness and use- of our behinds/No, it's NOT like any Than Bombs," could be just the thing trademark yodel. The deadpan phy- Another song, "London," is a truly amount of media attention is "You lessness, and in a bizarre twist con- other love/This one is differeni/ to catapult this incredible British sical violence celebrated in last year's discordant song, hard rocking and Just Haven't Earned It Yet, Baby," a trasts love and the Bomb, a neo-hippy because it's us." It is almost a tradi- band into progressive super-stardom. The Queen is Dead is continued here noisy to the point of confusion. Mor- sarcastic song mocking the older gen- philosophy not heard of since the tional love song, but no, Morrissey It's got a bit of everything, Morrissey's and throughout the album. Like, rissey's voice is almost lost, illustrat- eration's stock line, "when I was your 60s. would never try to get away with that. dense and evocative lyrics, some ex- "...you can break my face/but you ing a man lost in the loud, angry city. age..." and similar parental non- "Golden Lights" is a fabulous song "Asleep" ends the album, a fairly "Panic" is a good follow-up, noting perimental music and almost all of it won't change the way I feel/'Cause I sense. featuring (like several other Smiths straightforward melancholy lullaby majorly accessible. love you. "A true romantic state- how the music of today is no kind of "Heaven Knows I'm Miserable songs here and elsewhere) a deliberate wherein Morrissey limits himself to ment. It's an impressive double album set. reflection on what's going on today. Now" is a song that received attention sexual ambivalence that seems almost only one reference to suicide. culled from The Smiths' activities of The second song, "Sheila Take A "Hang the DJ," sings Morrissey so years ago when Hatful of Hollow was commonplace by this point. Written Morrissey really takes himself and the last 6 years, including lots of stuff Bow," contains words that might be irresistably that even you pacifists released. It's an excellent song with by Twinkle, it is the only song here not his lyrics to the limit this time. Tack- from that classic import, Hatful of applied to Morrissey himself, "How would have to agree. cool guitar and a great hook. To quote written by Morrissey and Marr. Tel- ling ideas like hope/no hope, sex Hollow. Here are some of the high- can someone so young/sing words so "Girl Afraid" chronicles a would-be the best lyric ever written: "I was ling a tale of a family forgotten by a without love, life without sex, death lights: sad?" necking session between two kids that looking for a job, and then I found a brother now famous, it was a good with love and no love at all, he im- "Shoplifters of the World Unite" is thwarted by their conflicting desi- job/And Heaven knows I'm miser- choice for the only non-original. merses himself in tales of a painful and The first cut, "Is It Really So has already garnered major airplay as res. Caught between wanting and us- able now." The fourth side starts off strongly Strange?" has an almost bluesy-rock lonely modern world. This album, a single on WHFS. It's pretty interest- ing, they are jaded and unhappy be- The first song on the second disc, with "Hand in Glove," a song already however, is a stylish and artful flash of sound, with a twangy guitar that's ing musically, with a great guitar fore they even do anything. It's a sad "Ask" is a love and action anthem released here on the debut album The brilliance in this dark world. Edwards' Blind Date is a bloated, lifeless attempt at comedy by Paul Grden brother. The only stipulation is that to defend Walter in court. David, his collaborations with Peter Sellers bar brawl, people falling in swimming cess. He is too reserved, seemingly his date, Nadia Gates, is not to drink however, agrees only under the condi- in the Pink Panther films, but much of pools, and golf balls hitting people in afraid to make a mistake in his film Going to a movie is very much like any alcohol, because she will lose tion that Nadia marries him. Walter, that was due to Sellers' comic pro- the head. The film also includes a gag debut. The biggest mistake he makes, going on a blind date: one can only control. Walter doesn't take this who still cares for Nadia, then must wess. Since that time, though, Ed- in which a car is driven through a though, is not in his performance but judge its success after it is over. These warning seriously, though, and after a find some way to stop the marriage. wards has made a series of slapstick- storefront not once, not twice, but in his choice of Blind Date as his film two events are also alike in that they few glasses of liquor, Nadia quickly From the description of the plot, it styled comedies, with last year's three times, as if repetition is going to debut. both carry a low success rate. Blake begins to unravel, becoming puerile sounds as if there is some comic lamentable A Fine Mess being the make such inane excess funnier. While Kim Basinger, as Nadia Edwards keeps this latter tradition and impudent. Before long, Walter potential in this film, but this poten- worst of this crop. Blind Date, unfor- But the reason most people will Gates, can certainly act sultry and alive with his most recent film, Blind loses his job and his sanity as he tries tial is quickly squandered by a ple- tunately, isn't much better than A probably see Blind Date is because it attractive, she does not demonstrate Date, starring Bruce Willis and Kim fo contend with her antics and with thora of overwrought sight gags and Fine Mess, as both films fumble features the movie debut of Bruce much ability as a comic actress. At Basinger, for Blind Date is a silly, the violent outbreaks of her psychotic by an onslaught of banal slapstick. through old familiar vaudevillian sch- Willis, the popular star of T.V.'s Moon least the part of Nadia gives her the trite, and very unentertaining ren- ex-boyfriend, David Bedford, who Dale Laumer's script is at best tick as old and tired as pie fights. In lighting. The main appeal of Willis on opportunity to try something other dezvous. takes his fits of jealously out on mediocre, and even this mediocrity is Blind Date , much of the humor is Moonlighting is his tongue-in-cheek than her usual relegation to sexpot Bruce Willis plays Walter Davis, a Walter. In the midst of this disastrous pummeled by Blake Edwards' heavy- derived from humiliating pompons flippancy, which he unfortunately roles, but nonetheless she isn't able to young, overworked businessman who upheaval, Walter is arrested, then handed direction. Edwards hasn't stuffed-shirts, and cheesy busines- does not bring to this film. While he is do much with the part. must attend a dinner with his boss and bailed out by Nadia, who feels partial- made a worthwhile film in over ten smen, all of which are cheap and easy not really bad in Blind Date, he is not Blind Date is a bloated, lifeless a very important client. Since he is ly responsible for the events of the years, and this film proves to be no comic targets. really good, either. Mostly, he is not attempt at comedy which offers very unattached at the time, he agrees to a evening. Nadia also persuades her exception. Things aren't made any better when really there, as he seems to be intimi- few laughs for those moviegoers who blind date arranged through his ex-boyfriend David, who is a lawyer, Edwards achieved much success in the film includes such crusty gags as a dated by the entire filmmaking pro- have more than double-digit IQs. BLACK STUDENT UNION MASS MEETING PPTSnsnigs WEDNESDAY, APRIL 15,1987 1 -2 p.m. Lecture Hall II The Legal Aid Office has internships for the Fall 1987 semester. -attend six (6) hours of intake I. To plan action for Chancellor's response to: work a week, 1. Demands for racial justice. -work closely with a practicing 2. Stalling tactics to justice. attorney 3. Administration's quiet dismantling of -serve the UMBC Student Affirmative Action at UMBC. community 4. Public release of testimonies and uncensored sub-committee report on -earn 3 credits injustice to Black Students. The Legal Aid internship gives interns the opportunity to gain valuable knowledge of legal United we stand, material. divided we fall. DEADLINE: May 6,1987 Strength in Unity. Pick-up application in Room 208 UC.
Load more

Recommended publications
  • The Smiths Hatful of Hollow Mp3, Flac, Wma
    The Smiths Hatful Of Hollow mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Hatful Of Hollow Country: Canada Released: 1984 Style: Indie Rock MP3 version RAR size: 1868 mb FLAC version RAR size: 1204 mb WMA version RAR size: 1486 mb Rating: 4.3 Votes: 803 Other Formats: AA MP3 MP1 WMA VOX WAV VOC Tracklist Hide Credits 1 William, It Was Really Nothing 2:09 2 What Difference Does It Make? 3:12 These Things Take Time 3 2:32 Engineer – Martin ColleyProducer – Dale Griffin 4 This Charming Man 2:43 5 How Soon Is Now? 6:44 6 Handsome Devil 2:45 Hand In Glove 7 3:13 Producer – The Smiths 8 Still Ill 3:32 9 Heaven Knows I'm Miserable Now 3:34 10 This Night Has Opened My Eyes 3:39 You've Got Everything Now 11 4:16 Engineer – Martin ColleyProducer – Dale Griffin Accept Yourself 12 4:01 Engineer – Mike Robinson 13 Girl Afraid 2:47 14 Back To The Old House 3:02 15 Reel Around The Fountain 5:50 16 Please, Please, Please, Let Me Get What I Want 1:51 Companies, etc. Marketed By – Reprise Records Phonographic Copyright (p) – Sire Records Company Phonographic Copyright (p) – BBC Copyright (c) – Sire Records Company Manufactured By – WEA Manufacturing Pressed By – Specialty Records Corporation Copyright (c) – Morrissey / Marr Songs, Ltd. Copyright (c) – Warner-Tamerlane Publishing Corp. Credits Bass – Andy Rourke Drums – Mike Joyce Guitar, Harmonica, Mandolin – Johnny Marr Layout – Caryn Gough Lyrics By – Morrissey Music By – Johnny Marr Photography By [Group Photograph] – Paul Slattery Photography By [Morrissey Photographs] – Tom Sheehan Producer – John Porter (tracks: 1, 5, 9, 12, 13, 16), Roger Pusey (tracks: 2, 4, 6, 8, 10, 14, 15) Sleeve – Morrissey Voice – Morrissey Notes From the BBC Radio 1 John Peel Show: What Difference Does It Make?; Handsome Devil and Reel Around The Fountain first broadcast 31/5/83.
    [Show full text]
  • ADAM and the ANTS Adam and the Ants Were Formed in 1977 in London, England
    ADAM AND THE ANTS Adam and the Ants were formed in 1977 in London, England. They existed in two incarnations. One of which lasted from 1977 until 1982 known as The Ants. This was considered their Punk era. The second incarnation known as Adam and the Ants also featured Adam Ant on vocals, but the rest of the band changed quite frequently. This would mark their shift to new wave/post-punk. They would release ten studio albums and twenty-five singles. Their hits include Stand and Deliver, Antmusic, Antrap, Prince Charming, and Kings of the Wild Frontier. A large part of their identity was the uniform Adam Ant wore on stage that consisted of blue and gold material as well as his sophisticated and dramatic stage presence. Click the band name above. ECHO AND THE BUNNYMEN Formed in Liverpool, England in 1978 post-punk/new wave band Echo and the Bunnymen consisted of Ian McCulloch (vocals, guitar), Will Sergeant (guitar), Les Pattinson (bass), and Pete de Freitas (drums). They produced thirteen studio albums and thirty singles. Their debut album Crocodiles would make it to the top twenty list in the UK. Some of their hits include Killing Moon, Bring on the Dancing Horses, The Cutter, Rescue, Back of Love, and Lips Like Sugar. A very large part of their identity was silohuettes. Their music videos and album covers often included silohuettes of the band. They also have somewhat dark undertones to their music that are conveyed through the design. Click the band name above. THE CLASH Formed in London, England in 1976, The Clash were a punk rock group consisting of Joe Strummer (vocals, guitar), Mick Jones (vocals, guitar), Paul Simonon (bass), and Topper Headon (drums).
    [Show full text]
  • 'Words Which Could Only Be Your Own': the Crossroad Between Lyrics
    - 1 - Ministério da Educação Universidade Federal dos Vales do Jequitinhonha e Mucuri – UFVJM Minas Gerais – Brasil Revista Vozes dos Vales: Publicações Acadêmicas Reg.: 120.2.095–2011 – UFVJM ISSN: 2238-6424 Nº. 02 – Ano I – 10/2012 http://www.ufvjm.edu.br/vozes ‘Words which could only be your own’: the crossroad between lyrics translation, culture, Brazilian fans, and non-professional translators Luciana Kaross PhD Candidate in Translation and Intercultural Studies School of Arts, Languages and Cultures The University of Manchester, Lancashire, UK E-mail: [email protected] Renata Spinola Doutoranda em Literatura e Cultura Instituto de Letras Universidade Federal da Bahia, Bahia, Brasil E-mail: [email protected] Resumo: Nos estudos da tradução, um tópico que tem rendido discussões interessantes se apoia na intervenção do tradutor no que se refere à transferência de aspectos culturais do texto de origem para o texto de chegada. No entanto, a pesquisa concernente à tradução da música pop para fins de entendimento tem sido negligenciada. As diferentes mídias em que letras traduzidas podem ser encontradas no Brasil e os diversos perfis de seus tradutores proporcionam um campo de estudo ainda inexplorado. Esse artigo tem por objetivo estabelecer até que ponto as fontes de acesso às letras traduzidas domesticam ou estrangeirizam os aspectos culturais presentes nas letras do cantor Morrissey. Apesar de não baseado em técnicas acadêmicas, mas em aprendizado empírico, o trabalho coletivo dos fãs produz um texto final de boa qualidade. Palavras-chave: Tradução. Prática metodológica, Cultura. Letras de Música. Tradutores amadores. Revista Vozes dos Vales da UFVJM: Publicações Acadêmicas – MG – Brasil – Nº 02 – Ano I – 10/2012 Reg.: 120.2.095–2011 – PROEXC/UFVJM – ISSN: 2238-6424 – www.ufvjm.edu.br/vozes - 2 - Introduction The importance of popular music in the Brazilian Culture is undeniable.
    [Show full text]
  • LOUDER THAN a BOMB FILM CURRICULUM E Dited B Y a Nna Festa & Gre G Ja C Obs
    1 LOUDER THAN A BOMB FILM CURRICULUM CREATED BY KEVIN COVAL EDITED BY ANNA FESTA & GREG JACOBS TABLE OF CONTENTS INTRODUCTION The Film The Pedagogy The Curriculum ACTIVITIES 1 HOME Adam Gottlieb Kevin Coval & Carl Sandburg 2 EGO TRIPPIN’ Nate Marshall Nikki Giovanni & Idris Goodwin 3 THE PORTRAIT Nova Venerable William Carlos Williams 4 PERSONA: VOICING AMERICAN ARCHETYPES Lamar Jorden Patricia Smith 5 GROUP PIECE PART #1: THE CHOREOPOEM as COMMUNITY Theater The Steinmenauts 6 GROUP PIECE PART #2: THE CHOREOPOEM as COMMUNITY Theater The Steinmenauts Ntozake Shange GLOSSARY END NOTES CONTACT 2 ABOUT THE FILM DIRECTORS JON SISKEL & GREG JACOBS As is the case with so many documentary subjects, we stumbled on Louder Than a Bomb completely by accident. One late winter weekend, Greg happened to drive by the Metro, a legendary Chicago music venue, and saw a line of kids that stretched down the block. What made the scene unusual wasn’t just the crowd—it was what they were waiting for: the marquee read, “Louder Than a Bomb Youth Poetry Slam Finals.” Teenagers, hundreds of them, of every shape, size, and color, lined up on a Saturday night to see poetry? In Chicago!? Whatever this thing is, it must be interesting. The more we saw, the more convinced we became that, in fact, it was. There was the LTAB community—a remarkable combination of democracy and meritocracy, where everyone’s voice is respected, but the kids all know who can really bring it. There were the performances themselves—bold, brave, and often searingly memorable. And there were the coaches, teachers, and parents, whose tireless support would become a quietly inspiring thread throughout the film.
    [Show full text]
  • The Spectral Voice and 9/11
    SILENCIO: THE SPECTRAL VOICE AND 9/11 Lloyd Isaac Vayo A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2010 Committee: Ellen Berry, Advisor Eileen C. Cherry Chandler Graduate Faculty Representative Cynthia Baron Don McQuarie © 2010 Lloyd Isaac Vayo All Rights Reserved iii ABSTRACT Ellen Berry, Advisor “Silencio: The Spectral Voice and 9/11” intervenes in predominantly visual discourses of 9/11 to assert the essential nature of sound, particularly the recorded voices of the hijackers, to narratives of the event. The dissertation traces a personal journey through a selection of objects in an effort to seek a truth of the event. This truth challenges accepted narrativity, in which the U.S. is an innocent victim and the hijackers are pure evil, with extra-accepted narrativity, where the additional import of the hijacker’s voices expand and complicate existing accounts. In the first section, a trajectory is drawn from the visual to the aural, from the whole to the fragmentary, and from the professional to the amateur. The section starts with films focused on United Airlines Flight 93, The Flight That Fought Back, Flight 93, and United 93, continuing to a broader documentary about 9/11 and its context, National Geographic: Inside 9/11, and concluding with a look at two YouTube shorts portraying carjackings, “The Long Afternoon” and “Demon Ride.” Though the films and the documentary attempt to reattach the acousmatic hijacker voice to a visual referent as a means of stabilizing its meaning, that voice is not so easily fixed, and instead gains force with each iteration, exceeding the event and coming from the past to inhabit everyday scenarios like the carjackings.
    [Show full text]
  • Smiths Protest Steak on New LP Stupidity Fever Cured at Baltimore
    Page 4 Retriever features Smiths protest steak on new LP by Tony Sclafani airplay. Could it be listeners are actually seeki- lations of personal experience that most would ing them out due to their music? cringe at revealing. Unlike another gay activist, There is no such thing as "new music." There After just one listen to their new import com- Tom Robinson, the Smiths are not just backing are only revivals, and revivals of revivals. Once pilation LP Hatful of Hollow, and their second for Morrisey's statements. These are songs in a while, someone takes a new approach to U.S. album Meat is Murder, the answer is a proper, not backing tracks for righteous music but what usually occurs is each genera- definite "yes." polemics. tion just revives parts of the old one for people The Smiths' formula is simple enough: the Meat is Murder, the "real"second album, too young to remember. standard guitar, bass, drums, and singer does not contain so many songs proper. Many Although this is a natural cycle with any form combo, it is what they do with this setup that of the tracks seem to be intended as atmosphere of entertainment, it inevitably results in shal- makes them worth a listen. Morrisey's whiny, pieces. "Barbarism Begins at Home," although lowness of form over content, style over melodic vocals twist around Johnny Marr's gui- almost seven minutes in length, contains only substance. tar, which often plays a combination of lead ten lines. The also-lengthy title track opens and A prime example is a band like U2.
    [Show full text]
  • Mp3tag File Overview 2011-02-08
    Mp3tag File Overview 2011-02-08 Title: You'll Loose A Good Thing Artist: Barbara Lynn Album: You'll Loose a Good Thing Year: 1962 Track: Genre: Oldies Comment: #8 on Billboard Hot 100 Title: Jobriath Artist: David Bowie Album: Unreleased Album (2000) Year: 2000 Track: Genre: Classic Rock Comment: Title: Freelove [Flood remix] Artist: Depeche Mode Album: Freelove Year: Track: Genre: Comment: Title: Jobriath Artist: Scott Walker & David Sylvian Album: Unreleased Album (2000) Year: 2000 Track: Genre: Classic Rock Comment: Title: La Femme D'Argent Artist: Air Album: Q - 1998-BEST Year: 1998 Track: 01 Genre: Rock Comment: Encoded by FLAC v1.1.2a with FLAC Frontend v1.7.1. Ripped by TCM Title: The State I Am In Artist: Belle And Sebastian Album: Tigermilk Year: 1996 Track: 01 Genre: Pop Comment: Track 1 Title: Lovely Day Artist: Bill Withers Album: Menagerie Year: 1977 Track: 01 Genre: Soul Comment: Title: Upp, Upp, Upp, Ner Artist: bob hund Album: bob hund Sover Aldrig [live] Year: 1999 Track: 01 Genre: Rock Comment: Encoded by FLAC v1.1.2a with FLAC Frontend v1.7.1. Ripped by TCM Title: Lloyd, I'm Ready To Be Heartbroken Artist: Camera Obscura Album: Sonically Speaking - vol. 29 Year: 2006 Track: 01 Genre: Pop Comment: Track 1 Title: Hands On The Wheel Artist: China Crisis Album: Warped By Success Year: 1994 Track: 01 Genre: Pop Comment: Track 1 Title: Geno Artist: Dexy's Midnight Runners Album: Let's Make This Precious [The Best Of] Year: 2003 Track: 01 Genre: Pop Comment: Track 1 Title: Walk On By Artist: Dionne Warwick Album: Dionne Sings Dionne Year: Track: 1 Genre: Comment: Title: Protection Artist: Massive Attack Album: Protection Year: 1994 Track: 01 Genre: Trip-Hop Comment: Encoded by FLAC v1.1.2a with FLAC Frontend v1.7.1.
    [Show full text]
  • Celebrity, Gender, Desire and the World of Morrissey
    " ... ONLY IF YOU'RE REALLY INTERESTED": CELEBRITY, GENDER, DESIRE AND THE WORLD OF MORRISSEY Nicholas P. Greco, B.A., M.A. Department of Art History & Communication Studies McGill University, Montreal March 2007 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Doctor of Philosophy Copyright © Nicholas P. Greco 2007 Library and Bibliothèque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre référence ISBN: 978-0-494-32186-7 Our file Notre référence ISBN: 978-0-494-32186-7 NOTICE: AVIS: The author has granted a non­ L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans loan, distribute and sell th es es le monde, à des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, électronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • Morrissey Dancing a Latin Beat
    V1 - AUSE01Z01MA THE AUSTRALIAN, THURSDAY, JANUARY 21, 2016 ARTS theaustralian.com.au/arts 13 Morrissey dancing a FIONA MORRISON Jukuja Dolly Snell receiving her national art award Latin beat Loved storyteller’s art Mexrrissey takes a British institution was ‘just filled with joy’ and gives his songs a Mexican feel Jukuja was among a group of AMOS AIKMAN Great Sandy Desert artists JANE CORNWELL NORTHERN CORRESPONDENT responsible for the production of the iconic Ngurrara II native title Octogenarian and spindly as a canvas in 1997. But her first show It’s the Day of the Dead in Mexico, cha to these songs gave them desert oak, she was nonetheless was not until 2014, at Outstation and down in Tobacco Dock, a vast another perspective. His songs are at the peak of her career. Gallery in Darwin. warehouse space in Wapping, strong; they stand up to reinter- Arriving in Darwin to collect the “There was this amazing East London, they’re celebrating. pretation.” A grin. “Like the works National Aboriginal and Torres thing about her, about this Thousands of hipsters working a of Shakespeare.” Strait Islander Art Award last woman from the depths of the look best described as cadaver-in- “Reactions ranged from laugh- year, Jukuja Dolly Snell insisted desert who was painting in such Victorian-dress — skeleton face ter to jumping to wild dancing to on buying a new outfit first. an extraordinary, contemporary paint, neon flower headbands, screams and tears,” wrote the Socks may have hung loose way,” Outstation’s director Matt dusty top hats and tails — are Observer.com of Mexrrissey’s around her ankles and weak legs Ward remembers.
    [Show full text]
  • Bigmouth Strikes Again As Morrissey's Book Hits the Shelves
    40 FGM FridayOctober 18 2013 | the times the times | FridayOctober 18 2013 FGM 41 arts FRONT COVER: MICK HUTSON/GETTY IMAGES BELOW: STEPHEN WRIGHT /SMITHSPHOTOS.COM arts Bigmouth strikes Morrissey wasagenius,but he’s still singingthe same song,sayslifelong fan Robert Crampton fIhad to rank the most seminal we know that he can hold agrudge, moments of my youth, the Jam and my goodness, he can. again as Morrissey’s splitting up in 1982 would be He has apop at SteveHarley and one, the Clash falling to bits in Noddy Holder.And morethan apop 1983 would be another,and the —itgets tedious —atthe judge who Smiths calling it aday in 1987 presided over the courtcase (that he would be athird. Looking back, lost) when the Smiths’bassist and bookhitsthe shelves Iof the three ruptures, the last drummer wanted abigger shareof wasbyfar the most significant. the band’sroyalties. The appeal Morrissey and Marr still had plenty courtjudges get akicking too. of creativeenergy left in the tank, As do John Peel, Rough Trade, paragraphaiming foraT.S.Eliot-style same time beingaware of his own yetastheir respectivesolo careers SpandauBallet.Pretty It’s self-absorbed, evocation of Mancunian squalor. preposterousness. “Naturally my birth suggest,they needed eachother to much everyone. “Pastplacesofdread, we walk in the almostkills my mother,for my head is alchemise that energy.Soalot of The Smiths split up overlongand center [sic] of the road,” Morrissey toobig,” he announces. He finds the great songs never got written. morethan aquarter of writes,possibly by quill, on the city firstofmanyopportunitiestobea Iwas 18 when Ifirst heardthe acenturyago.Inthe essentialreading.
    [Show full text]
  • AUDIO + VIDEO 10/11/11 Audio & Video Releases *Click on the Artist Names to Be Taken Directly to the Sell Sheet
    NEW RELEASES WEA.COM ISSUE 21 OCTOBER 11 + OCTOBER 18, 2011 LABELS / PARTNERS Atlantic Records Asylum Bad Boy Records Bigger Picture Curb Records Elektra Fueled By Ramen Nonesuch Rhino Records Roadrunner Records Time Life Top Sail Warner Bros. Records Warner Music Latina Word AUDIO + VIDEO 10/11/11 Audio & Video Releases *Click on the Artist Names to be taken directly to the Sell Sheet. Click on the Artist Name in the Order Due Date Sell Sheet to be taken back to the Recap Page Street Date CD- NON 528728 BJORK Biophilia $18.98 10/11/11 9/21/11 Biophilia (2LP 180 Gram NON A-528477 BJORK Vinyl)(w/Download) $28.98 10/11/11 9/21/11 GDP A-2668 GRATEFUL DEAD Europe '72 (3LP) $59.98 10/11/11 9/21/11 CD- ATL 528533 HAMILTON PARK TBD $5.94 10/11/11 9/21/11 CD- ATN 528890 HAYES, HUNTER Hunter Hayes $18.98 10/11/11 9/21/11 CD- PARLOR MOB, RRR 177982 THE Dogs $13.99 10/11/11 9/21/11 A- PARLOR MOB, RRR 177981 THE Dogs (2LP) $15.98 10/11/11 9/21/11 10/11/11 Late Additions Street Date Order Due Date CD- SIR 528841 READY SET, THE Feel Good Now $7.98 10/11/11 9/21/11 Last Update: 08/17/11 ARTIST: Bjork TITLE: Biophilia Label: NON/Nonesuch Config & Selection #: CD 528728 Street Date: 10/11/11 Order Due Date: 09/21/11 UPC: 075597964080 Compact Disc Box Count: 30 Unit Per Set: 1 SRP: $18.98 Alphabetize Under: B OTHER EDITIONS: For the latest up to date info on A:075597964349 Biophilia (2LP 180 Gram this release visit WEA.com.
    [Show full text]
  • Morrissey's Art and Persona As a Continuation of Oscar Wilde's Artistic
    Scripta Neophilologica Posnaniensia. Tom XX, strony: 249–261 Wydział Neofilologii, Uniwersytet im. Adama Mickiewicza w Poznaniu, 2020 DOI 10.14746/snp.2020.20.17 “OSCILLATE WILDLY”: MORRISSEY’S ART AND PERSONA AS A CONTINUATION OF OSCAR WILDE’S ARTISTIC LEGACY KAROLINA ADAMSKICH Abstract. The works of Oscar Wilde form a link between late Victorian and modernist literature. His art and wit have continued to exert a great influence on other artists. The art of Morrissey, a legendary poet and singer, may serve as a case in point. Thus, this paper aims at presenting Morrissey’s works and persona as a continuation of Oscar Wilde’s artistic legacy. The article presents their attitude to life and to the process of creation. In view of that, breaking with traditional moral code, the artists’ fascination with beauty, their defense of humanity and all possible freedoms, as well as earnestness of their works, is depicted as the key to the analysis of their art. Thus, the writers’ rebellion against society and modern life, along with propounding aestheticism, will be investigated in this paper. Key words: Oscar Wilde, Morrissey, aestheticism, modernist literature, indie rock Oscar Fingal O’Flahertie Wills Wilde was born in 1854 in Dublin to Lady Jane Wilde and Sir William Wilde. Educated firstly at Portora Royal School in Enniskil- len, he received a scholarship to Trinity College and later on to Oxford. While at Oxford, he studied Classics, which was undoubtedly one of the reasons why he was professing the “doctrine of beauty”. Nevertheless, as Iain Ross (Ross 2013: 21) points out, “[t]he classical texts absorbed constituents of his developing self rather than instruments of academic advancement […]”.
    [Show full text]