"What Ever Happen I Love You": Anyone willing pay to see Morrissey live

November 12, 2009

Anyone willing pay to see Morrissey live

          Anyone willing pay to see Morrissey live, I would like to hope, has some knowledge of the man himself, if he walks off, he walks off. A refund? Morrissey was doing them a favour even playing for them, a song and a half is better than nothing, most artists don't tour into their fifties. It's laughable to consider tonight's occurance in the same breath as the singer from panic at the disco getting hit in the chest and pretending to go down.
           Morrissey has a huge ego and commands so much respect-because he deserves it. People who have little knowledge of him (other than lazily-written NME articles suggesting that he takes pleasure in being dificult, or hearing "This Charming Man" once at an 'indie' disco) will never realise just how brilliant he is, he is more ground-breaking and indie (in the correct sense) than most artists can even dream of, he deserves to be held on a higher pedestal than anyone else, and he doesn't deserve to be treated with such disrespect. It's a real shame for the other 99% there tonight who had to go home early, but it's understandable. If any of you were walking down the street and had half a pint of beer thrown at your head, I'm sure you wouldn't just shrug it off.
           Morrissey had always said he doesn't care much for his fans, he thinks it strange that so many people are so devoted to him, and he certainly doesn't owe them anything, he stated he would feel no guilt in retiring without so much as an announcement (and any Morrissey fan would know this).
Anyway, I'm sure he is backstage now worrying his quiffed head about sorting out several thousand refunds and writing a letter of apology

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(I am truly gutted for those on here that were there tonight, but hearing so much rubbish being spouted from ill-informed people made me write this)

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Suedehead

The Suedehead subculture was an early-1970s offshoot of the skinhead subculture in the United Kingdom. Although sharing many similarities to 1960s skinheads, suedeheads grew their hair longer and dressed in a more formal manner.^[1] ^[2] Although working class, like the skinheads who preceded them, some suedeheads worked in white collar jobs. The female equivalent of a suedehead was a sort.

In terms of footwear, Suedeheads generally wore brogues, loafers or basketweave Norwegians instead of the heavy boots associated with skinheads. Suedeheads started wearing suits (especially in check patterns such as Prince of Wales and dogtooth), as well as other dressy outfits, as everyday wear instead of just at dancehalls at night. Crombie-style overcoats and sheepskin coats became more common amongst suedeheads. The shirts favoured by suedeheads often had large button-down collars. The most common shirt style was a large windowpane check pattern worn under a tank top (known as a sweater vest in North America). Sta-Prest trousers became worn more than jeans, which had been common with skinheads. Another unique characteristic of suedehead style was the wearing of coloured socks — such as solid red or blue — instead of plain black or white.^[2]

Musically, suedeheads shared the skinheads' interest in reggae, soul music and ska, but the sound had evolved to become slower and more soulful.^[2]^[3] Some suedeheads also listened to British glam rock bands, such as The Sweet, Slade and Mott the Hoople.^[2]^[4]

Suedeheads were portrayed in the east end London-based film Bronco Bullfrog and the Richard Allen novel Suedehead.^[5]^[6]^[3] In 1977 and 1978, a suedehead revival developed following the 1977 skinhead revival. This originated with a small number of individuals such as Hoxton Tom McCourt, who also became involved with the mod revival of late 1978 and early 1979. Morrissey released a single called "Suedehead" in 1988, although the song lyrics have nothing to do with the suedehead subculture.