<\/p>\n
Morrissey,\u00a0<\/strong>finalmente y despu\u00e9s de a\u00f1os de espera y especulaci\u00f3n, decidi\u00f3 publicar sus vivencias en un libro que, desde su lanzamiento y como es costumbre con el prodigio de Manchester, caus\u00f3 pol\u00e9mica al ser publicado por la editorial Penguin en su secci\u00f3n de cl\u00e1sicos donde se encuentran \u00fanicamente monstruos como\u00a0Joyce<\/strong>\u00a0y\u00a0Dickens<\/strong>. As\u00ed es como este es el primer libro contempor\u00e1neo que Penguin Classics publica como un cl\u00e1sico instant\u00e1neo.<\/em><\/p>\n M\u00e1s all\u00e1 de sus obsesi\u00f3n con\u00a0Shelagh Delaney<\/strong>,\u00a0James Dean<\/strong>\u00a0y una infinidad de celebridades, su odio hacia la monarqu\u00eda inglesa, su repudio al Thatcherismo, la muerte de varios miembros de su familia y su amistad con\u00a0James Maker\u00a0<\/strong>y\u00a0Linder Sterling<\/strong>, aqu\u00ed un resumen en palabras de\u00a0Morrissey\u00a0<\/strong>sobre lo que dispar\u00f3 su genio y que m\u00e1s tarde, cristalizar\u00eda en arte con\u00a0The Smiths.\u00a0<\/strong><\/em><\/p>\n \u201cArbitrarily illiterate, football players remained in the stuckness of their own dull social units until George Best spoke and teased and joke and made sense. Best was clever and witty, and he had found a variety of ways to make his life glamorous\u201d<\/em><\/p>\n \u201cit is the physical and facial glamor of George Best that gains him so much love and hate, for everybody wants what he has\u201d<\/em><\/p>\n \u201cTelevision is the only place where we banish ourselves from the community of the living, and where the superficial provides more virtue than the actual. We watch in order to find ecstasy, for at last we can survive in someone else. Our conclusions are our own, yet the landscape is infinite\u201d<\/em><\/p>\n Television is black and white, so therefore life itself is black and white.\u201d\u00a0<\/em><\/p>\n \u201cThe happy bubble of television shows me the earth and its fragile moments of fantasy, and I, with all the petulance of the pipe dream, am allowed to engage\u201d<\/em><\/p>\n \u201chope remains only via television\u201d<\/em><\/p><\/blockquote>\n \u201che lives alone, unexcited, disinterested, world weary and ungiving, yet it is this dry-as dust approach that makes him fascinating\u201d (Richard Bradford)<\/em><\/p>\n \u201cNo rampantly challenging mind could overlook the lost cultures as mapped out in British film, wherein the restricted horizons of the expendable working class thrillingly show us how British life go to where it is now-in your private modern cuckoo-land\u201d<\/em><\/p>\n \u201cIn my favorite films of the 1940s, 1950s and 1960s, the working class are usually portrayed as children enacting pointless working-class crimes\u201d<\/em><\/p>\n \u201cIn all working class films of the 1960s, life\u00b4s winner is the boy with the gleam in the eye \u2013 roughs of self recognition and blessed profiles. They will not accept conservative limits, and their selfish motivations or their crude nerve are both justified by the fact that they give nothing but look everything\u201d<\/em><\/p><\/blockquote>\n \u201cI cried for poetic language and I cried out to find those who were unafraid, those free agents, unbigoted and unshackled. I didn\u00b4t want to live unseen, camouflaged within the crowd\u201d<\/em><\/p>\n \u201cthere is so much wisdom in the unfolding words\u201d<\/em><\/p>\n \u201cblend noise and words and save the world\u201d<\/em><\/p>\n \u201cOscar Wilde exploded with original wisdom, advocating freedom for heart and soul, and for all \u2013 regardless of how the soul swirled. He laughed at the squeezers and the benders and those born only to tell others what to do\u201d\u00a0<\/em><\/p>\n \u201cI have a sudden urge to write something down, but this time they are words that must take a lead. Unless I can combine poetry with recorded noise, have I any right to be?\u201d<\/em><\/p>\n \u00a0\u201cthe published poetry makes the personal torture just barely acceptable\u201d<\/em><\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" Morrissey \u2013 Autobiograf\u00eda: la televisi\u00f3n, la poes\u00eda, el cine y la cultura popular (Citas) Morrissey,\u00a0finalmente y despu\u00e9s de a\u00f1os de espera y especulaci\u00f3n, decidi\u00f3 publicar sus vivencias en un libro que, desde su lanzamiento y como es costumbre con el prodigio de Manchester, caus\u00f3 pol\u00e9mica al ser publicado por la editorial Penguin en su secci\u00f3n …<\/p>\n","protected":false},"author":1,"featured_media":1776,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[784,783,7],"tags":[122],"class_list":["post-1596","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articulos","category-espanol","category-musica","tag-morrissey"],"yoast_head":"\nEL ARTE Y LA CULTURA POPULAR<\/strong><\/h3>\n
GEORGE BEST: Su primer acercamiento hac\u00eda el glamour y la fama<\/strong><\/h4>\n
LA TELEVISI\u00d3N: Su primer amigo, un escape de la realidad, l<\/b>as\u00a0soap operas<\/em>\u00a0brit\u00e1nicas y\u00a0<\/b>Coronation Street.<\/em><\/h4>\n
LOS ACTORES Y EL CINE BRIT\u00c1NICO: Un reflejo e identificaci\u00f3n con la clase trabajadora en pel\u00edculas como Oliver Twist (1948), London Belongs Me (1948), The Blue Lamp (1950), I Believe In You (1952), The Strange One (1957), Sapphire (1959), Spare The Road (1961), The Painted Smile (1962), Term Of Trial (1962), Two Left Feet (1963), Up The Down Staircase (1967), To Sir,With love (1967)<\/strong><\/h4>\n
LA POES\u00cdA: Hillaire Belloc, Dorothy Parker, Stevie Smith, W.H. Auden, John Betjeman, Robert Herrick, A. E. Housman, Patrick MacGill y OSCAR WILDE, su mayor influencia.<\/strong><\/h4>\n
Citas obtenidas de: Morrissey.\u00a0Autobiography. London: Penguin Classics, 2013<\/strong><\/h5>\n<\/blockquote>\n