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    music matters

    Songs that save your life: A Morrissey fan examines her devotion to the Pope ofMope

    Monique Lavie
    Nov 26, 2011 | 8:30 pm
    • "Morrissey reminds us to never forget the songs that made us smile, the songsthat made us cry, and the songs that have saved our lives."

    During my college years, I didn’t get Greek life. I hung out at bars I was too young to be in with thirty-somethings and art school dropouts. We bonded over our love for music from England, particularly The Smiths. We danced, we drank, we smoked to the “Pope of Mope,” and it made me happy.

    Yet, only now am I starting to understand the impact Morrissey has had on me. His music brings me back to the best years of my life.

    The night that I lost my virginity, I happened to be wearing my favorite T-shirt: a bare-chested Morrissey on the Feb. 13, 1988 cover of NME Magazine. When my New York City apartment building caught on fire, I ran out with several of my most valuable possessions. That T-shirt happened to be one of them.

    The first time I saw Morrissey live was at the Royal Albert Hall in London. I was barely 20 years old, and it was life changing. The electricity that filled that room was unforgettable. Rowdy skinheads were chanting Morrissey’s name as if they were at a West Ham United football match. From that day on, I vowed to follow Morrissey as much as time and money would allow.

    The first time I saw Morrissey live was at the Royal Albert Hall in London. . . From that day on, I vowed to follow Morrissey as much as time and money would allow

    I once took a brief trip to Edinburgh, Scotland. During my visit, I found Varsity Music Shop on Nicholson Street. The owner saw me snatching up every Smiths and Morrissey single I could lay my hands on. He probably thought it was comical to see an American freaking out about bargain bin vinyl.

    He struck up a conversation, and I quickly made a new friend. Before I knew it, he excitedly ran to the storeroom to grab something he wanted to give me. He returned with several original promotional postcards for The Smiths album Louder Than Bombs. They were in mint condition, and he had been saving them for a worthy fan.

    I next saw Morrissey in Stockholm, Sweden. Because I was traveling, I had a very expensive camera with me, but the venue had banned all photography. Somehow, I convinced the security guard to let me check in the camera for safekeeping. He sent me to an unmarked door on the side of the arena.

    I knocked, and the door cracked open. I suddenly realized I was at the backstage entrance. As I was being escorted to a security booth, I noticed a small crowd gathered around a black pompadour. I entrusted a complete stranger with my camera, and he pointed to an opening in the black curtain, telling me to exit through there. As I proceeded to walk out, something caught my eye. Morrissey’s face appeared through the small crowd, and for a brief second, our eyes met.

    Post-college, I moved to New York City to work for SPIN Magazine. After several years of paying my dues as an assistant, I was finally able to travel to SXSW for work. The timing could not have been more perfect; that year Morrissey happened to be performing. I was invited to sit in on an extremely rare interview between Mr. Morrissey and Rolling Stone senior editor David Fricke.

    I managed to snag a seat in the front row and thoroughly enjoyed watching my idol poke fun at this very nervous reporter. Later that night, I caught Morrissey’s set and maneuvered my way into the photo pit. Fans usually risk everything to jump on stage to touch him, and there I was within arms reach. I stuck out my hand, and he gingerly grabbed it and nodded.

    When I saw Morrissey in 2009 at Carnegie Hall in New York City, he took the stage in a tuxedo, and for some reason, I felt like my world of Morrissey had come full circle. I was older, as was he. His pompadour was no longer solid black, and he had gained a few pounds. Yet, he was humbled to be on the stage of this renowned venue and thanked all of his fans for their continued faith. Had that been the last Morrissey performance in my lifetime, I would have been satisfied.

    Over the years, my life has changed immensely. Relationships have come and gone, but Morrissey and his music have always remained a constant in my adult life. In one of my favorite songs by The Smiths, Morrissey reminds us to never forget the songs that made us smile, the songs that made us cry and the songs that have saved our lives.

    Morrissey, you have done precisely that for so many of us — and that is why I will always be true to you.

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    Movie Review

    Timothée Chalamet cements star status in new movie Marty Supreme

    Alex Bentley
    Dec 23, 2025 | 4:30 pm
    Timothée Chalamet
    Courtesy
    Timothée Chalamet

    In a time when true movie stars seem to be going extinct, Timothée Chalamet has emerged as an exception to the rule. Since 2021 he has headlined blockbusters like the two Dune movies and Wonka, and also earned an Oscar nomination for playing Bob Dylan in A Complete Unknown (his second nomination following 2018’s Call Me By Your Name). Now, he’s almost assured to get his third nomination for the stellar new film, Marty Supreme.

    Chalamet plays Marty Mauser, a world-class table tennis player living in New York. But reducing Marty to his best skill doesn’t do him justice, as he’s also a motormouth schemer who will do almost anything to achieve his dreams. He doesn’t have any qualms about wooing married women like neighbor Rachel (Odessa A’zion) or actress Kay Stone (Gwyneth Paltrow), or hiding his true ping pong skills to win money in scams with friends like Wally (Tyler the Creator).

    Marty is seemingly on the go the entire movie, whether it’s trying to convince Kay’s millionaire husband Milton Rockwell (Kevin O’Leary) to fund his table tennis ambitions; or trying to track down the dog of Ezra (Abel Ferrara), a man he accidentally injures; or trying to avoid the ire of the boss at the shoe store where he works. Just when you think he might slow down, he’s off to the races on another plan or adventure.

    Directed by Josh Safdie and written by Safdie and frequent co-writer Ronald Bronstein, the film is an almost continuous blast of pure energy for 2 ½ hours. So many different things happen over the course of the film that the story defies conventional narratives, and yet the throughline of Marty keeps everything tightly connected. His particular type of brash behavior turns much of the film into a comedy as he does and says things that are both shocking and thrilling.

    Another thing that makes the movie sing is the fantastic characterization by Safdie and Bronstein. Almost every person who is given a speaking line in the film has a moment where they pop, which speaks to airtight dialogue that the writers have created. Characters will be introduced and then disappear for long stretches of time, and yet because they make such an impression the first time they’re on screen, it’s easy to pick up their thread right away.

    Safdie, as he’s done previously with brother Bennie (Uncut Gems), calls on a host of well-known non-actors or people with interesting faces/vibes to inhabit supporting roles, and to a person they are crucial to the film’s success. O’Leary (of Shark Tank fame), rapper Tyler the Creator, director Ferrara, magician Penn Jillette, and fashion designer Isaac Mizrahi each deliver knockout performances. The relative unknowns who play smaller roles are just as impressive, making each beat of the film feel naturalistic.

    Leading the way is the powerhouse performance by Chalamet. For one person to believably play both the famously reserved Dylan and also a firecracker like Marty is astonishing, and this role cements Chalamet’s status as his generation’s movie star. A’zion is a rising star who gets great moments as Marty’s on-again/off-again love interest. Paltrow pops in and out of the film, lighting up the screen every time she appears. Fran Drescher as Marty’s mom and Sandra Bernhard as a neighbor also pay dividends in small roles.

    Josh Safdie’s first solo directorial effort is unlike any other movie this year, or maybe even this century. Thanks to its breakneck storytelling, a magnificent performance by Chalamet, and countless intangibles that Safdie employs expertly, the film smacks viewers in the face repeatedly and demands that they come back for more.

    ---

    Marty Supreme opens in theaters on December 25.

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