Fort Canning ParkTerça 8 de maio de 2012
Morrissey
One of the most compelling British cult icons of the ’80s, Morrissey and his legendary group The Smiths were responsible for some of the most thought-provoking and intelligent rock ‘n’ roll of the post-punk era.
In the first phase of his career as The Smiths’ singer, Morrissey’s record sleeves featured portraits representing his personal icons: playwright Shelagh Delaney, actor Alain Delon, glamour-girl Alexandra Bastedo, and so on. His solo records, on the other hand, virtually all feature images of the man himself. Morrissey has become his own icon. His self-created persona as an effete but acid-tongued champion of outcasts, losers and misunderstood mopers is as important a part of his art as his actual music. .
Always quotable, always enmeshed in controversies regarding song lyrics or deliberately provocative public statements, Morrissey proved to be the wisest manipulator of the press since David Bowie had invented Ziggy Stardust a decade earlier. While the group’s superstardom in Britain vastly exceeded their fame in the United States, their initial cult following—which began with their eponymous 1984 debut—steadily grew and has since continued to snowball as Morrissey began his even more lucrative solo career. Beginning with 1988’s Viva Hate, which attained a higher chart position than any of The Smiths’ work, Morrissey’s American popularity has blossomed. By 1992, the cult figure was releasing top 30 albums and filling venues no less prestigious than the Hollywood Bowl. .
Morrissey’s lyrical abilities may rank among the highest, but his way with song titles is absolutely unmatched; his best tell an entire story in only a few words, often humorously, while reinforcing his persona as a determined miserablist. Among the best: “I Want The One I Can’t Have,” “Last Night I Dreamt That Somebody Loved Me,” “Some Girls Are Bigger Than Others,” “That Joke Isn’t Funny Anymore,” “There’s a Place In Hell For Me And My Friends,” “(I’m) The End Of The Family Line,” “You’re The One For Me, Fatty,” and “We Hate It When Our Friends Become Successful.” A onetime music journalist prior to the Smiths, Morrissey clearly knows the value of a good headline. .
He remains a cult artist, with a cult as stable and devoted as any artist could ask for.
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