Some of the research and discoveries made over the last few days by Comrade Harps, Heather Cat and Jazissey have been incredible. Here is Comrade Harps' latest offering, followed by Heather's response:
Thank you heathercat for joining the dots (or is that finding connecting bits of the jigsaw) and linking the M or W (now, doesn't MW sound familiar) with the cover of Refusal.
Now, here's another clue for you all: the owl was Cocteau. You know, all those owl eye images on MW and the The Real Mozzer does owl eyes and later we find the owl on Linder Sterling's studio wall ( pic.twitter.com/jadWF0hhoW ), well, now I can reveal that Jean Cocteau drew owls: http://bit.ly/Njw4x5 (note the star, too)
Picasso also draw an owl illustration for one of Cocteau's poetry books: http://bit.ly/1o3YM2H
Cocteau muse and sometime Smiths cover star also made at least one owl sculpture: http://bit.ly/1niTgpC
SCULPTURE BY JEAN MARAIS
So, jigsaw, jigsaw, jigsaw.
THE OWL ON LINDER STERLING'S STUDIO WALL
Speaking of Cocteau's symbolism, I've just discovered a fascinating connection between his signature symbol, the star (which he sometimes drew as a pentagram), and MW's symbol, the rose (which, of course, also appears in Cocteau's works):
"From a period long antedating the Christian Era, the rose was a symbol of love. It was the flower of the goddess Venus, the Roman goddess of love and fertility. The rose was also attributed to Harpocrates, the Greek adaptation of Horus in Egypt's spiritual tradition. He was the god of silence. It is by this reference that the rose is also used as a symbol of secrecy.
In Medieval times secret societies met "sub rosa", signifying that everything that was done and said in these reunions had to be kept "under the Rose" (in secrecy). This precaution of secrecy was necessary as protection against persecution by the orthodox Church against everyone who dared to think differently. It was heresy to think otherwise than as prescribed by theological dogma. Whoever dared to do so was in danger of forfeiting his life and the lives of those who listened to him.
Wild roses have five petals, the same as the number of man's physical senses. In the spiritual tradition, the geometrical pattern for the rose has become the pentagram, a form which can be seen when we draw a line in a special way between the inner leaves of the rose. This form is also the symbol of the microcosm, the symbol of man. Four points of the pentagram symbolize the four elements and the fifth point at the top is called quintessence, depicted as a wheel. It symbolizes the domination of spirit over matter. It is through the spirit that balance and mastery of the four elements of the physical world is achieved. In connection with the symbol of the rose, we notice that both symbols point to perfection and the highest realisation of consciousness."
Here we see not only the convergence of the rose and star symbols, but also the four elements (fire, water, earth, air) connecting with them as well. Jigsaw...
For anyone who might be interested in reading more about the rose/pentagram connection, here are two additional articles:
Interestingly enough, the first article is written from a perspective about fencing, but it has lots of pertinent info. Both articles mention the red and white colors of the tudor rose, which are, of course, the original colors of MW.
COCTEAU AND A ROSE
Comrade Harps posted this photo a few days ago:
JEAN COCTEAU AND PABLO PICASSO
If you look closely at Cocteau's lapel in the above photo, he would appear to be wearing a crest or flower. Now look at all those around him, including the man to his left, the man in front, and the two ladies in white. They ALL seem to be wearing a flower!
There are so, so many images that Cocteau uses that seem to have had an influence on Morrissey, another being the butterfly:
As Morrissey himself recently said (although I can't remember where, but it was something to do with MorrisseysWorld, and NOT TRM), it is strange how everybody has always concentrated on the influence of Wilde, and not Cocteau.
Here is another observation from Comrade Harps, relating to Cocteau's use of the letter 'M':
I think Harps may have got his caption slightly wrong, as Saint Blaise des Simples is actually a different chapel to the Chapel of Saint-Pierre. Saint Blaise is where Cocteau is buried:
LA CHAPELLE SAINT -BLAISE -des -SIMPLES, MILLY-LA-FORET
The subject matter of Morrissey's songs are often both mysterious and unexplained, and there could be a reason for this, again, Cocteau influenced. This is taken from a fascinating piece written by Tracy R Twyman:
“Every poem is a coat of arms,” said Cocteau. “It must be deciphered.” He elaborated on this further in Testament of Orpheus, saying: “The poet, by composing poems, uses a language that is neither dead nor living, that few people speak, and few people understand … We are the servants of an unknown force that lives within us, manipulates us, and dictates this language to us.”
This section of Twyman's piece is also very interesting:
Of his play, Les Enfants Terribles, Cocteau said, “My subconscious wanted me as its writer. It dictated the book to me.” And in the film Orpheus, the character “Death”, who is believed by the public to be a “Princess”, is broadcasting poems over a magic radio signal so that poets will think they have been inspired, and will publish the poems as if they were their own. The meaning of this is never explained in the film.
OH MY FU***NG GOD! *Penny drops* I have just realised what Fifi was going to tell us about Cocteau's influence on the song 'I Know It's Gonna Happen Someday'. The radio interference at the beginning is connected to Cocteau's film, ORPHEUS! I think I might have worked this out earlier if I'd actually seen the film, but I MUST be right.
RADIO TRANSMISSION SCENE FROM ORPHEUS: http://www.youtube.com/watch?v=Dn8m6GwC-jA
It is IMPERATIVE that anybody who is genuinely interested in the Cocteau influence on Morrissey, should read the WHOLE of Twyman's article. It is quite long, but it is truly FASCINATING: http://quintessentialpublications.com/twyman/?page_id=26...... and that ROSE picture (near the top of this blog entry) is included, but as Comrade Harps has pointed out today on twitter, it ALSO contains a heart at the back. HEART ON THE BACK:
Once again, the whole subject of The Priory of Sion is brought up in Twyman's piece, and although I had previously concluded that I was wrong to think Morrissey as Cocteau's heir, I am now going to backtrack, I really think HE IS..... although whether or not Morrissey sees his 'heirship' as being the 'Grand Master of The Priory of Sion' is neither here nor there; Morrissey IS Cocteau!
I now have a confession to make, and this confession won't be news to 'Fire', as I emailed my thoughts to him/her on Feb 1st, but I had a dream about Cocteau's influence on 'I Know It's Gonna Happen Someday'. I wasn't going to share my thoughts publicly, but hey ho, here goes. Here is the email I sent to Fire:
Sent: Sat, Feb 1, 2014 11:06 am
Subject: I know it might've happened Dear Burning Flame (that makes you sound like an Indian squaw, which I,m guessing you aren't) Last night/early morning; as I lay in a semi-conscious state, this rather bizarre theory came to me. I know you will think it silly, because it runs along a similar theme to my 'Priory of Sion' vision, which I now realise was ridiculous. However, I have never feared ridicule, so I would like to share this dream thing of mine, which may I add, was VERY real, just as my previous experiences have seemed very real, none more so than that original 'Trouble Loves Me' dream. Anyway, here goes: It is France, 1959, and Jean Cocteau is listening to the radio, trying to find something to listen to. Playing heavily on his mind is the fact that he still hasn't found a successor to his 'throne', and he feels he is running out of time. As he fiddles with the radio, amongst all the French voices, comes a heavenly sounding female voice, and she sings in English the words, "he's just like me." Cocteau immediately realises that it is one of the Mary's singing to him, and the fact that she is singing in English convinces him that his successor must be in England, which coincidentally is where he has recently been invited to go, to draw at the Chapel de Notre Dame in London. When Cocteau arrives at the chapel in London, he lights a candle, which becomes his Mary, and he talks to Mary each day as he draws, asking her for guidance. As we know, he ends up drawing many things, which include a Blue Rose, an unseen messiah and a large M. Cocteau was painting his spirit/successor, and the hunt was over. His successor may not have been a person, it may have been the Rose. Three years after finishing the drawing, Cocteau died, but his spirit was safely preserved. It's all very silly, as I said, but I hope you don't mind me sharing it. This morning, as I walked my dog, I listened to 'I know it's gonna happen someday', and I listened to it as though the singer was Mary singing to Cocteau. I am not embarrassed to tell you that I sobbed my little rat heart out as I listened, the dog must have thought I was mad. I then felt compelled to listen to David Bowie's version of the same song, still listening as though the singer were Mary. When the backing choir kicked in, sounding JUST like angels, the tears flowed again. I'm sure I heard the dog laugh... bastard. Coincidentally, Morrissey had guidance from a Mary, particularly when in his late teens. To your knowledge, has a female ever recorded a version of 'I know it's gonna happen someday'? If only Francoise Hardy could have recorded it. I hope your day as been rewarding. I am now off to work. Still afloat
*Goes off singing* My love, wherever you are, whatever you are, don't lose faith.
I did receive a reply to my email, but with no comment on my observations.
Semi-conscious dreams are VERY real. This article above looks very interesting, does anybody know where it's from?
So, WHAT IS the exact connection between Jean Cocteau and Morrissey? And hold on...... I have just discovered yet ANOTHER Cocteau article that relates to Morrissey, this time regarding 'the third sex'. This is SO, SO FASCINATING: http://theqouch.com/2012/01/23/the-surreal-sex-of-beauty-jean-cocteau-and-man-rays-le-numero-barbette-by-chase-dimock/
Here is a section:
For Jean Cocteau, this state in between genders, in between sexes constitutes the essence of Barbette as neither a man impersonating or transformed into a woman, but instead as a being that takes advantage of the fluidity of aesthetics and theatrics to render gender and sex amorphous, constantly in a state of movement. I examine how surrealism supplied a discourse for theorizing an aesthetics for visualizing the possibilities of Barbette’s play of gender and yet how Cocteau and Man Ray had to work against the conventions of this fundamentally masculinist movement by examining the long repressed queer dimensions of the unconscious that even surrealism feared to unleash.
Barbette satisfies the drive of the audience to gender and sex him both as male and female, and at the same time for others, Barbette reaches a higher sex “above or beyond nature” legible only through an aesthetic practice of beauty that comes alive through theatrics. Cocteau thus takes the “strange beauty” that Barbette appropriated and modernized from Shakespeare and places it within the modern scientific discourse of sexuality which in the 20s was dominated the model of the “invert” as the chief paradigm for understanding homosexuality. This idea of a separate sex also borrows from the concept of a “third sex”, which contemporaneous researchers in sexology used to categorize the invert as neither man nor woman, but a distinctly different sex.
I am currently taking in so much information, that I am in danger of exploding, so I think I should stop, but here are MORE Cocteau influences. My thanks once again to Comrade Harps:
And just for good measure, a James Dean influence thrown in by Jazissey:
In all the recent excitement, I haven't made mention of the fact that my 7 inch picture disc of Satellite of Love arrived a couple of weeks ago, and the song slipped into the chart at Number 124. And on the subject of charts:
TWITTERDILLY ARMS TOP 11:
1. ROSES IN THE SNOW - NICO (NEW ENTRY): https://www.youtube.com/watch?v=FVEdeDnICLQ
2. SWAY WITH ME - JULIE LONDON (FEATURING ALAIN DELON IN THE VIDEO) (NEW ENTRY): http://www.youtube.com/watch?v=oVpvM4aEQok
3. RUN TO MY LOVIN' ARMS - APRIL YOUNG (NEW ENTRY): http://www.youtube.com/watch?v=A0Ji-3LWBvQ
4. LONELY BLUE NIGHTS - ROSIE AND THE ORIGINALS (NEW ENTRY): http://www.youtube.com/watch?v=HVydnp5Zx1U
5. MY DARLING FOREVER - ROSIE AND THE ORIGINALS (NEW ENTRY): http://www.youtube.com/watch?v=hyksp6HcHhQ
6. MY HEART IS EMPTY - NICO (NEW ENTRY): https://www.youtube.com/watch?v=K-Ca3L0LsbU
7. BLUE MOON - ELVIS PRESLEY (NEW ENTRY): http://www.youtube.com/watch?v=w2LgHZuEMf8
8. EMPTY SUNDAY - FRANCOISE HARDY (NEW ENTRY): http://www.youtube.com/watch?v=PnS-nJb_qlM
9. SOLEIL - FRANCOISE HARDY (NEW ENTRY): http://www.youtube.com/watch?v=xTnrK8miD5c&feature=youtu.be
10. DANCE ME TO THE END OF LOVE - LEONARD COHEN (NEW ENTRY): http://www.youtube.com/watch?v=Ki9xcDs9jRk
11. ACCORDEON - JULIETTE GRECO (NEW ENTRY): http://www.youtube.com/watch?v=0ca5e_DF12Y
This fascinating film was also shown by Astraea in 'The Arms' this week:
THE EARTH SEEN FROM THE MOON - DIRECTED BY PASOLINI:
PART 1: http://www.youtube.com/watch?v=G3loKIMQt84
PART 2: http://www.youtube.com/watch?v=uPU6tkFKER0
PART 3: http://www.youtube.com/watch?v=ogq8LgVlhgg
SILVANA MANGANO IN THE EARTH SEEN FROM THE MOON
And Astraea also put up some new posters:
And finally for today (and perhaps for a few days), a couple more tour dates have leaked out, and BOTH are in the USA, including a concert on Morrissey's birthday in Dallas. I am now starting to get slightly concerned about a tweet Parody Moz posted on Saturday which read simply, "England is Dead!" Could this relate to the tour? I presumed it was just a passing observation!
And finally, finally, I have just discovered some more of Parody Morrissey's tweets from the weekend. I won't post my camera screen shots (as I did yesterday) as they don't seem to show on all devices. Here they are:
"Anyone may cover a Smiths song. But not anybody can duet with a certain English poet." (Posted in response to whether or not Miley or Justin might either release a Smiths cover or request a duet)
"I deleted my account and then Morrissey made a statement on TTY. #eerie" (Posted just after the TTY statement about Prince Killiam)
"I was just served braised french tofu in garlic and herb sauce by a Michelin starred chef. #Delightful"
"I didn't try pasta until in my mid twenties."
"To instead of too. Your instead of you're. Potato's instead of spuds. Twitter is a pot of weak linguistic soup." (In response to Romina's misspelling of 'too' (as to), Father Brian's common twitter misuse of 'your', and my grocer's apostrophe).
"I'm still here, the bad smell of Manchester, like fungus in the central heating."
"@NancySinatra Don't be sad, Nancy. Remember the little gift I gave you? I'll send another."
"@TheRatsBack Rat is the Louis Tomlinson of the deluded dozen." (WHAT does this mean?)
"@Boz_Boorer has no idea how to strum along to Jesse's songs."
"@mwBATTERY Good drumming. Don't tweet for a while."
"Occasionally I grimace and raise an eyebrow. I do it so often, I'm beginning to resemble Michael Heseltine."
"When you're tired of life, you're tired of not living."
"Some of my most profound tweets come after I've been watching chart pop videos on YouTube and shaking my head."
"Laconic, witty and vile. Welcome to Morrissey's Twitter account." (And that is NOT the first time he has claimed to be Morrissey!)