For a self-serious young person, the kind of kid who identifies her isolation as the symptom of a secret genius, pop music frequently serves as both a refuge and a sort of secular religion. Importantly, the Smiths weren’t just sad, but self-consciously, performatively sad. The jangly and confident guitar of Johnny Marr winked at the droning vocals of Morrissey, and the melodrama of the lyrics—especially by their last album, Strangeways, Here We Come—was marked with the playful irony of camp. Their most melancholic songs were frequently also their funniest. It was the perfect music for people who identify as miserable and are, but perhaps relish their misery too much.
"Some say that the ‘recluse’ is an endangered species, but to my knowledge, there’s still one artist who is keeping the idea of the private public figure alive: Bill Watterson, writer and illustrator of the beloved comic strip Calvin and Hobbes.”
It is impossible to ignore the ways in which [Pauline] Kael’s gender makes her a target
JESSE MONTGOMERY: Well, I’m sure it’ll be better than Romanian YouTube. That was a struggle.
GEOFF DYER: Yeah, as I say in the book, this was a film that has to be seen properly projected, and that seems to me to be part of what it’s about. It’s about the wonder of cinematic space, and time is manifest in that, blah, blah, blah. You know — all that Tarkovsky bollocks!