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Categories: Wolf Tattoo Designs | Author: admin 09.11.2013

The original lineup of Glenn Danzig, Jerry Only, and Doyle Wolfgang von Frankenstein returns. Joe Manganiello to star in the fictionalized account of a real plot to hijack a Denver radio station in the ’80s. Despues de cancelar su presentacion en el Vive Latino 2013, Morrissey dejo insatisfechos a miles de fans quienes se quedaron con las ganas de verlo en uno de los festivales mas importantes que se llevan a cabo en el pais.Ahora, y como una forma de enmendar la ausencia, el britanico regresa a Mexico en junio para ofrecer siete conciertos en distintas ciudades de la Republica.
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WHEN THE FIRST REVIEWS appeared online on Thursday lunchtime opinions were divided yet similarly sure of themselves.
Lunchtime yesterday, this reviewer was still on page 269 of Morrissey’s Autobiography, opinions all up in the air about this schizophrenic beast of a book because, like the man himself, Autobiography is a construct of no fixed identity.
Looking for a fulcrum to fix on early reviewers have focused on the opening sections of the book in which Morrissey details the grim surrounds of his ’60s Manchester upbringing. Morrissey has always acknowledged the debilitating power of influence – “A spark of me was always very unsure,” he told me when I interviewed him for MOJO in 2006, “and that’s when I think you rely on other people’s ideas” – and this opening section feels as much reliant on the working class dystopias of Alan Sillitoe as it does Steven Morrissey’s “Victorian knife-plunging Manchester”.


Yet if the book feels trapped when Morrissey writes about his environment, it soars when he writes about family and music, whether silently tracking his aunties’ assignations with “local scruffs… bursting with the secrets of yearning maturity and rough serenade”, or simply noting with grim understatement that “Life is taken as it is and Roy Orbison sings It’s Over all the way to Number 1”. Gradually, as the young Morrissey becomes immersed in ‘60s pop culture this lack of fixed identity emerges as Autobiography’s central theme.
With the arrival of The New York Dolls and Bowie Morrissey’s life shifts from black-and-white to colour and Autobiography undergoes a similar transformation.
Despite the presence of an overlong tour diary detailing the growing fan adoration of his solo self, an inescapable sadness hangs over the final third of Autobiography and, again, the authorial voice changes. A book of high wit and intelligence, Conversations… was also a document of loneliness, melancholy and cruelty, from a writer in the chill winter of his life. It was “the best written musical autobiography since Bob Dylan’s Chronicles”, trumpeted one.
Ever since the emergence of the first Smiths singles in 1983, he had marked himself out as a lyric writer of rare accomplishment, whose songs and interviews were steeped in the deep cultural history of England and Ireland, from Oscar Wilde and Shelagh Delaney to John Betjeman and Graham Greene.
He runs with a Manchester gang led by a hard-as-nails “heart and love” tomboy called Lillian, watches The Righteous Brothers sing You’ve Lost That Lovin’ Feelin’ “to each other?”, and marvels at the sexual power relationships in Department S, fascinated by blurred definitions of gender, by pop stars and actors who complicate categories or slip the bounds altogether. To put it as simply as possible, the quality of Autobiography is wholly dependent on the quality of Morrissey’s direct experience.
As such, it’s unlikely that many readers will enjoy reading about The Smiths years quite as much as they will the tales of teenage Morrissey, attired in “lodging house thrift”, transfixed by Patti Smith’s “bare lyrics of public lecture”, writing alluring riddles about his own sexuality. Reviewers have already commented on the fifty-page forensic analysis of the 1996 court case against Morrissey and fellow Smiths songwriter Johnny Marr by drummer Mike Joyce – a man “not qualified enough to be a nonentity” – but passages of pre-split Smiths history make for equally bleak reading, particularly the relentless character assassination of Rough Trade’s Geoff Travis.
Passages are given over to vicious poison-pen portraits of Julie Burchill, David Bowie and Siouxsie Sioux (“a black-eyed shopgirl hidden somewhere in the whistling cathedral towers of Notre Dame”).
Autobiography is far from that, but it has that voice, along with so many others: voices of joy, triumph, failure, bitterness, rancour, love, meanness, kindness, poetry and hate. However, a blindly led throng of solo hits or big-tune A-side bangers is never going to give you the whole story.


Blondie are billed for his Madison Square Garden date in New York City and Amanda Palmer will open for him in San Jose. Like Bob Dylan before him, Morrissey shaped the hinterlands of his fans whilst remaining simultaneously guarded and protective of his private life.
Partly, this might be down to Penguin’s fear of sending in a serious editor, lest the whole thing were thrown in the Tiber in an authorial fit of pique, but it does seem a little ironic given that Morrissey dedicates numerous pages of Autobiography to the detailing of incorrect Smiths cover-art and misprinted CD booklets. Reading Autobiography is sometimes akin to perusing the bookshelf of Morrissey the autodidact, checking off titles, hearing different authors vying for your attention.
Simple lyrical turns of phrase (“the leisurely stride of local boys”) are quickly followed by hackneyed pancakes (“dodging life’s bullets is known as survival”) or trite colloquialisms (“nine-day wonder” “amber-gambler”).
It’s a miserable read about miserable times, yet no other book is going to put Smiths fans this close to the subjective life of its author, whether they like it or not. Bryan Ferry, John Peel, Seymour Stein, Johnny Marr and the NME are subject to similar rhapsodic assassinations in a style comparable to Smiths cover-star Truman Capote’s put-downs of fellow authors and celebrities in Lawrence Grobel’s Conversations With Capote. With the arrival this week of World Peace Is None of Your Business, we’ve sweated, cried, and fought over a collection that will shine a light on 10 songs that aren’t always as their master would prefer them to be — in the spotlight. Openers for his remaining dates are likely to be announced within the coming month, so stay tuned. In a memoir, on his own terms, you felt, secrets might be revealed, questions answered, or at least a few scores would be settled.
It’s a style that might be well suited to the self-deprecatory humour of a Morrissey lyric, or even the man in conversation, but in the context of Autobiography the flow is stemmed, the narrative halted.
Ayer, contra todo pronostico, aparecio la noticia de que en junio emprendera una gira por Mexico, Argentina, Chile, Peru y Brasil.



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