Thurston and I didn’t look at each other once, and when the song was done, I turned my shoulders to the audience so no one in the audience or the band could see my face, though it had little effect. Everything I did and said was broadcast from one of the two 40ft-high on-stage video screens. FacebookTwitterPinterestKim Gordon. Photograph: Pari Dukovic for the Guardian Throughout that last show, I remember wondering what the audience was picking up on. What they saw and what I saw were probably two different things. During Sugar Kane, the next-to-last song, an oceanic blue globe appeared on the screen behind the band. It spun extremely slowly, as if to convey the world’s indifference to its own turning and rolling. It all just goes on, the globe said, as ice melts, and streetlights switch colours when no cars are around, and grass pushes through sidewalk cracks, and things are born and then go away. When the song ended, Thurston thanked the audience. “I can’t wait to see you again,” he said. The band closed with Teen Age Riot. I sang, or half-sang, the first lines: “Spirit desire. Face me. Spirit desire. We will fall. Miss me. Don’t dismiss me.” Marriage is a long conversation, someone once said, and maybe so is a rock band’s life. AContinue Reading
“The whole thing was a dream” I bet.
https://youtu.be/j9jbdgZidu8 In the song, Kirsty MacColl sings the lines, “You scumbag, you maggot/ You cheap lousy faggot/ Happy Christmas, your arse/ I pray God it’s our last,” “The word was used by the character because it fitted with the way she would speak and with her character. She is not supposed to be a nice person, or even a wholesome person,” he said. “She is a woman of a certain generation at a certain time in history and she is down on her luck and desperate.” “Her dialogue is as accurate as I could make it but she is not intended to offend! She is just supposed to be an authentic character and not all characters in songs and stories are angels or even decent and respectable, sometimes characters in songs and stories have to be evil or nasty in order to tell the story effectively,” the statement continued. “If people don’t understand that I was trying to accurately portray the character as authentically as possible then I am absolutely fine with them bleeping the word but I don’t want to get into an argument.” Source: The Pogues’ Shane MacGowan Responds to Calls to Censor “Fairytale Of New York” | SPIN
Dusting ‘Em Off is a rotating, free-form feature that revisits a classic album, film, or moment in pop-culture history. This week, Editorial Director Matt Melis disobediently revisits D.A. Pennebaker’s documentary Dont Look Back 50 years later. “You seem to be relating to a handful of cronies behind the scenes now – rather than the rest of us out front. Now that’s all okay – if that’s the way you want it. But then you’re a different Bob Dylan from the one we knew. The old one never wasted our precious time…” –Irwin Silber, Sing Out! Nov. 1964. — These scathing words from Sing Out! editor Irwin Silber came on the heels of Bob Dylan’s second 1964 release, Another Side of Bob Dylan. In January of that year, Dylan’s The Times They Are a-Changin’ had earned him praise in folk circles and strengthened the fervor, among some, to anoint the songwriter the voice of his generation. But Another Side, recorded and released in the summer of ’64, revealed an artist who refused to be pinned down so neatly. Gone were the gritty protest anthems that depicted the plight of the poor, minorities, and other marginalized peoples, replaced instead by songs that turned inward to matters of the heart, adopted humor, and viewed the world through a more surrealist bent. more @ Source: Don’t LookContinue Reading