You’ve heard it so many, many times. But you’ve never heard it like this.

http://monophona.bandcamp.com/

http://www.monophona.com/


jesciexvx: somedizzy1804: @jesciexvx looking good in new @somedizzywhore tee. Coming soon! #morrissey #somedizzy1804

jesciexvxsomedizzy1804@jesciexvx looking good in new @somedizzywhore tee. Coming soon! #morrissey #somedizzy1804


Mel Gibson, Morrissey, Tom Jones (West Hollywood, May 11, 2013)

Mel Gibson, Morrissey, Tom Jones (West Hollywood, May 11, 2013)


Surely how I feel is not nothing? by Morrissey, 15 april 2013

I have listened and I have seen a lack of truth that we had dared not believe existed in modern Britain. Margaret Thatcher has left the order of the world, and she is not to blame for the reports of her own death - reports so dangerously biased and full of intolerant menace that we now wonder how we can possibly believe anything that has ever been recorded in British history books. The coverage by the British media of Thatcher’s death has been exclusively absorbed in Thatcher’s canonization to such a censorial degree that we suddenly see the modern British establishment as an uncivilized entity of delusion, giving the cold shoulder to truth, and offering indescribable disgust to anyone unimpressed by Thatcher. Even to contest Thatcher’s worth is termed “anarchist”, and this source of insanity - intolerant of debate, is spearheaded by the BBC reporting not on how things actually are on British streets, but on how they would prefer things to be. For those of us who survived despite Thatcherism, and who recall Thatcher as a living hell, The Daily Mail and The Guardian have a steadfast message for us: You are nothing. Our thoughts are further burdened by the taunting extravagance of Thatcher’s funeral; the ceremonial lavish, the military salute, stripping Thatcher’s victims of everything, and rubbing salt in wounds with teasing relish. It is all happening against us. In thought, we have killed Thatcher off a million times, but now that we have the reality of her death, the Metropolitan Police have set up new laws against us, and within paragraphs of law, we are not allowed to register our feelings so that anyone might overhear them. Echoes of Libya? Echoes of any Middle Eastern patch whose troubles are thought too uncivilized for a democratic England where chivalrous respect is afforded to “freedom”, and where we are all servile to “democracy.” It is, of course, The Big Lie. The fact that there will be such an enormous police presence at Thatcher’s funeral is evidence that her name is synonymous with trouble - a trouble she brought on herself. No one wished for it, or brought it to her, yet she created her subtle form of anarchy nonetheless. BBC News will scantily report on anti-Thatcher demonstrations as if those taking part aren’t real people. Lordly scorn is shown towards North Korea and Syria, and any distant country ruled by tyrannical means, yet the British government employs similar dictatorship tactics in order to protect their own arrogant interests. There will be no search for true wisdom this week, as the BBC gleefully report how Ding Dong the witch is dead ”failed to reach number 1”, and they repeat the word “failed” four times within the brief report, and a shivering sovereign darkness clouds England - such identifications known only in China. There will be no report as to how “the British people have succeeded in downloading Ding dong the witch is dead to number 2”, and we are engulfed in Third Reich maneuvers as BBC Radio assume the role of sensible adult, finger-wagging at that naughty public who must not be allowed to hear the song that they have elected to number 2. By banning Ding dong the witch is dead (and only allowing four seconds of a song is, in fact, a ban) the BBC are effectively admitting that the witch in question can only possibly be Margaret Thatcher (and not Margaret Hamilton), even though Thatcher isn’t mentioned in the song, which is in fact a harmless, children’s song written over 70 years ago. Whilst the BBC tut-tut-tutted a polite disapproval at the Russian government for sending a “feminist punk” band to prison for recording an anti-government song, they engage in identical intolerance against Ding dong the witch is dead without a second’s hesitation. Thatcher’s funeral will be paid for by the public - who have not been asked if they object to paying, yet the public will be barred from attending. In their place, the cast are symbols of withering - as old as their prejudices, adroit at hiding Thatcher’s disasters. Ancestry and posterity, trimmed with pageantry, will block out anyone with a gripe. David Cameron will cling to Thatcher as she clung to the Malvinas, each in their last-ditch efforts to survive obscurity. Cameron achieves his own conclusions without any regard for the appalling social record of The Thatcher Destroyer - the protestors outside are simply not being British, or, even worse, are probably from Liverpool. When Cameron talks he is simply speaking his part, but he is adamant that the scorn Thatcher poured onto others should not be returned to her. Her mourning family must have considerations that were never shown to the families of the Hillsborough victims, and although Thatcher willingly played her part in the Hillsborough cover-up, let’s not go into all that now. Instead we’re asked to show respect for a Prime Minister whose own Cabinet were her rivals. Thatcher’s death gives added height to David Cameron (a Prime Minister who wasn’t actually voted in by the British people, yet there he is – reminding us all of our manners), and he does not understand how the best reason for doing something is because there’s nothing in it for you. The words of Cameron are assumed to have weight, yet his personal gain is the only reason why he speaks those words. Cameron tells us that the British people loved Thatcher, but we are all aware that Sunningdale and Chelsea are his Britain; he does not mean the people of Salford or Stockton-on-Tees, who are, in any case, somewhere north of Lord’s Cricket Ground. Can the BBC possibly interview someone with no careerist gain attached to their dribble? No. On the day that nine British citizens are arrested in Trafalgar Square for voicing their objections to the Baroness, the BBC News instead offer their opening platform to Carol Thatcher, a dumped non-star of I’m a celebrity get me out of here, and to Sir Mark Thatcher (Sir!), unseen since the disgrace of his involvement in selling arms to countries at odds with Britain (magically, he avoided a 15-year prison term and was financially bailed out by his mother - her moral conscience nowhere in sight as Sir Mark patriotically took his 64 million and fled to Gibraltar having been refused entry to Switzerland and Monaco. What kind of mother raised such a son?) Both Mark and Carol get the BBC spotlight because they mourn their mother’s death, whilst those honest civilians who mourn Thatcher’s life are shunted out of view. This is how we see Syrian TV operate, and this is most certainly NOT a week when David Cameron will advise: “hug a hoodie.” Whilst the quite astonishing social phenomenon of Ding Dong the witch is dead is ignored by the television news, instead we are shown an eight-minute clip of Psy, a funny little South Korean singer who is making all British newsreaders laugh with his funny little new video. Today, news items from South Korea, Belgium and China get precedence over homeland news of anti-Thatcher protests in Trafalgar Square, and the meaningless banality of Modern Media Britain casts a shameful shadow. Repeated and repeated, words strengthen. The truth sleeps as the heartlessness of Thatcher is re-written as a strength, for it was not exclusively because Thatcher destroyed the miners or murdered the boys of The Belgrano that we feel rage, but it was the lip-smacking relish with which she did both, and with which she sent armies of police to batter anyone who opposed her view. Gaddafi did the same thing in the same way. Thatcher could never show sympathy, or empathy, or understanding to those from whom David Cameron is now demanding a show of civil respect for a woman who, like Myra Hindley, proved to all of us that the female could be just as cruel as the male. By 1990 Thatcher was the gift that not even her own Cabinet wanted, and she was tufted out of office. How could such a catastrophic end warrant a statue in Trafalgar Square? Revenge was the vital juice of every move made by Thatcher, and her results produced the most dis-United Kingdom ever seen in history. Although Thatcher was never flesh, her demeanor took on an incurably demented sadness, and her broadcasting tones registered madness … as Britain burned. From all of this we see, in this April week of 2013, that modern media reporting in Britain is a disturbing fog of taboos and prejudices, reviving the divisions that Thatcher hatched, whilst hiding her horrors. Even in death, Thatcher remains ‘the enemy within.’
And the truth sleeps.


The Smiths - The Pablo Cuckoo Tape (May 1983)

An early recording of The Smiths from 1983 has surfaced and been published online. Confirmed by drummer Mike Joyce, the tape comes from  ”a cassette player lying on the floor in the rehearsal room” at Crazy Face in Manchester while the band prepared for its debut album. The audio quality is pretty decent, however there are some flutters and distortions, which is why the tape was never officially released.

  1. You’ve Got Everything Now
  2. Accept Yourself
  3. What Difference Does It Make
  4. Reel Around The Fountain
  5. These Things Take Time
  6. I Don’t Owe You Anything
  7. Hand In Glove
  8. Handsome Devil
  9. Miserable Lie

(via thisaintnopicnic)


Lyrics sheet for “The boy with the thorn in his side”, from No. 1 magazine. A different one from Smash Hits can be found here.

Lyrics sheet for “The boy with the thorn in his side”, from No. 1 magazine. A different one from Smash Hits can be found here.



Acid House Kings performs “the world’s greatest song” There is a Light that never goes out ”slightly worse”, live in Singapore.


I WANTED TO REBLOG YOU…

William Control - Everyday Is Like Sunday

Does anyone have a link to this new cover, tumblr’d?


Last Night I Dreamt Somebody Loved Me
William Control
Skeleton Strings

William Control - Last Night I Dreamt That Somebody Loved Me

(via b-a-r-r-e-n)


David Tennant’s little dance to “The Boy With The Thorn In His Side” by The Smiths on Blackpool. (x)

(via tennant-tumblr)



I’ve learned that in order to avoid ending your life as an embittered wreck you must start off as one.
Morrissey, last night at the Staples Center

(via coldengolden)


He worships Kirk Douglas, despises the Queen and one-upped the Beatles legend by making his sold-out Staples Center show meat-free — but why can’t this superstar land a record deal?

Chaos and discord have plagued Morrissey’s world during the past month. First a paralyzing combination of Barrett’s esophagus, a bleeding ulcer and a concussion forced him to postpone his U.S. tour. Then the prospect of appearing on Jimmy Kimmel Live! alongside the bloodthirsty rednecks of A&E’s Duck Dynasty so offended the renowned vegetarian that he canceled a rare network TV appearance.

But Morrissey’s is a light that never goes out. On Tuesday, tickets for his intimate gig March 2 at Los Angeles’ Hollywood High School were snapped up in just 12 seconds, and on Friday, the 53-year-old icon returns to the road, performing for a capacity crowd at L.A.’s Staples Center. Morrissey maintains that the 20,000-seat venue is contractually obligated to refrain from selling meat products for the night. (Paul McCartney had made the same request but was denied.)

In his typically wry fashion, the eloquent Englishman answers The Hollywood Reporter’s questions about his animal-rights activism, his frustrating search for a label deal and why The Smiths will never reunite. You can’t say the man doesn’t stand on principle.

The Hollywood Reporter: Why do you think Staples agreed to go vegetarian for you and not Paul McCartney?

Morrissey: I was amused to hear that Sir Paul McCartload was very angry that Staples had said yes to me but no to him, when really, he should be happy for any victory on behalf of the animals. I know he works tirelessly for the People for the Ethical Treatment of Animals [PETA], but he also loves the British royals, whose treatment of animals is abysmal. The Queen herself wears enough fur to blanket most of Russia. He also once sang “Give Ireland back to the Irish,” which was directed at the Queen. Well, she refused, and she still refuses, yet Sir Paul gives her the thumbs up! If he cared passionately about animals, he’d return his knighthood. He doesn’t need the Queen’s approval. He’s given more pleasure to people worldwide than she could ever dream of.

THR: You are almost as famous for your vegetarianism as you are for your music. Was this something that you’ve wanted since the beginning of your career?

Morrissey: No, but the world has changed dramatically in the last 30 years. There are more people like me in it, and we are sick to death of animal abuse. Even people who still eat animals openly admit that it’s wrong.

THR: At your concerts, you perform “Meat Is Murder” while footage of animals going to slaughter from the PETA film Meet Your Meat plays behind you. It’s so tough to watch that some people leave during that portion of the show. Why do you show it, and what you hope your audience is taking away from it?

Morrissey: You must remember that the animals who are in the film didn’t actually want to be there and probably wished that they, too, could leave during the film. There’s so much disgusting propaganda displayed in support of eating animals that the only way to fight back is without restraint. There’s no point in smiling gently and pretending that the opposition are chivalrous and open to debate. Step into an abattoir, and you’ll understand the gravity of the situation. 

THR: You’re about to restart your American tour. You recently said that your show at the Brooklyn Academy of Music was one of your favorites ever. What are the elements that make for a great Morrissey concert?

Morrissey: The general structure of the venue is quite key, but it’s the audience that make the night. At live concerts, people show themselves as they really are, which isn’t generally allowed in our constitutionally rigid societies. The love and intensity from the crowd is quite incredible for me to witness. It sets its own terms, so therefore the success of any night doesn’t entirely depend upon my own efforts. I turn up in order to watch the crowd, whereas it’s generally assumed that they turn up to watch me. The only difference is that I don’t have to queue, and I don’t get groped by venue security.

THR: Your last album, Years of Refusal, was released four years ago. Are you holding back on putting out another until you sign with a label? 

Morrissey: Yes. I have no DIY instincts, and recording without a major label would give the music world yet another reason to completely ignore me.

THR: In the past you have suggested that the people running the major labels don’t see you as a “superstar.” Has your ability to sell out arenas here in the U.S. and around the world resulted in recent meetings and/or potential offers?

Morrissey: I’ve had one very poor offer — from Sony — but otherwise nothing ever happens. The search for wisdom goes on. Help!

THR: Many younger artists find the idea of a major label archaic, and a growing number of established artists — Radiohead, for example — are looking into different forms of distribution. Why do you feel that signing to a traditional record company is so important for you?

Morrissey: Because they are still there, and they have the machinery, and they can use it when they want to. I mean, look at the Grammys — most of those winners actually have no popularity with the public. 

THR: In the book and film The Perks of Being a Wallflower, the lonely teen protagonist cites The Smiths as his favorite band. And recently the author Stephen Chbosky tweeted his excitement about meeting you. Why do you think the fascination remains in the music you made with The Smiths a quarter-century ago? Do you think it fills a void left open in today’s music?

Morrissey: A lot of people are homesick for The Smiths — and not because everyone else is abysmal, but because the songs of The Smiths are so good. With most bands, if they have two decent songs, they end up with five-star reviews. There are so many easy victories these days for other bands. But The Smiths were never promoted and almost never received radio play, and this mystery has protected them in the long run. But a reformation will never take place because reformations can only work if the same spirit that made the band form in the first place still exists. But it doesn’t. 

THR: What’s the latest with your memoir? Is there a publisher, a publication date or anything you can tell us? And what was the experience of writing it like? Painful? Therapeutic?

Morrissey: I’ve never felt fully present in my own life. I’ve always felt like a ghost drifting through. I’m not actually flesh. So autobiography is a therapeutic act of self-loyalty, even if, like me, you end up with chapters of self-disgust rather than reams of narcissism. If the book doesn’t come out soon, I’ll burn it.

THR: You’ll be playing a show at Hollywood High School. Is there something about the school’s legacy (Carole Lombard, Judy Garland and Mickey Rooney are among its famous alumni) that made you want to perform there?

Morrissey: Well, no, not really. It’s just handy for The Cat and Fiddle [a nearby pub on Sunset Boulevard].

THR: You wrote about being too awestruck to speak to Kirk Douglas when you saw him on the street in Hollywood recently. Is there anyone else who would have this effect on you? If so, why?

Morrissey: Kirk, I think, is the last of the famous. I felt fathomless depths of awe in his presence. Such people mean more than presidents. No president is as famous or loved as James DeanElvis Presley or even Marilyn Monroe. What does this tell us about presidents? My Wish to Meet list has been completed. Most actors of quality are dead. Kirk Douglas has actually outlived death.

THR: Is there anything else you think the readers of The Hollywood Reporter should know?

Morrissey: I’d like people to be aware of the pangs of childbirth, and that every male is not necessarily a man. But perhaps these are topics for another time.


Jessica Brown-Findlay, James Frecheville & More To Star In Smiths Comedy ‘Shoplifters Of The World’; Russell Brand Also Eyed For Role
Ah, The Smiths. Who among us, at least those born after 1965 or so, can say they didn’t have moments of adolescent angst, confusion and heartbreak soundtracked by the acerbic lyrics of Morrissey and the chiming guitar lines of Johnny Marr? And yet, their influence on film has never quite matched up to their cult appeal. Oh, sure, they’ve been recurring soundtrack favorites as far back as “Pretty In Pink,” and were a key plot point in recent rom-com hit “(500) Days Of Summer,” but have so far managed to avoid biopics or films revolving around them (like the upcoming Stone Roses-themed “Spike Island,” which we reported on yesterday). 
Well, gladioli-holders, we’ve got good news, as Screen Daily report that production will get underway later in the year on “Shoplifters of the World,” a new based-in fact comedy focusing on a curious coda to the band’s history, and the film’s attracted a cast full of fast-rising stars so far. Marking the return to features of documentarian Stephen Kijak, who was behind the excellent “Scott Walker: 30 Century Man” and “Stones In Exile,” it’s based on the true story of an American Smiths fan who, devastated by the band’s 1987 break up, forced a heavy metal radio DJ to play nothing but Smiths songs for hours, with the film focusing both on the hostage-taker and his four best friends. That’s right, it’s an indie-rock version of early Adam Sandler vehicle “Airheads”!
But the youthful cast that’s coming together is certainly promising. So far signed on are “Downton Abbey” star Jessica Brown-Findlay, James Frecheville who was surly lead J in Australian gangster picture “Animal Kingdom,” Thomas Brodie Sangster the little boy from “Love Actually” now grown up, Jeremy Allen White who plays Lip Gallagher on Showtime’s “Shameless”, “Son of Rambow” lead Will Poulter most recently seen in “The Voyage of the Dawn Treader,“ Zosia Mamet who’s featured in “Mad Men” and “The Kids Are All Right” (and is daughter of writer-director David Mamet), and Skylar Astin, who broke out on Broadway in “Spring Awakening.” We’re not intimately familiar with every single name here, but we’re firmly impressed by those we do know, so it’s off to a strong start.
Likely to be more divisive is the news that an offer has also gone out to Russell Brand, to play the DJ in the film. The British comic has his share of haters, but he’s shown the capacity for range in “Get Him To The Greek,” and has a big test coming up in Diablo Cody’s directorial debut, so we’re not too upset. It may not come to pass, but given his professed adoration of Morrissey, there’s every sign he’ll want to get involved.
The producers, who include Lorianne Hall (“SoulBoy”) have secured rights for as many as twenty Smiths songs, and filming is set to start in June, should financing come together. It’s all looking very promising at this point, and we look forward to hearing more in the future.

Jessica Brown-Findlay, James Frecheville & More To Star In Smiths Comedy ‘Shoplifters Of The World’; Russell Brand Also Eyed For Role

Ah, The Smiths. Who among us, at least those born after 1965 or so, can say they didn’t have moments of adolescent angst, confusion and heartbreak soundtracked by the acerbic lyrics of Morrissey and the chiming guitar lines of Johnny Marr? And yet, their influence on film has never quite matched up to their cult appeal. Oh, sure, they’ve been recurring soundtrack favorites as far back as “Pretty In Pink,” and were a key plot point in recent rom-com hit “(500) Days Of Summer,” but have so far managed to avoid biopics or films revolving around them (like the upcoming Stone Roses-themed “Spike Island,” which we reported on yesterday). 

Well, gladioli-holders, we’ve got good news, as Screen Daily report that production will get underway later in the year on “Shoplifters of the World,” a new based-in fact comedy focusing on a curious coda to the band’s history, and the film’s attracted a cast full of fast-rising stars so far. Marking the return to features of documentarian Stephen Kijak, who was behind the excellent “Scott Walker: 30 Century Man” and “Stones In Exile,” it’s based on the true story of an American Smiths fan who, devastated by the band’s 1987 break up, forced a heavy metal radio DJ to play nothing but Smiths songs for hours, with the film focusing both on the hostage-taker and his four best friends. That’s right, it’s an indie-rock version of early Adam Sandler vehicle “Airheads”!

But the youthful cast that’s coming together is certainly promising. So far signed on are “Downton Abbey” star Jessica Brown-FindlayJames Frecheville who was surly lead J in Australian gangster picture “Animal Kingdom,” Thomas Brodie Sangster the little boy from “Love Actually” now grown up, Jeremy Allen White who plays Lip Gallagher on Showtime’s “Shameless”, “Son of Rambow” lead Will Poulter most recently seen in “The Voyage of the Dawn Treader,“ Zosia Mamet who’s featured in “Mad Men” and “The Kids Are All Right” (and is daughter of writer-director David Mamet), and Skylar Astin, who broke out on Broadway in “Spring Awakening.” We’re not intimately familiar with every single name here, but we’re firmly impressed by those we do know, so it’s off to a strong start.

Likely to be more divisive is the news that an offer has also gone out to Russell Brand, to play the DJ in the film. The British comic has his share of haters, but he’s shown the capacity for range in “Get Him To The Greek,” and has a big test coming up in Diablo Cody’s directorial debut, so we’re not too upset. It may not come to pass, but given his professed adoration of Morrissey, there’s every sign he’ll want to get involved.

The producers, who include Lorianne Hall (“SoulBoy”) have secured rights for as many as twenty Smiths songs, and filming is set to start in June, should financing come together. It’s all looking very promising at this point, and we look forward to hearing more in the future.

(via fyeahjessicabrownfindlay)