China: Through The Looking Glass…That Looks Back

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Click to check your vision.

China: Through The Looking Glass is finally over, and now I can look back on it. Extended an additional 3 weeks through Labor Day, it went out with a bang like those heard on Chinese New Year. Like New Year’s Eve, The Met was open until Midnight on Friday and Saturday, September 4 & 5. Of course, the Nighthawk was there. Of course, he had to mention to staff members what a great idea being open to Midnight was, one that should immediately be adopted 7/365! A bit to my surprise the show was quite crowded even late Saturday night. Maybe those visitors agree.

Chairman Mao & Chairman Andy

Chairman Mao & Chairman Andy

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Yes, It's a "hat." Tie your shoes BEFORE putting it on! Extraordinary, and not by Stephen Jones.

Yes, It’s a “hat.” Tie your shoes BEFORE putting it on! Extraordinary, and not by Stephen Jones.

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What would Buddha think?

What would Buddha think?

The Perfume Gallery featured 2 unsynchronized video screens, behind a selection of antique bottles. that evoked the visual essence of fragrance.

The Perfume Gallery featured 2 unsynchronized video screens, behind a selection of antique bottles. that evoked the visual essence of fragrance.

 

 

Wandering the galleries for the fifth and final time, I started to focus on the “other” big question, besides midnight hours for The Met- “China: Through The Looking Glass” drew about 814,000 visitors 1. The hugely popular “Alexander McQueen: Savage Beauty” drew 661,500 2. This show drew over 150,000 more!!! As I said, I’m not going to compare them. The McQueen had a shorter run, and The Met was only open 6 days a week back then.

The one and only Alexander McQueen back at The Met.

The one and only Alexander McQueen back at The Met.

Still, no matter how you slice it, the turnout was was astounding and unexpected-

How to explain the overwhelming success of this show?

Before getting to that, since I am replacing my previous brief post about the show with this one, some overall thoughts. “China: Through The Looking Glass” (or, C:TTLG) was a winner on every count, one of the best big shows in NYC in 2015 (I’m not going to say, “the best.” Comparing artists, art, shows, movies, music or anything creative, or athletes for that matter, serves no purpose.) C:TTLG was that rare spectacle that illuminates.

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It casts light on how the west fantasizes China, Chinese fashion, and Chinese culture and art (how it fantasizes Chinese women, briefly touched on through Anna May Wong, is too complex for this show, or any other), while showing us the difference between how western designers have mirrored Chinese fashion, out of context & tradition, of course, to suit their own purposes, and the possible influences of particular antique items, superbly selected and displayed, often side-by-side, using mirrors in differing ways as the show moves along.

"These Foolish Things (Remind Me Of You)..." Anna May Wong looks down on the very gown she's immortalizing.

“These Foolish Things (Remind Me Of You)…” Anna May Wong looks down on the very gown she’s immortalizing.

On both sides of the mirror the colors will pop your eyes right out of your skull, a miraculous thing for very old garments, which hold every bit of their own no matter what they are shown with, even Alexander McQueen (represented by at least 4 ensembles I saw, and a pair of Chopines), and this impact was spectacularly enhanced by yet another ground breaking Costume Institute installation (something I’ve admired about every one of their shows I’ve seen) and every element of it- the mirrors, the “mood lighting,” the extensive use of music and video.

A close up of one of the countless mirrors on display, this one used to frame a brilliantly colored antique garment.

A close up of one of the countless mirrors on display, this one used to frame a brilliantly colored antique garment.

It seems they pulled out the stops this year, bringing no less than an internationally renown film maker in as artistic director and bringing in the brilliant milliner Stephen Jones to created hundreds(?) of “hats,” which somehow managed to almost steal the show, an incredible achievement.

My Hat is Off to the endlessly creative Millener Stephen Jones.

My Hat is Off to the endlessly creative Millener Stephen Jones.

Though I am very queasy when it comes to “big names” from the world of commerce being on view in The Met, and there are many “big names” represented, just about everything on display deserved to be included. Well, it’s The Met. They have the best curators in the world, in my opinion. I expect nothing less. I could have, however, done without the section on the development of the perfume “Opium,” which, yes, was also on sale in the gift shop for 92.00…dollars…not yen.

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C:TTLG was the first collaboration between the Costume Institute and the Department of Asian Art, which celebrates it’s 100th Anniversary this year. Beyond the combination of both world-class collections, the pairing was most fortuitous for visitors to this largest show in Met history as even though it was spread out over 3 floors, the galleries happen to be located right on top of each other, making them easily accessible by centrally located stairs and elevators, something that was a problem for Costume Institute shows in the past.

Ok…so, about getting over 800,000 visitors….?

People want an experience these days, and C:TTLG was that. Walking into this show was a bit like going to a movie- most of the galleries are dark or darkened, which gives a “theater-like” experience. This was enhanced through the use of video screens playing excepts from films in many galleries (acclaimed Hong Kong filmmaker Wong Kar Wai, known for his “unique, highly stylized, emotionally resonant work” 3 was the show’s artistic director), the use of mirrors, and curated music set the mood in every gallery. The Costume Institute has been at the forefront of creating “experiences’ with their installations- unforgettably for “Alexander McQueen: Savage Beauty” and no less than “recreating” CBGB’s infamous bathroom for their “Punk” show. (Ok, they omitted the filth, but it’s something I STILL can’t believe I saw at The Met! I’ll always wonder what CB’s owner Hilly Krystal would have thought…)

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Yet, there was almost no “sex appeal” to the antique garments on display. It made me wonder how China ever became the most populous country in history! In fact, the “Red Boudoir” as I came to call Gallery 218, featuring Valentino’s 2013 evening wear, (which he debuted in Beijing, and which was kept quite dark so as to play down the fact that the clothes are see-through), was the only instance of “sexy” even among the western pieces, save for a lone mini dress, by someone unknown- their name, on the outside of the case had worn off (something that needs to be fixed going forward, as does the fact that many of these glass case labels were almost impossible to read in the dark.) There was no Lady GaGa-type figure (who had been famously wearing McQueen’s now immortal “Armadillo” Shoes at the MTV VMA’s before AMcQ:SB, which took place only a year after his tragic death. There was no seeming cultural “tie in” at all to push the box office to record heights. Yes, it’s The Met. Yes, there is the more-famous-every-year Met Fashion Gala that kicks off the show each year, but that’s been going on for a long time now. Yes, there are more Chinese than anybody else, and there are tons of Chinese tourists here and tons of Chinese living in NYC. Yet, I think the result, in this case, was more than the sum of those parts.

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“The Red Boudoir” as I call it.

Also, unlike most special exhibitions at The Met, and though the signs read to the contrary, photography WAS permitted! I think this was a very shrewd idea as it allowed for something perhaps better than word of mouth- “Word of Sight,” as I call it. This show is very hard to describe (as you can tell by reading this!), but easy to “get” by seeing a picture (hopefully), which equals 1,000 words as they say.

It also seems to me it’s the same forces at work that make a movie hugely successful. There are the initial batch of folks who go and have a look see after it opens. My guess is that many of them reacted like I did- “OMG! You HAVE to see this.” And so, others go, and it feeds on itself from there. The show was so big that many went back time and time again to see the rest of it, or to see parts of it again. I think the press, which was very positive as far as I heard (I don’t read reviews until I’ve made up my own mind), play a relatively minor role in drawing a crowd like this, especially after a show has been open for a while. The press reminds that it’s still open, but nothing more is generally written about it after their initial review. It also seemed that this show drew women in huge numbers, above and beyond what the “fashion” oriented shows I’ve seen at The Met or F.I.T’s Museum. I can’t remember seeing so many single women at a show. I also saw a lot of women with a male partner who looked hopelessly “Please, Dear God…Get me through this.” lost. And yes, there were tons of tourists. Overall, while though there were many, though not a predominance of, Asians, the crowd was extremely diverse in my visits, though lacking the very young. Interestingly, there was no fashion on display for babies or children, which is actually consistent with every Costume Institute show I’ve seen.

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The antique garment is the one with it’s arms extended.

In the final analysis, since I knew nothing of “real” Chinese fashion going in, I was careful to be mindful of whether I was seeing something old or new. Though there weren’t as many antique Chinese pieces as I hoped, I came away having seen another concept of femininity. The shapes of the garments, especially, stood out to me and I was continually reminded of Scholars’ Rocks, (a few of which were on display in the Astor Court where John Galliano’s Chinese Opera pieces were on view in a section entitled “”Moon In The Water”), and sculpture. The effect of the design is almost architectural, ala Frank Gehry, who has been on my mind since the new Whitney Museum opened. (Perhaps you can guess why. If not, I’ll come clean soon.) Beyond shape and it’s effect on style, the colors of both the antique and modern clothes, both in numbers of and combinations of, were absolutely exhilarating, especially in the dark. The west has a problem with color, something that can be seen taken to it’s furthest extreme here in NYC. Color is so powerful that wearing it tends to make one stand out in a bad way here. People wonder what you’re about. But if EVERYONE is wearing color the effect must be completely different, unimaginable to my eyes- I’ve never seen it. Of course the antique clothes on display at C:TTLG were exclusively garments of the upper class, so it remains unknown to me what the “common” person wore, and if there was THAT much color in those garments. Probably not. But, I’m going to hold on to my fantasy about everyone wearing color regardless.

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It also made me think about western painting, where only briefly has anything like this amount of color been seen. Van Gogh may be first to mind. Though he was so incredibly prolific- about 900 paintings, it’s often forgotten that he only painted for NINE YEARS (1881-1890), and his early years were characterized by dark brown earth tone works influenced by Millet. Seurat, who I consider a genius of color, died at 31, leaving, perhaps, Matisse and Monet as the longest standing masters of color in western art. Though surely all of the Impressionists were influenced by Asian art, it was primarily Japanese art, which was more known in the west at the time, Monet even building a “Japanese” style bridge in his incomparable Giverny garden. I digress.) The point is that the color will linger in my mind as much as the shapes.

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Not sure why Mr. Jones chose the rabbit, but I love it.

I should also mention that the catalog for the show is an experience in itself. It’s exceptionally well done, even for The Met, and features stylized photos of the clothes by Platon as well as quite informative essays from the curators. Since these shows take so long to install, a feat unto itself in an open 7 days a week Museum like The Met, the clothes are photographed in a studio setting and not as they appear in the show. This is good, and not so good. The good is you get to see things like the back of Anna May Wong’s amazing Dragon dress (depicted above) in the book, one of the few dresses without a mirror allowing that view in the show, though you may miss the view of a piece you liked as it is in the show.

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McQueen, again, and Stephen Jones, bid us farewell…until next time.

So, yes, the show does beg the inevitable big question- “Ok, Mr. Bolton (newly minted Head of the Costume Institute)…What’s NEXT?” My mind pondered something never mentioned anywhere in this show- what was worn UNDER? There was no “underwear.” No Stockings. No gloves, even. Then I thought- Perhaps THIS will be addressed in a future, no doubt, blockbuster show, “Underwear- Exposed!” You heard it here, first. Finally, at 11:45pm Saturday,  I started to wonder if C:TTLG begins a “worldwide fashion tour.” After all, The Met is, possibly, the world’s greatest repository of art from all cultures and all times- what would be more appropriate? Perhaps Africa is next, a subject that might very well draw as many, or maybe even more fashionistas to The Met.

?

In the meantime, if you were one of the 800 thousand, I wonder if it will effect your personal style, or, if you missed it, visit The Met’s website for the show, and stay tuned to see what’s next.

Oh, and, in the meantime, don’t use too much opium.

 

Soundtrack for this post- “These Foolish Things (Remind Me Of You)” written for Anna May Wong by Eric Maschwitz, who was in love with her, and as performed by Billie Holiday. Since there is no video for her performance unfortunately, check out Rod Stewart’s, which I like because of the video content.

PS- Since today is September 15, 2015, I close with a Happy 125th Birthday to my mom’s favorite writer- Agatha Christie!

Please send comments, thoughts, feedback or propositions to denizen at nighthawknyc.com.
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This Post was created by Kenn Sava for www.nighthawknyc.com

  1. http://www.nytimes.com/2015/09/09/arts/design/andrew-bolton-chosen-to-lead-the-mets-costume-institute.html?_r=1
  2. http://www.nytimes.com/2015/08/30/fashion/nyc-museum-met-exhibition-china-and-fashion-proves-golden.html?_r=2
  3. imdb.com

Morrissey’s 2015 “Message” For America…Is From 2005 

Text a friend sent me after Moz @ MSG

Text a friend sent me after Moz @ MSG

Morrissey @ Madison Square Garden June 27, 2015. Click to enlarge.

Morrissey @ Madison Square Garden June 27, 2015. Click to enlarge.

Those who love Morrissey’s music are almost certain to have a favorite anthem the man has written since the early 1980s.  The term is thrown around quite a bit in non-nationalistic contexts, so what, exactly, is an anthem you ask? The Dictionary defines an anthem 1 as “a usually rousing popular song that typifies or is identified with a particular subculture, movement, or point of view.” Hmmm….not sure that covers my idea of it, but the “identify with” part definitely does. Going from there here are some of Morrissey’s that a lot of people, including myself, seem to identify with-

“How Soon Is Now?”

“There Is A Light That Never Goes Out”

“Last Night I Dreamt That Somebody Loved Me”

“Stop Me If You’ve Heard This One Before”

“I Have Forgiven Jesus”

“That Joke Isn’t Funny Anymore”

“Shoplifters Of The World Unite”

“Suedehead”

“This Charming Man”

“Every Day Is Just Like Sunday”

“Please, Please, Please Let Me Get What I Want”

“Ask”

“Reel Around The Fountain”…

Add yours here.

The list is long.

I bet VERY few would include the 2005 song “Ganglord.” Yet, Moz chose it as the 4th song during his return to NYC June 27 Madison Square Garden concert. It’s lyrics include-

“Ganglord, the police are

Kicking their way into my house

And haunting me, taunting me

Wanting me to break their laws…

Ganglord, the police are

Grinding me into the ground

The headless pack are back

Small boy jokes and loaded guns

And I’m turning to you

To save me

And I’m turning to you

To save me, save me, save me, save me…

They say, ‘To protect and to serve’

But what they really mean to say is

Get back to the ghetto, the ghetto

Get yourself back to the ghetto, the ghetto”*

Can you imagine a more timely song? I sat wondering how many people had heard it before and how many thought it was a new song inspired by tragic recent events.

The amazing, and sad, truth is that “Ganglord” was the B-side to the single “The Youngest Was The Most Loved” from 2005! Written about the LAPD, it finally appeared on an album in 2009, the collection of B-Sides, “Swords,” which is only known to die-hard fans. That it very well could have been written in 2015 is just another example of the durability of Morrissey’s writing. From the beginning of The Smiths in 1982 to 2015… 33 years, it’s hard to think of a single song that’s a throwaway. (Maybe “Journalists Who Lie”? “Get Off The Stage”?)

At MSG, he performed it with an intensity and power, that’s only hinted at on the record (which you can hear on the years’ old official music video for it here-),

aided by his continually improving, now stellar current band, giving every bit the aural vitriol the lyrics scream while the backing video screen at the rear of the stage showed a never ending montage of every horrific constabulary related violent event, with no holds barred- literally.

Pretty powerful, intense stuff for a rock concert at MSG. I note a few have posted bootleg videos of his performance of it on youtube. Unfortunately, they lack the power and in your face presence of the sound, so offer only a pale document of what I experienced live. But, you can get an idea of the experience as you can see parts of the backing video here-

Upping the intensity even more, the dramatic highlight of his show was, undoubtedly, “Meat Is Murder,” the ever-hard-to-listen-to Smith’s title track that thanks to the graphic video presentation, was also hard-to watch. Towards it’s end, Moz knelt with his back to the crowd, facing the video screen behind the band. I could still see him, being one of the few with seats on the side of the stage, and shot this-

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Say what you like about him- his ongoing passion and dedication for this issue is hard not to admire, whichever side of the coin you’re on. “Meat Is Murder” was released 30 years ago, in 1985.

For me, though, the choice of performing “Ganglord” made it hard not to think of it as his non-too-subtle “message” that there is still plenty of work to be done on this ongoing problem. Everywhere.

Since I saw him last in 2013, there have been numerous illnesses forcing gig and tour cancellations, (a good friend booked a hotel for a Moz gig in Atlantic City which then got cancelled. They went anyway cause they had paid for the hotel! Their anthem that weekend could have been “Seasick, Yet Still Docked“), along with rumors of multiple treatments for cancer, which he confirmed, again, on Larry King this week. I thought I’d never seen him perform again.

But, there he was, “back in the center of the world,” as he said, in excellent voice and full effect, and still “True To You,” as his website is called, making the most of the moment, life and health to continue his mission and reinforce his message(s). Morrissey @ MSG left his soul behind, in deeds, performance and word, as few performers can, or have the guts to do, when he left the stage, after the fitting encore “Now My Heart Is Full.”

I also took it as a not too subtle reminder that like the songs on that list above, and others, “Ganglord” proves Morrissey remains one of the best writers of “anthems” of our times. The Dictionary failed to mention something that Francis Scott Key would find surprising if he had lived another hundred years-  anthems have a life of their own.

Let’s hope this one doesn’t prove as timely ever again.

*-Soundtrack for this post is“Ganglord” by Morrissey and Alain Whyte, published by Warner Chappell Music, Inc.

Hold The Flowers- Ai Weiwei Gets His Passport Back…FINALLY! Then Uses It.

Each day for the past 600+ days flowers have been left in the basket of the bicycle outside of No. 258 Coachangdi, Beijing, China, the address of Ai Weiwei’s studio, by his fans and followers in solidarity with the great Chinese Artist & Activist until his passport, which was confiscated during his April 3, 2011 arrest on charges of “tax evasion,” is returned to him. Ai spent the next 81 days in prison (more on that coming up) until finally being released on bail on June 22, 2011, after he agreed not to leave Beijing for a year. Year up, he continued to be forbidden to travel to other countries…until…

Late last month Ai posted a pic on Instagram announcing the return of his passport, a great shot too long in coming, it can be seen, along with more details here.

At last…He doesn’t look particularly happy, though he looks well. I’d say he looks hopeful. Ai then quickly took a trip to Germany to rejoin his family, sparking rumors of his accepting a university post there.

Still, it’s Wonderful news that’s also a sad reminder that during the past 4(!) years Ai missed the many shows of his work held outside of China, the 2014 Brooklyn Museum Show “Ai Weiwei: According to What?” among them. Would what we experienced have been changed, modified or altered simply by his larger than life presence? We’ll never know, and we are all undoubtedly poorer for the lack of him. For me, though, it was still a rare chance to explore the many sides of Ai’s boundless creative spirit. Here are some pics I took of the show, in case you, like Ai, missed it.

"Stacked" 2014. The card refers to the minimalist approach to the bike- no handlebars or seat, suggests "that in China the individual is often undervalued and seen only as part of the whole."

“Stacked” 2014. The card refers to the minimalist approach to the bike- no handlebars or seat, suggests “that in China the individual is often undervalued and seen only as part of the whole.”

Map of China

Map of China

I've been to bars that look like this at 3:45am.

I’ve been to bars that look like this at 3:45am.

It featured a selection of his work from the past 20 years, above, and a central gallery that included 2 monumental works, the 73 ton “Straight,” and “Sichuan Name List” Ai created in the aftermath of the 2008 Sichuan earthquake which killed over 69,000 and left another 18,000 missing 1.

Ai's "Straight" (on the floor) and "Sichuan Name List" (on the wall behind it) are works about the 2008 Sichuan Earthquake that may have killed 90,000.

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Ai's "Straight" (on the floor) and "Sichuan Name List" (on the wall) are works about the 2008 Sichuan Earthquake that may have killed 90,000.

Ai’s “Straight” (on the floor) and “Sichuan Name List” (on the wall, left) are works about the 2008 Sichuan Earthquake that may have killed 90,000.

For me, the “showstopper” was the 2013 work “S.A.C.R.E.D.” (S upper, A accusers, C leaning, R ritual, E entropy, and D oubt) which consists of six 2 and a half ton iron boxes, each one shoulder height and measuring 5 feet wide and 12 feet long, one for each of the title’s letters. As you approach one, you notice a door near one exterior corner, then you notice slits in the iron that allow a glimpse of what’s inside. Yes, each box contains a diorama of a scene from his life during his 81 day incarceration after that 2011 arrest, while he was awaiting trial(!). Inside, we see TWO guards watching him sleep in one, eat in another, shower in another, and do his business in yet another(!)(not pictured)…It’s a chilling, unforgettable and shocking experience that gives the rest of us a little insight into the risks Ai takes every day, with every new work, and in just “being Ai.” It also reminds that many, many people, some of them artists, take incalculable risks every day in the name of freedom, and artistic freedom, or in just living their lives. Many admire athletes, and other so-called “role models.” I admire Ai Weiwei, and those like him.

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Thinking about it on the F Train home, I couldn’t recall a more powerful recent work on this topic. My mind seeking an art historical reference, of which there are, unfortunately, too many, kept turning to Goya. First, for the absurdity depicted in his Caprichos, and then of the power and oppression of the state shown in his “The Third of May.” In the end, the lesson may be that, in spite of hundreds of millions of deaths in the intervening almost exactly 200 years, tragically, not much has changed in the world .

For more infö on and other’s pics of  “S.A.C.R.E.D” go here and here. An interview with Ai about it is here.

I consider Ai a New Yorker since he lived here for 10 years. Here’s hoping he comes and visits us, again, soon…and often!

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For Ai’s story, I highly recommend the 2012 documentary “Never Sorry,” which has appeared on PBS.

*-Soundtrack for this post- “Freedom” by Paul McCartney published by Sony/ATV Music Publishing, LLC, Universal Music Publishing Group

“I will fight, for the right

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This Post was created by Kenn Sava for www.nighthawknyc.com

Cancel My Subscription To Rolling Stone

I didn’t sign up for this.

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I got in trouble in High School all those many years ago for having an early issue of Rolling Stone (“RS”) among my books in class. The teacher ridiculed me in front of the class when she saw it. It was one of the early, newsprint issues that folded in half, with Jimi Hendrix on the cover right after he died in September, 1970. Jimi! What a loss! This public school teacher feared RS like my parents feared any book or movie that wasn’t on the “Advocate’s,” (the Archdiocese of Newark’s newspaper), “approved list!” My parents confiscated my copies of “Animal Farm,” “Lolita,” and “1984” (which I didn’t get back around to until 1985), but they didn’t stop me from reading RS. The ridicule ended when a classmate of mine, Asher, who appears in the movie “Woodstock,” supported me to my surprise. Wow. I was almost cool for a second. Not. The rest of the class didn’t know what RS was.

From then on, I kept tabs on RS, buying it on the newsstand once and again, then eventually buying the “Cover to Cover’ First 40 Years” DVD-ROM set, and finally subscribing to it these past 4 or 5 years. They have some interesting writers, like Matt Taibbi, and, of course, music coverage. But, I’ve had to put up with that Terry Richardson guy who I have absolutely no use for, and who only makes me miss Annie Leibovitz more.

Now? I don’t care…Kim Kardashian on the cover? Enough is enough! I’m done. Finished. Cancel my subscription immediately! This is a “Summer Double Issue,” you know, one of those accountant inventions where a magazine gets to deduct 2 issues from your subscription for 1 magazine’s worth of pages, 74 in this case. (For the rest of us, it’s George Bush’s “Fuzzy Math.”) The cover article is entitled, “How We Learned To Quite Worrying And Love Her.” Wait- WHO is “WE?” Not I. The piece following it is about hip hop mogul Suge Knight. It chronicles Knight’s rise and fall, and fall, and fall again, without ever once mentioning anything creative he may have done (?), while emphasizing his use of his football player physique and a bad attitude to threaten everyone into giving him money. The result is two pieces, from completely opposite ends of the social spectrum, that share the same message- “I deserve all of this and to make zillions of dollars just for being me.” But? It doesn’t stop there. Since this is a 2 for 1, we get more. The next article is about a guy who’s (I quote) “mission is to outwit the airlines and fly first class for free, as much as he can, without getting caught.” 1. In other words (my quotes) “I deserve to fly for free for just being me.”

“You’re like a dull knife
ack, you just ain’t cutting
You’re just talking loud
Then saying nothing”*

Did someone SERIOUSLY think it would be great content to run 3 such articles, let alone back to back to back? See for yourself-

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Oh, but you have 2 whole weeks to read them.

Meanwhile, there’s the horrible coverage, if you can even call it that, of an artist like Morrissey. They had a ridiculously trivializing piece about his autobiography and other than that have just about ignored him completely. There must be a backstory to it. If so (and, I don’t know)? Get over it- you’re supposed to be journalists! The man has had a 25 year solo career after being in the immortal Smiths, and still makes vital music that audiences around the world want to hear, as we just did at Madison Square Garden last month. As Craig Carson said he is “apart in a sea of apolitical, empty-headed entertainers.” 2 It’s become apparent to me that that’s not the kind of artist RS wants to cover.

“Just saying nothing
And saying nothing”*

Art? Music? SUBSTANCE? Puh-leeese…Feel free to scream you own conclusions, but It also screams the question….WHO IS AT THE HELM OF THIS SHIP?

How did Kurt Cobain’s T-shirt put it on HIS Nirvana April 16, 1992 RS cover shot? “Corporate Magazines Still Suck!”

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“Shape up your bag
Don’t worry bout mine
My thing together
And a doing fine”*

Meanwhile, back on Planet Earth, Morrissey ‘s music will continue to inspire musicians and music lovers, long after the world has woken up from this long, seemingly endless national Kardashianightmare, Suge Knight’s endless court cases finally finish, and the kid gets charged for flying. (Yawn…) And long, long after my final copy of RS has been recycled into something more useful…like toilet paper.

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“Good luck to you
Just allow you’re wrong
Then keep on singing that
Same old money song”*

*-Soundtrack for this post- “Talking Loud And Saying Nothing” by James Brown and Bobby Byrd, published by Warner/Chappell Music, from James Brown’s 1972 album “There It Is.” Honorable Mention-“The Thrill Is Gone,” by B.B. King, “Just Gimme Some Truth,” by John Lennon, “The Fool On The Hill” by The Beatles

Please send comments, thoughts, feedback or propositions to denizen at nighthawknyc.com.
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This Post was created by Kenn Sava for www.nighthawknyc.com

  1. RS 7/16-30, 2015, P. 54
  2. www.popmatters.com/review/114738-morrissey-swords/