The Smiths

The Smiths

Remembering the brilliance of Derek Jarman’s Smiths film ‘The Queen is Dead’ - Far Out Magazine (July 19, 2019)
By Kelly Rankin


"Jarman worked with several music artists over the years, collaborating with the likes of the Sex Pistols, Marianne Faithful, Patti Smith and Pet Shop Boys, to name a few. But the Smiths were one of his first and most regular collaborators. ‘The Queen is Dead’ is a “Super 8 film triptych” made up of the Smiths hits; ‘The Queen is Dead,’ ‘There Is A Light That Never Goes Out’ and ‘Panic.’ It’s an amalgamation of recycled images and clips expressing Morrissey’s deep-cutting lyrics and Marr’s hit melodies. Jarman’s film is disorientating and so eighties that today, it could be mistaken as parody (and I mean this in the most positive way possible)....

Special limited edition hardback numbered from 1-500 and signed by the author.

"The Smiths – The Day I Was There tells the story of The Smiths in the words of over 400 fans from Britain and the US. With memories from the earliest Smiths shows at UK clubs through to the last ever gig at London’s Brixton Academy, you’ll see a portrait of The Smiths from the perspective of fans, promoters and support acts with personal photographs, memorabilia, fascinating anecdotes and stories that have never been published before."

Publication date: 29th September 2019.
Price: UK £24.99 US $32.00

Cover photo by Stephen Wright.

The book was announced in January and...
BLUE RONDO A LA TURK - Morrissey Central
July 8, 2019

"I liked them because they seemed two jumps ahead of everyone else. The mere sight of them suggested big league, but they didn't quite get that far. They were one of the very few groups that the Smiths supported, but there was a scepticism about them being just 'club models' … who asked and got. This was said also about very early Roxy Music … who appeared to be quite affluent before they'd even had a hit. With Blue Rondo, again, you suspected that they were given all of their fantastic suits for free whilst the rest of us had to dream of being able to buy SOMETHING that didn't look TOO abysmal. The main electric spark was their dancing which was very virile and athletic … and even though they came from the Blitz/Billy's scene they seemed like supermale...

shame there’s no moz in the 90s playlist but maybe they thought piccadilly palare was simply nowhere near the brillance of rupaul’s “super model (you better work)”
Best Glastonbury headliners: the greatest Glastonbury performances of all time - Shortlist

7. The Smiths, 1984

Morrissey 1984 interview on YouTube
Long before Glastonbury was commandeered by posh twentysomethings in designer waterproofs and £100 wellies, it was widely accepted that Pilton’s premier festival was for proper hippies.

That’s who made up the unreceptive crowd that greeted Morrissey, Marr and co in 1984. And while it was by no means a set worth recording and releasing on Betamax, it spawned what must’ve been the world’s least threatening stage invasion and helped to alter the course of the festival towards what became known as indie music, eventually turning it into the...
David T better put THIS on the front page as a news story:

YSL is owned by Kering:

The company which also owns GUCCI saw net revenue of €13.665 billion in 2018. So I don't know what the fuck that lady at Spillers was doing but whatever it was, it def did not put the spotlight on her as having good business acumen.

Black shirt available at Saint Laurent site:

THE SMITH T-SHIRT - Saint Laurent
STYLE ID 588103YBHI21095...
Who is the voice at the beginning of The Queen Is Dead by The Smiths?
16 June 2019, 18:00 | Updated: 16 June 2019, 18:01

"Take me back to dear old Blighty..." kicks off The Smiths' finest album, but who's behind the voice?

Anyone listening to The Smiths’ masterpiece The Queen Is Dead is familiar with how the title track - and LP as a whole - opens. A female voice - joined by some drunk-sounding revellers - sings a jaunty song that begins “Take me back to dear old Blighty! Put me on the train for London town! Take me over there, drop me anywhere, from Liverpool, Leeds or Birmingham, well I don’t care…”

The voice tails off as Johnny Marr’s guitar feedback and Mike Joyce’s incredible drumming signals the beginning of one of the most compelling songs in The Smiths’ catalogue.

The clip is taken from the 1962 film...