Lyra1970
Member
As I’ve mentioned before I was a specialist nurse in HIV/AIDS palliative care back in those early days .Olly is tolerable in small doses, but he is irritating. I wanted to love It's A Sin, but RTD's misogyny just glared through the whole thing. Ritchie's mum was just a horrible caricature of an evil mother who Doesn't Understand and wants to punish him in some weird way. RTD made some comments about young gay men dying alone in childhood bedrooms which was just utter mother-blaming. A good proportion of these supposedly vile women were just trying to protect their precious and loved boys in horrific circumstances.
Yes there were some lads who had no contact with their parents/ had run away as a teen etc .
But there were some whose parents came to see them daily and stayed in their rooms with them when the end was coming .
Part of my job was supporting their relatives and friends afterwards and mum’s would still come in weeks afterwards just for a coffee and a cry on my shoulders .
Yes there was a stigma in those days but for most it was still their much loved child they were losing …I was only in my 20’s then and single , now as a mum who lost one of my children I can really understand the depth of their pain .
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I adore Sparks ! So many amazing songs .I love Sparks as well though I jumped on very, very late on that bus (when 'When Do I Get To Sing My Way' was all over MTV Europe in the early 1990s) and they've had a much rougher time of career-wise - being white-hot famous for a year or two in the 70s to not being able to give their records away by the late 1980s.
I'm tempted to think there's a tinge of envy there, but who knows....
Not sure exactly of the situation with Pet Shop Boys but I think it's something along the lines of Sparks bearing a grudge about Neil and Chris not acknowledging them (?). I mean, that hardly sounds like crime of the century and not everyone is influenced by their most obvious comparison. Synth pop duos were not that unusual in the 1980s - think Eurythmics, Soft Cell, Yazoo (fucking love Vince Clarke - with an e, seeing as everyone misspells his name! - see also Erasure and The Assembly), Blancmange. Maybe even Tears For Fears but they were more teetering on the power pop side.
Perhaps it's about Neil and Chris (Chris particularly) not playing the pop game and being mysterious and seemingly 'cold' when on camera. Ron definitely did this, though he was a bit more weird and comical (tales abound of him terrifying kids into hiding behind the sofa in the 1970s, and then there was the Hitler moustache, which was quite a brave gimmick). Neil isn't exactly particularly animated on stage either, whereas Russell really is - he dances and bounds around and is much more physical than Neil will ever be.
I don't really think the two duos are that comparable - and Sparks only really did 'europop' for a brief phase in the late 1970s with Giorgio Moroder - and again 10 years later, but they've produced everything from classical-themed albums, to even a surf-rock album (which is quite good, actually, was a flop at the time - Introducing Sparks). I'd say they're far more experimental than PSB.
'Propaganda' was (maybe still is) Martin Gore's (Depeche Mode's main songwriter, after Vince left) favourite album and the first album I bought when I started becoming curious about them. Sparks also did some amazing album covers in the 1970s and 1980s (won't spoil it, but worth a Google). Ron Mael is a really witty and erudite person, and lyricist.
'The Sparks Brothers' is also highly recommended (watched it in a cinema on release at the Glasgow GFT, just after COVID panic was dying down!).