Friday, October 28, 2016
Wednesday, October 26, 2016
Mirrors of Bergman
Music: Vivaldi, Concerto for Two Mandolins in G RV532
Sylvia Plath - Mirror I am silver and exact. I have no preconceptions. Whatever I see I swallow immediately Just as it is, unmisted by love or dislike. I am not cruel, only truthful ‚ The eye of a little god, four-cornered. Most of the time I meditate on the opposite wall. It is pink, with speckles. I have looked at it so long I think it is part of my heart. But it flickers. Faces and darkness separate us over and over. Now I am a lake. A woman bends over me, Searching my reaches for what she really is. Then she turns to those liars, the candles or the moon. I see her back, and reflect it faithfully. She rewards me with tears and an agitation of hands. I am important to her. She comes and goes. Each morning it is her face that replaces the darkness. In me she has drowned a young girl, and in me an old woman Rises toward her day after day, like a terrible fish.
Sunday, October 23, 2016
Forgotten history
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Forgotten history
"Life is divided into three terms - that which was, which is, and which will be. Let us learn from the past to profit by the present, and from the present, to live better in the future."
William Wordsworth
01/30 Coca-Cola Comes To France, 1950 02/30 Customers At A London Music Store, 1955 03/30 Bread and soup during the Great Depression 04/30 Samurai warriors taken between 1860 and 1880 05/30 California lumberjacks working on Redwoods 06/30 Nagasaki, 20 minutes after the atomic bombing in 1945 07/30 Austrian Boy Receiving New Shoes During WWII 08/30 Race Organizers Attempt To Stop Kathrine Switzer
From Competing In The Boston Marathon. She Became
The First Woman To Finish The Race, 196709/30 Painting The Eiffel Tower, 1932 10/30 First Morning After Sweden Changed From Driving
On The Left Side To Driving On The Right, 196711/30 Painter Of The Brooklyn Bridge,1914 12/30 Women Delivering Ice, 1918 13/30 The Beatles Play For 18 People In The Aldershot Club, December 1961.
They Were To Become Superstars In One And A Half Year.14/30 Measuring Bathing Suits,
If They Were Too Short, Women Would Be Fined, 1920’s15/30 Salvador Dali Kisses The Hand Of Raquel Welch
After Finishing His Famous Portrait Of Her, 196516/30 Little Girl With Her Doll
Sitting In The Ruins Of Her Bombed Home, London, 194017/30 Georges Blind, A Member Of The French Resistance,
Smiling At A German Firing Squad, 194418/30 Audrey Hepburn Shopping With Her Pet Deer “ip”
In Beverly Hills, Ca, 195819/30 Mother Hides Her Face In Shame
After Putting Her Children Up For Sale, Chicago, 194820/30 Newspaper Boy Ned Parfett Sells Copies Of The Evening Paper
Bearing News Of Titanic’s Sinking The Night Before, April 16, 191221/30 The Unbroken Seal On Tutankhamun’s Tomb, 1922
(3,245 Years Untouched)22/30 The Man That Refused To Give The Nazi Salute, 1936 23/30 Nikola Tesla In His Laboratory,
Sitting Behind His “Magnifying Transmitter”24/30 The Graves Of A Catholic Woman And Her Protestant Husband
Seperated By A Wall, Holland, 1888.25/30 Grotto In An Iceberg,
Photographed During The British Antarctic Expedition, 5 Jan 1911.26/30 A prototype of a space suit
designed in 1961 at UCLA. Los Angeles, CA27/30 A space chimp posing to camera
after a successful mission to space, (1961)28/30 A footprint on the Moon, July 1969. (NASA) 29/30 Duck Chief – Blackfoot – circa 1912 30/30 Child laborers in a factory during the industrial revolution (Georgia, 1909)
Sunday, October 2, 2016
Danil Harms - Pismo...
ПИСМО АЛЕКСАНДРУ ИВАНОВИЧУ
Драги Александре Ивановичу, чуо сам да скупљаш паре и да си већ накупио тридесет пет хиљада. Чему то? Зашто скупљати паре? Зашто не поделити то што имаш с онима који немају чак ни за панталоне? И шта су то уопште паре?
Проучавао сам тај проблем. Имам фотографије новчаница које су најчешће у оптицају: од рубље, три, четири, чак и од целих пет рубаља. Чуо сам да постоје новчанице које садрже у себи одједном 30 рубаља! Али зашто бих скупљао паре? Ја нисам колекционар. Одувек сам презирао колекционаре, који скупљају марке, пера, дугмад, џепне сатове итд. То су глупи, тупи и сујеверни људи.
Знам, на пример, да такозвани "нумизматичари", то су они који скупљају паре, имају сујеверни обичај да их стављају, шта мислиш, где? Нити у сто, нити у кутију, него... на књиге! Како ти се ово свиђа? А може човек лепо да узме паре, пође с њима у радњу и замени их, рецимо, за супу (постоји такво јело) или за сос од ципала (то је такође нешто попут хлеба).
Не, Александре Ивановичу, ти си паметан човек готово као и ја, а скупљаш паре и не мењаш их за разне друге ствари. Извини, драги Александре Ивановићу, али то је глупо! Ти си једноставно оглупавео живећи у тој провинцији. Мора бити да немаш с ким да разговараш. Шаљем ти своју слику да бар гледаш испред себе паметно, напредно, интелигентно и лепо лице.
Твој пријатељ Данил Хармс
Saturday, August 13, 2016
Beograd nekad i sad
Beograd nekad i sad: Balkanska ulica
Osim što je bila poznata po najboljoj ćeten-alvi i sladoledu u gradu, Balkanska ulica je važila i za onu gde možete pronaći sve - od igle do lokomotive. Za većinu stvari govorilo se „naći ćeš to u Balkanskoj”, a umesto današnje Pametne zgrade, zaštitni znak bile su zanatlije s porodičnom tradicijom.
Smeštena u srcu Beograda blizu Železničke stanice, Balkanska ulica bila je prva kojom su novi Beograđani prolazili nakon silaska sa voza. Brojne zanatske, trgovačke i ugostiteljske radnje koje su se u Balkanskoj nizale jedna za drugom oslikavale su dinamičan život velegrada. Stariji sugrađani pamte da je u gornjem delu ulice radio čuveni majstor Voja, koji je za svečane prilike šio odela po italijanskoj modi.
Odmah ispod hotela „Moskva” bio je legendarni Leskovčanin, poznat po najboljim pljeskavicama. Preko puta punom parom je radio bioskop „20. oktobar”.
Balkanska je jedna od retkih ulica koje se od 1872. nisu zamerile nijednoj vlasti, pa su sačuvale ime. Njen moćan naziv potiče od Balkanskog poluostrva, ali je od središta zanatstva i trgovine koji je bila, danas samo zamrla ulica sa lepom istorijom.
Monday, May 23, 2016
Danil Harms - ...Ljubav
РАЗОРУЖАНИ или НЕСРЕЋНА ЉУБАВ
ЛАВ МАКАРОВИЧ (приљубљујући се уз даму): Дозволите!
ДАМА (одбијајући га длановима): Одступите!
ЛАВ МАКАРОВИЧ (насрћући): Дозволите!
ДАМА (одгуркујући га ногама): Одбијте!
ЛАВ МАКАРОВИЧ (хватајући је рукама): Дајте само једном!
ДАМА (одгуркујући га ногама): Пустите! Пустите!
ЛАВ МАКАРОВИЧ: Само један метак!
ДАМА (мрмља нешто као "не").
ЛАВ МАКАРОВИЧ: Метак! Један метак!
ДАМА (склапа очи).
ЛАВ МАКАРОВИЧ (нестрпљиво посеже руком за својом справом и, одједном, како се показује, не може да га нађе): Сачекајте! (Шврља рукама по свом телу.) Какав је ово сад ђаво!?
ДАМА (запањено гледа Лава Макаровича).
ЛАВ МАКАРОВИЧ: Лепа парада!
ДАМА: Шта се десило?
ЛАВ МАКАРОВИЧ: Хм... (расејано гледа на све стране).
Завеса.
1934.
Tuesday, May 17, 2016
Violeta Ivković - Crvene potpetice
Odjekivale su pločnikom i još dugo vukle za sobom odjeke bivših tragova.
Crvene potpetice.
Njihala se prebačena preko bosog ramena, povremeno kliznuvši na pedalj
iznad lakta, zabelevši noć odsjajem.
Lakovana torbica.
Podmetala se naborima, žustro bivajući odbačena lakim koracima.
Kratka suknjica.
Prelazila je preko oka pri promeni ritma u hodu, upetljavajući se u dugačku
trepavicu, prečeći se pred pogledima.
Riđa šiška.
Ležao je kao utisnut pečat na grudima. Nije se pomerao, utrnuo od bojazni
da ih ne napusti. Da ih ne izgubi, da ih neko drugi ne odnese, ne otrgne od
njega, čuvarnog.
Krstić na vratu
Deteta noći.
Tuesday, May 3, 2016
First Listen: Santana, 'Santana IV'
Being in a band feels a lot like being in a relationship: Making music with another person borders on spiritual, and is one of the most intimate experiences you can share with another individual. That's precisely why the long-awaited reunion of mid-'70s-era Santana works so well on record: These musicians' chemistry is palpable, and it flows through Santana IV, their new album together.
Led by Carlos Santana, this band made history: No one had ever so successfully integrated complex Afro-Cuban rhythms with rock or jazz. Each of the band's first three albums were million-sellers, reflecting the popularity of the musicians' collective vision.
Some four decades later, they've reassembled for new music written in the spirit of their first blasts of percussion and fuzz tone. Santana IV captures that magic, while still updating it slightly. Drummer Michael Shrieve and conguero Michael Carabello lay a familiar rhythmic foundation that allows guitarists Carlos Santana and Neal Schon to inspire one another in solos that are as melodic as they are rhythmic. Gregg Rolie's vocals and keyboard work provide a visceral reminder of those first three albums. (Current Santana members Karl Perazzo on timbales and Benny Rietveld on bass replace original members who either couldn't participate or have passed away.)
In fact, if it sounds more familiar today than it did 40 years ago, that's to be expected - especially from the performers who invented this sound. To this day, no one does it better.
SOURCE: NPR Music
Violeta Ivković - Zašto more svetluca?
Okupile se odlutale životinjke. Lavovi, tigrovi, veverice, lasice, samoklopi, kune zlatorepe. Soneti, ptice zlatopere. Zlatokosa i tri medveda. Vasilisa prekrasna i Zmaj ognjeni. Srneća leđa i zečji paprikaš.
Bezlobanjci, plaštenjaci, svitkovci. Svitac – mamac. Bag, bag, bag.
Sokolovi, jastrebovi, kobac kratkoprsti. Skakavac opasni. Vuk i tri svinje.
Akvarijum, ksifoforus, terarijum, iguana iguana. Regenerativna autotomija. Pseće srce u tri čina. Morsko prase.
U zmiji jaje. Zašto more i dalje svetluca?
Monday, April 18, 2016
Kiša - Violeta Ivković
Upoznali smo se pre no što smo se sreli.
Čekala sam autobus. Kiša je širokim nanosima spirala gargantuovski bulevar koji je čileo. Stajala sam na klupi pod nadstrešnicom autobuske stanice, kako me potoci što su se sjurivali ne bi skvasili. Nije bilo rastvorenih kišobrana, samo su se iza bara, lokvanja i bambusa nazirali neboderi u pesku, kao čačkalice pobodene u ratluk.
Kraj mene su stajali ljudi. Pomerila sam se da napravim mesta, premda je to bilo nepotrebno. Neko je predložio da zaboravimo autobus, zašto ne bismo kada je on zaboravio na nas, i odemo na kafu.
Šljapkajući po vodi došli smo do šumećeg srca grada. U prizemlju su se nalazili prazna samoposluga, časovničarska radnja i staklorezac koji ne seče staklo – pisalo je na vratima da je negde zaturio dijamantski rezač – već samo pravi ramove. Na spratu je bio zvrjeći bioskop i uz njega restoran. Zaseli smo za sto na terasi, dok je svet odlazio u paramparčad.
Ipak, pojavio se konobar i preporučio nam kafu od šumskog voća. Zamolila sam ga da mi napitak pripremi bez šlaga, a jedna žena mu uz osmeh kazala da njime slobodno dopuni njenu šolju.
Pričali smo kao u proleće. Razgovor se zeleneo, a ako bi se nehotice prigušio plavim, ljudi bi senke odagnavali tako što bi im iscrtavali brkove, rogove, smešne šešire, perjanice kao u viteza...
Pričalo se o svemu i svačemu. O psima i mačkama, deci i pticama, rekama i vulkanima. O ženama i o muškarcima malo, samo o onom neizbežnom.
Pošto smo popili kafu, svi su rešili da ostanu u restoranu, a ja sam krenula na stanicu. Ušla sam u autobus koji me je čekao.
Pri odlasku iz grada u ustima su mi se mešali ukusi jagode, borovnice i divlje kupine.
by Violeta Ivković © March 30, 2016.
Tuesday, March 29, 2016
Miles Davis
6 Miles Davis Albums That Changed Music
Miles Davis died in 1991, but his influence on music is still being felt. The new film Miles Ahead, produced, co-written, directed by and starring Don Cheadle, is giving a new audience a fresh take on one period in the musician's career.
[ + ] read more.
Davis himself wasn't the most humble about his musical sway. At a White House dinner in 1987, the jazz musician was asked what he'd done to deserve to be there. Davis wrote in his autobiography that he replied, "Well, I've changed music five or six times."
Davis' career spanned more than 50 years and encompassed everything from bebop to avant-garde to hip-hop. Professor Sean Jones of the Berklee College of Music in Boston teaches a class on Miles Davis.
"It's kind of controversial," he tells NPR's Michel Martin about Davis' claim to have changed the face of music. "You can make the argument that he indeed did change music a few times, five or six times. But you could also state that he was at the forefront of the change, by putting together bands that were a part of the movements that were going on. And I tend to subscribe to that notion.
"He, having such a unique voice, he was able to superimpose his sound on that change, making it seem as if he were the change agent."
NPR asked Jones to compile some of his favorite Miles Davis songs and albums that showcase how Davis changed — or helped change — musical tastes.
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Miles Davis during a studio recording session, October 1959.
'First Miles'
What became Davis' first album, First Miles, featuring recordings from 1945 and 1947, includes the song "Milestones."
"We hear him taking the bebop language and sort of making it accessible for the listener. Which is basically what hard bop was to do later on," Jones says. It's the first time Charlie Parker plays tenor saxophone, instead of his usual alto, on a recording, he says. "Even at the age of 18, he had the foresight to know that he wanted to do something different."'Birth Of The Cool'
Recorded in 1949 and 1950, on Birth of the Cool, "you hear a departure from the language of bebop," Jones says. On the song "Deception" in particular, "you hear it smoothed out. You hear the smooth sounds of the instrumentation."
The recordings with Davis' nonet paved the way for his well-known collaborations with Gil Evans, Jones says.'Relaxin'
Two recording sessions in 1956 were enough for four separate albums: Relaxin' with the Miles Davis Quintet, Cookin' with the Miles Davis Quintet, Workin' with the Miles Davis Quintet, and Steamin' with the Miles Davis Quintet. "If I Were a Bell" is the lead track off of Relaxin'. "Many people argue that these are the first hard bop recordings ever done," Jones says. "What you hear is a relaxed style, you hear the rhythm section very relaxed. You don't hear that up feel that you get with bebop. And you also hear the American popular songbook expressed magically by Miles."
'Miles Smiles'
"Orbits," from the 1967 album Miles Smiles, is a showcase of "the Second Great Quintet," Jones says. The group had totally changed, with the exception of Davis, from the players on the previous decade's group of Quintet albums. The players — Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams — were a part of the avant-garde scene of the early to mid-'60s, he says. "You hear the freedom of rhythm — boundaries are being broken. And there's arguably no better band to represent what that period was all about than Miles Davis' Second Great Quintet."
'Bitches Brew'
The 1970 album Bitches Brew is acclaimed as one of the great works in jazz fusion. "John McLaughlin" is the shortest of the six songs on the double LP, two of which run more than 20 minutes. The electric guitar, electric bass and electric piano on the album all represent a departure from earlier instrumentation. "The freedom, the exploration in sounds of the day — you can tell that Miles was checking out what was going on on the radio," Jones says. "He was checking out Sly [and the Family Stone] and he was checking out what the young cats were listening to. And so he wanted to again be the face of that change..."
'Tutu'
You can hear the 1980s in "Perfect Way" from the 1986 album Tutu. The song is a cover of the song by the new wave band Scritti Politti. It features heavy use of synthesizers and drum machines. "Miles again was taking the music of the day and putting it at the forefront of his own sounds — and superimposing his sound on that," says Jones. The album and 1989's Amandla feature the production work of Marcus Miller, who also wrote most of the music on both records. "Marcus Miller definitely knows the '80s sound," he says. "He was a big part of what was happening in the '80s in many different genres..."
SOURCE: NPR Music
Sunday, March 20, 2016
Monday, March 14, 2016
Ššš... Violeta Ivković
Ššš...
U ladicama od trešnjevog drveta sećanja.
na grudima Šćućurena Šaptala.
Rukohvat im prsten od inja. Zarobi kožu na tren,
pa se otopi pod prstima.
uŠnirana maŠnica od bosih kolena.
Neprozirno je drvo. Beli se kao cvet treŠnje
i rumeni kao zvončići ploda.
u zamrŠaju krila ŠuŠka tiŠina.
Okačim ih o uho da osluhnem.
tihuju pobeglice u koŠtici.
Pođem od zapretanih spomena. Zacvili lisnata grančica.
Šumori čarŠav, Šarenica raŠita.
Javor je procvao, zanjiše peteljkica.
i Šljiva je ruža, a ti samo minđuŠica.
Orah je eolska harfa, zatreperi skrita struna.
tiŠe, vetar u kroŠnji bluz svira.
Svučem peteljku s uha, raskinem.
trešnjicu divlju, samonikla sećanja.
Zagrcnem se jednim, pa drugim zrnom.
Ššš...
Created with ♥ by #VioletaIvkovic :)|
Tuesday, March 8, 2016
The Smiths - The Stories Behind 27 Album And Single Sleeves
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Ever wondered who each of the characters and faces adorning the covers of The Smiths records were? Here's an exhaustive guide to each and everyone of their 27 single and album releases' sleeves, and what they mean...
'Hand In Glove': The Smiths' first release, and a controversial one to boot. Keen to stoke the theme of homoeroticism, Morrissey chose a buttock-baring photo of actor George O'Mara. Andy Rourke's parents weren't best pleased. The bassist said: "He said to me, 'That's a bloke's bum' and I said, 'yeah' but when he asked me why I just didn't have an answer for him."
Photo: Press
Hand in Glove'This Charming Man': As would become common throughout the career, The Smiths baulked at the idea of putting themselves on their artwork. Instead, Morrissey preferred to parade his pop culture heroes on record sleeves instead. Here's French swashbuckling actor Jean-Alfred Villain-Marais, in a still from Jean Cocteau's film Orpheus.
Photo: Press
This Charming Man'What Difference Does It Make?': Terrence Stamp eventually gave permission for The Smiths to use an image of him from The Collector on the cover for The Smiths' third single. The image, which wasn't used in the film but is a still taken on set, shows Stamp holding a chloroform pad. Until he relented and allowed the image to be used, The Smiths had to come up with an alternative...
Photo: Press
What Difference Does it Make... which was Morrissey himself. Here's the singer doing his best to re-enact Stamp's pose (although the chloroform pad is gone, and replaced by a more wholesome glass of milk instead). Other famous figures who rejected Morrissey's artwork approaches include footballer George Best and actor Albert Finney.
Photo: Press'The Smiths': For The Smiths' self-titled debut, the band used an image of 1960s actor and sex symbol Joe Dallesandro. A protege of Andy Warhol, it's also Dallesandro's bulging, denim-clad crotch that takes pride of place on The Rolling Stones’ ‘Sticky Fingers’ cover.
Photo: Press
The Smiths (LP)'Heaven Knows I'm Miserable Now': Viv Nicholson, pictured here, found fame in 1961 when she won £152,319 (roughly £3m today) but squandered it all. She was a favourite of Moz's - he even pinched a quote from her autobiography for 'Still Ill' and recycled it for the lyric "Under the iron bridge, we kissed/ And although I ended up with sore lips".
Photo: Press
Heaven Knows I'm Miserable Now'William, It Was Really Nothing': According to Moz, The Smiths' artwork needed to "take images that were the opposite of glamour and to pump enough heart and desire into them to show ordinariness as an instrument of power - or, possibly, glamour." Here's a perfect example - this image was originally used as an advertisement for A.D.S speakers.
Photo: Press
William, it was really nothing'How Soon Is Now?': A sore point for Morrissey - the original cover, a still from war film Dunkirk of Brit actor Sean Barrett in the middle of praying, was deemed too racy for US audiences, who worried that Barrett looked like he was fondling his crotch. It was replaced in the States by a picture of the band backstage at Glastonbury, which Moz called "abhorrent".
Photo: Press
How Soon Is Now?'Meat Is Murder': Emile de Antonio’s controversial Vietnam War doc, In The Year Of The Pig, scandalised some viewers for its pro-Vietnamese sentiments. Morrissey pinched the film’s iconic image of Marine Cpl Michael Wynn, but with a twist: Wynn’s helmet was originally scrawled with the message ‘Make War Not Love’, but The Smiths changed the slogan to match the title of their LP.
Photo: Press
Meat Is Murder'Shakespeare's Sister': The ultimate Morrissey pin-up, here's legendary actress Pat Phoenix on the sleeve of 'Shakespeare's Sister' in character as the much-loved Elsie Tanner from Manchester soap Coronation Street. One of the show's most celebrated characters, Phoenix portrayed Tanner on television screens for nearly 25 years.
Photo: Press
Shakespeare's Sister'Barbarism Begins At Home': Another image of Nicholson, although her friendship with Morrissey would soon sour: in later life she became a Jehovah Witness, and she objected to the band using her image for a reissue of 'The Headmaster Ritual' due to the explicit lyric "Belligerent ghouls/Run Manchester schools/Spineless bastards all".
Photo: Press
Barbarism Begins At Home'That Joke Isn't Funny Anymore': "The eyes are encrusted with hurt and premature wisdom," said Morrissey of this single's cover star, an unknown child actor from Russian film The Enchanted Desna. The band, who found the picture in a film magazine, could have ended up with something rather different - a proposed alternative cover featured a dead chicken instead.
Photo: Press
That Joke Isn't Funny Anymore'The Boy With The Thorn In His Side': Writer Truman Capote is the jumping, jubilant cover star of 'The Boy With The Thorn In His Side'. Morrissey later said of the cover: "When I put him [Capote] on the cover of the Smiths single 'The Boy With the Thorn In His Side' a certain member of the Smiths (who unfortunately is still alive) said, "is that Ernie Wise?" .... dear God ..."
Photo: Press
The Boy With The Thorn In His Side'Bigmouth Strikes Again': James Dean again – and this time, he's riding a motorbike. Morrissey would later pay further tribute to the actor by filming the video for solo single 'Suedehead' in Fairmount, Indiana, which is where Dean grew up.
Photo: Press
Bigmouth Strikes Again'Panic': Man In A Suitcase was a 1960s TV series in which Richard Bradford played a disgraced ex-CIA agent turned private detective who lives out of his suitcase in London. The Smiths chose Bradford to adorn the cover of 'Panic'.
Photo: Press
Panic'The Queen Is Dead': French thesp Alain Delon is pictured on The Smiths’ masterpiece ‘The Queen Is Dead’. Delon wrote to the frontman giving his approval for them to use an image from 1964 noir film The Unvanquished. It came with a caveat, though: in Autobiography, he reveals that Delon told him that his parents were upset that “anyone would call an album ‘The Queen Is Dead’.
Photo: Press
The Queen Is Dead'Shoplifters Of The World Unite': Morrissey's screen heroes tend to trump his musical icons when it comes to Smiths sleeves, but 'Shoplifters...' bucks the trend with this image of Elvis Presley. One of the singer's first ever press shots, it was taken in 1955 by his hairdresser.
Photo: Press
Shoplifters Of The World Unite'Sheila Take A Bow': 'Sheila...''s cover star is Candy Darling: a transgender actress who became closely associated for her work with Andy Warhol, and was also a huge source of inspiration for The Velvet Underground; she's the muse for their song 'Candy Says', among others.
Photo: Press
Sheila Take A Bow'Girlfriend In A Coma': "I've never made any secret of the fact that at least 50 per cent of my reason for writing can be blamed on Shelagh Delaney," Morrissey once said of one of his favourite playwrights: he borrowed the words "I dreamt about you last night/ And I fell out of bed twice" from her play A Taste Of Honey for 'Reel Around The Fountain'.
Photo: Press
Girlfriend In A Coma'I Started Something That I Couldn't Finish': Comedian and actress Avil Angers became one of post-war England's most cherished performers. Angers, who also had a role in Morrissey's beloved Coronation Street, was chosen by The Smiths to star on the cover of 'I Started Something That I Couldn't Finish'.
Photo: Press
I Started Something That I Couldn't Finish'Stop Me If You Think You've Heard This One Before': This still of British actor Murray Head is taken from the 1966 film The Family Way – it's the same flick that's also the source of the Angers photo from the 'I Started...' cover. Head would later become best-known for singing the song 'Superstar' from Andrew Lloyd Webber's stage rock musical Jesus Christ Superstar.
Photo: Press
Stop Me If You Think You've Heard...'Strangeways, Here We Come': Morrissey's first choice Harvey Keitel refused the cover of ‘Strangeways...’. Instead, he had to settle for a shot of Richard Davalos, co-star of James Dean in East Of Eden. Dean was one of a young Morrissey’s heroes, to the extent that the singer once wrote a piece of fiction in his honour: the 1983, pre-Smiths fame book James Dean Is Not Dead.
Photo: Press
Strangeways, Here We Come (LP)'Louder Than Bombs': The Smiths use another image of playwright Delaney. One of the tracks on the compilation album, 'This Night Has Opened My Eyes', retells the story of Delaney's play A Taste Of Honey and the central character of Jo.
Photo: Press
Louder Than Bombs'Hatful Of Hollow': Another reference for director Jean Cocteau: the model on the original artwork for 'Hatful Of Hollow' is Fabrice Colette, who sported a tattoo inspired by a Cocteau drawing on his shoulder. The sleeve was redesigned in 1987, however, with the image cropped so the tattoo is no longer visible. The original photograph was taken by Gilles Decroix.
Photo: Press
Hatful Of Hollow (LP)'Rank': British actress Alexandra Bastedo was chosen by the band to adorn the cover of live album 'Rank'. Like Morrissey, Bastedo was a committed vegetarian and an advocate for animal welfare – after her acting days were over, she briefly served as the president of her local branch of the RSPCA.
Photo: Press
Rank (LP)'Last Night I Dreamt That Somebody Loved Me': Another outing for a pop star on a Smiths' cover. Bequiffed rock superstar Billy Fury, who died in 1983, was one of Morrissey's heroes, and was a sensation in the '60s due to his charisma and sexualised stage show. "Billy Fury is virtually the same as James Dean," said Morrissey. "He was entirely doomed too and I find that quite affectionate."
Photo: Press
Last Night I Dreamt That Somebody...
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