title: Lili Reinhart

text: Reinhart joined the cast of Lorene Scafaria's "Hustlers" in March 2019. Reinhart played Annabelle, "the baby of the group," a former stripper who joins Ramona and her crew in drugging and robbing their Wall Street clientele. Reinhart described her character's aesthetic as "slutty Hannah Montana." A running gag shows Annabelle vomiting in times of stress, and the fake vomit was made of animal crackers and Sprite. "Hustlers" premiered at the Toronto International Film Festival on September 7, 2019, and was theatrically released in the United States the next week. The film received positive critical reviews and grossed $157.6 million worldwide. The same year, Reinhart made a cameo appearance during the mid-credits scene of Elizabeth Banks' "Charlie's Angels" (2019).


title: Lili Reinhart

text: In June 2019, it was announced that Reinhart would star as the female lead of Amazon Studios' romantic drama film "Chemical Hearts", written and directed by Richard Tanne and based on the 2016 Krystal Sutherland novel "Our Chemical Hearts". Reinhart played Grace Town, a physically disabled high school senior who falls in love with school newspaper writer Henry Page. In addition to starring, "Chemical Hearts" was Reinhart's first executive producer credit. The film was released on August 21, 2020, on Amazon Prime Video and received mixed reviews.


title: Lili Reinhart

text: In May 2020, Reinhart voiced Bella-Ella, "a ... snooty rich [girl]" in the "Simpsons" episode "The Hateful Eight-Year-Olds".


title: Lili Reinhart

text: In March 2021, it was announced that Reinhart would star in Wanuri Kahiu's "Look Both Ways". Reinhart will play Natalie, a college student whose life diverges into two parallel realities on the eve of her college graduation. In one reality, she becomes pregnant and must navigate motherhood as a young adult; in the other, she moves to LA to pursue her career. In addition to starring in the film, "Look Both Ways" will be Reinhart's second executive producer credit.<ref name="Plus/Minus1"></ref>


title: Lili Reinhart

text: In June 2021, Reinhart's production company, Small Victory Productions, signed a deal with Amazon Studios. Small Victory Productions will develop original and adapted content for film and television with a focus on modern, young adult content that celebrates diversity and inclusivity, as well as supporting new voices.


title: Lili Reinhart

text: In October 2019, Reinhart was announced as an ambassador for American Express for the relaunch of its AmexGreen Card. That same month, Reinhart became a spokesperson and ambassador for CoverGirl.


title: Lili Reinhart

text: In September 2020, Reinhart released a book of poetry titled "Swimming Lessons: Poems". The book explores themes such as "young love, anxiety, depression, fame, and heartbreak". For the week of October 18, 2020, "Swimming Lessons: Poems" debuted at No. 2 on "The New York Times" Best Seller list for paperback trade fiction.


title: Lili Reinhart

text: Reinhart is a Christian. She practices meditation and is training to be a reiki healer. Reinhart was diagnosed with depression at age 14. She also suffers from anxiety and body dysmorphia. She came out as bisexual in June 2020.


title: Alan Moore

text: Alan Moore (born 18 November 1953) is an English author known primarily for his work in comic books including "Watchmen", "V for Vendetta", "The Ballad of Halo Jones", "Swamp Thing", , and "From Hell". He is widely recognised among his peers and critics as one of the best comic book writers in the English language. Moore has occasionally used such pseudonyms as Curt Vile, Jill de Ray, Brilburn Logue, and Translucia Baboon; also, reprints of some of his work have been credited to The Original Writer when Moore requested that his name be removed.


title: Alan Moore

text: Moore started writing for British underground and alternative fanzines in the late 1970s before achieving success publishing comic strips in such magazines as "2000 AD" and "Warrior". He was subsequently picked up by DC Comics as "the first comics writer living in Britain to do prominent work in America", where he worked on major characters such as Batman ("") and Superman (""), substantially developed the character Swamp Thing, and penned original titles such as "Watchmen". During that decade, Moore helped to bring about greater social respectability for comics in the United States and United Kingdom. He prefers the term "comic" to "graphic novel". In the late 1980s and early 1990s he left the comic industry mainstream and went independent for a while, working on experimental work such as the epic "From Hell" and the prose novel "Voice of the Fire". He subsequently returned to the mainstream later in the 1990s, working for Image Comics, before developing America's Best Comics, an imprint through which he published works such as "The League of Extraordinary Gentlemen" and the occult-based "Promethea". In 2016, he published "Jerusalem": a 1,266-page experimental novel set in his hometown of Northampton, UK.


title: Alan Moore

text: Moore is an occultist, ceremonial magician, and anarchist, and has featured such themes in works including "Promethea", "From Hell", and "V for Vendetta", as well as performing avant-garde spoken word occult "workings" with The Moon and Serpent Grand Egyptian Theatre of Marvels, some of which have been released on CD.


title: Alan Moore

text: Despite his objections, Moore's works have provided the basis for several Hollywood films, including "From Hell" (2001), "The League of Extraordinary Gentlemen" (2003), "V for Vendetta" (2005), and "Watchmen" (2009). Moore has also been referenced in popular culture and has been recognised as an influence on a variety of literary and television figures including Neil Gaiman and Damon Lindelof. He has lived a significant portion of his life in Northampton, England, and he has said in various interviews that his stories draw heavily from his experiences living there.


title: Alan Moore

text: Moore was born on 18 November 1953, at St Edmund's Hospital in Northampton to a working-class family who he believed had lived in the town for several generations. He grew up in a part of Northampton known as The Boroughs, a poverty-stricken area with a lack of facilities and high levels of illiteracy, but he nonetheless "loved it. I loved the people. I loved the community and ... I didn't know that there was anything else." He lived in a house with his parents, brewery worker Ernest Moore and printer Sylvia Doreen, with his younger brother Mike, and with his maternal grandmother. He "read omnivorously" from the age of five, getting books out of the local library, and subsequently attended Spring Lane Primary School. At the same time, he began reading comic strips, initially in British comics, such as "Topper" and "The Beezer", but eventually also American imports such as "The Flash", "Detective Comics", "Fantastic Four", and "Blackhawk". He later passed his 11-plus exam and was, therefore, eligible to go to Northampton Grammar School, where he first came into contact with people who were middle class and better educated, and he was shocked at how he went from being one of the top pupils at his primary school to one of the lowest in the class at secondary. Subsequently, disliking school and having "no interest in academic study", he believed that there was a "covert curriculum" being taught that was designed to indoctrinate children with "punctuality, obedience and the acceptance of monotony".


title: Alan Moore

text: In the late 1960s, Moore began publishing his poetry and essays in fanzines, eventually setting up his fanzine, "Embryo". Through "Embryo", Moore became involved in a group known as the Northampton Arts Lab. The Arts Lab subsequently made significant contributions to the magazine. He began dealing the hallucinogenic LSD at school, being expelled for doing so in 1970 – he later described himself as "one of the world's most inept LSD dealers". The headmaster of the school subsequently "got in touch with various other academic establishments that I'd applied to and told them not to accept me because I was a danger to the moral well-being of the rest of the students there, which was possibly true."


title: Alan Moore

text: While continuing to live in his parents' home for a few more years, he moved through various jobs, including cleaning toilets and working in a tannery. In late 1973, he met and began a relationship with Northampton-born Phyllis Dixon, with whom he moved into "a little one-room flat in the Barrack Road area in Northampton". Soon marrying, they moved into a new council estate in the town's eastern district while he worked in an office for a sub-contractor of the local gas board. Moore felt that he was not being fulfilled by this job, and so decided to try to earn a living doing something more artistic.


title: Alan Moore

text: Abandoning his office job, he decided to instead take up both writing and illustrating his own comics. He had already produced a couple of strips for several alternative fanzines and magazines, such as "Anon E. Mouse" for the local paper "Anon", and "St. Pancras Panda", a parody of Paddington Bear, for the Oxford-based "Back Street Bugle". His first paid work was for a few drawings that were printed in "NME". In late 1979/early 1980, he and his friend, comic-book writer Steve Moore (whom he had known since he was fourteen) co-created the violent cyborg character Axel Pressbutton for some comics in "Dark Star", a British music magazine. (Steve Moore wrote the strip under the name "Pedro Henry," while Alan Moore drew them using the pseudonym of Curt Vile, a pun on the name of composer Kurt Weill.)


title: Alan Moore

text: Not long afterward, Alan Moore succeeded in getting an underground comix-type series about a private detective known as "Roscoe Moscow" (who is investigating the "death of Rock N' Roll") published (under the Curt Vile name) in the weekly music magazine "Sounds", earning £35 a week. Alongside this, he and Phyllis, with their newborn daughter Leah, began claiming unemployment benefit to supplement this income. After the conclusion of "Roscoe Moscow", Moore started a new strip for "Sounds" — the serialized comic "The Stars My Degradation" (a reference to Alfred Bester's "The Stars My Destination"), featuring Axel Pressbutton. Alan Moore wrote most of the episodes of "The Stars My Degradation" and drew all of them, which appeared in "Sounds" from 12 July 1980, to 19 March 1983.


title: Alan Moore

text: Beginning in 1979 Moore created a new comic strip known as "Maxwell the Magic Cat" in the "Northants Post" (based in Moore's hometown), under the pseudonym of Jill de Ray (a pun on the Medieval child murderer Gilles de Rais, something he found to be a "sardonic joke"). Earning a further £10 a week from this, he decided to sign off of social security and to continue writing and drawing "Maxwell the Magic Cat" until 1986. Moore has stated that he would have been happy to continue Maxwell's adventures almost indefinitely but ended the strip after the newspaper ran a negative editorial on the place of homosexuals in the community. Meanwhile, Moore decided to focus more fully on writing comics rather than both writing and drawing them, stating that "After I'd been doing [it] for a couple of years, I realised that I would never be able to draw well enough and/or quickly enough to actually make any kind of decent living as an artist."


title: Alan Moore

text: To learn more about how to write a successful comic-book script, he asked for advice from his friend Steve Moore. Interested in writing for "2000 AD", one of Britain's most prominent comic magazines, Alan Moore then submitted a script for their long-running and successful series "Judge Dredd". While having no need for another writer on "Judge Dredd", which was already being written by John Wagner, fellow writer Alan Grant saw promise in Moore's work – later remarking that "this guy's a really fucking good writer" – and instead asked him to write some short stories for the publication's "Future Shocks" series. While the first few were rejected, Grant advised Moore on improvements, and eventually accepted the first of many. Meanwhile, Moore had also begun writing minor stories for "Doctor Who Weekly" and later commented that "I really, really wanted a regular strip. I didn't want to do short stories ... But that wasn't what was being offered. I was being offered short four or five-page stories where everything had to be done in those five pages. And, looking back, it was the best possible education that I could have had in how to construct a story."


title: Alan Moore

text: From 1980 through to 1986, Moore maintained his status as a freelance writer and was offered a spate of work by a variety of comic book companies in Britain, mainly Marvel UK, and the publishers of "2000 AD" and "Warrior". He later remarked that "I remember that what was generally happening was that everybody wanted to give me work, for fear that I would just be given other work by their rivals. So everybody was offering me things." It was an era when comic books were increasing in popularity in Britain, and according to Lance Parkin, "the British comics scene was cohering as never before, and it was clear that the audience was sticking with the title as they grew up. Comics were no longer just for very small boys: teenagers – even A-level and university students – were reading them now."


title: Alan Moore

text: During this period, "2000 AD" would accept and publish over fifty of Moore's one-off stories for their "Future Shocks" and "Time Twisters" science fiction series. The editors at the magazine were impressed by Moore's work and decided to offer him a more permanent strip, starting with a story that they wanted to be vaguely based upon the hit film "E.T. the Extra-Terrestrial". The result, "Skizz", which was illustrated by Jim Baikie, told the story of the titular alien who crashes to Earth and is cared for by a teenager named Roxy, and Moore later noted that in his opinion, this work "owes far too much to Alan Bleasdale." Another series he produced for "2000 AD" was "D.R. and Quinch", which was illustrated by Alan Davis. The story, which Moore described as "continuing the tradition of Dennis the Menace, but giving him a thermonuclear capacity", revolved around two delinquent aliens, and was a science-fiction take on "National Lampoon"'s characters O.C. and Stiggs. The work widely considered to be the highlight of his "2000 AD" career, and that he himself described as "the one that worked best for me" was "The Ballad of Halo Jones". Co-created with artist Ian Gibson, the series was about a young woman in the 50th century. The series was discontinued after three books due to a dispute between Moore and Fleetway, the magazine's publishers, over the intellectual property rights of the characters Moore and Gibson had co-created.


title: Alan Moore

text: Another comic company to employ Moore was Marvel UK, who had formerly purchased a few of his one-off stories for "Doctor Who Weekly" and "Star Wars Weekly". Aiming to get an older audience than "2000 AD", their main rival, they employed Moore to write for the regular strip "Captain Britain", "halfway through a storyline that he's neither inaugurated nor completely understood." He replaced the former writer Dave Thorpe but maintained the original artist, Alan Davis, whom Moore described as "an artist whose love for the medium and whose sheer exultation upon finding himself gainfully employed within it shine from every line, every new costume design, each nuance of expression."


title: Alan Moore

text: The third comic company that Moore worked for in this period was Quality Communications, publishers of a new monthly magazine called "Warrior". The magazine was founded by Dez Skinn, a former editor of both IPC (publishers of "2000 AD") and Marvel UK, and was designed to offer writers a greater degree of freedom over their artistic creations than was allowed by pre-existing companies. It was at "Warrior" that Moore "would start to reach his potential". Moore was initially given two ongoing strips in "Warrior": "Marvelman" and "V for Vendetta", both of which debuted in "Warrior"s first issue in March 1982. "V for Vendetta" was a dystopian thriller set in a future 1997 where a fascist government controlled Britain, opposed only by a lone anarchist dressed in a Guy Fawkes costume who turns to terrorism to topple the government. Illustrated by David Lloyd, Moore was influenced by his pessimistic feelings about the Thatcherite Conservative government, which he projected forward as a fascist state in which all ethnic and sexual minorities had been eliminated. It has been regarded as "among Moore's best work" and has maintained a cult following throughout subsequent decades.


title: Alan Moore

text: "Marvelman" (later retitled "Miracleman" for legal reasons) was a series that originally had been published in Britain from 1954 through to 1963, based largely upon the American comic "Captain Marvel". Upon resurrecting "Marvelman", Moore "took a kitsch children's character and placed him within the real world of 1982". The work was drawn primarily by Garry Leach and Alan Davis. The third series that Moore produced for "Warrior" was "The Bojeffries Saga", a comedy about a working-class English family of vampires and werewolves, drawn by Steve Parkhouse. "Warrior" closed before these stories were completed, but under new publishers both "Miracleman" and "V for Vendetta" were resumed by Moore, who finished both stories by 1989. Moore's biographer Lance Parkin remarked that "reading them through together throws up some interesting contrasts – in one the hero fights a fascist dictatorship based in London, in the other an Aryan superman imposes one."


title: Alan Moore

text: Although Moore's work numbered amongst the most popular strips to appear in "2000 AD", Moore himself became increasingly concerned at the lack of creator's rights in British comics. In 1985, he talked to fanzine "Arkensword", noting that he had stopped working for all British publishers bar IPC, "purely for the reason that IPC so far have avoided lying to me, cheating me or generally treating me like shit." He did join other creators in decrying the wholesale relinquishing of all rights, and in 1986 stopped writing for "2000 AD", leaving mooted future volumes of the "Halo Jones" story unstarted. Moore's outspoken opinions and principles, particularly on the subject of creator's rights and ownership, would see him burn bridges with a number of other publishers over the course of his career.


title: Alan Moore

text: Meanwhile, during this same period, he – using the pseudonym of Translucia Baboon – became involved in the music scene, founding his own band, The Sinister Ducks, with David J (of goth band Bauhaus) and Alex Green, and in 1983 released a single, "March of the Sinister Ducks", with sleeve art by illustrator Kevin O'Neill. In 1984, Moore and David J released a 12-inch single featuring a recording of "This Vicious Cabaret", a song featured in "V for Vendetta", which was released on the Glass Records label. Moore would write the song "Leopardman at C&A" for David J, and it would be set to music by Mick Collins for the album "We Have You Surrounded" by Collins' group The Dirtbombs.


title: Alan Moore

text: Moore's work in "2000 AD" brought him to the attention of DC Comics editor Len Wein, who hired him in 1983 to write "The Saga of the Swamp Thing", then a formulaic and poor-selling monster comic. Moore, with artists Stephen R. Bissette, Rick Veitch, and John Totleben, deconstructed and reimagined the character, writing a series of formally experimental stories that addressed environmental and social issues alongside the horror and fantasy, bolstered by research into the culture of Louisiana, where the series was set. For "Swamp Thing" he revived many of DC's neglected magical and supernatural characters, including the Spectre, the Demon, the Phantom Stranger, Deadman, and others, and introduced John Constantine, an English working-class magician based visually on the British musician Sting; Constantine later became the protagonist of the series "Hellblazer", which became Vertigo's longest-running series at 300 issues. Moore would continue writing "Swamp Thing" for almost four years, from issue No. 20 (January 1984) through to issue No. 64 (September 1987) with the exception of issues No. 59 and 62. Moore's run on "Swamp Thing" was successful both critically and commercially, and inspired DC to recruit British writers such as Grant Morrison, Jamie Delano, Peter Milligan, and Neil Gaiman to write comics in a similar vein, often involving radical revamps of obscure characters. These titles laid the foundation of what became the Vertigo line.


title: Alan Moore

text: Moore began producing further stories for DC Comics, including a two-part story for "Vigilante", which dealt with domestic abuse. He was eventually given the chance to write a story for one of DC's best-known superheroes, Superman, entitled "For the Man Who Has Everything", which was illustrated by Dave Gibbons and published in 1985. In this story, Wonder Woman, Batman, and Robin visit Superman on his birthday, only to find that he has been overcome by an alien organism and is hallucinating about his heart's desire. He followed this with another Superman story, "", which was published in 1986. Illustrated by Curt Swan, it was designed as the last Superman story in the pre-"Crisis on Infinite Earths" DC Universe.


title: Alan Moore

text: The limited series "Watchmen", begun in 1986 and collected as a trade paperback in 1987, cemented Moore's reputation. Imagining what the world would be like if costumed heroes had really existed since the 1940s, Moore and artist Dave Gibbons created a Cold War mystery in which the shadow of nuclear war threatens the world. The heroes who are caught up in this escalating crisis either work for the US government or are outlawed, and are motivated to heroism by their various psychological hang-ups. "Watchmen" is non-linear and told from multiple points of view, and includes highly sophisticated self-references, ironies, and formal experiments such as the symmetrical design of issue 5, "Fearful Symmetry", where the last page is a near mirror-image of the first, the second-last of the second, and so on, and in this manner is an early example of Moore's interest in the human perception of time and its implications for free will. It is the only comic to win the Hugo Award, in a one-time category ("Best Other Form"). It is widely seen as Moore's best work, and has been regularly described as the greatest comic book ever written. Alongside roughly contemporary works such as Frank Miller's "Batman: The Dark Knight Returns", Art Spiegelman's "Maus", and Jaime and Gilbert Hernandez's "Love and Rockets", "Watchmen" was part of a late 1980s trend in American comics towards more adult sensibilities. Comics historian Les Daniels noted that "Watchmen" "called into question the basic assumptions on which the superhero genre is formulated". DC Comics writer and executive Paul Levitz observed in 2010 that "As with "The Dark Knight Returns", "Watchmen" set off a chain reaction of rethinking the nature of superheroes and heroism itself, and pushed the genre darker for more than a decade. The series won acclaim ... and would continue to be regarded as one of the most important literary works the field ever produced." Moore briefly became a media celebrity, and the resulting attention led to him withdrawing from fandom and no longer attending comics conventions (at one UKCAC in London he is said to have been followed into the toilet by eager autograph hunters).


title: Alan Moore

text: He and Gibbons had earlier created the character Mogo as part of DC's Green Lantern Corps and a short story by Moore and artist Kevin O'Neill published in "Green Lantern Corps Annual" No. 2 (1986) was one of the inspirations for the "Blackest Night" storyline in 2009–2010.


title: Alan Moore

text: In 1987 Moore submitted a proposal for a miniseries called "Twilight of the Superheroes", the title a twist on Richard Wagner's opera "Götterdämmerung" (meaning "Twilight of the Gods"). The series was set in the future of the DC Universe, where the world is ruled by superheroic dynasties, including the House of Steel (presided over by Superman and Wonder Woman) and the House of Thunder (led by the Captain Marvel family). These two houses are about to unite through a dynastic marriage, their combined power potentially threatening freedom, and several characters, including John Constantine, attempt to stop it and free humanity from the power of superheroes. The series would also have restored the DC Universe's multiple earths, which had been eliminated in the continuity-revising 1985 limited series "Crisis on Infinite Earths". The series was never commissioned, but copies of Moore's detailed notes have appeared on the Internet and in print despite the efforts of DC, who consider the proposal their property. Similar elements, such as the concept of hypertime, have since appeared in DC comics. The 1996 miniseries "Kingdom Come" by Mark Waid and Alex Ross, was also set amid a superheroic conflict in the future of the DC Universe. Waid and Ross have stated that they had read the "Twilight" proposal before starting work on their series, but that any similarities are both minor and unintended. DC Comics confirmed that the full text of the story would be released in December 2020.


title: Alan Moore

text: Moore wrote the lead story in "Batman Annual" No. 11 (1987) drawn by George Freeman. The following year saw the publication of "", written by Moore and illustrated by Brian Bolland. It revolved around The Joker, who had escaped Arkham Asylum and gone on a killing spree, and Batman's effort to stop him. Despite being a key work in helping to redefine Batman as a character, along with Frank Miller's "The Dark Knight Returns" and "", Lance Parkin believed that "the theme isn't developed enough" and "it's a rare example of a Moore story where the art is better than the writing," something Moore himself acknowledges.


title: Alan Moore

text: Moore's relationship with DC Comics had gradually deteriorated over the issues of creator's rights and merchandising. Moore and Gibbons were not paid any royalties for a "Watchmen" spin-off badge set, as DC defined them as a "promotional item", and according to certain reports, he and Gibbons gained only 2% of the profits earned by DC for "Watchmen". Meanwhile, a group of creators including Moore, Frank Miller, Marv Wolfman, and Howard Chaykin, fell out with DC over a proposed age-rating system similar to those used for films. After completing "V for Vendetta", which DC had already begun publishing, thus enabling him to finish the final few episodes, in 1989, Moore stopped working for DC.


title: Alan Moore

text: Moore later claimed that fine print in the contracts regarding "Watchmen" and "V for Vendetta", which stipulated that the ownership rights would revert to Moore and the artists after the stories had gone out of publication, had tricked him into believing he would eventually retain ownership, only to discover that DC had no intention of ceasing publication of the stories, effectively preventing the ownership from ever returning to Moore.


title: Alan Moore

text: In a 2006 interview with The New York Times, Moore recalled telling DC, "I said, 'Fair enough.' You have managed to successfully swindle me, and so I will never work for you again".


title: Alan Moore

text: Abandoning DC Comics and the mainstream, Moore, with his wife Phyllis and their mutual lover Deborah Delano, set up their own comics publishing company, which they named Mad Love. The works they published in Mad Love turned away from the science fiction and superhero genres that Moore was used to writing, instead focusing on realism, ordinary people, and political causes. Mad Love's first publication, "AARGH", was an anthology of work by a number of writers (including Moore) that challenged the Thatcher government's recently introduced Clause 28, a law designed to prevent councils and schools "promoting homosexuality". Sales from the book went towards the Organisation of Lesbian and Gay Action, and Moore was "very pleased with" it, stating that "we hadn't prevented this bill from becoming law, but we had joined in the general uproar against it, which prevented it from ever becoming as viciously effective as its designers might have hoped." Moore followed this with a second political work, "Shadowplay: The Secret Team", a comic illustrated by Bill Sienkiewicz for Eclipse Comics and commissioned by the Christic Institute, which was included as a part of the anthology "Brought to Light", a description of the CIA's covert drug smuggling and arms dealing. In 1998 "Brought to Light" was adapted by Moore in collaboration with composer Gary Lloyd as a narrative and music work which was released on CD.


title: Alan Moore

text: After prompting by cartoonist and self-publishing advocate Dave Sim, Moore then used Mad Love to publish his next project, "Big Numbers", a proposed 12-issue series set in "a hardly-disguised version of Moore's native Northampton" known as Hampton, and deals with the effects of big business on ordinary people and with ideas of chaos theory. Illustration of the comic was begun by Bill Sienkiewicz, who left the series after only two issues in 1990, and despite plans that his assistant, Al Columbia, would replace him, it never occurred and the series remained unfinished. Following this, in 1991 the company Victor Gollancz Ltd published Moore's "A Small Killing", a full-length story illustrated by Oscar Zárate, about a once idealistic advertising executive haunted by his boyhood self. According to Lance Parkin, "A Small Killing" is "quite possibly Moore's most underrated work". Soon after this, Mad Love itself was disbanded as Phyllis and Deborah ended their relationship with Moore, taking with them much of the money that he had earned from his work in the 1980s.


title: Alan Moore

text: Meanwhile, Moore began producing work for "Taboo", a small independent comic anthology edited by his former collaborator Stephen R. Bissette. The first of these was "From Hell", a fictionalised account of the Jack the Ripper murders of the 1880s. Inspired by Douglas Adams' novel "Dirk Gently's Holistic Detective Agency", Moore reasoned that to solve a crime holistically, one would need to solve the entire society it occurred in, and depicts the murders as a consequence of the politics and economics of the time. Just about every notable figure of the period is connected with the events in some way, including "Elephant Man" Joseph Merrick, Oscar Wilde, Native American writer Black Elk, William Morris, artist Walter Sickert, and Aleister Crowley, who makes a brief appearance as a young boy. Illustrated in a sooty pen-and-ink style by Eddie Campbell, "From Hell" took nearly ten years to complete, outlasting "Taboo" and going through two more publishers before being collected as a trade paperback by Eddie Campbell Comics. It was widely praised, with comics author Warren Ellis citing it as his "all-time favourite graphic novel".


title: Alan Moore

text: The other series that Moore began for "Taboo" was "Lost Girls", which he described as a work of intelligent "pornography". Illustrated by Melinda Gebbie, with whom Moore subsequently entered into a relationship, it was set in 1913, where Alice from "Alice in Wonderland", Dorothy from "The Wizard of Oz" and Wendy from "Peter Pan" – who are each of a different age and class – all meet in a European hotel and regale each other with tales of their sexual encounters. With the work, Moore wanted to attempt something innovative in comics, and believed that creating comics pornography was a way of achieving this. He remarked that "I had a lot of different ideas as to how it might be possible to do an up-front sexual comic strip and to do it in a way that would remove a lot of what I saw were the problems with pornography in general. That it's mostly ugly, it's mostly boring, it's not inventive – it has no standards." Like "From Hell", "Lost Girls" outlasted "Taboo", and a few subsequent instalments were published erratically until the work was finished and a complete edition published in 2006.


title: Alan Moore

text: Meanwhile, Moore set about writing a prose novel, eventually producing "Voice of the Fire", which would be published in 1996. Unconventional in tone, the novel was a set of short stories about linked events in his hometown of Northampton through the centuries, from the Bronze Age to the present day, which combined to tell a larger story.


title: Alan Moore

text: In 1993 Moore declared himself to be a ceremonial magician. The same year marked a move by Moore back to the mainstream comics industry and back to writing superhero comics. He did so through Image Comics, widely known at the time for its flashy artistic style, graphic violence, and scantily clad large-breasted women, something that horrified many of his fans. His first work published by Image, an issue of the series "Spawn", was soon followed by the creation of his own mini-series, "1963", which was "a pastiche of Jack Kirby stories drawn for Marvel in the sixties, with their rather overblown style, colourful characters and cosmic style". According to Moore, "after I'd done the "1963" stuff I'd become aware of how much the comic audience had changed while I'd been away [since 1988]. That all of a sudden it seemed that the bulk of the audience really wanted things that had almost no story, just lots of big, full-page pin-up sort of pieces of artwork. And I was genuinely interested to see if I could write a decent story for that market."


title: Alan Moore

text: He subsequently set about writing what he saw as "better than average stories for 13- to 15-year olds", including three mini-series based upon the "Spawn" series: "Violator", "Violator/Badrock", and "Spawn: Blood Feud". In 1995, he was also given control of a regular monthly comic, Jim Lee's "WildC.A.T.S.", starting with issue No. 21, which he would continue to write for fourteen issues. The series followed two groups of superheroes, one of which is on a spaceship headed back to its home planet, and one of which remains on Earth. Moore's biographer Lance Parkin was critical of the run, feeling that it was one of Moore's worst, and that "you feel Moore should be better than this. It's not special." Moore himself, who remarked that he took on the series – his only regular monthly comic series since "Swamp Thing" – largely because he liked Jim Lee, admitted that he was not entirely happy with the work, believing that he had catered too much to his conceptions of what the fans wanted rather than being innovative.


title: Alan Moore

text: Next he took over Rob Liefeld's "Supreme", about a character with many similarities with DC Comics' Superman. Instead of emphasising increased realism as he had done with earlier superhero comics he had taken over, Moore did the opposite and began basing the series on the Silver Age Superman comics of the 1960s, introducing a female superhero Suprema, a super-dog Radar, and a Kryptonite-like material known as Supremium, in doing so harking back to the original "mythic" figure of the American superhero. Under Moore, Supreme would prove to be a critical and commercial success, announcing that he was back in the mainstream after several years of self-imposed exile.


title: Alan Moore

text: When Rob Liefeld, one of Image's co-founders, split from the publisher and formed his own company Awesome Entertainment, he hired Moore to create a new universe for the characters he had brought with him from Image. Moore's "solution was breathtaking and cocky – he created a long and distinguished history for these new characters, retro-fitting a fake silver and gold age for them." Moore began writing comics for many of these characters, such as "Glory" and "Youngblood", as well as a three-part mini-series known as "Judgment Day" to provide a basis for the Awesome Universe. Moore was not satisfied with Liefeld, saying "I just got fed up with the unreliability of information that I get from him, that I didn't trust him. I didn't think that he was respecting the work and I found it hard to respect him. And also by then I was probably feeling that with the exception of Jim Lee, Jim Valentino – people like that – that a couple of the Image partners were seeming, to my eyes, to be less than gentlemen. They were seeming to be not necessarily the people I wanted to deal with."


title: Alan Moore

text: Image partner Jim Lee offered to provide Moore with his own imprint, which would be under Lee's company WildStorm Productions. Moore named this imprint America's Best Comics, lining up a series of artists and writers to assist him in this venture. Lee soon sold WildStorm – including America's Best Comics – to DC Comics, and "Moore found himself back with a company he'd vowed to never work with again". Lee and editor Scott Dunbier flew to England personally to reassure Moore that he would not be affected by the sale, and would not have to deal with DC directly. Moore decided that there were too many people involved to back out from the project, and so ABC was launched in early 1999.


title: Alan Moore

text: The first series published by ABC was "The League of Extraordinary Gentlemen", which featured a variety of characters from Victorian adventure novels, such as H. Rider Haggard's Allan Quatermain, H. G. Wells' Invisible Man, Jules Verne's Captain Nemo, Robert Louis Stevenson's Dr. Jekyll and Mr. Hyde, and Wilhelmina Murray from Bram Stoker's "Dracula". Illustrated by Kevin O'Neill, the first volume of the series pitted the League against Professor Moriarty from the "Sherlock Holmes" books; the second, against the Martians from "The War of the Worlds". A third volume entitled "The Black Dossier" was set in the 1950s. The series was well received, and Moore was pleased that an American audience was enjoying something he considered "perversely English", and that it was inspiring some readers to get interested in Victorian literature.


title: Alan Moore

text: Another of Moore's ABC works was "Tom Strong", a post-modern superhero series, featured a hero inspired by characters pre-dating Superman, such as Doc Savage and Tarzan. The character's drug-induced longevity allowed Moore to include flashbacks to Strong's adventures throughout the 20th century, written and drawn in period styles, as a comment on the history of comics and pulp fiction. The primary artist was Chris Sprouse. "Tom Strong" bore many similarities to Moore's earlier work on "Supreme", but according to Lance Parkin, was "more subtle", and was "ABC's most accessible comic".


title: Alan Moore

text: Moore's "Top 10", a deadpan police procedural drama set in a city called Neopolis where everyone, including the police, criminals, and civilians has super-powers, costumes, and secret identities, was drawn by Gene Ha and Zander Cannon. The series ended after twelve issues but has spawned four spin-offs: a miniseries "Smax", which was set in a fantasy realm and drawn by Cannon; "", a prequel to the main "Top Ten" series drawn by Ha; and two sequel miniseries, "", which was written by Paul Di Filippo and drawn by Jerry Ordway, and "Top 10: Season Two", written by Cannon and drawn by Ha.


title: Alan Moore

text: Moore's series "Promethea", which told the story of a teenage girl, Sophie Bangs, who is possessed by an ancient pagan goddess, the titular Promethea, explored many occult themes, particularly the Qabalah and the concept of magic, with Moore stating that "I wanted to be able to do an occult comic that didn't portray the occult as a dark, scary place, because that's not my experience of it ... ["Promethea" was] more psychedelic ... more sophisticated, more experimental, more ecstatic and exuberant." Drawn by J. H. Williams III, it has been described as "a personal statement" from Moore, being one of his most personal works, and that it encompasses "a belief system, a personal cosmology".


title: Alan Moore

text: ABC Comics was also used to publish an anthology series, "Tomorrow Stories", which featured a regular cast of characters such as Cobweb, First American, Greyshirt, Jack B. Quick, and Splash Brannigan. "Tomorrow Stories" was notable for being an anthology series, a medium that had largely died out in American comics at the time.


title: Alan Moore

text: Despite the assurances that DC Comics would not interfere with Moore and his work, they subsequently did so, angering him. Specifically, in "League of Extraordinary Gentlemen" No. 5, an authentic vintage advertisement for a "Marvel"-brand douche caused DC executive Paul Levitz to order the entire print run destroyed and reprinted with the advertisement amended to "Amaze", to avoid friction with DC's competitor Marvel Comics. A "Cobweb" story Moore wrote for "Tomorrow Stories" No. 8 featuring references to L. Ron Hubbard, American occultist Jack Parsons, and the "Babalon Working", was blocked by DC Comics due to the subject matter. DC had already published a version of the same event in their Paradox Press volume "The Big Book of Conspiracies".


title: Alan Moore

text: In 2003, a documentary about him was made by Shadowsnake Films, titled "The Mindscape of Alan Moore", which was later released on DVD.


title: Alan Moore

text: With many of the stories he had planned for America's Best Comics brought to an end, and with his increasing dissatisfaction with how DC Comics were interfering with his work, he decided to once more pull out of the comics mainstream. In 2005, he remarked that "I love the comics medium. I pretty much detest the comics industry. Give it another 15 months, I'll probably be pulling out of mainstream, commercial comics." The only ABC title continued by Moore was "The League of Extraordinary Gentlemen"; after cutting ties with DC he launched the new "League" saga, "", in a co-publishing partnership of Top Shelf Productions and Knockabout Comics, the first part, titled "1910" released in 2009, the second, titled "1969", released in 2011, and the third, titled "2009", released in 2012. He continues to work with Kevin O'Neill on their "League of Extraordinary Gentlemen" spin-off, "Nemo", with three graphic novels published, "Heart of Ice", "The Roses of Berlin", and "River of Ghosts".


title: Alan Moore

text: In 2006, the complete edition of "Lost Girls" was published, as a slipcased set of three hardcover volumes. The same year Moore published an eight-page article tracing out the history of pornography in which he argued that a society's vibrancy and success are related to its permissiveness in sexual matters. Decrying that the consumption of contemporary ubiquitous pornography was still widely considered shameful, he called for a new and more artistic pornography that could be openly discussed and would have a beneficial impact on society. He expanded on this for a 2009 book-length essay entitled "25,000 years of Erotic Freedom", which was described by a reviewer as "a tremendously witty history lecture – a sort of "Horrible Histories" for grownups."


title: Alan Moore

text: In 2007, Moore appeared in animated form in an episode of "The Simpsons" – a show of which he is a fan – entitled "Husbands and Knives", which aired on his fifty-fourth birthday.


title: Alan Moore

text: Since 2009, Moore has been a panellist on the BBC Radio 4 programme "The Infinite Monkey Cage", which is hosted by physicist Brian Cox and comedian Robin Ince.


title: Alan Moore

text: In 2010, Moore began what he described as "the 21st century's first underground magazine". Titled "Dodgem Logic", the bi-monthly publication consisted of work by a number of Northampton and Midlands-based authors and artists, as well as original contributions from Moore. Despite Dodgem Logic's content not being particularly regional or parochial, its advertising sales remained mainly Midland's based, limiting its financial stability, and making it unusually dependent upon sales revenues. It ran for eight issues and folded in April 2011.


title: Alan Moore

text: In 2010 Moore began publishing a series of comics set in the H. P. Lovecraft universe returning to an earlier interest in the work and worlds of the author. Avatar Press had previously published "Alan Moore's Yuggoth Cultures and Other Growths", a compilation of unpublished scripts and strips and comic adaptations of previously published poems by Moore themed around or based upon Lovecraft's work in 2003, followed by the two part "The Courtyard" adapted from a previously published Lovecraftian Moore short story. The horror mini-series "Neonomicon", the first of Moore's original comic works released by Avatar Press, were illustrated by Jacen Burrows who had also illustrated the earlier adaptations, and the fourth and final issue was released in January 2011.


title: Alan Moore

text: In 2014 a twelve-part series reuniting Moore with Jacen Burrows was announced titled "Providence" on Lovecraft and the sources of the Cthulhu Mythos forming a prequel to "Neonomicon". It was published in twelve issues from 2015 to 2017.


title: Alan Moore

text: Moore has appeared live at music events collaborating with a number of different musicians, including a 2011 appearance with Stephen O'Malley at the All Tomorrow's Parties 'I'll Be Your Mirror' music festival in London.


title: Alan Moore

text: A planned future project is an occult textbook known as "The Moon and Serpent Bumper Book of Magic", written with Steve Moore. It will be published by Top Shelf in "the future". In September 2016, he published a novel called "Jerusalem", which is also set in Northampton.


title: Alan Moore

text: Alan Moore has joined the Occupy Comics Kickstarter project. Moore contributed an essay on comics as counter-culture.


title: Alan Moore

text: In 2014, Moore announced that he was leading a research and development project to "create an app enabling digital comics to be made by anyone". "Electricomics" premiered in 2015. It is an open source app for reading and creating interactive comics. Moore wrote the story "Big Nemo", a dystopian sequel to Winsor McCay's "Little Nemo". It was illustrated by Colleen Doran and animated by Ocasta Studios with colours by Jose Villarubia. "The Guardian" chose it as one of the best iPhone/iPad apps of 2015. Pipedream Comics named it the Digital Comics App of the Year.


title: Alan Moore

text: In 2016, Moore confirmed that after authoring a final "League of Extraordinary Gentlemen" book, he planned on retiring from regularly writing comic books.


title: Alan Moore

text: In April 2016, Moore began curating a comic book anthology series entitled "Cinema Purgatorio" published by Avatar Press, each issue opening with a story written by Moore and illustrated by Kevin O'Neill. The book also features the writing and artist team-ups of Garth Ennis & Raulo Cáceres ("Code Pru"), Max Brooks & Michael DiPascale ("A More Perfect Union"), Kieron Gillen & Ignacio Calero ("Modded"), and Christos Gage & Gabriel Andrade ("The Vast"). The anthology series has been described as "Classic tropes of pulp fiction, either turned on their head, given new filters or explored in ridiculous detail, by some of the very best comic creators we have today."


title: Alan Moore

text: In 2018, Moore contributed to the comic anthology "24 Panels". The publication was curated by Kieron Gillen and intended to raise funds for those affected by the Grenfell Tower fire of 2017.


title: Alan Moore

text: With the end of the fourth volume of "League of Extraordinary Gentlemen", the conclusion of his Lovecraft sequence and some short stories appearing in "Cinema Purgatorio", Moore has retired from comics as of mid-2019. In 2022 he confirmed it, saying "I'm definitely done with comics, I haven’t written one for getting on for five years. I will always love and adore the comics medium but the comics industry and all of the stuff attached to it just became unbearable."


title: Alan Moore

text: In a number of his comics, where he was taking over from earlier writers, including "Marvelman", "Swamp Thing", and "Supreme", he used the "familiar tactic of wiping out what had gone before, giving the hero amnesia and revealing that everything we'd learned to that point was a lie." In this manner he was largely able to start afresh with the character and its series and was not constrained by earlier canon. While commenting on the artistic restrictiveness of serialised comic books, artist Joe Rubinstein gave the example that a comics creator would be limited in what he could do with Spider-Man, and added, "unless you're Alan Moore, who would probably kill him and bring him back as a real spider or something".


title: Alan Moore

text: As a comics writer, Moore applies literary sensibilities to the mainstream of the medium as well as including challenging subject matter and adult themes. He brings a wide range of influences to his work, such as William S. Burroughs, William Blake, Thomas Pynchon, and Iain Sinclair, New Wave science fiction writers like Michael Moorcock, and horror writers such as Clive Barker. Influences within comics include Will Eisner, Steve Ditko, Harvey Kurtzman, Jack Kirby, and Bryan Talbot.


title: Alan Moore

text: Moore's work in the comic book medium has been widely recognised by his peers and by critics. Comics historian George Khoury asserted that "to call this free spirit the best writer in the history of comic books is an understatement" while interviewer Steve Rose referred to him as "the Orson Welles of comics" who is "the undisputed high priest of the medium, whose every word is seized upon like a message from the ether" by comic book fans. Douglas Wolk observed: "Moore has undisputably made it into the Hall of Fame: he's one of the pillars of English language comics, alongside Jack Kirby and Will Eisner and Harvey Kurtzman and not many others. He's also the grand exception in that hall, since the other pillars are artists – and more often than not, writer/artists. Moore is a writer almost exclusively, though his hyper detailed scripts always play to the strengths of the artists he works with. That makes him the chief monkey wrench in comics author theory. The main reason that almost nobody's willing to say that a single cartoonist is "categorically" superior to a writer/artist team is that such a rule would run smack into Moore's bibliography. In fact, a handful of cartoonists who almost always write the stories they draw have made exceptions for Moore – Jaime Hernandez, Mark Beyer and most memorably Eddie Campbell."


title: Alan Moore

text: Moore won numerous Jack Kirby Awards, including for Best Single Issue for "Swamp Thing Annual" No. 2 in 1985 with John Totleben and Steve Bissette, for Best Continuing Series for "Swamp Thing" in 1985, 1986 and 1987 with Totleben and Bissette, Best Writer for "Swamp Thing" in 1985 and 1986 and for "Watchmen" in 1987, and with Dave Gibbons for Best Finite Series and Best Writer/Artist (Single or Team) for "Watchmen" in 1987.


title: Alan Moore

text: Moore has won multiple Eagle Awards, including virtually a "clean sweep" in 1986 for his work on "Watchmen" and "Swamp Thing". Moore not only won "favourite writer in both the US and UK categories", but had his work win for favourite comic book, supporting character, and new title in the US; and character, continuing story and "character worthy of own title" in the UK (in which last category his works held all top three spots).


title: Alan Moore

text: Moore has been nominated for the "Comics Buyer's Guide Fan Awards" several times, winning for Favorite Writer in 1985, 1986, 1987, 1999, and 2000. He won the CBG Fan Award for Favorite Comic Book Story ("Watchmen") in 1987 and Favorite Original Graphic Novel or Album ("" with Brian Bolland) in 1988.


title: Alan Moore

text: He was given the "Best Comics Writer Ever" National Comics Award in 2001, 2002, and 2003. In addition, he was added to the National Comics Award's Roll of Honour in 2002.


title: Alan Moore

text: He received the Harvey Award for Best Writer for 1988 (for "Watchmen"), for 1995 and 1996 (for "From Hell"), for 1999 (for his body of work, including "From Hell" and "Supreme"), for 2000 (for "The League of Extraordinary Gentlemen"), and for 2001 and 2003 (for "Promethea").


title: Alan Moore

text: Among his numerous international prizes are the German Max & Moritz Prize for an exceptional oeuvre (2008) and the British National Comics Award for Best Comics Writer Ever (in 2001 and 2002). He also won French awards like the Angoulême International Comics Festival Prize for Best Album for "Watchmen" in 1989 and "V for Vendetta" in 1990, and the Prix de la critique for "From Hell" in 2001, the Swedish Urhunden Prize in 1992 for "Watchmen" and several Spanish Haxtur Awards, in 1988 for "Watchmen" and 1989 for "Swamp Thing" No. 5 (both for Best Writer).


title: Alan Moore

text: In 1988 he received a World Fantasy Award for Best Novella for "A Hypothetical Lizard", which Avatar Press published in 2004 as a comics adaption by Antony Johnston. Moore also won two International Horror Guild Awards in the category Graphic Story/Illustrated Narrative (in 1995 with Eddie Campbell for "From Hell" and in 2003 with Kevin O'Neill for "The League of Extraordinary Gentlemen"). Moore received a Bram Stoker Award in the category Best Illustrated Narrative for "The League of Extraordinary Gentlemen" in 2000, then again in 2012 for "Neonomicon" as Best Graphic Novel.


title: Alan Moore

text: In 2005, "Watchmen" was the only graphic novel to make it on to "Time"'s "The 100 Best Novels from 1923 to the Present" list.


title: Alan Moore

text: Due to the success of his comics, a number of filmmakers have expressed a desire to make film adaptations over the years. Moore himself has consistently opposed such ventures, stating that "I wanted to give comics a special place when I was writing things like "Watchmen". I wanted to show off just what the possibilities of the comic book medium were, and films are completely different." Expressing similar sentiments, he also remarked that:


title: Alan Moore

text: The first film to be based upon Moore's work was "From Hell" in 2001, which was directed by the Hughes brothers. The film included a number of radical differences from the original comic, altering the main character from an older, conservative detective to a young character played by Johnny Depp. This was followed in 2003 with "The League of Extraordinary Gentlemen", a film that also departed radically from the books, changing the ending from a mob war over the skies of London to the infiltration of a secret base in Tibet. For these two works, Moore was content to allow the filmmakers to do whatever they wished and removed himself from the process entirely. "As long as I could distance myself by not seeing them," he said, he could profit from the films while leaving the original comics untouched, "assured no one would confuse the two. This was probably naïve on my part."


title: Alan Moore

text: His attitude changed after producer Martin Poll and screenwriter Larry Cohen filed a lawsuit against 20th Century Fox, alleging that the film "The League of Extraordinary Gentlemen" plagiarised an unproduced script they had written entitled "Cast of Characters". According to Moore, "They seemed to believe that the head of 20th Century Fox called me up and persuaded me to steal this screenplay, turning it into a comic book they could then adapt back into a movie, to camouflage petty larceny." Moore testified in a deposition and found the process to be extremely unpleasant. Fox's settlement of the case insulted Moore, who interpreted it as an admission of guilt. In 2012, Moore claimed that he had sold the rights to these two works simply for the money; he did not expect the films ever to be made. He was simply "getting money for old rope". Moore said in an interview in 2012 that he had seen neither film.


title: Alan Moore

text: In 2005 a film adaptation of Moore's "V for Vendetta" was released, produced by The Wachowskis and directed by James McTeigue. Producer Joel Silver said at a press conference for the Warner Bros.' "V for Vendetta" that fellow producer Lana Wachowski had talked with Moore, and that "[Moore] was very excited about what [Lana] had to say." Moore disputed this, reporting that he told Wachowski "I didn't want anything to do with films ... I wasn't interested in Hollywood," and demanded that DC Comics force Warner Bros to issue a public retraction and apology for Silver's "blatant lies". Although Silver called Moore directly to apologise, no public retraction appeared. Moore was quoted as saying that the comic book had been "specifically about things like fascism and anarchy. Those words, 'fascism' and 'anarchy,' occur nowhere in the film. It's been turned into a Bush-era parable by people too timid to set a political satire in their own country."


title: Alan Moore

text: Moore also publicly criticised details of the script before the film's release, pointing to apparent laziness in the writing. "They don't know what British people have for breakfast, they couldn't be bothered [to find out]. 'Eggy in a basket' apparently. Now the US have 'eggs in a basket,' which is fried bread with a fried egg in a hole in the middle. I guess they thought we must eat that as well, and thought 'eggy in a basket' was a quaint and Olde Worlde version", he stated.


title: Alan Moore

text: This conflict between Moore and DC Comics was the subject of an article in "The New York Times" on 12 March 2006, five days before the US release. In the "New York Times" article, Silver stated that about 20 years prior to the film's release he had met with Moore and Dave Gibbons when Silver acquired the film rights to "V for Vendetta" and "Watchmen". Silver stated, "Alan was odd, but he was enthusiastic and encouraging us to do this. I had foolishly thought that he would continue feeling that way today, not realising that he wouldn't." Moore did not deny this meeting or Silver's characterisation of Moore at that meeting, nor did Moore state that he advised Silver of his change of opinion in those approximately 20 years. The "New York Times" article also interviewed David Lloyd about Moore's reaction to the film's production, stating, "Mr Lloyd, the illustrator of "V for Vendetta", also found it difficult to sympathise with Mr Moore's protests. When he and Mr Moore sold their film rights to the comic book, Mr Lloyd said: "We didn't do it innocently. Neither myself nor Alan thought we were signing it over to a board of trustees who would look after it like it was the Dead Sea Scrolls."


title: Alan Moore

text: Moore has subsequently stated that he wishes his name to be removed from all comic work that he does not own, including "Watchmen" and "V for Vendetta", much as unhappy film directors often choose to have their names removed and be credited as "Alan Smithee". He also announced that he would not allow his name to be used in any future film adaptations of works he does not own, nor would he accept any money from such adaptations. This request was respected by the producers of the subsequent screen adaptations of his works: "Constantine" (2005) (based on a character created by Moore), the 2009 Warner Brothers "Watchmen" film, the and the 2019 HBO "Watchmen" TV series.


title: Alan Moore

text: In a 2012 interview with "LeftLion" magazine, Alan Moore was asked to put a figure on how much money he had turned down by refusing to be associated with these film adaptations. He estimated it to be 'at least a few million dollars' and said:


title: Alan Moore

text: Since his teenage years Moore has had long hair, and since early adulthood has also had a beard. He has taken to wearing a number of large rings on his hands, leading him to be described as a "cross between Hagrid and Danny from "Withnail and I"" who could be easily mistaken for "the village eccentric". Born and raised in Northampton, he continues to live in the town, and used its history as a basis for his novels "Voice of the Fire" and "Jerusalem". His "unassuming terraced" Northampton home was described by an interviewer in 2001 as "something like an occult bookshop under permanent renovation, with records, videos, magical artefacts and comic-book figurines strewn among shelves of mystical tomes and piles of paper. The bathroom, with blue-and-gold décor and a generous sunken tub, is palatial; the rest of the house has possibly never seen a vacuum cleaner. This is clearly a man who spends little time on the material plane." He likes to live in his home town, feeling that it affords him a level of obscurity that he enjoys, remarking that "I never signed up to be a celebrity." He has spoken in praise of the town's former Radical MP, Charles Bradlaugh at the annual commemoration. He is also a vegetarian.


title: Alan Moore

text: With his first wife Phyllis, whom he married in the early 1970s, he has two daughters, Leah and Amber. The couple also had a mutual lover, Deborah, although the relationship between the three ended in the early 1990s as Phyllis and Deborah left Moore, taking his daughters with them. On 12 May 2007, he married Melinda Gebbie, with whom he has worked on several comics, most notably "Lost Girls".


title: Alan Moore

text: In 1993, on his fortieth birthday, Moore openly declared his dedication to being a ceremonial magician, something he saw as "a logical end step to my career as a writer". According to a 2001 interview, his inspiration for doing this came when he was writing "From Hell" in the early 1990s, a book containing much Freemasonic and occult symbolism: "One word balloon in "From Hell" completely hijacked my life ... A character says something like, 'The one place gods inarguably exist is in the human mind'. After I wrote that, I realised I'd accidentally made a true statement, and now I'd have to rearrange my entire life around it. The only thing that seemed to really be appropriate was to become a magician." Moore associates magic very much with writing; "I believe that magic is art, and that art, whether that be music, writing, sculpture, or any other form, is literally magic. Art is, like magic, the science of manipulating symbols, words or images, to achieve changes in consciousness ... Indeed to cast a spell is simply to spell, to manipulate words, to change people's consciousness, and this is why I believe that an artist or writer is the closest thing in the contemporary world to a shaman."


title: Alan Moore

text: Connecting his esoteric beliefs with his career in writing, he conceptualised a hypothetical area known as the "Idea Space", describing it as "... a space in which mental events can be said to occur, an idea space which is perhaps universal. Our individual consciousnesses have access to this vast universal space, just as we have individual houses, but the street outside the front door belongs to everybody. It's almost as if ideas are pre-existing forms within this space ... The landmasses that might exist in this mind space would be composed entirely of ideas, of concepts, that instead of continents and islands you might have large belief systems, philosophies, Marxism might be one, Judeo-Christian religions might make up another." He subsequently believed that to navigate this space, magical systems like the tarot and the Qabalah would have to be used.


title: Alan Moore

text: Taking up the study of the Qabalah and the writings of the early 20th-century occultist Aleister Crowley, Moore accepted ideas from Crowley's religion, Thelema, about True Will being connected to the will of the pantheistic universe. In some of his earlier magical rituals, he used mind-altering psychedelic drugs but later gave this up, believing that they were unnecessary, and stated, "It's frightening. You call out the names in this strange incomprehensible language, and you're looking into the glass and there appears to be this little man talking to you. It just works."


title: Alan Moore

text: Moore took as his primary deity the ancient Roman snake god Glycon, who was the centre of a cult founded by a prophet known as Alexander of Abonoteichus, and according to Alexander's critic Lucian, the god itself was merely a puppet, something Moore accepts, considering him to be a "complete hoax", but dismisses as irrelevant. According to Pagan Studies scholar Ethan Doyle-White, "The very fact that Glycon was probably one big hoax was enough to convince Moore to devote himself to the scaly lord, for, as Moore maintains, the imagination is just as real as reality."


title: Alan Moore

text: Moore is a member of Northampton Arts Lab and takes walks with the novelist Alistair Fruish. He is also a friend of writer Neil Gaiman, whom he once called Neil "Scary Trousers" Gaiman due to his reaction as he described the script of "From Hell".


title: Alan Moore

text: Moore politically identifies as an anarchist, and outlined his interpretation of anarchist philosophy, and its application to fiction writing in an interview with Margaret Killjoy, collected in the 2009 book, "Mythmakers and Lawbreakers":


title: Alan Moore

text: In December 2011, Moore responded to Frank Miller's attack on the Occupy movement, calling his more recent work misogynistic, homophobic and misguided. Worldwide, Occupy protesters adopted the Guy Fawkes mask from "V for Vendetta". The mask has also been adopted by Anonymous, Egyptian revolutionaries, and anti-globalization demonstrators. Moore described Occupy as "ordinary people reclaiming rights which should always have been theirs" and added:


title: Alan Moore

text: Moore is a member of The Arts Emergency Service, a British charity working with 16- to 19-year-olds in further education from diverse backgrounds.


title: Alan Moore

text: In August 2016, Moore endorsed Jeremy Corbyn's campaign in the Labour Party leadership election. In the 2017 general election, Moore expressed guarded support for the Labour Party, mainly due to the left-wing socialist Corbyn being elected leader, although he does not vote as a matter of political principle. In November 2019, Moore again expressed guarded support for Labour, even going so far as to say that he would be voting for the first time in over forty years. "Although my vote is principally against the Tories rather than for Labour," he wrote, "I'd observe that Labour's current manifesto is the most encouraging set of proposals that I've ever seen from any major British party. Though these are immensely complicated times and we are all uncertain as to which course we should take, I'd say the one that steers us furthest from the glaringly apparent iceberg is the safest bet."


title: Alan Moore

text: Doing research into conspiracy theories for his work on "Brought to Light", Moore came to develop his own view about why people accept conspiracy theories, stating that:


title: Alan Moore

text: Moore criticised the expansion of independent, creator-owned comic companies, stating that, "With a very few bold exceptions, most of the creator-owned material produced by the independent companies has been indistinguishable from the mainstream product that preceded it." Moore has also criticized his own overuse of "a basic elliptical plot structure, where elements at the beginning of the story mirror events which are to happen at the end ... acting as bookends to give the story that takes place in between a sense of neatness and unity." He has also faulted his own excessive use of overlapping or coincidental dialogue in scene transitions.


title: Alan Moore

text: Moore explained his preference for comic book writing over other mediums: "In comics, I have complete control, other than the input of my artists... every full stop and comma that I put down on that script is going to end up in the finished comic."


title: Alan Moore

text: Moore complimented Frank Miller's realistic use of minimal dialogue in fight scenes, which "move very fast, flowing from image to image with the speed of a real-life conflict, unimpeded by the reader having to stop to read a lot of accompanying text".


title: Tame Impala

text: Tame Impala is the psychedelic music project of Australian multi-instrumentalist Kevin Parker. In the recording studio, Parker writes, records, performs, and produces all of the project's music. As a touring act, Tame Impala consists of Parker (guitar, vocals), Dominic Simper (guitar, synthesiser), Jay Watson (synthesiser, vocals, guitar), Cam Avery (bass guitar, vocals), and Julien Barbagallo (drums, vocals). The group has a close affiliation with fellow Australian psychedelic rock band Pond, sharing members and collaborators, including Nick Allbrook, formerly a live member of Tame Impala. Originally signed to Modular Recordings, Tame Impala is now signed to Interscope Records in the United States and Fiction Records in the UK.


title: Tame Impala

text: Parker originally conceived the project in Perth in 2007. After a series of singles and EPs, Tame Impala's debut studio album, "Innerspeaker", was released in 2010; it was certified gold in Australia and well received by critics. Parker's 2012 follow-up, "Lonerism", was also acclaimed, reaching platinum status in Australia and receiving a Grammy Award nomination for Best Alternative Music Album. Tame Impala's third album, "Currents", was released in July 2015, and like its predecessor, it won ARIA Awards for Best Rock Album and Album of the Year. Parker won the APRA Award for Song of the Year 2016 for "Currents" first track, "Let It Happen". The fourth studio album, "The Slow Rush", was released on 14 February 2020. At the 2020 ARIA Music Awards, Tame Impala won five trophies.


title: Tame Impala

text: The origins of the act can be found in the Perth music scene. Parker played in a number of bands, one being the Dee Dee Dums, a rock duo that consisted of Parker (guitar) and Luke Epstein (drums). Tame Impala emerged in 2007 as a Kevin Parker home-recording project in this period and he posted a number of tracks on Myspace. This brought interest from a number of labels and eventually, he signed a worldwide deal with the independent Modular Recordings in July 2008. To transfer these recordings to a live-stage, Parker enlisted the help of Dominic Simper (bass) and Jay Watson (drums) and began playing at some local gigs.


title: Tame Impala

text: The signing was soon followed by the release of their self-titled EP in September 2008. It reached the number 1 position on the Australian Independent Record Labels (AIR) Chart and number 10 on the ARIA Physical Singles Chart, with three songs—"Desire Be, Desire Go", "Half Full Glass of Wine", and "Skeleton Tiger"—receiving national radio airplay on the Triple J radio station.


title: Tame Impala

text: Tours in 2008 included supports for You Am I, The Black Keys, Yeasayer and MGMT, as well as performances at Southbound Festival, Meredith Music Festival and Falls Festival, and national headline tours in support of their EP. Tours in 2009 included a sold-out six-date "Skeleton Tiger" national headline tour and a five-date UK tour (including Nevereverland UK), as well as performances at V Festival.


title: Tame Impala

text: Tame Impala appeared on Triple J's Hottest 100 list in 2008—their first appearance on the list—with "Half Full Glass of Wine" at number 75. The song is also on the Hottest 100 compilation album.


title: Tame Impala

text: Tame Impala's first single, "Sundown Syndrome", was recorded at Toerag Studios in London, UK, with recording engineer Liam Watson, while the band was in the UK in March 2009. "Sundown Syndrome" was premiered by Richard Kingsmill on his "2009" show on Triple J on Sunday 10 May 2009. The song was released in July 2009 on vinyl, and digitally with a cover of "Remember Me" by DJ Blue Boy.


title: Tame Impala

text: The band then headlined the inaugural "Rottofest" in August 2009, an annual comedy, film and music festival held on Rottnest Island off the coast of Western Australia. Following Rottofest, they embarked on a national tour through September and October 2009 in support of the single. "Remember Me" appeared at number 78 on Triple J's Hottest 100 for 2009.


title: Tame Impala

text: "Sundown Syndrome" was included on the soundtrack of the Oscar-nominated film "The Kids Are All Right." "Half Full Glass of Wine" was used in HBO's popular television series "Entourage" as the closing song for an episode.


title: Tame Impala

text: Tame Impala appeared at the Australian/New Zealand Big Day Out festival in early 2010, performing alongside bands such as Muse, The Mars Volta, Kasabian and Rise Against.


title: Tame Impala

text: Tame Impala's debut album "Innerspeaker" was released on 21 May 2010. In the UK the official release date was 28 June, but iTunes accidentally made it available for purchase on 12 May. The album was released in the United States on 8 June to general and critical acclaim. Pitchfork named it Best New Music.


title: Tame Impala

text: In an interview with Triple J talking about the album's nomination for the J Award, Parker stated that they had secretly been recording a new album. "Jay and I have been recording pretty compulsively and album number two is nearing potential completion already and I'm so excited about it that I'm having trouble keeping myself from telling you all about it". This came only months after "Innerspeaker" was released.


title: Tame Impala

text: The group toured in mid-2010, commencing the "Innerspeaker" album tour on 13 May 2010 as the opening act for MGMT's 2010 American tour. The band returned to Australia to play at Splendour in the Grass festival, which was followed by a European Tour in July (including an appearance at the Reading Festival) and a national Australian tour in October. In November they returned to the UK and Europe for a fifteen date tour, including their largest London headline show to date which was attended by Noel Gallagher, Tom Meighan, Sergio Pizzorno, Noel Fielding, Alexa Chung and Alison Mosshart, the band then went on to the United States and Canada for twenty headline dates including sold-out shows in Toronto, New York, Los Angeles, and San Francisco. They also received four 2010 ARIA Music Awards nominations which include, "Album of the Year" and "Best Rock Album" for "Innerspeaker", "Best Group" and also "Breakthrough Artist".


title: Tame Impala

text: On 29 November 2010, "Innerspeaker" won Australian youth-oriented radio network Triple J's highest honour, winning the J Award for Album of the Year.


title: Tame Impala

text: Tame Impala's second album, "Lonerism", was released in 2012 and was mixed by Dave Fridmann. Parker said that "Lonerism" "represents a departure from his previous work by incorporating an expanded sonic palette, more emotional song writing, and a more pronounced narrative perspective". It was created in a similar set up as "Innerspeaker", whereby Parker wrote and recorded the majority of the album by himself at his home in Perth, Western Australia. Parts of the recording also occurred in Parker's home studio in France.


title: Tame Impala

text: While in France, Parker produced and played on the self-titled dream pop album by Melody's Echo Chamber, the project of French singer Melody Prochet. As a result, one of the tracks on "Lonerism" is titled "Endors Toi", which roughly translates from French to English as "fall asleep". The album cover is a photo taken by Parker of the Jardin du Luxembourg in Paris, France, with additional editing by Leif Podhajsky, a graphic designer who created the album art for "Innerspeaker". The image ties into the themes of isolation of "Lonerism", with a metal gate separating the viewer from the people in the Gardens.


title: Tame Impala

text: The band released the song "Apocalypse Dreams" as a free download on 7 July 2012. The first single, "Elephant", was released on 26 July 2012. The album was released on 5 October in Australia, 8 October in the United Kingdom and 9 October in the United States. StillinRock described it as the best album of the year. The album features the songs "Apocalypse Dreams" and "Elephant", which are some of the first songs that Parker has co-written with Watson. "Feels Like We Only Go Backwards" was released as the second single.


title: Tame Impala

text: In November 2012, "Lonerism" won the 2012 J Award for Australian Album of the Year. It was the second time Tame Impala had won the award, after also winning it for their debut album, "Innerspeaker", in 2010. They are the first band to win the J Award more than once. In January 2013, "Lonerism" was selected by "Rolling Stone" for the 2012 Album of the Year award after the band also won the award in 2011 for "Innerspeaker". It was also announced as album of the year by UK magazine "NME". Additionally, "Lonerism" was voted No. 1 overall by "Rolling Stone", Triple J, "NME", "Filter", Urban Outfitters, FasterLouder and Obscure Sound's 2012 Album of the Year polls. "Lonerism" became the first Australian album to win NME's album of the year. "Elephant" and "Feels Like We Only Go Backwards" appeared at No. 7 and 9, respectively, in Triple J's Hottest 100 for 2012.


title: Tame Impala

text: The band began an international tour in 2012 through 2013, supported by The Growl. During this tour, they played major festivals such as Coachella and Sasquatch Festival, and appeared on "Late Night with Jimmy Fallon". For this tour, Watson switched from drums to keyboards, and Parker recruited Julien Barbagallo on drums.


title: Tame Impala

text: In September 2012, Tame Impala's first U.S. feature appeared on the cover of the publication "The FADER", in its 82nd issue.


title: Tame Impala

text: On 18 May 2013, it was announced via Facebook that Allbrook would leave the band to focus on other musical endeavours, and that Cam Avery of Pond and The Growl would take his place. Allbrook played his final gig with the band on their last Australian tour date of 2013 at Perth's Belvoir Amphitheatre, the same venue that Allbrook played his first gig with the band at in 2008. As a farewell gesture, the band played a cover of Outkast's "Prototype".


title: Tame Impala

text: "Lonerism" received a 2014 Grammy Award nomination in December 2013 in the Best Alternative Music Album category.


title: Tame Impala

text: "Be Above It", the first track on the album, is featured in the 2019 movie "Waves". This includes the studio version, the live version from the Live Versions album and the "Erol Alkan Rework" version.


title: Tame Impala

text: It is believed that Parker started recording the follow-up album to "Lonerism" at the beginning of 2014, due to various Instagram posts that showed recording taking place at the Wave House in Western Australia, where "Innerspeaker" was recorded. Prior to this, Parker had been touring with Tame Impala and working on other musical projects, including his disco-funk band, AAA Aardvark Getdown Services. Parker said in May 2013:


title: Tame Impala

text: Right now, doing another album doesn't excite me. There's something narrow-minded about thinking an album is the only way you can put out music, especially in the world we’re in at the moment. Anything is possible. There's so many people doing interesting things with the internet and technology, there could be so many ways of making music and listening to it. It's 2013 and you can make music anywhere... There are so many possibilities, my brain is overloading on them all. I just need to wait, think about things a bit more. Then I’ll know what to do next.


title: Tame Impala

text: In May 2014, Parker spoke of his growing inclination toward the recording of another album in a triple J radio interview, explaining: "I'm getting more and more sucked into the world of making an album. It's weird how it happens naturally, it's almost feels like a seasonal thing. I've started to think about tracklistings and all the things that come with an album." Describing the sound of the new album, Parker said, "I'm gonna try to make it a bit more minimal this time; only use what's needed ... instead of a supreme pizza, where you just throw everything on". Watson added, "[It’s] probably gonna be less rock again and more electronic again, even more than the last one". Parker later stated that the inspiration behind the new polished sound of Tame Impala's third album came from listening to a Fleetwood Mac song. He said that the pureness and cleanness of Fleetwood Mac's song prompted him to attempt to create a more streamlined musical style within "Currents".


title: Tame Impala

text: On 6 January 2015, Spinning Top Music announced that a new Tame Impala album will be released in 2015. During the same month, it was announced that the band would perform at the Boston Calling Music Festival in May 2015.


title: Tame Impala

text: On 5 April 2015, Tame Impala announced and released the album cover for "Currents" in a Facebook post. A few hours later, the band released the first official single from the upcoming album on Facebook called "'Cause I'm a Man". Later that month, on 22 April 2015, Tame Impala officially released "Let it Happen" as the second single from the album. One week later, on 29 April 2015, Kevin Parker held an AMA on Reddit, where he provoked fans to ask him to release a new song, then responding with "Disciples", which became the first promotional single for "Currents". On 7 May 2015, the band announced that the album would be released on 17 July 2015 and released the third official single, "Eventually".


title: Tame Impala

text: During the same 30 April 2015 Reddit AMA, Parker said: "Up until recently, from all of Tame Impala's record sales outside of Australia I had received... zero dollars. Someone high up spent the money before it got to me. I may never get that money."


title: Tame Impala

text: In October 2017, a collector's edition of "Currents" was announced. Released on 17 November, it included three B-sides and two remixes.


title: Tame Impala

text: By the end of 2017, Tame Impala announced that they agreed to play the 2018 Mad Cool Festival in Spain, which would be the first live music show the band agreed to play in 2018. Tame Impala also played a headline set at London's Citadel Festival in July 2018.


title: Tame Impala

text: In July 2018, during an interview with Beats 1 anchor host Matt Wilkinson, Parker confirmed for the first time that he had begun working on a new Tame Impala album, adding that he was "ready to play some other songs live" and expressing an interest to headline a stage at Glastonbury Festival in 2019. He also stated that he would be "very disappointed" if the new record by Tame Impala wasn't released by summer 2019.


title: Tame Impala

text: In October 2018, Parker played bass for rapper Travis Scott for a performance of "Skeletons/Astrothunder" on "Saturday Night Live", with singer-songwriter John Mayer also part of the backing band.


title: Tame Impala

text: On 10 October, the band was scheduled to headline the first night of the annual Desert Daze festival in its new location in Moreno Beach, but had to cut their set short after three songs due to inclement weather.


title: Tame Impala

text: On 31 October, rapper Theophilus London released a new single in collaboration with Tame Impala under the moniker of "Theo Impala".


title: Tame Impala

text: On 2 January 2019, Tame Impala was announced as a headliner for the 2019 Coachella Valley Music and Arts Festival. They also headlined the 2020 Primavera Sound festival, making them only the second Australian act to do so. Around the same time, Parker announced that he expected to release a new album during that summer.


title: Tame Impala

text: On 21 March 2019, Tame Impala released the single "Patience" and teased new music on Instagram for the forthcoming album. They were the musical guest for "Saturday Night Live" on 30 March, with host Sandra Oh. On the show, the band performed "Patience" and a new song, "Borderline", which was released 12 April. On 25 October, Tame Impala revealed the title of their fourth studio album, "The Slow Rush". Three days later on 28 October, they released the song "It Might Be Time", and on 3 December, they released the single "Posthumous Forgiveness". The album was released on 14 February 2020 and features 12 tracks that were recorded in Los Angeles and in Parker's hometown of Fremantle, Australia.


title: Tame Impala

text: Josh Terry of "Vice" named Tame Impala his "Artist of the Decade" for the 2010s, writing, "No artist captured how genres cross-pollinated throughout the 2010s better than Tame Impala". He added, "In the age of streaming and the big-box festival bubble, Parker's discography seems factory-made for both a crowd of thousands and a chill night alone with a vibe-heavy playlist" and that "his music embodies the technology-driven sense of loneliness of this decade better than any of his peers".


title: Tame Impala

text: "The Less I Know the Better" was voted No. 1 in Triple J's Hottest 100 of the Decade on 14 March 2020. This was the highest ranking for Tame Impala in a Hottest 100 Countdown and the first time the project had attained No. 1 in any Hottest 100. (The same song had previously placed fourth in the 2015 Hottest 100.)


title: Tame Impala

text: On 20 March 2020, Parker appeared on The Weeknd's album "After Hours", producing and providing background vocals on a track called "Repeat After Me (Interlude)". At the 2020 ARIA Music Awards in November, Tame Impala won a further five trophies: "Album of the Year", "Best Rock Album", Engineer of the Year" and "Producer of the Year" for "The Slow Rush" , as well as "Best Group".


title: Tame Impala

text: In October 2021, the band announced that a deluxe box set edition of "The Slow Rush" would be released in February 2022.


title: Tame Impala

text: In March 2021, the band's 2012 song "Elephant", from the album "Lonerism", was covered by the Australian children's music group The Wiggles for triple j's Like a Version segment. The Wiggles' cover version went on to place at No. 1 in 2021's Hottest 100.


title: Tame Impala

text: In May 2022, the band released the single "Turn Up the Sunshine", a collaboration with Diana Ross. The track is the lead single from the Jack Antonoff–produced original soundtrack album for the film "". With the exception of this track, the album primarily features new spins on classic '70s hits by artists such as Brittany Howard, St. Vincent, H.E.R. and many others.


title: Tame Impala

text: Parker's decision to make the music for Tame Impala in the studio by himself is a result of Parker liking "the kind of music that is the result of one person constructing an awesome symphony of sound. You can layer your own voice 700 times for half a second if you want, and I just love that kind of music". However, Parker has to translate his music to a live setting with the band, and the band doesn't play the songs until they have been recorded. "The only jamming that's done as a band is done a long time after the song is recorded for the sake of the live environment. It's good for us, because we can take a song that's been recorded and do what we want to it: slow it down, speed it up, make it 10 seconds or 10 minutes long. It gives us a lot of freedom."


title: Tame Impala

text: Some favoured and often-used effects by Parker include phasing, delay, reverb and fuzz. Experimentation with different effects pedals such as the Roland RE-20 Space Echo has led to Parker creating new and unique sounds. "If you make an effort to not put the pedals in the order you're meant to, then you'll end up with something new-sounding. We don't have any things that we got from another planet or anything; it's the same things everyone else has used. People have a distortion pedal and then a reverb pedal. A reverb is meant to make it sound like it's in a cathedral or something. If you put it the other way around, it won't sound like a guitar being played in a church; it'll sound like a church being stuffed inside a shoebox and then exploded. You can do different things just by treating things differently".


title: Tame Impala

text: Parker has commented on his process for making music: "I’ll have a sudden, spontaneous vision of a song, have all the parts mapped out in mind, and do my best to record it as quick as I can. I’ll find my eight-track and do a quick demo of just the riff, or a verse or a chorus. The song will go for like 30 seconds. I’ll have a whole bunch of them [demos] and then I’ll just choose which ones to make into full songs". Parker has a strong sense of melody in his music, having composed "excessively melodic music from about the age of 12 to 15". For Parker, the music comes before the lyrics: "I usually write the lyrics after the melody and its timing have been decided. But the words have to be meaningful. I try to synchronise certain words with the best parts of the melody, but it can be really difficult and does my head in. I like to keep the meaning pretty open and ambiguous so that it's not just me that gets something out of the lyrics. I usually write lyrics from a persona rather than tell a specific story." Parker also said: "Usually I am sufficiently motivated to think of new songs every day, but I usually forget them. I seem to get an emotional kick out of sensing feelings of general desperation or hopelessness, whether it's me or someone near me or someone in a movie or anything. It's really difficult to sit down and force yourself to write a song, and that forced nature usually comes out in the song, so I just have to wait until they come to me."


title: Tame Impala

text: Parker's music is heavily influenced by late 1960s and early 1970s psychedelic rock. He has stated that he has a "fetish for extremely sugary pop music" from artists like Britney Spears and Kylie Minogue. Parker also enjoys "fucked-up explosive cosmic music" in the vein of The Flaming Lips, with whom Tame Impala collaborated on the track "Children of the Moon"; the song appeared on the band's 2012 collaborative album "The Flaming Lips and Heady Fwends".


title: Tame Impala

text: Combining these two things, My Bloody Valentine have influenced Parker's music with their contrasting combination of loud guitars and ethereal melodies. Parker has "always been in love with the wall of sound as employed by My Bloody Valentine", and he tries to capture that "melancholy dreamy feel". Parker tries to incorporate this balance into his own music: "If I was singing, I wouldn't be able to match the tone of the instruments, which is really crunchy. The instruments are quite sonically brutal, but the voice is really soft, and I think that kind of resonates with people. It's kind of like My Bloody Valentine, where it's really brutal sounding, but kind of beautiful at the same time". Tame Impala live drummer Jay Watson has described Parker's music as containing "shoegazey guitar sound, but not played in a shoegazey manner".


title: Tame Impala

text: Electronic music is another influence. Parker has used rock instrumentation in an electronic manner, saying: "The way we do music, it's organic, but it's meant to be quite repetitive and hypnotic, almost in a kind of electronic nature. Using our playing as though it was a living sample". A heavy feature on "Innerspeaker" is a pitch-shifted guitar tone that many mistook for a synth. Parker mentioned this by saying: "I had a few obsessions when recording "Innerspeaker". One was to make the guitars sound like synths and drums sound like drum samples and pretty much anything except guitars and drums. I'm obsessed with confusing people as to the origin of a sound." He has described his dream collaboration as "probably [being] someone really, really kind of fucked up", citing the electronic artists Aphex Twin and Squarepusher as examples: "You know, someone that would like scare me, but I'd be able to see how they do all their really insanely headcase stuff and I'd be able to learn from it".


title: Tame Impala

text: Parker was inspired to take up various creative endeavours at a young age: "I used to draw a lot when I was very young, and I used to get the most immense feeling of satisfaction from finishing a picture and looking back at it, even though I wasn't actually that good. When I started playing music, I got the same feeling from making a song, even if it was just a few noises or drum patterns put together. It was all about the buzz from making something from nothing. Music always affected me greatly as a listener anyway, usually from listening to music in my dad's car or listening to him play guitar".


title: Tame Impala

text: Lo-fi music is also a favourite of Parker's, and he incorporated it heavily in the early days of Tame Impala, heard prominently on the "Tame Impala EP". With the release of "Innerspeaker", Parker went for a different approach to a lo-fi sound, aiming more for a more cosmic and sonic wall of sound, helped by mixer Dave Fridmann. Parker explained: "It sounds more cohesive, like an organism. It has a different emotion to it; it brings out a different feeling when it's absolutely blaring at you. I love that sound."


title: Tame Impala

text: Parker has also stated that Supertramp, one of his favourite bands, are a major influence on the musical style of Tame Impala. Despite their difference in sound, he feels he is always somewhat "channeling Supertramp". He has said that listening to the Bee Gees on mushrooms inspired him to change the sound of the music he was making on "Currents".


title: Krist Novoselic

text: Krist Anthony Novoselic (; ; born May 16, 1965) is an American musician and activist. He was the bassist and co-founder of the rock band Nirvana.


title: Krist Novoselic

text: Novoselic and Kurt Cobain formed the band Nirvana in 1987 along with drummer Aaron Burckhard, whom they recruited. Through the late 1980s, Nirvana established themselves as part of the Seattle grunge scene and in 1989 they released their debut album "Bleach". Nirvana went through a succession of drummers until 1990, when Dave Grohl joined after his former band Scream broke up. After signing with major record label DGC Records, Nirvana released their second studio album "Nevermind" in 1991. The band achieved worldwide fame through the success of "Nevermind" and the lead track off the album, "Smells Like Teen Spirit". Nirvana released "In Utero" in 1993, their third studio album, which was also a major success. Nirvana abruptly ended in 1994 following the death of Kurt Cobain.


title: Krist Novoselic

text: After Nirvana disbanded, Novoselic formed Sweet 75 in 1995 and Eyes Adrift in 2002, releasing one album with each band. From 2006 to 2009, he played in the punk rock band Flipper, and in 2011 he contributed bass and accordion to the song "I Should Have Known" on the Foo Fighters' studio album "Wasting Light". Since 2017, he has played bass and accordion for the band Giants in the Trees.


title: Krist Novoselic

text: Outside of music, Novoselic has been active politically, being involved in the formation of a PAC named JAMPAC (Joint Artists and Musicians Political Action Committee). From 2007 through 2010, he wrote a weekly column on music and politics for the "Seattle Weekly" website. He served on the board of the electoral reform organization FairVote from 2005 to 2019, including 11 years as chair, and in 2020 became board chair of Zócalo Public Square.


title: Krist Novoselic

text: Krist Anthony Novoselic was born in Compton, California, on May 16, 1965, the son of Croatian immigrants Kristo Novaselić and Marija Mustać. Kristo was a native of Veli Iž on the island of Iž while Marija originates from Privlaka. The original Croatian surname of Novaselić was mistakenly changed to Novoselic by a clerk when Kristo was applying for a passport to go to America. Novoselic lived in Compton for one year before his parents moved to the ethnically Croatian Los Angeles neighborhood of San Pedro. His first language is Croatian. He has a younger brother, Robert (born 1968), and a younger sister, Diana (born 1973). In 1979, his family relocated to Aberdeen, Washington due to surging real estate costs in California. In 1980, his parents sent him to live with relatives in Zadar, Croatia. He returned to Aberdeen in 1981. His earliest memory of listening to music is listening to Chuck Berry with his father. Growing up, he had a severe underbite, for which he underwent corrective surgery.


title: Krist Novoselic

text: Novoselic was interested in bands such as Led Zeppelin, Black Sabbath, The Who, Van Halen, Devo, and Aerosmith. He also enjoyed listening to Yugoslavian bands such as Zabranjeno Pušenje, Prljavo kazalište and Azra. In Croatia, he became interested in punk rock, and discovered bands such as the Sex Pistols and Ramones when he lived in Croatia at the age of 14 for one year. He has cited Paul McCartney, Geezer Butler, John Entwistle, and Gene Simmons as the fundamental influences of his bass playing.


title: Krist Novoselic

text: Novoselic's brother Robert introduced him to his friend Kurt Cobain, who had noticed loud music coming from upstairs in the Novoselic household. Robert told Cobain that it was his older brother, who listened to punk rock. Cobain eventually befriended the older Novoselic, as the pair had similar musical tastes, including a fondness for local band Melvins. The two had several mutual friends and began hanging out shortly thereafter. Krist attended Aberdeen High School while Kurt attended high school in nearby Montesano. At one point, Cobain gave Novoselic a demo tape of his former band Fecal Matter, and asked him to form a band together. After several months, Novoselic finally listened to the tape, liked it, and agreed to start a band with Cobain. After high school, Novoselic worked as a painter and decorator but was eventually laid off.


title: Krist Novoselic

text: Cobain and Novoselic's first band lasted barely a few weeks before it disbanded, leaving the pair to move on. However, the duo eventually discovered that Melvins could pull $80 a night for one show. Inspired, Cobain and Novoselic started a Creedence Clearwater Revival cover band, in which Cobain played drums and Novoselic sang and played guitar. That band was short-lived as well. Some months later, Cobain and Novoselic met drummer Aaron Burckhard. While the new band never used the name, it was the first incarnation of Nirvana.


title: Krist Novoselic

text: Burckhard lasted only a few months and Melvins' drummer Dale Crover filled in until Novoselic and Cobain met Chad Channing. The trio recorded their debut album "Bleach", released in 1989. Channing left the band in 1990 and was briefly replaced by Crover and Mudhoney drummer Dan Peters. Novoselic contributed to the writing of various songs, providing ideas for Cobain.