#shelagh delaney

[billdecker]

A TASTE OF HONEY (1961) dir. Tony Richardson

[maudlin-st]

The Smiths - Girlfriend In A Coma 12” Single (1987)

Shelagh Delaney - A Taste Of Honey (1958)

[theconjugalbed]

a taste of honey (1961) — reel around the fountain (the smiths)

[sheiladelaney]

Backstage at the Broadway stage production of A Taste of Honey, 1960.

[the-black-mask]

T H E S M I T H S

📀 A L B U M C O V E R S 📀

▶️ Louder Than Bombs (LP)

▶️ The World Won't Listen (LP)

▶️ Girlfriend In A Coma

▶️ The Boy With The Thorn In His Side

▶️ How Soon Is Now

▶️ Shoplifters Of The World Unite

▶️ That Joke Isn't Funny Anymore

▶️ Big Mouth Strikes Again

▶️ The World Won't Listen (LP)

▶️ What Difference Does It Make

[thequietabsolute]

courage of others :: shelagh takes a bow

[davidhudson]

Shelagh Delaney, November 25, 1938 – November 20, 2011.

[paramartha]

SHELAGH DELANEY (1938-2011)

[do-you-know-this-play]

[citedesdames]

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[booksandwords]

A Taste of Honey by Shelagh Delaney

Read time: 1 Day Rating: 4/5 Stars

The Quote: Jo: Shut up! This is the sort of conversation that can colour a young girl's mind. Boy: Women never have young minds. They are born three thousand years old.

Warnings: racism, mother/daughter dynamics, romantic relationships, homophobia and pregnancy.

First performed in 1958 A Taste of Honey is a play that still works today. Themes include racism, mother/daughter dynamics, romantic relationships, homophobia and pregnancy. Specifically, it feels like the underage of the younger of the two main characters, 19-year-old Jo, feels like she has mild tokophobia (the fear of pregnancy/ childbirth) or at minimum a severe fear of her own child. Geoffrey the friend of Jo that supports her through her pregnancy is gay (though he does kiss Jo) and faces severe homophobia from the older characters, it is confronting to read. Also confounding to read is Jo's extremely strained relationship with the other main character her mother Helen. Helen is to me entirely unlikeable. We see the world largely through Jo's eyes, we see Helen's neglect and ignorance of her daughter's needs as a younger child. To be honest I found the ending somewhat distressing. But fitting and fully in character for the characters as we know them.

Honestly, I quite enjoyed it. It's thought-provoking. A reminder that as far as we've come in 50+ years we still have so far to go. Jo and Geoff's relationship was so interesting to read. It may be closer to the norm or at least acceptable these days but in the 50s it may have been almost scandalous. There is something truly appealing about not learning the name of 'boy' until so late in the piece. I can see why this caused waves when it was first performed and I would love to see it performed. I read this after seeing it mentioned in Samantha Ellis' How to Be a Heroine.

[infiniterichesinalittleroom]

Although they who write modern pop songs could never deliver lines as strong as Robert Herrick’s, there is no one else appointed to attempt such, just as there is no one else so freely delegated. Blend noise and words and save the world. I say this not to myself, but to an imaginary upstart – out there, somewhere – for even the lyrics in the songs that I love are by no means fine art; they merely fit well beside the dexterity of voice and instrument. Stripped of sound, the lyrics of most pop songs are artful dribble; artful as in Dodger, and dodger as in wily. I am caught by what could be and should be, as the sagging-roof poetry of Shelagh Delaney’s rag-and-bone plays say something to me about my life.

MORRISSEY • AUTOBIOGRAPHY

[letterboxd-loggd]

Dance with a Stranger (1985) Mike Newell

July 6th 2024

[cabletwo]

love and honey

[hairtusk]

POV you live in fucking lancashire

[thequietabsolute]