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Perverted by Language: John Peel introduces The Fall… over and over and over and over again
09:49 am


John Peel
The Fall

“Apparently, there are some people out there who don’t love the Fall,” John Peel once said on his BBC Radio One program. “I spurn them with my toe.”

The Fall did 24 live sessions for legendary BBC Radio broadcaster John Peel, more than any other act. The group were his favorite band and he was a tireless champion of Mark E. Smith’s music, although apparently Smith was ambivalent about “Fuckin’ John Peel” in return, opining that he was “the fuckin’ worst, he’s worse than Tony Blackburn [Peel’s fellow BBC Radio 1 DJ] ever was. Bastard.”

Peel didn’t mind and brushed off the insult, noting that Smith was not perhaps “in perfect working order at the moment” (that was an understatement when Peel was still alive, and more true today) and adding that “the band have given me intense pleasure over the years, I still love ‘em madly.”

Here then, is an entire hour of John Peel introducing The Fall…

“The Fall, The Fall, Fall there, Mark E.Smith and The Fall, Fall, The Fall…”

It’s… hypnotic.

Via Holy Moly!

Posted by Richard Metzger | Leave a comment
‘Becoming a hermit solves nothing’: The Fall’s Mark E. Smith writes Tony Friel, 1977
07:21 am


Mark E. Smith
The Fall

A few weeks ago DM posted a remarkable typewritten letter from Mark E. Smith, frontman, songwriter, and The Only Guy That Matters in The Fall, to his friend and co-founder of The Fall, bassist Tony Friel. That letter was written around Christmas 1976; in it, Smith gushed about The Clash, quoted the Johnny Thunders song “Chinese Rocks,” and peppered in a couple of references to the 1960s TV show The Prisoner.

Eight months later, in August 1977, Smith was still writing Friel Prisoner references, signing off “Be seeing you, number six.” This letter is another gorgeous slab of cranky stream-of-consciousness invective from a man who did that kind of thing exceedingly well. He mentions some interactions with “Devoto,” obviously the Buzzcocks’ Howard Devoto, in which Smith reports that Devoto admires Friel’s work on the bass. Smith mentions a visit to “Richard’s a while back”—from the context I am assuming this is a reference to Richard Boon, who managed the Buzzcocks at the time. (An aside: you have to love Wikipedia, which is the only place you’re likely to find a sentence like this: “Richard Boon went on to work for Rough Trade Records, and is now a librarian in Stoke Newington Library, Hackney, London, where he facilitates a monthly reading group on the second Tuesday of each month.” If you find yourself in Hackney next Tuesday, you know what to do.)
Mark E. Smith
The notoriously prolific songwriter Smith mentions a slew of songs that he’s been working on, but the titles aren’t familiar to me; the only ones I recognize are “Oh! Brother” and “Psycho Mafia.”

In a parting shot, Smith puts down something called the “Rivington free festival,” which apparently was held from 1976 to 1978. Here’s the poster for 1977; the event happened just a couple days before Smith typed up this missive:
Rivington Pike
“If you’d been at Rivington free festival, you would have heard enough “Musical” groups to last you a fucking LIFETIME.” What was MES doing at this thing??
I was lucky enough to find this letter on the Wayback Machine at the Internet Archive; it took quite a bit of sleuthing. It came from Friel’s website, which was called Atomic Soup and didn’t have all that much to do with the Fall, which was outfit he didn’t stay in for very long. If Mr. Friel is out there reading this and would like to post any further correspondence with Mark E. Smith, we at DM would be awfully interested to see it. Write us at the “Contact Us” link above!

The Fall, “Psycho Mafia” (live, 1979)

The Fall, “Oh! Brother”:


Here’s the full text of the letter:

Augustus’2’ 77

Dear Mozart,

Why is eating meat bad for your karma? Who ‘revenges’ on behalf of dead animals? To be quite honest, I don’t like 99% of your so-called ‘top ten’ the ones I’ve heard anyway BUT as you in your new guise would say ‘do your own thing’. In other words GOOD FOR YOU. When did this Harmonic duet take place ? could you supply me with LP serial nos etc?

Yours sincerely,
A Heep Freak.

Dear Heep Freak,

Don’t ask me, you can write direct to Tony yourself : his address is:

So you have new songs eh ? Why don’t you show me them? I would be tres interested. I have some to, one is sub-reggae so get working on the Family Man Barret bass lines. AS to your referal to re-hashed chord progressions, you have 4 5th of the groups backing (incl. yrself)so what’s the trouble-DON’T expect people to do things for you-a thought pattern too prevalent in The Fall for my liking. Becoming a hermit solves nothing.

I forgot to tell you, but when i went down to Richard’s a while back, Devoto told me he thinks your bass playing is superb,and he wants to know what bass + strings you use-he’s got a X reggae bass player for his group now.

Here’s the new stuff anyway:

X ‘impotency’ ‘Lucifer Over Manchester’ + ‘Untitled’(my sub reggae thing it’s got no chorus though-do you think they are necessary ?)

Not so new but EQUALLY VIABLE:

‘Oh! Brother’ ‘Psycho Mafia’ ‘Roll the Bones’ ‘Don’t think about it’ The last one is yours, so ‘get it together’

When Richard came down last time and we asked him to boss us, your pal Herrie was there, trying to integrate himself into the group-you can do what you want with him, but watch out and if i see him again i will be very tempted to ki ck the shitheads nuts off.

Have to go now, I keep phoning your place and some comedian keeps coming on saying x ‘no money,no money no money’ Who is he?

Be seeing you, number six.

P.S. ‘E-D that’s all I can play’ read anybody EXCEPT Z-Z-Z (ILLEGIBLE, please explain)

P.P.S. If you’d been at Rivington free festival, you would have heard enough “Musical” groups to last you a fucking LIFETIME.

Mark E. Smith CONTD.


Posted by Martin Schneider | Leave a comment
The Fall’s Mark E. Smith predicts ‘The Clash are going to be very big,’ 1976
07:39 am


The Clash
Mark E. Smith
The Fall

Mark E. Smith
In this fascinating document we can see the endlessly amusing and enigmatic mind of Mark E. Smith, founder and resident genius of The Fall, not even 20 years of age and several months before the Fall’s first gig in May 1977.

The date is December 20, 1976. Smith is writing a letter to another founding member of The Fall, bassist Tony Friel—Smith refers to “your ‘bass’ pop guitar.” (Friel would remain in the band only for a few months.) Smith is referencing a gig held at the Electric Circus in Manchester on Thursday, December 9, 1976, featuring The Sex Pistols, The Damned, Johnny Thunders and the Heartbreakers, and The Clash—quite a lineup! (Which DM reader wouldn’t give about three toes to have seen that show? Then again, maybe one or two of you were there.....) The din of the show must have still been ringing in his ears—Smith starts the letter with a snippet from “Chinese Rocks,” the legendary Heartbreakers song jointly written by Dee Dee Ramone and Richard Hell.
Anarchy Tour
The main purpose of the letter, in addition to waxing hilarious and weird in a way only Mark E. Smith was ever capable of, was to affirm his enthusiasm about this new band The Clash, who clearly made a huge impression on Smith: “New pop group the CLASH are going to be very big,once they do a tour of the Village,and then signed on to Village records Ltd.” But he wasn’t telling Friel about the band, surely. Smith and his buddy Friel had quite probably discussed The Clash already, both having most likely seen them at the Electric Circus. Indeed, later on he adds, “Combined, The Heartbreakers and Clash were better than Sex Pistols, doncha?” As in, “Right? You agree? You who saw them too?” Smith was putting on his oracle hat and predicting great things for The Clash. Seems like he hit that one on the head.

The postscript is a snippet of dialogue (real or imagined?) from the immortal 1960s TV series The Prisoner.

Here’s the full text of the letter:

? Dec. 76

for: No. 505048A99FU
from: the new number 2

Dear Above,

‘I’m livin on a Chinese rock/all my clothes are in the pawn shop’ WRONG.

And today, the new number two is wearing a ‘Healthiflex non-restricti Collar’ dark blue in colour.

New number two says “New pop group the CLASH are going to be very big,once they do a tour of the Village,and then signed on to Village records Ltd.”

Please find attached a rough ‘set’ for the Outsiders.Apologies for any ommissions. Also find attached a little pres for you,a sticker for your ‘bass’ pop guitar.Last night I did not notice any “plain clothes policemen in pop gear” did thou?

You had better stick the fucking syticker on your ““bass”” or your ass.Or I will tell news agency Tass.

I did not get any sleep last night as i was speeeeding maaaaaan.

Combined,The Heartbreakers and Clash were better than Sex Pistols, doncha? Je tres fatigue - non dormir!

too incoherent,sorry.

be seeing you,

the new number 2

No6: “How did that typewriter get here ? At night ???”
No.14: “I am not allowed to answer that.Be seeing you.”
No.6: “Moron”.

Here’s the letter (you can see a much larger version here):
Mark E. Smith letter

Posted by Martin Schneider | Leave a comment
‘People paint to The Fall. They write novels listening to The Fall. Strange people’
02:25 pm


Mark E. Smith
The Fall


“People paint to The Fall. They write novels to The Fall. The guy who wrote Silence of the Lambs wrote it… people like that. Strange people.”

Mick Middle’s low budget documentary about Mark E. Smith and The Fall was completed in 1994, but not seen until 2009 when it was made available as part of the Northern Cream DVD. 1994 was a good time to make a documentary about The Fall because at that point they’d been around enough to have gone through several incarnations—the group’s membership has been a revolving door since the beginning—including the Brix period of most of the 1980s when many feel Smith created his best music. That would include The Fall’s two collaborations with dancer Michael Clark. This is the period that I am the most interested in, so I thought this short film was a lot of fun.

Cigarette in one hand, pint in the other, the ever… charming Smith reveals how his father hated pop music, so there was never even a record player in the house until he was fourteen. When the kids at school talked about the Beatles and the Stones, he had no idea what they were going on about.

Asked if anything positive came of the “Manchester scene,” (i.e. The Smiths) Smith replies with characteristic bluntness: “Nowt.” He also slyly says that if you drink “out in the open” (in a pub) you “don’t become an alcoholic.”

When the interviewer asks Smith about the group’s fanatical American fans, particularly in California, he replies that “It’s funny, America… your’re talking about twenty countries there, in one country. Like the time we went to Cleveland and they hated our guts.” Smith says he thinks Los Angeles is the “most boring town in the world. The most boring city I’ve ever been to in my life.”

He just doesn’t know the right people here.

Fun fact: “Hip Priest” is used in the film adaptation of Silence of The Lambs, during the scene when Clarice Starling (Jodie Foster) hunts down Buffalo Bill in his home.


Bonus clip: The twin drum attack of “Eat Y’Self Fitter” caused British DJ John Peel to claim that he’d fainted on air and had to be revived by his producer.

Posted by Richard Metzger | Leave a comment
Nijinsky with a mohawk: The edgy collaborations of punk ballet dancer Michael Clark and The Fall

Although he and his dance troupe have performed choreography set to the music of Wire, Glenn Branca, David Bowie, Iggy Pop, Brian Eno, Igor Stravinsky and others, it is his work with The Fall that the work of Scottish dancer and choreographer Michael Clark will always be the most closely associated with.

The classically-trained Clark has said that hearing the manic, rubbery, jagged-edged relentlessly repetitious music of Manchester’s post-punk bard Mark E. Smith was a sort of clarion call for him as a young man to start doing his own work—if punk bands could do their thing, then that same ethos and attitude (and shock value) could go into creating a new form of modern ballet. Clark’s vision of ballet happened to incorporate Leigh Bowery wielding a chainsaw, syringes strapped to his dancers and sets festooned with fried egg trees . Clark seemed touched by the gods. His angular, asymmetrical, yet bizarrely graceful form of movement caused a sensation in the dance world. He was Nijinksy with a mohawk.

Michael Clark as Caliban in Peter Greenaway’s Prospero’s Books

The Fall and Clark’s company appeared together on The Old Grey Whistle Test in 1984 in a provocative performance of “Lay of the Land” that saw Clark prancing around in a Bodymap leotard that exposed his ass cheeks to the nation as the group made a mighty roar behind him.

They collaborated more formally in 1988 when The Fall provided the live soundtrack for Clark’s ballet “I Am Curious, Orange” at the Sadler’s Wells Theatre in London (The Fall’s LP was called I Am Kurious Oranj). Some tantalizing looks at what that production was like come from Cerith Wyn Evans videos for “Wrong Place, Right Time” and “New Big Prinz,” which were apparently shot at a rehearsal.

Below, “New Big Prinz”

More after the jump…

Posted by Richard Metzger | Leave a comment
Kicker Conspiracy: Mark E. Smith reads football scores in his inimitable Mancunian drawl
06:22 am


Mark E. Smith
The Fall

Anyone who’s grooved to “Theme from Sparta FC” from the Fall’s 2003 The Real New Fall LP (Formerly Country on the Click) has probably figured out that postpunk legend Mark E. Smith is a serious fan of football, or as we say in the United States, “soccer.”

“Theme from Sparta FC” is a fanciful meditation on the existence of a soccer team in ancient Greece, quite possibly one of the Fall’s more immediately comprehensible compositions. Since 2005, much to the BBC’s credit, the song has been used as the theme music to the “Final Score” section of BBC television’s Saturday afternoon sports coverage.

On November 19, 2005, the producers of the show invited Smith into the studio to read the day’s results. For anyone who has indulged in the Fall’s indelible catalogue, Smith’s scarcely modulated rendition of the scores (“Reading 3, Hull City 1 ... Sheffield United 2, Millwall 2 ... Southhampton Town 3, Leeds United 4” ...) needs little more than a typically hypnotic Fall bassline to become an accepted part of the Fall canon.

The Mancunian‎ Smith, not very surprisingly, is a Manchester City fan, and it is to be presumed that he despises his club’s crosstown rivals, the far wealthier and more successful Manchester United. On that particular day Manchester United bested Charlton Athletic 3-0, whereas Manchester City had to settle for a 0-0 draw against the Blackburn Rovers. Later in the clip, Smith calls Manchester City’s performance “hopeless, as usual.” Smith also makes fun of the haircut of host Ray Stubbs and disparages England’s national team as a collection of eleven millionaires rather than a cohesive unit of cooperating players.

In 2010, Smith recorded an earnest (for him) World Cup ditty titled “England’s Heartbeat” for reasons unknown, that includes a sing-along chorus and the inspirational phrase “Like a rainbow through a storm.”

Posted by Martin Schneider | Leave a comment
Pop singer Samantha Fox reviews The Fall, 1986
10:28 am


The Fall
Samantha Fox

I don’t think she liked them.

Via Post Punk Tumblr

Posted by Tara McGinley | Leave a comment
The Fall’s Mark E. Smith does his Courtney Love impersonation, 1994

From Mick Middles’ 1994 documentary on The Fall’s early years.

I nearly spit out my coffee when I watched Mr. Smith’s spot-on impersonation of Courtney Love.

I don’t think the perpetually drunken Mancunian elf-lord had much love for Los Angeles, either.

With thanks to Xela Ttun!

Posted by Tara McGinley | Leave a comment
Mark E. Smith: A brief tour of Edinburgh

Mark E. Smith has occasionally claimed that Edinburgh is his favorite city. He lived there between 1988, when he performed I Am Kurious Oranj, with The Fall and Michael Clark’s Dance Company at the Edinburgh Festival, until around the mid-nineties, when he returned to England. Edinburgh has long captured the imagination of writers and artists - in part because of the city’s mythic history and role as “the Athens of the North” during the Enlightenment. But also because of its darker and more murderous associations.

This symbolic division is reflected in the city’s design of Old Town, with its original fortress and fishbone wynds off a cluttered HIgh Street; and the New Town, to the north, with its Georgian and Victorian splendor. This physical division symbolically underlines the duality at the core of the Scottish psyche and literature.

It was G Gregory Smith who first noted and defined the division in Scottish psyche and literature as Caledonian Antisyzygy - the “idea of dueling polarities within one entity”:

“...[Scottish] literature is the literature of a small country…it runs a shorter course than others…in this shortness and cohesion the most favourable conditions seem to be offered for a making of a general estimate. But on the other hand, we find at closer scanning that the cohesion at least in formal expression and in choice of material is only apparent, that the literature is remarkably varied, and that it becomes, under the stress of foreign influence, almost a zigzag of contradictions. The antithesis need not, however, disconcert us. Perhaps in the very combination of opposites - what either of the two Thomases, of Norwich and Cromarty, might have been willing to call ‘the Caledonian antisyzygy’ - we have a reflection of the contrasts which the Scot shows at every turn, in his political and ecclesiastical history, in his polemical restlessness, in his adaptability, which is another way of saying that he has made allowance for new conditions, in his practical judgement, which is the admission that two sides of the matter have been considered. If therefore, Scottish history and life are, as an old northern writer said of something else, ‘varied with a clean contrair spirit,’ we need not be surprised to find that in his literature the Scot presents two aspects which appear contradictory. Oxymoron was ever the bravest figure, and we must not forget that disorderly order is order after all.”

This notion of “a zigzag of contradictions” was further developed by the poet Hugh MacDiarmid who saw it as a key influence on Scottish Literature, for example R L Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde and James Hogg’s The Private Memoirs and Confessions of a Justified Sinner. It was also a theme in MacDiramid’s greatest poem A Drunk Man Looks at the Thistle, in which he wrote his own definition:

“..I’ll ha’e nae half-way hoose. But aye be whaur extremes meet – it’s the only way I ken…”

Jekyll and Hyde may be set in London but it is one of the best novels about Edinburgh and the Scottish psyche. Here is a fictional representation of such infamous Edinburgh characters as Deacon Brodie, who was a cabinet-maker by day and a burglar by night, or its Resurrection Men (Burke & Hare), and indeed, of Stevenson’s own experiences as a visitor to brothels with his student friends, one of which, a respectable family man, was implicated in the murder of a prostitute. This split continues today Irvine Welsh and his Edinburgh of Trainspotting, Filth and Porno.

Unfortunately, in this quirky and very brief tour of Edinburgh, Mark E. Smith only highlights his rather superficial likes and dislikes. His main dislike is the statue to Field Marshall Douglas Haig, the First Earl Haig, on the Castle Esplanade. It was Haig’s whose mismanagement during the Battle of the Somme and the Third Battle of Ypres, that led to the needless slaughter of thousands of soldiers during the First World War.

However, Smith does like the military statue to Blackwatch Regiment, situated at the top of the Mound. Smith’s old man was in the Blackwatch, and he claims he likes to visit it when he feels sentimental. But it’s the Scotch Malt Whisky Society that Smith describes as favorite location in the city.

Bonus track ‘Edinburgh Man’ by The Fall, after the jump…
With thanks to Alan Shields

Posted by Paul Gallagher | Leave a comment
Punk 1976-78: The Best of Tony Wilson’s ‘So It Goes’

I miss Tony Wilson. I miss the idea of Tony Wilson. Someone who had an enquiring mind and was full of intelligent enthusiasms, like Tony Wilson. And who also didn’t mind making a prat of himself when he got things wrong. Or, even right.

I met him in 2005 for a TV interview. He arrived on a summer’s day at a small studio in West London. He wore a linen suit, sandals, carried a briefcase, and his toenails were painted a rich plum color - his wife had painted them the night before, he said.

Wilson was clever, inspired and passionate about music. He talked about his latest signing, a rap band, and his plans for In the City music festival before we moved onto the Q&A in front of a camera. He could talk for England, but he was always interested in what other people were doing, what they thought, and was always always encouraging others to be their best. That’s what I miss.

You get more than an idea of that Tony Wilson in this compilation of the best of his regional tea-time TV series So It Goes. Wilson (along with Janet Street-Porter) championed Punk Rock on TV, and here he picks a Premier Division of talent:

Sex Pistols, Elvis Costello, Buzzcocks, John Cooper Clarke, Iggy Pop, Wreckless Eric, Ian Dury, Penetration, Blondie, Fall, Jam, Jordan, Devo, Tom Robinson Band, Johnny Thunder, Elvis Costello, XTC, Jonathan Richman, Nick Lowe, Siouxie & the Banshees, Cherry Vanilla & Magazine….. The tape fails there!

The uploader ConcreteBarge has left in the adverts “for historical reference” that include - “TSB, Once, Cluster, Coke is it, Roger Daltery in American Express, Ulay, Swan, Our Price, Gastrils, Cluster & Prestige”.

So, let’s get in the time machine and travel back for an hour of TV fun.

Previously on Dangerous Minds

The Best of ‘So It Goes’: Clash, Sex Pistols, Iggy The Fall, Joy Division and more

With thanks to Daniel Ceci

Posted by Paul Gallagher | Leave a comment
Choose your own adventure as Can’s Damo Suzuki

Hilarious ‘shopped image of You Are Damo Suzuki book, appropriately “penned” by Mark E. Smith.

Below, The Fall performing “I am Damo Suzuki” live at The Hacienda in 1985:

Via Post Punk Tumblr



Posted by Tara McGinley | Leave a comment
Babies that look like Mark E. Smith
11:02 am


Mark E. Smith
The Fall

“Hey, your baby looks just like Mark E. Smith…” is probably not something a lot of parents want to hear. Some, but not most.

A small collection of MES look-alikes can be found here.

Thanks, Syd Garon!

Posted by Tara McGinley | Leave a comment
The Sex Pistols: ‘I Swear I Was There - The Gig that Changed the World’

It’s been described as one of the most important gigs of all time, one that saw hundreds, even thousands of people claim they were there. In truth only around 30-40 people saw The Sex Pistols perform at the Manchester’s Lesser Free Trade Hall on June 4, 1976. But of those who did, most went onto form a generation of legendary bands - The Fall, The Buzzcocks, Joy Division, The Smiths.

Also, allegedly in the audience were such future ambassadors of taste as Anthony H. Wilson, who would co-found Factory Records and the Hacienda nightclub, and nascent journalist/writer Paul Morley.

Culturally, it was an event akin to the storming of the Bastille, for it unleashed a revolution.

I Swear I Was There tells the story of that now legendary night, and talks to the people whose lives were changed by The Sex Pistols.

With thanks to Graham Tarling!

Posted by Paul Gallagher | Leave a comment
Albert Camus’ ‘The Fall’: An animation by Mike McCubbins

Though it lacks a voice-over, Mike McCubbins has created a beautiful and haunting short animation based on Albert Camus’ The Fall.

Camus’ story tells of a so-called “judge-penitent”, Jean-Baptiste Clamence, who reflects upon his life to a stranger at a bar the Mexico City, in Amsterdam. As Clamence comments to his nameless companion:

“Have you noticed that Amsterdam’s concentric canals resemble the circles of hell? The middle-class hell, of course, peopled with bad dreams. When one comes from the outside, as one gradually goes through those circles, life — and hence its crimes — becomes denser, darker. Here, we are in the last circle.”

Clamence explains how he has had a fall form grace, is now in self-imposed exile in Amsterdam. He describes himself as a good man, giving to the poor, helping the blind across the street, and that he lived his life for others. This was, until one night, as he crossed over the Pont Royal returning home from his mistress, he noticed a woman close to the edge of the bridge. He walks on and then hears a scream, and a muted splash.

“It repeated several times, downstream; then it abruptly ceased. The silence that followed, as the night suddenly stood still, seemed interminable. I wanted to run and yet didn’t move an inch. I was trembling, I believe from cold and shock. I told myself that I had to be quick and felt an irresistible weakness steal over me. I have forgotten what I thought then. “Too late, too far…” or something of the sort. I was still listening as I stood motionless. Then, slowly, in the rain, I went away. I told no one.”

Haunted by his failure to save the woman, or tell anyone about it, Clamence’s life starts to unravel, until one day a woman’s laugh (or is it his own?) causes him to realize everything he has done has not been for others, but always for himself.

To find out who he is, Clamence decides to act out of character, as “no man is a hypocrite in his pleasures”:

“...jostling the blind on the street; and from the secret, unexpected joy this gave me I recognized how much a part of my soul loathed them; I planned to puncture the tyres of wheelchairs, to go and shout ‘lousy proletarian’ under the scaffoldings on which labourers were working, to smack infants in the subway. ... the very word ‘justice’ gave me strange fits of rage…”


Though Camus never thought of himself as an Existentialist (more of an Absurdist writing against Nihilism), many of his concerns stemmed from the same bourgeois preoccupations that inspired Sartre and Existentialism - guilt, alienation, regret, angst. This is limned at the end of the tale, when Clamence reveals his role as “judge-penitent” - in a world without God, we are all guilty of everything, and Clamence must, therefore, sit in permanent judgement over everyone.


Posted by Paul Gallagher | Leave a comment
The Aging of Mark E Smith: Various interviews through the Years
03:56 pm


Pop Culture
The Fall

I wonder if somewhere in Mark E. Smith’s attic there’s a beautiful painting of him as a Salford adonis?

Here is Manchester’s finest talking about music, art, this and that from the 1980s to 2010.


More from the mighty MES, after the jump…

Posted by Paul Gallagher | Leave a comment
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