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Moz The Cat - LA Weekly (January 31, 2007): Difference between revisions
Moz The Cat - LA Weekly (January 31, 2007) (view source)
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That’s the thing with cats. You never know what they’re going to do. | That’s the thing with cats. You never know what they’re going to do. | ||
Moz lived here in Los Angeles for the better part of a decade, and Los Angeles has loved Morrissey from the first moment some lucky DJ at KROQ (Dusty or Rodney or Richard Blade?) played that first cassette tape — according to legend, a demo of an unsigned English band called the Smiths. The music of the Smiths, with Morrissey’s otherworldly voice and poetic lyrical vision, made sense immediately in Los Angeles — a violent, romantic city of poverty, grime, gangs, glamour and streetwise youth; of underground punk clubs that gave way to underground new-wave clubs; a city where kids like me grew up aware that nuclear bombs were aimed straight at us (always a subtext in Moz lyrics). For L.A.’s Mexican-American kids, Morrissey’s lyrical perspective had special appeal: Here was a young, artistic man of Irish-immigrant blood, growing up trapped in the land of his forebears’ oppressor; fascinated by the ’50s (and ’60s!), by the pompadours and Gibsons and screen rebels of that time. | Moz lived here in Los Angeles for the better part of a decade, and Los Angeles has loved Morrissey from the first moment some lucky DJ at KROQ (Dusty or Rodney or [[Mention::Richard Blade]]?) played that first cassette tape — according to legend, a demo of an unsigned English band called the Smiths. The music of the Smiths, with Morrissey’s otherworldly voice and poetic lyrical vision, made sense immediately in Los Angeles — a violent, romantic city of poverty, grime, gangs, glamour and streetwise youth; of underground punk clubs that gave way to underground new-wave clubs; a city where kids like me grew up aware that nuclear bombs were aimed straight at us (always a subtext in Moz lyrics). For L.A.’s Mexican-American kids, Morrissey’s lyrical perspective had special appeal: Here was a young, artistic man of Irish-immigrant blood, growing up trapped in the land of his forebears’ oppressor; fascinated by the ’50s (and ’60s!), by the pompadours and Gibsons and screen rebels of that time. | ||
Young Morrissey found a psychic escape route from his desolate surroundings through the pop art of the past, through the pure ''style'' of it, in some cases. It’s no wonder glam rock, with its rockabilly musical roots and alien-androgyne stylings, provided him such a personal “revolution,” as he terms it, at 12 and 13. (Morrissey founded a New York Dolls fan club as a kid, and was more recently responsible for their reunion at the U.K.’s Meltdown festival in 2004.) | Young Morrissey found a psychic escape route from his desolate surroundings through the pop art of the past, through the pure ''style'' of it, in some cases. It’s no wonder glam rock, with its rockabilly musical roots and alien-androgyne stylings, provided him such a personal “revolution,” as he terms it, at 12 and 13. (Morrissey founded a New York Dolls fan club as a kid, and was more recently responsible for their reunion at the U.K.’s Meltdown festival in 2004.) | ||
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Fascinated as he is with the low life and the silver screen, it makes sense that Moz hid out here in L.A. when he didn’t have a record label in the early 2000s. This is home to the Morrissey convention; this is where the Smiths tribute bands were born; this is where some of his heroes — James Dean, for starters — worked and died. | Fascinated as he is with the low life and the silver screen, it makes sense that Moz hid out here in L.A. when he didn’t have a record label in the early 2000s. This is home to the Morrissey convention; this is where the Smiths tribute bands were born; this is where some of his heroes — James Dean, for starters — worked and died. | ||
Moz finally left L.A. about a year ago, resettling in Rome to record his most recent solo album, ''Ringleader of the Tormentors'', with legendary glam producer Tony Visconti (T. Rex, Bowie). (This no doubt pleased Moz’s longtime guitarist, Boz Boorer, who is said to own the world’s largest collection of T. Rex memorabilia.) But the album is notable in many ways, including this: It contains songs of happiness and lust. The flesh and spirit enjoined — and enjoyed. That’s a neat trick for ''any'' recovering Irish-Catholic poet once tortured by nuns — much less a noted sometime celibate. The album has had five Top 10 hits in the U.K., and Morrissey has spent the past year touring the world. | Moz finally left L.A. about a year ago, resettling in Rome to record his most recent solo album, ''[[Mention::Ringleader Of The Tormentors|Ringleader of the Tormentors]]'', with legendary glam producer [[Mention::Tony Visconti]] (T. Rex, Bowie). (This no doubt pleased Moz’s longtime guitarist, [[Mention::Boz Boorer]], who is said to own the world’s largest collection of [[Mention::T. Rex]] memorabilia.) But the album is notable in many ways, including this: It contains songs of happiness and lust. The flesh and spirit enjoined — and enjoyed. That’s a neat trick for ''any'' recovering Irish-Catholic poet once tortured by nuns — much less a noted sometime celibate. The album has had five Top 10 hits in the U.K., and Morrissey has spent the past year touring the world. | ||
At the moment, it’s unclear where Moz actually lives: He arrived in L.A. last week from Manchester, and he may or may not perform again before ending this touring cycle. It’s his choice now. After so many crises — from the drug and personnel problems of the Smiths (who broke up in 1987, after guitarist Johnny Marr quit), to the legal fights among bandmates for royalties (now sorted), to label troubles, Morrissey has, for the moment anyway, achieved what appears to be a smoothly functioning career. His vast and loyal fan base will follow him, whatever he does now. He’s earned every fan the hard way: one by one, over the years, at times without any label promotion at all. There was never a ''Smiths Behind the Music'', and there never will be. The ’80s revival has hit its peak without a single Smiths song being used in a Land Rover ad. Morrissey’s on a smaller label, and it seems to suit him. We hear occasional rumors of a possible hatchet burial between Marr and Moz, but, to be honest, no one’s holding his breath. Least of all Morrissey. | At the moment, it’s unclear where Moz actually lives: He arrived in L.A. last week from Manchester, and he may or may not perform again before ending this touring cycle. It’s his choice now. After so many crises — from the drug and personnel problems of the Smiths (who broke up in 1987, after guitarist Johnny Marr quit), to the legal fights among bandmates for royalties (now sorted), to label troubles, Morrissey has, for the moment anyway, achieved what appears to be a smoothly functioning career. His vast and loyal fan base will follow him, whatever he does now. He’s earned every fan the hard way: one by one, over the years, at times without any label promotion at all. There was never a ''Smiths Behind the Music'', and there never will be. The ’80s revival has hit its peak without a single Smiths song being used in a Land Rover ad. Morrissey’s on a smaller label, and it seems to suit him. We hear occasional rumors of a possible hatchet burial between Marr and Moz, but, to be honest, no one’s holding his breath. Least of all Morrissey. | ||
Moz’s childhood idol, Marianne Faithfull, once told me that her favorite song is by Billie Holiday: “God bless the child that’s got his own,” she incanted — adding, with emphasis, “''That’s got his own''. It takes a long time to sink in, but it’s one of the most profound things anyone ever wrote.” I look at Morrissey today, and that’s exactly what I see. What he has today, both his material and less tangible rewards, is his to keep now. It doesn't belong to a record company. No magazine, book or newspaper will ever be able to destroy the aura of mystique he has so resolutely built around himself over the years. It’s too late for that. The window of opportunity for humanization has passed him by. Morrissey is the last of the truly mysterious pop icons, and nobody can take that away from him now. Ever. Morrissey is the child that got his own. | Moz’s childhood idol, [[Mention::Marianne Faithfull]], once told me that her favorite song is by Billie Holiday: “God bless the child that’s got his own,” she incanted — adding, with emphasis, “''That’s got his own''. It takes a long time to sink in, but it’s one of the most profound things anyone ever wrote.” I look at Morrissey today, and that’s exactly what I see. What he has today, both his material and less tangible rewards, is his to keep now. It doesn't belong to a record company. No magazine, book or newspaper will ever be able to destroy the aura of mystique he has so resolutely built around himself over the years. It’s too late for that. The window of opportunity for humanization has passed him by. Morrissey is the last of the truly mysterious pop icons, and nobody can take that away from him now. Ever. Morrissey is the child that got his own. | ||
And he’s got quite a lot. We met on the rooftop patio of a fancy Beverly Hills hotel. He wore a natty tailored suit. We sat down in rocking chairs next to a roaring gas-flame fire pit, under Westside winter gloom. I had been instructed not to ask about the Smiths, or Moz’s time in Los Angeles, which was okay, as it turned out. The conversation was warm and intuitive, and Moz was kindly and avuncular but never patronizing (even when pushed to the limit regarding the Spice Girls). Turns out Moz is a listener, and he listens with more than his ears. (He speaks often of something like a sixth sense, referring to people as “spirits.”) As for his enormous eyes, they are opaquely blue — almost turquoise — framed by huge eyebrows, set into a face bigger and more roughly cut than you’d imagine. | And he’s got quite a lot. We met on the rooftop patio of a fancy Beverly Hills hotel. He wore a natty tailored suit. We sat down in rocking chairs next to a roaring gas-flame fire pit, under Westside winter gloom. I had been instructed not to ask about the Smiths, or Moz’s time in Los Angeles, which was okay, as it turned out. The conversation was warm and intuitive, and Moz was kindly and avuncular but never patronizing (even when pushed to the limit regarding the Spice Girls). Turns out Moz is a listener, and he listens with more than his ears. (He speaks often of something like a sixth sense, referring to people as “spirits.”) As for his enormous eyes, they are opaquely blue — almost turquoise — framed by huge eyebrows, set into a face bigger and more roughly cut than you’d imagine. | ||
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'''''Can you tell me about it?''''' | '''''Can you tell me about it?''''' | ||
Yes! It was January 1989, and it was a very bitter winter. I went with three friends onto Saddleworth Moor in the north of England, which is the most barren, desolate, desperate place . . . a place of many, many murders throughout British history — many bodies were dumped [there] because it was so hostile. [''In the mid-’60s, several Manchester schoolchildren were brutally murdered and dumped on Saddleworth Moor in a crime known as the Moors Murders. The killings left a deep scar upon the community. In fact, the first song Morrissey co-wrote with Johnny Marr, | Yes! It was January 1989, and it was a very bitter winter. I went with three friends onto Saddleworth Moor in the north of England, which is the most barren, desolate, desperate place . . . a place of many, many murders throughout British history — many bodies were dumped [there] because it was so hostile. [''In the mid-’60s, several Manchester schoolchildren were brutally murdered and dumped on Saddleworth Moor in a crime known as the Moors Murders. The killings left a deep scar upon the community. In fact, the first song Morrissey co-wrote with Johnny Marr, “[[Mention::Suffer Little Children]],” was about these murders.''] | ||
There’s nothing for miles, and it’s very easy to lose your way. We had driven through darkness even though it was only 6 p.m. — you can only see as far as your headlights. At one point, we tried to step outside the car and the wind was so ferocious, a bitter chill of winter. You can’t see lights for miles, because there’s nothing there, just peat and heather. Very, very unfriendly terrain. | There’s nothing for miles, and it’s very easy to lose your way. We had driven through darkness even though it was only 6 p.m. — you can only see as far as your headlights. At one point, we tried to step outside the car and the wind was so ferocious, a bitter chill of winter. You can’t see lights for miles, because there’s nothing there, just peat and heather. Very, very unfriendly terrain. | ||
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'''''Okay, well, as long as we’re on this sort of morbid topic, I loved those pictures of you in'' Mojo ''at Keats’ grave. They’re really beautiful, and that made me wonder if you have thought about your epitaph.''''' | '''''Okay, well, as long as we’re on this sort of morbid topic, I loved those pictures of you in'' Mojo ''at Keats’ grave. They’re really beautiful, and that made me wonder if you have thought about your epitaph.''''' | ||
''Home at last.'' No, that’s been used by, I think, Bela Lugosi. I think his stone says, “Home at last.” I always felt that I wanted nothing other than name, birth date, death date, nothing else. | ''Home at last.'' No, that’s been used by, I think, [[Mention::Bela Lugosi]]. I think his stone says, “Home at last.” I always felt that I wanted nothing other than name, birth date, death date, nothing else. | ||
'''''Your full name?''''' | '''''Your full name?''''' | ||
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Well, you know the place. | Well, you know the place. | ||
'''''Hollywood Forever?''''' | '''''[[Mention::Hollywood Forever Cemetary|Hollywood Forever]]?''''' | ||
Yes. | Yes. | ||
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'''''That’s a great old cemetery.''''' | '''''That’s a great old cemetery.''''' | ||
I like it . . . I stumbled across Johnny | I like it . . . I stumbled across [[Mention::Johnny Ramone]]’s stone — I thought his stone was very nicely placed. And I sat there for a very long time, and I felt quite good about it. I felt it was a nice position, and it was nice that his bones were under the soil that I was sitting on. So, yeah. That’s my spot. And I have considered putting money down for reserving a spot. | ||
'''''Okay, well, this whole interview and everything . . .''''' | '''''Okay, well, this whole interview and everything . . .''''' | ||
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You’re that kind of spirit, I know. I suppose you really enjoy things like ''Sense and Sensibility''. | You’re that kind of spirit, I know. I suppose you really enjoy things like ''Sense and Sensibility''. | ||
'''''Oh, of course. I love Jane Austen. She’s a genius. Do you agree?''''' | '''''Oh, of course. I love [[Mention::Jane Austen]]. She’s a genius. Do you agree?''''' | ||
Oh, good grief, yes. | Oh, good grief, yes. | ||
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It’s not the case in the European mainland; people are very appreciative; writers are very appreciative. But in England, it’s still a question of, “Who on Earth do you think you are?” And even after 25 years, they’re very reluctant to even admit that I have a point. Which is . . . baffling. | It’s not the case in the European mainland; people are very appreciative; writers are very appreciative. But in England, it’s still a question of, “Who on Earth do you think you are?” And even after 25 years, they’re very reluctant to even admit that I have a point. Which is . . . baffling. | ||
'''''Except for'' Mojo''.''''' | '''''Except for'' [[Mention::Mojo (magazine)|Mojo]]''.''''' | ||
Umm . . . [''Bobs head from side to side in a dubious manner, makes odd grunting noises.''] | Umm . . . [''Bobs head from side to side in a dubious manner, makes odd grunting noises.''] | ||
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'''''All right, I’m trying to imagine experiencing glitter rock fresh, and I want to know what it was like for you when you were 11 or 12, and you were seeing it happening as a kid. Did it seem like these were other English people to you or did it seem like they may as well be from Mars?''''' | '''''All right, I’m trying to imagine experiencing glitter rock fresh, and I want to know what it was like for you when you were 11 or 12, and you were seeing it happening as a kid. Did it seem like these were other English people to you or did it seem like they may as well be from Mars?''''' | ||
It seemed to me as if they were from Mars, because even though it was 1970, 1971 in reality, the fact is that England in 1971-’72 was really still stuck in 1958. So, if you can imagine how 1958 was, and then suddenly you have the New York Dolls, they seemed so intergalactic, absolutely nothing to do with the human race, and thank heavens for that. | It seemed to me as if they were from Mars, because even though it was 1970, 1971 in reality, the fact is that England in 1971-’72 was really still stuck in 1958. So, if you can imagine how 1958 was, and then suddenly you have the [[Mention::New York Dolls]], they seemed so intergalactic, absolutely nothing to do with the human race, and thank heavens for that. | ||
But really, people can no longer comprehend how bleak the turn of the ’70s was. There was nothing to buy. You couldn’t buy decent clothes. So therefore, when you would see somebody like the New York Dolls, you would be absolutely mystified as to where they actually found their clothes and their shoes, because certainly in Manchester, there were no accessories. Everything was very, very fundamental and very drab. So, the very idea of, as you term it, glitter rock, or, as some people term it, glam rock . . . It was more extraordinary than people can really even imagine. It was an absolute revolution. | But really, people can no longer comprehend how bleak the turn of the ’70s was. There was nothing to buy. You couldn’t buy decent clothes. So therefore, when you would see somebody like the New York Dolls, you would be absolutely mystified as to where they actually found their clothes and their shoes, because certainly in Manchester, there were no accessories. Everything was very, very fundamental and very drab. So, the very idea of, as you term it, glitter rock, or, as some people term it, glam rock . . . It was more extraordinary than people can really even imagine. It was an absolute revolution. | ||
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'''''The New York Dolls had a kind of — a weird kind of macho quality that T. Rex doesn’t have, or Bowie.''''' | '''''The New York Dolls had a kind of — a weird kind of macho quality that T. Rex doesn’t have, or Bowie.''''' | ||
No. Well, Bowie was very womanly. He was very womanly when he originally broke through in England, and it’s largely forgotten now. But if you can imagine him walking onto a British television screen in 1972, it was very, very shocking, very shocking. And it was unimaginable — absolutely unimaginable. And even though punk was a worldwide revolution and fantastically so, it wasn’t quite as ''threatening'' as, as you term it, glitter rock. | No. Well, [[Mention::David Bowie|Bowie]] was very womanly. He was very womanly when he originally broke through in England, and it’s largely forgotten now. But if you can imagine him walking onto a British television screen in 1972, it was very, very shocking, very shocking. And it was unimaginable — absolutely unimaginable. And even though punk was a worldwide revolution and fantastically so, it wasn’t quite as ''threatening'' as, as you term it, glitter rock. | ||
'''''Well, I usually say glam rock . . .''''' | '''''Well, I usually say glam rock . . .''''' | ||
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'''''It’s just in — somehow there’s this confusion that glam rock in America also means ’80s hair metal, like Mötley Crüe and Poison and stuff, and that’s totally different.''''' | '''''It’s just in — somehow there’s this confusion that glam rock in America also means ’80s hair metal, like Mötley Crüe and Poison and stuff, and that’s totally different.''''' | ||
Unfortunately, that’s just the American way of trying to pull in all the successes of the early ’80s and saying, we created this, we were part of this. Well, America wouldn’t take the New York Dolls. ''Rolling Stone'' would rather self-combust than write about the New York Dolls. Yet they’ll stick the Spice Girls on the cover, Britney Spears on the cover, and much to their shame. | Unfortunately, that’s just the American way of trying to pull in all the successes of the early ’80s and saying, we created this, we were part of this. Well, America wouldn’t take the New York Dolls. ''[[Mention::Rolling Stone]]'' would rather self-combust than write about the New York Dolls. Yet they’ll stick the [[Mention::Spice Girls]] on the cover, [[Mention::Britney Spears]] on the cover, and much to their shame. | ||
'''''You’re not a Spice Girls fan? Girl power?''''' | '''''You’re not a Spice Girls fan? Girl power?''''' | ||
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'''''Really?''''' | '''''Really?''''' | ||
No, I don’t, I really don’t, I really don’t. Patti Smith ''Horses'': girl power. Yes. But not the Spice Girls. God forgive you. But of the era, who touched you the most? | No, I don’t, I really don’t, I really don’t. [[Mention::Patti Smith]] ''Horses'': girl power. Yes. But not the Spice Girls. God forgive you. But of the era, who touched you the most? | ||
'''''Marc Bolan.''''' | '''''[[Mention::Marc Bolan]].''''' | ||
Yes, yes, but he was very, very feminine, and there was a reaction against him in England, where he was hugely successful — and very talented. | Yes, yes, but he was very, very feminine, and there was a reaction against him in England, where he was hugely successful — and very talented. | ||
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'''''Really, I’m surprised. They haven’t tried to use the Smiths to sell some Cadillac or something?''''' | '''''Really, I’m surprised. They haven’t tried to use the Smiths to sell some Cadillac or something?''''' | ||
The Smiths was used for Pepe Jeans, which nobody remembers. Do you know Pepe Jeans? | The Smiths was used for [[Mention::Pepe Jeans]], which nobody remembers. Do you know Pepe Jeans? | ||
'''''I’ve heard of it, yeah.''''' | '''''I’ve heard of it, yeah.''''' | ||
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'''''I feel the same way.''''' | '''''I feel the same way.''''' | ||
Many people do. Once again, it’s a suppressed opinion. We’re meant to believe that the world absolutely loves T-bone steaks and Kentucky Fried Chicken, but it’s all crap. It’s not true. People really care about animals, and people don’t want to kill anything. So, when you see George W. Bush saying, “Can’t wait to cut that pig — cut into that pig tonight,” as he said on television recently, you just think, you idiot, you passé, useless, old-fashioned, redundant idiot. | Many people do. Once again, it’s a suppressed opinion. We’re meant to believe that the world absolutely loves T-bone steaks and [[Mention::KFC|Kentucky Fried Chicken]], but it’s all crap. It’s not true. People really care about animals, and people don’t want to kill anything. So, when you see [[Mention::George W. Bush]] saying, “Can’t wait to cut that pig — cut into that pig tonight,” as he said on television recently, you just think, you idiot, you passé, useless, old-fashioned, redundant idiot. | ||
'''''I think that anything he says . . .''''' | '''''I think that anything he says . . .''''' | ||
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But it isn’t enough, because he is still there. He’s still there; he’s still functioning, he’s still beaming all over the place, and he’s still talking about caring about the elderly and earning a round of applause, and it’s a global joke, it really is. So, who would you like to see in the White House? | But it isn’t enough, because he is still there. He’s still there; he’s still functioning, he’s still beaming all over the place, and he’s still talking about caring about the elderly and earning a round of applause, and it’s a global joke, it really is. So, who would you like to see in the White House? | ||
'''''I actually would like to see Hillary Clinton.''''' | '''''I actually would like to see [[Mention::Hillary Clinton]].''''' | ||
Because? | Because? | ||
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Well, that’s very likely, but nonetheless, haven’t we had enough of the name? | Well, that’s very likely, but nonetheless, haven’t we had enough of the name? | ||
'''''Okay. Well, Barack Obama?''''' | '''''Okay. Well, [[Mention::Barack Obama]]?''''' | ||
Outstanding. | Outstanding. | ||
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Well. [''Laughs.''] That suits me. Of course, it would be ''great'' to see a female president, but not just anybody. I mean, I think that Hillary has had her shot. She’s been around, she said a lot of silly things, and we don’t really want a woman for the sake of any old woman. | Well. [''Laughs.''] That suits me. Of course, it would be ''great'' to see a female president, but not just anybody. I mean, I think that Hillary has had her shot. She’s been around, she said a lot of silly things, and we don’t really want a woman for the sake of any old woman. | ||
'''''I know, like Condoleezza Rice.''''' | '''''I know, like [[Mention::Condoleezza Rice]].''''' | ||
Well, it would never happen. Because she has the sag of cruelty about her face, her eyes, her mouth. The ''jowl of cruelty''. She has a Nazi face. But in England, of course, we had Margaret Thatcher as prime minister, and she was diabolical. So, it isn’t necessarily the case as long as the candidate’s female. But I think he [Obama] is mesmerizing, absolutely mesmerizing. | Well, it would never happen. Because she has the sag of cruelty about her face, her eyes, her mouth. The ''jowl of cruelty''. She has a Nazi face. But in England, of course, we had [[Mention::Margaret Thatcher]] as prime minister, and she was diabolical. So, it isn’t necessarily the case as long as the candidate’s female. But I think he [Obama] is mesmerizing, absolutely mesmerizing. | ||
'''''Well, that’s what I’ve heard; I haven’t seen him speak yet.''''' | '''''Well, that’s what I’ve heard; I haven’t seen him speak yet.''''' | ||
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Well, that’s nice. I don’t want to be a part of the everyday. | Well, that’s nice. I don’t want to be a part of the everyday. | ||
==Related items== | |||
* [https://www.morrissey-solo.com/article.pl?sid=07/01/31/2324247 Morrissey interview in LA Weekly] - Morrissey-solo (January 31, 2007) | |||
==Notes== | ==Notes== | ||
From [https://www.morrissey-solo.com/article.pl?sid=07/02/12/0756256 LA Weekly Clarification] - Morrissey-solo (February 12, 2007) | From [https://www.morrissey-solo.com/article.pl?sid=07/02/12/0756256 LA Weekly Clarification] - Morrissey-solo (February 12, 2007) | ||
<blockquote> | <blockquote> | ||
In last week’s cover story [“Moz the Cat,” Feb. 2–8], Morrissey denied that the Smiths’ | In last week’s cover story [“Moz the Cat,” Feb. 2–8], Morrissey denied that the Smiths’ “[[Mention::How Soon Is Now? (single)|How Soon Is Now]]” had been used to sell cars. We’ve since learned it was used to push both Japanese cars and Canadian beer. We regret the error, and we are sure Morrissey does too. | ||
</blockquote> | </blockquote> | ||
{{Page}} | {{Page}} | ||