NME discussion

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From the Come Back To Camden thread:

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There is something I wanted to tell you
It's so funny you'll kill yourself laughing
But then I, I look around
And I remember that I am alone
Alone
For evermore
The tile yard all along the railings
Up a discolored dark brown staircase
Here you'll find, despair and I
Calling to you with what's left of my heart
My heart
For evermore
Drinking tea with the taste of the Thames
Sullenly on a chair on the pavement
Here you'll find, my thoughts and I
And here is the very last plea from my heart
My heart
For evermore
Where taxi drivers never stop talking
Under slate grey Victorian sky,
Here you will find, despair and I
And here I am every last inch of me is yours,
Yours
For evermore
Your leg came to rest against mine
Then you lounged with knees up and apart
And me and my heart, we knew
We just knew
For evermore
Where taxi drivers never stop talking
Under slate grey Victorian sky
Here you'll find, my heart and I
And still we say come back
Come back to Camden
And I'll be good, I'll be good, I'll be good, I'll be good
 
They've picked out caricature Englishness as a negative aspect of Maladjusted - & there isn't any.

The only review you posted mentioned Finsbury & slagged him off relentlessly.

Most of the UK reviews aren't online.

His career was bleak in the late 90s. Racism does come up frequently in the NME & the idea that the Englishness in his writing is a bad thing is clearly starting to gain ground.

As for the rest 🙄
There's absolutely no suggestion that the Englishness of his writing is a bad thing, it's something he's been celebrated for over the course of his entire career. The Independent writer complains that, to his ear, there's a thinness to it in comparison to the high standard Morrissey had set in his earlier writing. Southpaw and Maladjusted are, to many, where his lyrics started a downward decline. The NME writer similarly "slags off" the music, which was a common opinion of the record at the time (and long after). There is, of course, no mention of the racism that began this entire conversation. Don't let that stop you from doing your thing, though. God knows there's nothing anyone can do to convince you otherwise. You'll notice Hovis split the scene when I clearly proved him wrong, you could do with scrounging up the self-respect to do the same.

Maladjusted is the Morrissey record that owes the largest debt to The Beatles and The Kinks. The melodies and chord progressions are quintessentially English, coming in at the tail end of Britpop and seeming to exist completely outside the influence of anything American, post-grunge or otherwise. Lyrically, you've got the entirety of the title track, the other songs you mention (duh, "Heir Apparent" is about Manchester) as well as a joke about Roy Keane who 95% of his American fans had never heard of in 1997.
 
There's absolutely no suggestion that the Englishness of his writing is a bad thing, it's something he's been celebrated for over the course of his entire career. The Independent writer complains that, to his ear, there's a thinness to it in comparison to the high standard Morrissey had set in his earlier writing. Southpaw and Maladjusted are, to many, where his lyrics started a downward decline. The NME writer similarly "slags off" the music, which was a common opinion of the record at the time (and long after). There is, of course, no mention of the racism that began this entire conversation. Don't let that stop you from doing your thing, though. God knows there's nothing anyone can do to convince you otherwise. You'll notice Hovis split the scene when I clearly proved him wrong, you could do with scrounging up the self-respect to do the same.

Maladjusted is the Morrissey record that owes the largest debt to The Beatles and The Kinks. The melodies and chord progressions are quintessentially English, coming in at the tail end of Britpop and seeming to exist completely outside the influence of anything American, post-grunge or otherwise. Lyrically, you've got the entirety of the title track, the other songs you mention (duh, "Heir Apparent" is about Manchester) as well as a joke about Roy Keane who 95% of his American fans had never heard of in 1997.

Bollocks. They're not saying it sounds like a crap version of the Kinks - they're saying it's full of English caricatures, which it isn't.

A pun is not a caricature. Place names are not caricatures. A description of a frown isn't a caricature. And I presume other countries have window cleaners.

If they're highlighting its Englishness as a bad thing - & 6 years later they're on edge because he mentioned tea - it's because his Englishness is disturbing them. And it's disturbing because they still have the NME calling him a racist because he touched a British flag.
 
Bollocks. They're not saying it sounds like a crap version of the Kinks - they're saying it's full of English caricatures, which it isn't.

A pun is not a caricature. Place names are not caricatures. A description of a frown isn't a caricature. And I presume other countries have window cleaners.

If they're highlighting its Englishness as a bad thing - & 6 years later they're on edge because he mentioned tea - it's because his Englishness is disturbing them. And it's disturbing because they still have the NME calling him a racist because he touched a British flag.
But they're not highlighting its Englishness as a bad thing. They're saying it's lousy writing. "Come Back to Camden," though it's a song I like, reads like a poem penned by an American who's never actually visited London. That's the criticism. No one is on edge, this is your secondhand persecution fantasy going full throttle.
 
Reviews (lots):

Maladjusted:

SG:

Archive bits:




Rolling Stone: "Were you angry about the reactions (and reviews) according to "Maladjusted", arguably your most beautiful and accomplished solo album? Is the British press maladjusted, and what can you do about it?"

Morrissey: "If there’s one thing I’ve grown to NOT expect it’s good reviews. The ONLY thing from me that the British press will review positively is my death."


Regards,
FWD.
 
But they're not highlighting its Englishness as a bad thing. They're saying it's lousy writing. "Come Back to Camden," though it's a song I like, reads like a poem penned by an American who's never actually visited London. That's the criticism. No one is on edge, this is your secondhand persecution fantasy going full throttle.

Again bollocks. It's about going back to Camden to meet one person - there is no danger of chimney sweepers & there is nothing inaccurate. People drink tea. Skies can be grey. Taxi drivers talk. The main point is the love story.
 
Again bollocks. It's about going back to Camden to meet one person - there is no danger of chimney sweepers & there is nothing inaccurate. People drink tea. Skies can be grey. Taxi drivers talk. The main point is the love story.
And again, you’re completely missing the point. No one is talking about the “danger” of these points of reference. You’re telling on yourself here.
 
And again, you’re completely missing the point. No one is talking about the “danger” of these points of reference. You’re telling on yourself here.

'No danger of' means not likely. It's a phrase.
 
Bloody David Quantick on Southpaw:

We are, this time round, spared any dubious songs about Bengalis who don't belong here or visits to fascist discos. ("I didn't invent the Union Jack" he sulked to a journalist recently, adding that he "didn't understand the fascist implications of it". Morrissey didn't invent being an issue-fudging twat either.)
 
There's absolutely no suggestion that the Englishness of his writing is a bad thing, it's something he's been celebrated for over the course of his entire career. The Independent writer complains that, to his ear, there's a thinness to it in comparison to the high standard Morrissey had set in his earlier writing. Southpaw and Maladjusted are, to many, where his lyrics started a downward decline. The NME writer similarly "slags off" the music, which was a common opinion of the record at the time (and long after). There is, of course, no mention of the racism that began this entire conversation. Don't let that stop you from doing your thing, though. God knows there's nothing anyone can do to convince you otherwise. You'll notice Hovis split the scene when I clearly proved him wrong, you could do with scrounging up the self-respect to do the same.

Maladjusted is the Morrissey record that owes the largest debt to The Beatles and The Kinks. The melodies and chord progressions are quintessentially English, coming in at the tail end of Britpop and seeming to exist completely outside the influence of anything American, post-grunge or otherwise. Lyrically, you've got the entirety of the title track, the other songs you mention (duh, "Heir Apparent" is about Manchester) as well as a joke about Roy Keane who 95% of his American fans had never heard of in 1997.


oi

:sleeping:


:hammer:
 
This really your life, Verso, trolling this site?

From Select Magazine.

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FFS, again with the "press cuttings"?

What these examples of homophobia show is the NME describing the homophobic abuse meted out to Steven as "boneheaded bullshit".

Sitting up late, reading stuff that probably most of the rest of us read at the time, do you think you're just over-tired and not able to process words on the page?

Maybe ease up? I think you're trying to do too much.
 
FFS, again with the "press cuttings"?

What these examples of homophobia show is the NME describing the homophobic abuse meted out to Steven as "boneheaded bullshit".

Sitting up late, reading stuff that probably most of the rest of us read at the time, do you think you're just over-tired and not able to process words on the page?

Maybe ease up? I think you're trying to do too much.

That's Select magazine. And they thought he should put up with it. He does not have to put up with abuse.

The NME decided to imply he was sexually attracted to racism clearly after watching a C4 documentary about gay skinheads.

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There's absolutely no suggestion that the Englishness of his writing is a bad thing, it's something he's been celebrated for over the course of his entire career. The Independent writer complains that, to his ear, there's a thinness to it in comparison to the high standard Morrissey had set in his earlier writing. Southpaw and Maladjusted are, to many, where his lyrics started a downward decline. The NME writer similarly "slags off" the music, which was a common opinion of the record at the time (and long after). There is, of course, no mention of the racism that began this entire conversation. Don't let that stop you from doing your thing, though. God knows there's nothing anyone can do to convince you otherwise. You'll notice Hovis split the scene when I clearly proved him wrong, you could do with scrounging up the self-respect to do the same.

Maladjusted is the Morrissey record that owes the largest debt to The Beatles and The Kinks. The melodies and chord progressions are quintessentially English, coming in at the tail end of Britpop and seeming to exist completely outside the influence of anything American, post-grunge or otherwise. Lyrically, you've got the entirety of the title track, the other songs you mention (duh, "Heir Apparent" is about Manchester) as well as a joke about Roy Keane who 95% of his American fans had never heard of in 1997.
Not split the scene. Simply splitting my sides reading your poisonous garbage.
 
That's Select magazine. And they thought he should put up with it. He does not have to put up with abuse.

The NME decided to imply he was sexually attracted to racism clearly after watching a C4 documentary about gay skinheads.

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Verso has imbibed too much of what was spoon fed. Ultimately, he’s not your audience and frankly your well reasoned and researched argument is wasted on him.

Don’t throw pearls to swine, as someone somewhere once cautioned.
 
Verso has imbibed too much of what was spoon fed. Ultimately, he’s not your audience and frankly your well reasoned and researched argument is wasted on him.

Don’t throw pearls to swine, as someone somewhere once cautioned.
No one has gleefully slurped up more gruel than the likes of you and the other clueless sycophants around here. No spoon required. The only audience Nerak’s pro bono tragedy is angling for is the gallery of dunces that find Fiona Dodwell insightful. Quite the aspiration!
 
If Hovis Lesley is about - he's right about 1997 being bleak for Morrissey. It might not have been every review but this Vox article with a contribution from NME editor Steve Sutherland is both a lie & utterly damning. Morrissey & only Morrissey cannot touch the Union Jack.

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We've also established that the assertion that only the far right used the Union Jack until it was "reclaimed" by Britpop is untrue.

It was on the front cover of the NME 6 months before Finsbury.

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Plus - this is prime time BBC television in 1991.



On a side note - I think this story is much bigger than just Morrissey. It's Queer history. Also interesting for the Irish Catholic diaspora.

There's an internet rumour that Steve Sutherland said "is it a gay thing" about Finsbury. If anyone has got a lead on that, it would be appreciated.
 
If Hovis Lesley is about - he's right about 1997 being bleak for Morrissey. It might not have been every review but this Vox article with a contribution from NME editor Steve Sutherland is both a lie & utterly damning. Morrissey & only Morrissey cannot touch the Union Jack.

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We've also established that the assertion that only the far right used the Union Jack until it was "reclaimed" by Britpop is untrue.

It was on the front cover of the NME 6 months before Finsbury.

View attachment 80626

Plus - this is prime time BBC television in 1991.



On a side note - I think this story is much bigger than just Morrissey. It's Queer history. Also interesting for the Irish Catholic diaspora.

There's an internet rumour that Steve Sutherland said "is it a gay thing" about Finsbury. If anyone has got a lead on that, it would be appreciated.


Not sure what your point is with this post Vex?
 
Not sure what your point is with this post Vex?

Hovis told me 1997 felt a particularly bleak year for Morrissey fans because of the Finsbury allegations. Verso disputed it because Hovis misremembered the reviews. But he was right. This is bleak.

My second point is that journalists often claim that the Union Jack was primarily associated with the Far Right in 1992 which is why Morrissey was suspect for touching it - this is absolutely a lie.

And lastly I want to know more about Steve Sutherland's attitude since he's the one that seems to have hardened the Finsbury story from larky Tabloid bollocks into A Terrible Unforgivable Thing that Morrissey did.
 
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