#hard to have a secret identity when you're a well known guitarist in a rock band

[vipermenace]

Fun Facts about Zeno as his hero persona Oblivion!

- Lost his powers as a teen but continued being a hero 

- Focuses on his fighting style of kitty kickboxing and parkour!

- Mask has a slight modulator to alter his voice...even if most heroes and villains know who he is due to his past

- Mask also has a slight bump on the nose to protect from blows, also adds to the feline theme

- Took gymnastics in college to become more flexible and dexterous

- Bulked up as an adult to be on better terms in fights with villains

- Can seem intimidating when his claws are almost always out, but is a huge softy behind the mask

- A good man but like.. a B class hero (bad luck flows through him)

- Will have flirty banter with his husband if they cross paths on duty

[singlesablog]

Bona Drag ‘89

“Getting Away With It” (1989) Electronic Factory (UK) / Warner Records (US) (Written by Sumner/Marr/Tennant) Highest U.S. Billboard Chart Position – No. 38

When Pet Shop Boys first approached (coaxed, begged?) Dusty Springfield near the end of her career to duet with Neil Tennant on the 1987 single “What Have I Done to Deserve This?”, few of us could have known that this would lead to a great many more collaborations from the boys, or how fruitful this instinct would become.  It was also in that same year that they both (mainly Neil) collaborated with a group newly named Electronic, which would be comprised of the lead singer of New Order, Bernard Sumner, and Johnny Marr, the ex-lead guitarist and songwriter for The Smiths. “Getting Away With It” was a huge moment in my circle that year (as well as on the dance floor) for it’s sound combined the coolness of the alternative scene with disco, even though no one ever wants to say that very bad word. 

We all adored it.

The Smiths had disbanded in 1987, leaving Johnny Marr as a journeyman (never being the lead type).  We all loved The Smiths passionately because they were in part “our" band, and spoke to gay culture, and because, yes, Morrissey was a genius. We all hated him for ending it all too soon, because yes, it was all his fault.  His narcissism was not hard to apprehend, in content or image.  Johnny Marr's pairing up with Sumner was something of a miracle because both were surprisingly interested in house music, specifically an emerging genre known as Italo House, which leaned more toward Europe and upbeat electronic piano riffs.  They worked on the single first, along with an early cut called “Lucky Bag” (seek it out it is a jam) in the pure Italo House style, and went on tour to support Depeche Mode that year.  They ultimately spent 18 months finishing the debut album Electronic, which a lot of folks consider to be a minor classic.  Neil appeared on yet another track (“The Patience of a Saint”), and we were all in disco heaven—it was just so cool.

I am now surprised to discover that the secret behind “Getting Away” may the be sly and hateful jabs toward The Moz himself, who famously disdained anyone who ever ate meat, or any style of music he did not personally direct.  He is on record for dismissing electronic music in general as useless, so the jabs at his persona in the lyrics (“I’ve been walking in the rain / just to get wet on purpose”) are penchant, and just what he had coming.  It was only the year before that Morrissey had released a track called “Hairdresser on Fire” (as the B side to the A single “Suedehead”), one of his more famous B sides, which include the lyrics 

“Here is London Home of the brash, outrageous and free You are repressed But you're remarkably dressed Is it real?”

to which (apparently) the boys from Electronic responded in verse

“I've been talking to myself Just to suggest that I'm selfish (Getting ahead) I've been trying to impress That more is less and I'm repressed (I should do what he said)”

Which may be nothing, or may be pointed.  It is on record that Morrissey criticized the song in a 1991 interview, calling it "totally useless" and joking that the song had a "very apt title”.  

It is certain that both Marr and Sumner were looking to explore new freedoms and territories outside of the straight jacket of rock and roll.  It is especially ironic that Morrissey, one of the patron saints of gay identity, would be so narrow and humorless about pop music in general.  Then again, maybe not; I love him, but a kinkier curmudgeon would be hard to locate.  It has been suggested that Neil Tennant continued the lampooning of Morrissey with the B side to the single for “Was it Worth It?” (which flopped), “Miserablism” (which is iconic in their catalog), and paints the picture of a person using inversion as a religion:

“Every performance tends to reach the same conclusion No happy endings but a message to depress Saying life is an impossible scheme That's the point Of this philosophy

Miserablism Is is and isn't isn’t

Miserablism Is is and isn’t isn’t."

Electronic’s last album (of 3 total) was released in 1999.  They have never formally disbanded, but are likely done with the project.  Morrissey is still making records and slagging people off to this day.  There are no plans to reunite any version of The Smiths.

---

The collaborations with icons of gay culture would certainly continue for the Pet Shop Boys.  In 1992 they had their biggest success outside of their band by producing Boy George’s cover of “The Crying Game”, the title track for the movie of the same name.  It was a success worldwide, a Billboard No. 15 in the US (Boy George’s highest ever here as a solo act), as well as a dreamy synth pop gem.  Neil Tennant told NME in 1993, "I think George sings that song really well, he sounds a bit like Roy Orbison” which is rather true, a credit to the production and vocal alike. Charles Aaron from Spin said, “Heard it in a mall, wanted to weep in my Orange Julius.” to which I would say, didn’t we all Charles, didn’t we all.

"The Crying Game" by Boy George, 1992

The song title “Getting Away With It” is suggestive of many things.  As a member of the band The Smiths, Morrissey and the band adopted an anti-look look, very industrial city clothes, even presenting as nondescript.  But Morrissey had a way of inverting this idea, sporting a giant pompadour, thick NHS black glasses, an inoperative plastic hearing aid during performances, and receiving gladiolus flowers on stage from fans.  His was not an undramatic pose, and actually part of the long tradition of the gay man presenting as a fop.  

A fop from "What is this my Son Tom?", 1774

In England alone there was the “macaroni” of the Georgian period, followed by the Beau Brummell of the Regency period, and then the Aesthete, which culminated in the late 19th century with the writers Walter Pater and Oscar Wilde.  For the opening in 1892 of  his play“Lady Windermere’s Fan”, Oscar sported an unnatural green carnation as a publicity stunt (it actually signified nothing).  However nothing can easily become something.  The green carnation went on to become a craze for aesthetes, a tip off for the presence of homosex, and finally aided in Oscar’s undoing when an 1894 novel by the name of The Green Carnation by Robert Hitchens was used as evidence in Wilde’s sodomy trial to send him to Reading Gaol prison for 2 years, even though Oscar personally had nothing whatsoever to do with it’s publication or content.  He went on to comment 

"I invented that magnificent flower, but with the middle-class and mediocre book that usurps its strangely beautiful name I have, I need hardly say, nothing whatsoever to do. The flower is a work of art. The book is not.”

Oscar Wilde died only a few years after his imprisonment in 1900 at the young age of 46.  

His crime: high style.

Oscar Wilde, pictured with a green carnation.