Omot prvog albuma The Smiths-a. Scena sa Joeom Dallesandrom iz Warholovog filma ''Flesh''. Joe Dallesandro je zapravo ''Little Joe'' iz Reedove ''Walk on the Wild Side'' -
Little Joe never once gave it away everybody had to pay and pay A hustle here and a hustle there New York City is the place where they said Hey babe, take a walk on the wild side I said, hey Joe, take a walk on the wild side
Možda niko u toj meri i na taj način nije ekploatisao modernu gej ikonografiju i homoertoske motive u svom rok stvaralaštvu kao Morrissey.
Cocteauov crtež. Unutrašnji omot za The Smiths ''Hatful of Hollow'' (1984)
Omot za singl ''Sheila Take a Bow'' - Candy Darling (zapravo James Lawrence Slattery) iz Warholovom filma ''Women in Revolt'' (1971).
Candy came from out on the island in the backroom she was everybody's darling But she never lost her head even when she was givin' head She says, hey babe, take a walk on the wild side said, hey babe, take a walk on the wild side and the coloured girls go
Walk on the Wild Side, Lou Reed
Pisac Truman Capote, fotografija Cecil Beatona (1949). Omot za singl: ''The Boy with the Thorn in his Side'' (1986)
Guardian, 31. maj 2003. POVRATAK USAMLJENOG STRANCA
Mark Simpson
Godinama je bez diskografske kuće, i ništa sa Morrisseyem nije kao što bi trebalo da bude. Ali novi dokumentarac govori da on nije više tako žalostan.
"Gde obično živite?" pita mladi brica sa keceljom oko pasa, pokušavajući da započne uljudnu konverzaciju dok sređuje notorne zulufe na licu kojeg se mnogi ne sećaju, ali koje je šokantno dobro očuvano uprkos njegove 43 godine.
"Obično živim u LA," odgovara Morrissey. "Ako se to može nazvati normalnim životom." Brica se smeje, ali ne kapira. "veseo grad, zar ne?" "Aha," odvraća Morrissey. "Ali ja nisam."
Siroti berberin bori se sa Morrisseyevom kosom kao i sa njegovim humorom na sopstveni račun. "Moram ja to da sredim," kaže Moz i uzima brijač, naslanja se na ogledalo i stručnim potezima trimuje i doteruje najpoznatiji pompadour popa od Elvisovih dana.
Iako možda nije veliki i blistav kao nekada, on je, kao i njegov vlasnik, odmah prepoznatljiv, nepogrešiv i objašnjiv jedino samom Morrisseyu.
Uprkos tome što je bez diskografske kuće još od 1997, a u dobrovoljnom egzilu u Los Anđelesu od početka 1990ih, Morrissey, bivši frontman/rock/pop diva Smithsa, sada solo umetnik od njihovog razlaza 1987, predstavlja sinonim za vrstu slave, poštovanja i ljubavi koji su u današnje vreme retki, kao i Mozove svirke u Britaniji.
Umesto da bude poznat zato što je poznat, Morrissey je poznat zato što je Morrissey. Iako je sumanuto retro kao i njegova frizura, to je stanje na kojem mu mnoge slavne ličnosti danas zavide, ili mu se makar dive, kao što to pokazuje gomila poznatih fanova, među kojima su JK Rowling, Alan Bennett, Chrissie Hynde, Kathy Burke, Will Self i Noel Gallagher, koji su pojurili da Morrisseyu odaju priznanje u dokumentarcu stanice Channel 4 pod nazivom "The Importance Of Being Morrissey".
Na Morrisseya gledaju kao na poslednjeg apostola popa, preživelog iz perioda kada je pop muzika bila sve što postoji i sve što se moglo poželeti. Kao što svako dovoljno mlad da se seti tog vremena zna, seks, droga i materijalizam slaba su zamena za pop muziku.
Pop muziku je kreirala čitava generacija mladih ljudi, dajući joj smisao i značaj. Ali niko joj nije dao toliki smisao kao Steven Patrick Morrissey, koji je sedamdesete proveo u svojoj spavaćoj sobici slušajući New York Dolls i Sandie Shaw i pitajući se kako da postane ta čudna, transfigurisana stvar - pop zvezda.
Ali ne zato što je želeo da mu se dive, već zato što je želeo osvetu. Kada se 1983. pojavio pred zapanjenom publikom u lirično-harmoničnoj ljubavnoj vezi za Johnyjem Marrom u obliku The Smiths, uspeo je da - fatalno - ispuni obećanje popa. On je jednostavno bio najzabavnija, najtužnija, najpametnija, najslađa, najkobnija stvar koju ste ikada čuli i videli.
Očigledno vanzemaljska, nezdrava kreatura koja je tokom izvođenja pesme William It Was Really Nothing u emisiji Top Of The Pops rascepala košulju ispod koje je na mršavim grudima pisalo "MARRY ME", nikada neće biti ista, ali necemo ni mi.
Najvećim delom protekle decenije pravili smo se da smo iznad njega, ali stiče se utisak da pocinjemo da se suočavamo sa činjenicama. NME, njegov zakleti neprijatelj još od početka 1990ih, prošle godine ga je izglasao za "najuticajnijeg muzičara u istoriji". Čak je i Sun zaključio da je prikladno da objavi hvalospevni prikaz njegove prve svirke u Britaniji u poslednjih nekoliko godina, i da objavi da se Morrissey zvanično "vratio na scenu".
Ali, upravo su muškarci bili ti koji se nikada nisu oporavili od Morrisseya - poslednje dve dekade britanske muškosti oblikovao je upravo on. Kumovao, bolje rečeno. Njegov period Smithsa, era hermafroditske lepote i narcisoidnosti stvorio je Novog Čoveka; njegovi rani solo radovi, s preokupacijom gangsterima, bokserima i "low-life" kreirali su Novog Momka - i mada umetnički nastrojenog i strasnog, ono što je usledilo bilo cinično i komercijalno.
Stoga i ne čudi što su njegovi fanovi većinom muškarci, mahom heteroseksualni, svi redom strasno, stravično zaljubljeni u njega, spremni da dobiju batine od telohranitelja samo da bi ga zagrlili i poljubili na bini. "Spavao bih s njim kad bi to zatražio od mene," rekao mi je jedan obožavalac na Mozovoj svirci. "Moja devojka bi to razumela," dodaje. "I ona je Morrisseyev fan." Naravno da bi razumela.
Poslednje veliko pojavljivanje Morrisseya na britanskoj televiziji bilo je 1987. u emisiji South Blank Show, čime je užasno precizno predvideo smrt pop muzike. U novom dokumentarcu, osim snimaka sa njegove svetske turneje prošle godine, videćemo Moza na motoru, Moza u Jaguaru kabrioletu, Moza u svojoj kuci u Holivudu, Moza kako pije caj sa relativno odvaljenom Nancy Sinatrom.
Dok nam pokazuje kroz svoju kuću u Holivudu, objašnjava a oči mu se cakle: "Sagradio ju je Clark Gable za Carole Lombard. Ali ona je umrla onog dana kada je dobila ključeve."
U jednom trenutku se čini da pokušava da nam kaže da je iznad nas, iznad Engleske, koja je tako loše postupala prema njemu; u drugom, zove nas da dođemo po njega i spasemo ga. "Nisam se aklimatizovao," kaže i čkilji u sunce iznad LA.
Na televiziji, Morrissey deluje kao neko ko je dizajnirao svoju stidljivost, kao i frizuru, i pretvorio je u elegantno oružje. I pored toga, on je zadržao razumljivi strah stidljive osobe da bi drugi ljudi mogli da ga kompromituju, kontaminiraju.
"Nikad se ne javljam na telefon," objašnjava; umesto toga, sa svojim prijateljima i saradnicima komunicira faksom. Sama pop muzika kao da je neka vrsta velike faks mašine: "Ušao sam u ovaj biznis jer je to sjajan način da se komunicira s ljudima, bez potrebe da koristite telefon." I tako, kad mu je jedan obožavalac izbezumljeno rekao, "hoću da ti se zahvalim što si toliko usrećio mene i moje prijatelje," Moz odgovara, "Pa, to mi baš nije bio cilj "
Knjiga Marka Simpsona "Saint Morrissey" izlazi krajem godine u izdanju SAF Publishing. Dokumentarac "The Importance of Being Morrissey" emitovace se na C4, 8 juna u 11.15pm.
GAY SERBIA BONUS TRACKS :
1. WILLIAM, IT WAS REALLY NOTHING
The rain falls hard on a humdrum town This town has dragged you down Oh, the rain falls hard on a humdrum town This town has dragged you down Oh, no, and everybody's got to live their life And God knows I've got to live mine God knows I've got to live mine William, William it was really nothing William, William it was really nothing It was your life ...
How can you stay with a fat girl who'll say : "Oh ! Would you like to marry me ? "And if you like you can buy the ring" She doesn't care about anything Would you like to marry me ? And if you like you can buy the ring I don't dream about anyone - except myself ! Oh, William, William it was really nothing William, William
2. THIS CHARMING MAN
Punctured bicycle On a hillside desolate Will nature make a man of me yet ?
When in this charming car This charming man
Why pamper life's complexities When the leather runs smooth On the passenger seat ?
I would go out tonight But I haven't got a stitch to wear This man said "it's gruesome That someone so handsome should care"
A jumped-up pantry boy Who never knew his place He said "return the rings" He knows so much about these things He knows so much about these things
I would go out tonight But I haven't got a stitch to wear This man said "it's gruesome That someone so handsome should care"
Oh, la-la, la-la, la-la, this charming man ... Oh, da-da, da-da, da-da, this charming man ...
A jumped-up pantry boy Who never knew his place He said "return the ring"
He knows so much about these things He knows so much about these things He knows so much about these things
3. VICAR IN A TUTU
(Dosl. sveštenik u baletskoj suknjici. Preneseno - autovani sveštenik)
I was minding my business Lifting some lead off The roof of the Holy Name church It was worthwhile living a laughable life To set my eyes on the blistering sight Of a vicar in a tutu He's not strange He just wants to live his life this way
A scanty bit of a thing With a decorative ring That wouldn't cover the head of a goose As Rose collects the money in a cannister Who comes sliding down the bannister ? The vicar in a tutu He's not strange He just wants to live his life this way
The monkish monsignor With a head full of plaster Said : "My man, get your vile soul dry-cleaned" As Rose counts the money in the cannister As natural as Rain He dances again My god !
The vicar in a tutu Oh yeah Oh yeah, yeah, yeah, yeah, yeah Oh ... The vicar in a tutu Oh yeah Oh ...
The next day in the pulpit With Freedom and Ease Combatting ignorance, dust, and disease As Rose counts the money in the cannister As natural as Rain He dances again and again and again
In the fabric of a tutu Any man could get used to And I am the living sign And I'm a living sign I am a living sign I'm a living sign I am a living sign I'm a living sign Sign ... I am a living sign
4. PICCADILLY PALARE
Off the rails I was and Off the rails I was happy to stay GET OUT OF MY WAY On the rack I was Easy meat, and a reasonably good buy A reasonably good buy
The Piccadilly palare Was just silly slang Between me and the boys in my gang "So Bona to Vada. OH YOU Your lovely eek and Your lovely riah"
We plied an ancient trade Where we threw all life's Instructions away Exchanging lies and digs (my way) Cause in a belted coat Oh, I secretly knew That I hadn't a clue
(No, no. No, no, no. You can't get there that way. Follow me...)
The Piccadilly palare Was just silly slang Between me and the boys in my gang Exchanging palare You wouldn't understand Good sons like you NEVER DO.
So why do you smile When you think about Earl's Court ? But you cry when you think of all The battles you've fought (and lost) ? It may all end tomorrow Or it could go on forever In which case I'm doomed It could go on forever In which case I'm doomed
Pesma govori o gej eskortima i u njoj se upotrebljavaju reči londonskog gej slenga šezdesetih:
eek - lice riah - kosa bona - dobar drag - odelo vada - vidi, pogledaj
5. HE KNOWS I'D LOVE TO SEE HIM
He Knows (he knows) Or, I think he does 'Cause when I lived In the Arse of the world
He knows, he knows He knows I'd love To see him happy (Or as close as is allowed) Oh, 'cause when I lived In the Arse of the world ...
He knows, he knows He knows I'd love To see him happy (Or as close as possible) As close as possible As close as possible As close as is allowed
Oh, my name still conjures up deadly deeds And a bad taste in the mouth And the police - they actually know me They said :
"You're just another person in the world You're just another fool with radical views You're just another who has maddening views You want to turn it on its head By staying in bed !"
I said : "I know I do"
He doesn't know ...