As I say during the broadcast, I was having a hard time deciding whether I wanted to play ambient music or disco. So I played both. I have trouble with decisiveness, with finality.
To force a segue here, I am confident that someone like Morrissey would have hated this program, and that doesn't bother me in the slightest. This was the night after the day we Found Out (I guess?) about Morrissey through that horrible softball interview on his own website. Finally freed from wilful misinterpretation and journalistic malfeasance, he reveals that he...is Douglas Pearce, basically? Truly uncanny. Being an aesthete, I used to think Death in June was ripping off the Smiths' visuals; I didn't realize it was an exchange.
Hero worship will enable and force you to do some mental gymnastics, and to cling to mere possibilities. Saying that reggae is vile might have been a reference to its patriarchy and homophobia. It's possible that the chorus of "Panic" wasn't about lynching black people. There's a chance that "We'll Let You Know" and "National Front Disco" are not endorsements. [In my defense, this is more of a probability. But there I go. Or do I? I can't tell anymore.] And so on. But that's my problem all along. Post-1976 we are not supposed to have heroes, I guess, but I do. I've never "gotten it."
I could write a paragraph about when I got "woke," because part of me had to know, but who cares? I've been wrong.
Was he ever anything but "devious, truculent, and unreliable?" I would like to think that the person who wrote "Well I Wonder" and "I Know It's Over" was a great chronicler of loneliness. Even fascists get lonely! It didn't occur to me at the time that perhaps he was lonely because he'd preemptively ruled out the possibility of companionship with most of humanity. I'm still struggling with this reckoning. Those Smiths songs must have been the work of a different person. Right?! Sigh.
I would have been better off seeing Morrissey from the start as many of my friends did, as a Ridiculous Person. [And I did, sort of, but I just loved him anyway.] Or just being on Team Robert Smith, though I never quite understood that beef. But things didn't happen that way. As I've written elsewhere, the Smiths came along when I needed something to come along.
What to do now? I wonder if, after a few more similar interviews, Smiths records will become like Death in June records, a kind of eBay contraband. [I'm thinking also of Spotify's new policies regarding hateful speech and hateful behavior.] Probably not, I guess. But they are a kind of emotional contraband. Will I jettison mine? I told you I have trouble with decisiveness and finality.
BOMBAST playlist, 2018 April 18, 2100-2300:
notebooks out plagiarists
https://www.facebook.com/radiobombast?ref=hl
https://twitter.com/KidCatharsis
I Don't Want To Hear About Your Doom: Transmission 361, 2017 August 12
Here Comes the Bishop's Daughter: Transmission 360, 2017 August 5
U_D_M Detour 31, 2017 February 19
U_D_M Detour 30, 2017 February 12
U_D_M Detour 29, 2017 February 5
U_D_M Detour 28, 2017 January 29
U_D_M Detour 27, 2017 January 8
U_D_M Detour 26, 2017 January 1
U_D_M Detour 25, 2016 December 18
U_D_M Detour 24, 2016 November 13
Occasionally Lucid Commentary: Transmission 359, 2017 July 26
Cleaner Lyrics, For the Most Part: Transmission 358, 2017 July 22
Spiritually and Emotionally Uplifting Properties: Transmission 357, 2017 July 19
Missing from My Own Head: Transmission 356, 2017 July 16
Get Nowhere Twice As Fast: Transmission 355, 2017 July 13
Presumably, Supposably: Transmission 354, 2017 July 12
The Magic Wound: Transmission 353, 2017 July 8
Real-Time Critique Mode: Transmission 352, 2017 July 5
Lonely Is As Lonely Does: Transmission 351, 2017 June 28
It's a Fact that I Live With: Transmission 350, 2017 June 24
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