Now if anyone wishes to vent a little spite against me, or take a casual swipe at me, I can count on his bringing up my Lubeck origin and Lubeck marzipan. If some ill-wisher can think of nothing else, he invariably thinks of connecting me with comic marzipan and representing me as a marzipan baker. Such stuff goes by the name of literary satire. But it does not bother me . . . And I certainly do not feel in the least insulted about the marzipan. In the first place it is a very tasty confection, and in the second place it is anything but trivial; rather it is remarkable and, as I have said, mysterious. And if we examine this sweet more closely, this mixture of almonds, rosewater and sugar, the suspicion arises that it is originally oriental, a [Haremskonfekt] confection for the harem, and that in all probability the recipe for this barely digestible delicacy came to Lubeck from the Orient by way of Venice. And it turns out that those wits are not so wrong as they themselves think, that Death in Venice is really ‘marzipan’ although in a deeper sense than they ever meant it.
Thomas Mann, ‘LUBECK AS A WAY OF LIFE AND THOUGHT’ (1926)
But, I’ve been working away in the background and have now re-jigged the first four of my reviews of Chris de Burgh’s lyrical output in the 1970s: Far Beyond These Castle Walls . . . (1974), Spanish Train and Other Stories (1975), At the End of a Perfect Day (1977) and Crusader (1979).
Specifically, I’ve added record covers, quotes and links to the lyrics, in order to make the reviews (even) easier to digest.
Right now I’m also working on a review of de Burgh’s first 1980s collection, Eastern Wind.
More on that shortly!
At the same time, I loved hanging out with Kim Deal, and when I rewatch the video [for ‘Little Trouble Girl’], my favorite part is seeing the two of us together singing and looking hot. Maybe everything always looks better twenty years later. When Kim showed up in Memphis to record the song, she had the engineer play it back into the big room, and she sang without any headphones. Then and now Kim’s voice has an incredibly cakelike quality—like the sound when you say cake, a lightness, its body thinned out—that’s so classic pop.
Kim Gordon, Girl in a Band