Q: Of all your songs, from both Smiths and solo material, which song are you most proud of lyrically?

A: It's impossible to answer this because I'm proud of most of them. There are only a few that make me shudder – such as "Get Off The Stage," "Journalists Who Lie," "I Don't Owe You Anything".... But most of them, I think, somehow stand the test of time. Of course, some songs are better than others....

 

… Bought on stolen wine
A nod was the first step
You knew very well
What was coming next 

 

… Did I really walk all this way
Just to hear you say :
"Oh, I don't want to go out tonight" ?
"Oh, I don't want to go out tonight"

… Oh, but you will
For you must 

 

… I don't owe you anything, no
But you owe me something
Repay me now 

 

… You should never go to them
Let them come to you
Just like I do
Just like I do 

 

 

I went down to the river to watch the fish swim by
But I got to the river so lonesome I wanted to die, oh Lord
And then I jumped in the river, but the doggone river was dry

 

I'm gonna find me a river, one that's cold as ice
And when I find me that river, Lord, I'm gonna pay the price, oh Lord
I'm going down in it three times, but Lord I'm only coming up twice

 

World War Two/WWII Navy Serge is a military uniform fabric. Worn extensively as official uniform by the British military forces during World War Two. Made with pure worsted wool, meant that uniforms were lighter in weight than the felted uniforms of the previous conflict. This is a heritage grade fabric with a defined twill pattern running diagonally through it, made using 100% wool. Making it suited for makers of historical uniforms, costumes and clothing, who seek to add authenticity to their work.

This uniform cloth is part of a wider range of heritage grade and historical fabrics that we stock. Furthermore, we have collected these fabrics all together and under the name True Heritage. Fabrics in this range are all ideal for restoration of or mending original clothing. Additionally, all the fabrics in this range add authenticity to the recreation of period uniforms, clothing and interiors.

Screw said, “All y’all out there crumbsnatching. If your name’s Joe, that’s a Joe tape. If your name’s Mike, that’s a DJ Mike tape. If your name Paul, then that’s a Paul tape. My name is Screw.” It’s not a Screwtape unless Screw did it.

Kyu Boi, South Park Coalition

 

 “They doin’ it now because of Serato, and all these other programs that they got that tell you the beat count. But doin’ a blend? Screw was doin’ that straight off his own mind. There was no machine that was showin’ him how to do it. The turntable didn’t have a beat counter on it. Nothing had a beat counter on it. He was just actually listening to the song through his headphones and hearing a beat count in his mind. There was no such thing as BPM to him.” 

 

where you could hear the music being torn apart as it rushed by, where you could count the letters of every word being spoken like they were being spoken to you. The storytelling came alive, and the vibration beneath it was built from a vast library of hip hop, funk, soul, reggae and R&B records that Screw would rope together and drag down to the same level, no matter the origin of the sound. 

https://daily.redbullmusicacademy.com/2015/05/dj-screw-feature

https://www.youtube.com/watch?v=ccNbE6dIBbE

For Crash, you intentionally stepped into the role of a major-label pop star, like cosplay. Is the new album’s direct approach a reaction to that?

It’s definitely related. The pendulum always swings for me. I think a good artist always has to re-form, reformulate and reclothe themselves, quite literally. You’re right, Crash was about me being signed to a major label [Asylum Records UK/Warner Music UK] and feeling like I’d never played that traditional, stereotypical major-label pop star game. I wanted to play this satirical role, so I was hypersexualizing myself, taking songs other people had written for me and using an A&R person for the first time in my career.

This record is the polar opposite. It’s not collaborative. It’s not me playing a character. It’s direct and honest. I really tried not to write love songs or songs about my romantic relationship. [She got engaged to The 1975’s George Daniel in late 2023.] There are a couple, but generally speaking, I wanted it to feel more gossipy, so it is a reaction to Crash. I’m quite a reactionary person.

This album is very direct. I’m over the idea of metaphor and flowery lyricism and not saying exactly what I think, the way I would say it to a friend in a text message. This record is all the things I would talk about with my friends, said exactly how I would say them. It’s in ways very aggressive and confrontational, but also very conversational and personal. And not in that boring way where artists are like, “This is my most personal record.” To me, it feels like listening to a conversation with a friend

https://www.billboard.com/music/awards/charli-xcx-women-in-music-powerhouse-brat-new-album-1235619161/

Part of a generation of artists who expanded the principles of Brazilian Constructive art, Meireles often plays with geometry in his work. He structured this grid using a mathematical principle of growth known as “cascading bifurcations.” But his simple forms (here, and in the center of the room) suggest other, more local references. This “mesh” originated from the artist’s collaboration with fishermen who created nets from cotton thread. Made during Brazil’s military dictatorship, this work might be understood in terms of the tensions between freedom and imprisonment. The title evokes the openings or spaces of freedom that may remain available even within apparently unyielding structures

 

Thanks Taber, Rob, Josef and Dali and unknown Addison Lee driver

For taking all the duvets that made up my installation at the gallery to St Christopher's Trust for the homeless. Hope they're insulating someone somewhere that needs it. Thanks Taber for making it happen