Sexually Ambiguous

On July 29th 1992, Nicky Crane – National Front skinhead and Screwdriver roadie; who featured in the same Nick Knight photo essay as the V-flicker on a Morrissey t-shirt – came out as gay on the UK Channel 4 documentary, Out: The Skin Complex, that explored gay skinhead subculture.

On August 22nd 1992, the NME spent 5 pages denouncing Morrissey as a racist for playing 1 of 2 planned gigs with headliners Madness, at Finsbury Park, where he was heckled by a homophobic crowd while thrashing about a Union Jack flag in front of a Derek Ridgers art print of 2 skinhead girls.

https://illnessasart.com/2020/11/26/nme-22-august-1992/amp/

Despite lead singer, Suggs’s skinhead past and old Skrewdriver connections, Madness was deemed ‘unfortunate’ for attracting the racist crowd. Derek Ridgers worried that Morrissey had demeaned the girls in the art print, who WERE racist imagery. Flowered Up, another band on the bill, thought Morrissey had asked for trouble by ‘prancing around‘.

Most of the National Front supporters were outside Finsbury Park to oppose a march for a cause Morrissey supported, British troops out of Northern Ireland (he’s from an Irish Catholic family). The National Front’s most violent organiser, Johnny ‘Mad Dog’ Adair, was a fan of reggae band UB40, and his loyalist paramilitary gang killed Catholics while listening to rave.

https://edinburghfestival.list.co.uk/article/43221-madness-frontman-suggs-tells-life-story-at-2012-edinburgh-fringe/

https://www.irishtimes.com/news/ireland/irish-news/the-uda-killer-nicknamed-top-gun-behind-a-dozen-sectarian-murders-1.4628830

https://www.belfasttelegraph.co.uk/opinion/news-analysis/how-loyalists-got-out-of-step-with-fascism-28657619.html

https://ansionnachfionn.com/2011/09/16/fascists-neo-nazis-and-the-british-unionist-minority-in-ireland/amp/

But still the NME lied that Morrissey was a Little England British Nationalist, that his imagery was racist, that he was fanning the flames of race-hate, that Bengali in Platforms was a diatribe against assimilation, supportive of ex-Conservative Ulster Unionist MP Enoch Powell, inciting calls for immigrants to be deported, that he wanted a pre-immigration green and pleasant England, that he wanted an English ethno-state, that he was provoking genocide, and – in a technique that now dominates his coverage – cobbled together so many snippets of lyrics and interviews spuriously branded racist that to refute them all would look demented; no fire without all THAT smoke. Even his quiff was racist for being a 1950s style.

And, taking their cue from The Skin Complex, they speculated that he had a sexual fetish for racism, that he was getting vicarious skinhead thrills, that he was using real men, like skinheads, The Angelic Upstarts, as a cover; and noted that ‘Richard Allen’s skinhead chronicles are full of sickening accounts of violence against blacks. And for that matter, homosexuals’.

And for that matter, that was their real point.

Someone must have watched it, got excited, thought OH THAT’S WHAT HE’S UP TO and decided to disguise their usual prurient, repressed homophobic obsession with his sex life beneath a heap of lurid faux righteous anti-racism.

Dr Dinesh Bhugra, a psychologist at the Institute of Psychiatry, speaking on Skin Complex, the Channel 4 programme to be screened on Wednesday, argues that gay men adopting the skinhead image is not surprising. In a society that is producing a tremendous amount of homophobia, you have to try and protect yourself by whichever means you can and if, in order to do it, it means you are identifying with the oppressor then people will do that in order to survive. (Independent, 26th July 1992)

Let’s not forget that the adolescent Morrissey used to be chased through the streets of Manchester at night by leering beer-boys, some of whom may have held NF sympathies, simply for being ‘different’. And he definitely spent a lot of time in Whalley Range, a multi-racial area. Is he now identifying with his former oppressors? Has he changed from the persecuted to the persecutor? Or, is he fascinated by the idea of racism, by the look of violent skinheads, to the extent of being oppressed so much he falls in love with his oppressors? (NME, August 1992)

https://www.independent.co.uk/news/uk/reformed-fascist-ready-to-admit-homosexuality-martin-wroe-reports-on-the-conversion-of-a-right-winger-that-highlights-a-thriving-gay-fashion-1535856.html?amp

Maybe they wanted to kill his career.

Moz is history, and we’d all do well to learn it. (Andrew Collins, NME, April 1992)

Or ‘out’ him without risking a libel trial as catastrophic as The Face losing to Jason Donovan in May 1992 over their ‘Queer As Fuck’ issue.

https://gtmediawatch.org/1965/07/01/gay-times-may-1992/

Or both.

Sire had sidelined the Smiths in America after Rolling Stone labeled Morrissey gay.

A piece in Rolling Stone claimed Morrissey was gay, completely contradicting his stand against sexual roles and their divisive consequences. “That brought a lot of problems for me”, he recalls ruefully. “Of course I never made such a statement”, Immediately their American record company, Sire, recoiled from supporting The Smiths. “They were petrified”, he remembers with disgust. “I thought that kind of writing epitomised the mentality of the American music press. That sicking macho stuff. After it appeared in Rolling Stone it ran rife through the lesser known publications, which to me was profoundly dull”. (Melody Maker, November 1984)

https://illnessasart.com/2020/01/05/melody-maker-3-november-1984/

Saved by the success of Vauxhall and I, but battered by label, legal, personal and management issues; and excluded by the music press from Britpop, he moved to LA and built an audience of equally excluded Chicanos.

In 2002 the NME mournfully accused him of giving the illusion of intimacy while never discussing his sexuality, and of being ambiguous, unambiguous, brutally upfront and distastefully infatuated with racism.

In 2004, You Are The Quarry, gave him a brief respite.

… excised from the hearts of many, horrified by the messy “flirtation” with racist imagery. (VS, NME, November 1999)

… nevermind the shaky accusations of racism… all those years of being Mother Teresa for the clumsy and shy and suddenly he was being reviled for crimes he’d never committed. (VS, Mojo, May 2004)

But his shyness, difficulty with social norms and outsider art meant the press soon fell back on ridicule, demonisation, inflammatory headlines and witch-hunts.

For a spell his public image has fused with the forgotten Nicky Crane – a bad gay, toxic, shunned, unwholesome; his empathetic solo work unbelievably synonymous with Skrewdriver.

Nicky Crane on Psychic TV.

NAZI FARTSY : Earsay’s snippets (Channel 4) on Genesis P-Orridge et al featured an unexpected guest – a certain Nicola Crane. Crane, the neo-Nazi who by a series of errors made the front cover of ‘Strength Thru Oi’, turned out to be one of the ‘stars’ of a Psychic TV video film. Let’s hope the media are as quick to condemn this obviously deliberate airing for Crane as they were with that accidental airing three years ago. (Sounds, 22nd September 1984)

Side Note 1: Nicky was on the gay scene from 1984, made gay porn films, attacked a benefit gig that had the Smiths on the bill & drank in a gay pub, The Bell, in Kings Cross that Morrissey also frequented. The video for Our Frank, directed by gay filmmaker John Maybury, used skinhead extras & was shot around Kings Cross.

The Bell: https://www.gayinthe80s.com/2017/09/pub-bell-kings-cross-london/

The gig: https://pasttenseblog.wordpress.com/2016/06/10/today-in-londons-radical-history-striking-miners-anti-fascists-beat-off-nazi-attack-on-glc-festival-1984/amp/

Nicky: https://www.bbc.co.uk/news/magazine-25142557

Brief clip of The Skin Complex in a news report about another gay NF ex-member. https://www.channel4.com/news/neo-nazi-national-front-organiser-quits-movement-comes-out-as-gay-kevin-wilshaw-jewish-heritage

Gay History: https://timalderman.com/2018/04/30/gay-history-a-contradiction-in-terms-nicky-crane-and-kevin-wilshaw-gay-neo-nazis-part-1/

Side Note 2: the NME’s claim they were just as hard on Eric Clapton, David Bowie & Elvis Costello is untrue. Eric sailed past the letter appealing to his better self into 1980s rock aristocracy while still supporting Enoch Powell. The worst it got for David Bowie was the NME faking the picture of a Nazi salute that became gossipy rocklore. And the NME refused to believe that Elvis Costello could mean it when he called James Brown a “jive-arsed n——” and Ray Charles a “blind, ignorant n——.”

Eric: https://genius.com/Red-saunders-letter-to-the-uk-music-press-regarding-eric-clapton-annotated

David: http://www.chalkiedavies.com/blog/b9wr8hr5mr79wkkbx83lf8cd7p54f7

Elvis: http://www.elviscostello.info/wiki/index.php/New_Musical_Express,_October_30,_1982

Side Note 3: The Union Jack is ubiquitous in UK culture – at no point in our history has it ever been a clear signal of fascism or has it needed to be reclaimed from the far right, nevermind from Morrissey. Some on the hard left hate it as a symbol of the British Empire and the British State, it’s a minority opinion. Skinheads were a working-class subculture that spanned the political spectrum and listened to Reggae, Punk and their variants. They had widespread coverage in the press, including in the NME.

Madness film: https://youtu.be/cwWvKnU9zCE

Faith Goldy

At a concert in Toronto on April 26th 2019 Morrissey said on stage:

I’m a very cosmopolitan person. I’m a Christian. I’m very well travelled. I’ve heard of Faith Goldy. (Audience boos) What? I said I’ve HEARD of her!

He later dedicated a song to Marrisa Shen, a child who may have been murdered by a Syrian refugee (the case is yet to come to trial).

His comments were interpreted as anti-immigrant.

But as Faith had recently exploited the murder of Marrisa in a failed bid to become Mayor of Toronto, and as Morrissey had recently come to believe that the press, the police and the state were ignoring crimes committed by ethnic minorities because it didn’t fit their ideological narrative while smearing anyone as a racist who wanted crimes to be fairly investigated – it was very likely something to do with that.

London is second only to Bangladesh for acid attacks. All of the attacks are non-white, and so they cannot be truthfully addressed by the British government or the Met Police or the BBC because of political correctness. What this means is that the perpetrator is considered to be as much of a victim as the actual victim. We live in the Age of Atrocity.  (Morrissey, Central, April 2018)

And his suspicion was backed up by a review of his concert in which the reviewer lamented that he hadn’t highlighted a crime where immigrants were the victims rather than a perpetrator – as if the point of talking about crime isn’t to get justice, but to police public opinion.

Later, Morrissey dedicated a song to Marrissa Shen, a 13-year-old girl from British Columbia whose accused murderer is a Canadian resident of Syrian descent. The homicide trial has become common fodder for anti-immigration sentiment in Canada. Instead of a seemingly random reference, it felt like a harsh reminder of so many of Morrissey’s troubling political statements. Why not take the opportunity, for instance, to acknowledge the Bruce McArthur case, wherein the victims were largely immigrants? 

https://nowtoronto.com/music/concert-reviews/morrissey-sony-centre-toronto

It’s doubtful Morrissey knew much about Faith Goldy.

While he was refusing to appear on Jimmy Kimmel with Duck Dynasty because they kill animals, she was defending their right to hunt and be homophobic (Sun News Network, December 2013), while he was denouncing Donald Trump for not comforting the gay community in the wake of the Orlando massacre, she was was disgusted by gay sex and blaming the gay community for being against guns and homophobia (Rebel News video, June 17th 2016)

https://www.hollywoodreporter.com/tv/tv-news/jimmy-kimmel-responds-morrisseys-duck-425046/

https://www.theguardian.com/music/2016/jun/14/morrissey-trump-response-orlando-attack-anti-gay-pro-gun

By this stage in his North American tour, under pressure from relentless bad publicity, he seemed unwell, defiant, but confused, depressed, and disheveled.

He hadn’t mentioned her before, and he hasn’t mentioned her since.

Guilt By Association: Nigel Farage and MANY OTHERS

In 2013, in an interview with Loaded, Morrissey said:

I nearly voted for UKIP. I like Nigel Farage a great deal. His views are quite logical – especially where Europe is concerned, although it was plain daft of him to applaud the lavish Royal Wedding at a time when working-class England were told to cut-back, shut-up and get stuffed.

In 2016, in an interview with news.com he said:

News.Com: The reports of you running for the Mayor of London with the Animal Welfare Party. Fact or fiction?

Morrissey: Fact, although I could see the pointlessness of stepping in. ​The BBC now do not give you news, but they give you their opinion, and therefore they give anyone a very hard time if that person does not suit the convenience and prejudices of the established elite. Therefore liberal educators such as George Galloway and Nigel Farage are loathed by the BBC because both men respect equal freedom for all people, and they are not remotely intimidated by the BBC.

https://www.news.com.au/entertainment/music/tours/exclusive-morrissey-on-donald-trump-miley-cyrus-prince-harry-and-unreleased-smiths-material/news-story/2932f6891ea2abe238baef5a4edeee2e?from=public_rss

In an interview on Morrissey Central, April 2018, he said:

 UKIP is dead, and Nigel Farage aided their downfall by supporting Henry Bolton.

And in another interview on Morrissey Central, given in April 2019 but published in June 2019, he said:

Sam: Can we just sort out your political position because I’m sick of reading about how you’ve had a ‘controversial outburst’ when I know that you aren’t seen anywhere and you don’t ever speak to anyone. I’ve known you for 35 years and I’ve never heard you outburst. Are you actually a supporter of UKIP? 

Morrissey: No. Never. 

Sam: Of Nigel Farage? 

Morrissey: No, no, no … but it’s obvious that he would make a good Prime Minister … if any of us can actually remember what a good Prime Minister is. 

Despite carping about Nigel twice, mentioning him in the same sentence as hard left pro-Islam politician, George Galloway, and clearly stating that he was never a supporter of UKIP or Nigel Farage, every outlet decided to go with the ‘good Prime Minister’ comment, though coming from Morrissey that’s like being called a good serial killer.

The perception that Morrissey is a dedicated Nigel fan and Brexiteer (he didn’t vote or campaign) is so strong that his ex bandmate used it to kick him in the teeth and Cold War Steve included him in a collage with Tory politicians (he hates the Tories) who are (obviously) regularly in the media (Morrissey never speaks to the press, isn’t on social media, and outside of his own gigs is rarely at any public event).

Detractors will also cite:

Tommy Robinson (mentioned in one sentence)

Marine Le Pen (One Facebook post, and a follow up post trying to explain the first post)

A Far Right Party – his support of For Britain and Anne Marie Waters – however misguided, he did believe she was campaigning for animals, women, children and the law to be fairly applied.

and Britain First – who he has never supported or mentioned.

What tends to get memoryholed or deemed irrelevant is his dislike of Margaret Thatcher, George W. Bush, Tony Blair (over Iraq), Donald Trump, and Royalty.

Or his positive statements about left-wingers like Clare Short, Tony Benn, George Galloway, Barack Obama, and Bernie Sanders.

Or that he accused the Queen of white supremacy because Prince’s veganism didn’t get press coverage.

Or that he was a fan of vegan and civil rights activist Dick Gregory.

Or that – just before the 2017 General Election – he thought left-wing Jeremy Corbyn would be a better Prime Minister than right-wing Theresa May.

Dog Whistles: Sadiq Khan, Diane Abbott

Morrissey is often accused of singling-out Sadiq Khan and Diane Abbott because of their skin colour, by people who have singled out Sadiq Khan and Diane Abbott because of their skin colour.

His jokes and complaints are framed as ‘dog whistles’ – although it’s never explained why someone who is denounced as a racist ‘Bigmouth’ on a regular basis would need to secretly signal to racist voters.

He made his comments about Khan and Abbott in an interview on Central published on April 16th 2018 in which he was also scathing about:

The press, journalists, The Guardian, Spin Magazine, the EU, the British Political Elite, politics, himself, The Smiths, Viva Hate, Kill Uncle, The Times, the music industry, the Laughing Gnome, the NME, the loony left, Hitler, UKIP, Nigel Farage, Henry Bolton, Theresa May, Eid Al-Adar festive slaughter, the Conservatives, Labour, FGM, Halal slaughter, child marriage, ISIS, UK law, milk, eggs, religion, Kosher slaughter, stunned slaughter, humane slaughter, slaughter, television, animal death commercials, the BBC, Channel 4 News, people who hate him, his voice in the Smiths, the tabloids, his career, his health, iPhone pictures, Der Spiegel, the cover artwork for Low In High School, Kill Uncle, Southpaw Grammar & Maladjusted, the house of Windsor, Princess Anne, meat-eating, bullfighting, Spain, murder, London, civilisation, acid attacks, the British Government, the Met Police, political correctness, our age of atrocity, interviews, Jo Coburn, Cathy Newman and England.

Diane had been in the news over a maths gaffe.

https://www.theguardian.com/politics/2017/may/02/diane-abbott-has-several-numbers-on-police-costs-sadly-they-are-all-wrong

And he was dismissing the whole of politics while explaining why he didn’t vote for Brexit:

JOHN: Did you actually vote to leave? 

MORRISSEY: No, I haven’t ever voted. I don’t have sufficient faith in the circus of politics … and … you can see why! It is a moral disaster on every level. Even Tesco wouldn’t employ Diane Abbott. 

Later, in response to a question about violence in London, Morrissey took a swipe at the Mayor of London’s diction. As he went on to starkly mention crimes being ignored by the state because they were committed by non-white people, it’s ludicrous to suggest he was using code or that his problem with Khan was about his heritage:

JOHN: London has become a murder capital recently. 

MORRISSEY: London is debased. The Mayor of London tells us about ”Neighborhood policin ” – what is ‘policin’? He tells us London is an ”amazin ” city. What is ‘amazin’? This is the Mayor of London! And he cannot talk properly! I saw an interview where he was discussing mental health, and he repeatedly said ”men’el ” … he could not say the words ‘mental health’. The Mayor of London! Civilisation is over! 

JOHN: But why do you think so many people are being killed in London? 

MORRISSEY: London is second only to Bangladesh for acid attacks. All of the attacks are non-white, and so they cannot be truthfully addressed by the British government or the Met Police or the BBC because of political correctness. What this means is that the perpetrator is considered to be as much of a victim as the actual victim. We live in the Age of Atrocity. 

Morrissey may be hyperbolic and insensitive to social mores around speech, but his underlying point is valid and has been made more soberly by other left-wing voices. Very often the state will enable injustice because of ideology or because the issue isn’t fashionable.

https://www.theguardian.com/commentisfree/2021/aug/01/when-moral-pieties-get-in-the-way-of-doing-the-right-thing-children-suffer

He’d used the phrase the age of atrocity before – to signal his distress at the amount of violent imagery in the media/social media.

It’s very difficult for me, I think, to live now, in this electronic age of atrocity. We are fed nothing but carnage and ruin, and we must digest these images and thoughts every single day … so is it any wonder we all look slightly terrorised … this stupid civilization of advertising, advertising, advertising … things that nobody wants. It’s hard to maintain indifference and to not respond. Finally, nothing connects with anything. Even to have imagination suddenly seems hopeless because pop music has become so impoverished and obsessed only with very, very stupid people. It’s fascinating to consider how Radio One once interviewed William Burroughs! These days the program planners at Radio One would pass on William Burroughs in favor of Little Boots. So it’s a bit like trying to deal with people who have nothing but actually want even less than they have. Therefore I look at Richard Davalos and James Dean not as faces from a more simplistic time, but as faces of a beautiful and secret society. You cannot say that about anyone in 2016. (Morrissey, True To You, 18th March 2016)

It’s very likely that his ‘outbursts’ since 2017 have been his way of coping with that distress – and the rush to obliterate him for racism – when he clearly blames powerful people (the media, politicians, Royals) for the violence that’s tormenting him – will look intensely cruel.

https://www.morrisseycentral.com/messagesfrommorrissey/there-is-a-light-that-must-be-switched-on

The Simpsons Do The Snuffs

On April 18th 2021, The Simpsons, aired an episode about Morrissey.

They set it up as an affectionate tribute made by fans:

https://variety.com/2021/tv/news/simpsons-morrissey-benedict-cumberbatch-1234953472/

Then they trashed him as a fat, ugly, old, nasty, meat-eating, gay, racist.

They were righteous about the bait and switch in their live tweets:

RT’d by Matt Selman

Morrissey’s manager made bewildered Facebook posts:

https://www.bbc.co.uk/news/entertainment-arts-56806312

Morrissey published a statement that was his usual mix of jokes and wounds:

https://www.morrisseycentral.com/messagesfrommorrissey/hello-hell

Some tweeters gloated:

Some pundits called him humourless:

Neil Gaiman took the opportunity to suck up to the television industry as if he’d be thrilled by an episode that condemned him for potentially murdering the people of Skye because he was too dim to read the Covid rules:

https://www.bbc.co.uk/news/uk-scotland-highlands-islands-52697289

Not that they would target Neil with anything that would hurt or exclude him, because whatever his personal issues, he does marketing, networking, online engagement, works with a vast number of people & might be able to shaft your career. Things Morrissey can’t do, due to shyness, anxiety, depression, dysmorphia, and/or clear-eyed horror at its fakeness.

The show probably took its character arc from a hit piece in The LA Times, based on hit pieces in the British press. There’s an accumulating list of misquotes and misinterpretations and every article will pick at least three, along with UNCLEAN, UNCLEAN labels like xenophobe, racist, far right, right-wing, British nationalist, British nativist, controversial, reactionary, toxic, anti-immigrant, hard to love, dead to me, or HE WHO MUST NOT BE NAMED.

It’s like he dumped them all by text message.

https://www.latimes.com/entertainment-arts/music/story/2019-10-24/morrissey-anti-immigrant-white-nationalist-hollywood-bowl

Nearly everything about him gets edited out & the rest is conflated, hyped & chanted.

For a start, he is an immigrant, not to the USA, but to England:

… my sister and I growing up, never really felt we were Mancunians. My Irishness was never something I hid or camouflaged. I grew up in a strong Irish community. Of course, early on I’d be teased about it, I was called `Paddy’ from an early age. I mean, there I was, born, braised and bred in Manchester but I was still always called `Paddy’. And this was back in the 1960s when it was a bitter and malevolent slur. But that’s how Manchester people are – they’re extremely critical of everything and everybody. (Morrissey, November 1999, Irish Times)

https://www.irishtimes.com/news/paddy-english-man-part-1-1.252576

https://www.irishtimes.com/news/paddy-english-man-part-2-1.252578

His current band, that no one ever talks about because they’re too busy pining for the all-white one, has immigrants:

I remember seeing you in a Chivas USA shirt. You have a strong association with Mexico. How do you think their people are treated in America?
Oh, like kings! No, sorry, that was a joke. My guitarist Jesse, who’s been with me for 10 years, is Mexican. One night in Los Angeles the police approached us, spoke reasonably civilly to me, and then said to him “which restaurant do you work at?” I think that sums it up! One of the greatest guitarists of the modern age, but because his skin is brown it’s assumed he washes dishes for a living. He will one day, of course…
(Morrissey, August 2014, Hot Press)

https://www.hotpress.com/music/a-piece-of-his-mind-morrissey-interview-12107062

Boz Boorer, Jesse Tobias, Morrissey, Mando Lopez, Matt Walker, Gustavo Manzur

He’s mentioned immigration in general only a few times in his career, and he’s never attacked people, or demanded that immigration be lowered, stopped or reversed. What he frets about is the tensions inherent in identity. Who we are, why we are, can we kick against it, can we get along? Always on the side of the less powerful, although in his eagerness to attack government policy, he can forget the social norm of expressing pity for its victims while doing absolutely nothing genuinely helpful. He laments that culture is becoming generic esp in music. And he rails against tyranny and injustice; we need structure to make our lives function, but it can also oppress and brutalise us:

The infantile panic with which American immigration officials shout loudly and humiliate gleefully is designed to exert strength, yet it trumpets cowardice and it fouls notions of patriotism… The US government proudly boasted Zero Tolerance and implemented the scheme with zero intelligence. (Morrissey, 2013, Autobiography)

But his overwhelming concern is the meat industry:

The fact that the slaughterhouse or abattoir exists is the most obvious example of human evil. The slaughterhouse is the dead end for humanity, and as long as it exists we can’t possibly have any hope for the human race. If you’ve seen abattoir footage then you cannot possibly think that humans are anything other than evil pests…

He has always felt his opposition to the meat industry is opposed by power:

If your views threaten any form of establishment interests, you are usually ignored or silenced or said to be ‘ranting, I have never ranted in my life. (Morrissey, June 2015, The Huffington Post)

https://www.huffingtonpost.co.uk/entry/morrissey-animals_n_7588034?ri18n=true

And he clearly believed fringe crank, Anne Marie Waters, founder of For Britain, when she said she was being smeared as a racist and a fascist because she was talking about sensitive issues to do with veganism, secularism, animal rights, feminism, and gay rights. And that somehow she would stop the violence and polarization that was driving politics in the 2010s as social media funneled us into warring silos:

I despise racism. I despise fascism.  I would do anything for my Muslim friends, and I know they would do anything for me.  (Morrissey, April 2018, Central)

https://www.morrisseycentral.com/messagesfrommorrissey/i-ve-been-dreaming-of-a-time-when-the-english-are-sick-to-death-of-labour-and-tories

Yes, he could have been more savvy, she is entirely a product of polarisation, but she’s essentially an unelectable YouTuber. At the time of writing (April 2021) he last mentioned her two years ago in April 2019, and he first and last wore the badge of her ‘party’ (which he apparently didn’t join or vote for) in May 2019.

The timing of the show was cynical.

The Simpsons had been called out for using racial stereotypes and discriminatory casting.

https://www.standard.co.uk/news/world/matt-groening-the-simpsons-white-actors-nonwhite-characters-exclude-b920972.html

https://eu.usatoday.com/story/entertainment/tv/2021/03/21/the-simpsons-creator-matt-groening-talks-700-episodes-future-apu/4754144001/

Hank Azaria had apologised for voicing Indian character, Apu… for 30 years.

https://www.bbc.co.uk/news/newsbeat-56731420

And they recast gay Cuban character, Julio, with a gay Cuban actor.

https://hypebeast.com/2021/4/the-simpsons-recasts-gay-cuban-character-julio-with-gay-actor-tony-rodriguez

Which does make their joy at (as far as we know) straight, Benedict Cumberbatch, making a homophobic ad-lib as the ‘Morrissey’ character bigoted peculiar.

‘The Batch’ **high fives everyone, we got this** has previous; using an outdated term to refer to black actors, moaning that it’s hard being posh and playing a trans character for laughs.

https://www.theguardian.com/culture/2015/jan/26/benedict-cumberbatch-apologises-after-calling-black-actors-coloured

https://www.telegraph.co.uk/culture/tvandradio/8978114/Benedict-Cumberbatch-being-posh-can-ostracise-you.html

https://www.independent.co.uk/arts-entertainment/films/news/zoolander-2-benedict-cumberbatch-s-cartoonish-transgender-character-prompts-call-film-boycott-a6743891.html

But it doesn’t matter.

This is about clout.

And for some grotesque reason a high profile television show decided to improve its image by taking pains – stars, songs, extras – to punch down at a low profile Indie singer. Which would have made a better plot.

To cap it The Sunday Times editorial, 25th April 2021, made it clear we hate it when our stars don’t give exclusive interviews:

Demon of Britpop

Britpop was a 1990s musical style that favoured an ‘ironic’ or flattened version of working-class British life inspired by the 1960s – booze, birds and ‘having a good time’.

There is a myth that the movement had to save Union Jack iconography from Morrissey’s fascism.

To recap – in August 1992 Morrissey played 1 of 2 gigs at Finsbury Park, London with the band Madness, who allegedly had a strong skinhead following. While singing Glamorous Glue, Morrissey thrashed the Union Jack around the stage as the crowd reportedly yelled homophobic slurs at him and threw missiles. He refused to play the second gig. The NME interpreted this as Morrissey being racist.

In contrast, The Rolling Stones hired Hell’s Angels to be security at their gig in Altamont, San Francisco in 1969. While they were singing Sympathy For The Devil, a fight broke out and the Hell’s Angels stabbed to death an 18 year old black audience member, Meredith Hunter. This was interpreted by everyone as ‘the end of the 1960s’.

https://www.forbes.com/sites/davidchiu/2019/12/03/altamont-at-50-the-disastrous-concert-that-brought-the-60s-to-a-crashing-halt/?sh=3ddd92ab1941

The Union Jack had always been used extensively in UK pop promotion.

In 1990 New Order released a song for the World Cup with the English football team. Its chant ‘En-ger-land’! became popular without any agonising about it encouraging England’s underbelly of football hooliganism and racism.

https://www.bbc.co.uk/news/magazine-19596766

https://www.theguardian.com/football/2021/feb/08/english-football-is-consumed-by-racism-and-hatred-can-the-cycle-be-broken

The 90s would see two more hit football anthems, Three Lions (Football’s coming home) by Baddiel, Skinner and The Lightning Seeds, and Vindaloo by Fat Les (We’re England, We’re gonna score one more than you, England!).

Sentimental longing or arrogant bragging, both songs were celebrations of fandom.

Morrissey’s football song – from Your Arsenal, the same album as The National Front Disco – was ‘We’ll Let You Know’ – sinister, mournful, violent – it was anything but a celebration.

How sad are we?
And how sad have we been?
We’ll let you know
We’ll let you know
Oh, but only if you’re really interested

You wonder how
We’ve stayed alive ’til now
We’ll let you know
We’ll let you know
But only if you’re really interested

We’re all smiles
Then, honest, I swear, it’s the turnstiles
That make us hostile
Oh-wah, oh-wah, oh-wah, oh-wah, oh-wah

We will descend
On anyone unable to defend
Themselves
Oh-wah, oh-wah, oh-wah, oh-wah, oh-wah

And the songs we sing
They’re not supposed to mean a thing
La-la-la-la, la-la-la-la, la-la-la-la
La-la-la, la-la-la, la-la-la, la-la-la-la
La-la-la-la

We may seem cold
Or we may even be the most depressing people you’ve ever known
At heart, what’s left, we sadly know
That we are the last truly British people you’ve ever known
We are the last truly British people you will ever know
You’ll ever, never, want to know

Morrissey was excluded from Britpop not because he was the dark side, but because he reminded them that the dark side existed when they wanted to use the fig leaf of irony to enjoy the pride and thrill of being loutish, lustful and national.

I crave extremes. I want to be THAT famous, or THAT known. The only reason I’m in this is to make great rock’n’roll records, for the hell of it, and I’m concerned that everybody thinks I’m this politically correct, right-on woman. (Louise Wener, January 1995, Melody Maker)

We are intensely relaxed about people getting filthy rich as long as they pay their taxes. (Peter Mandelson, New Labour strategist, October 1998, Financial Times)

https://www.phrases.org.uk/meanings/cool-britannia.html

This Is Not Your Country

The song ‘This Is Not Your Country’ is often cited as evidence of Morrissey’s racism despite being about the troubles in Northern Ireland.

The title may have been taken from the Australian skinhead film ‘Romper Stomper’, which he cited as a favourite in a press release for Maladjusted:

But it’s impossible to argue that the lyrics approve of racist attacks, or that even the most alarmist skinhead could think that posting a letter meant getting past roadblocks, barbed wire and armed soldiers.

Roadblocks and fire
Barb wire upon barb wire
This is not your country

Armoured cars, corrugated scars
Graffiti scrawls:
“This is not your country”

Home sweet fortress
Gunshot – we hate your kind
Get back!
This is not your country

I need some air
And I’m stopped and repeatedly questioned:
“Born and raised ?”
But this is not my country

We’re old news
All’s well
Say BBC scum
One child shot, but so what?

Laid my son
In a box, three feet long
And I still don’t know why

A short walk home becomes a run
And I’m scared
In my own country

We’re old news
All’s well
Say BBC scum
Everybody’s under control
Of our surveillance globes

We’re old news
All’s well
And thirty years could be a thousand
And this Peugeot ad
Spins round in my head
British soldier pointing a gun
And I’m only trying to post a letter
A short walk home becomes a run
And I’m scared, and I’m scared, I am scared

Old news
All’s well
BBC scum

You’ve got more than the dead, so zip up your mouth
Zip up your mouth
Zip up your mouth
Zip up your mouth (repeated)

Bengali In Platforms

This needs to start with Morrissey’s experience of immigration – which is erased in media narratives about him. His family were all Irish, apart from Morrissey and his sister Jackie, who were born in Manchester.

Nannie remains of Moore Street, in Dublin, of astounding memory and continual disgust… from thereon self-deflationary battles with life’s important truths, plus the usual Irish companions of shame, guilt, persecution and accusation… We are stuck in the wettest park of England in a society where we are not needed, yet we are all washed and warm and well-fed…

Ernie was my true Uncle, my mother’s favourite… Throughout his short and angered life he ached, like most people, to find something of value to do, and he cursed Manchester, and he cursed England through mists of pain, and he cursed the Christian Brothers who had blackened his eyes once too often in the name of heavy-handed holiness. Ernie sank into the army for identity, but lost his, and returned home to Manchester unhappily…

Bustle and fluster pad out these Dublin days, but as each year passes my sister and I are less willing to leave Manchester. Ireland is our soaring past – ruddy and cheerful, yet somehow the past. My parents will never let go, and it is not difficult to understand why. All around us the Irish deputation mourn the loss of the land, and how British liberality hobbles in comparison to the hearty warmth of Dublin’s outstretched arms…

Sometimes Jackie and I are the refugees, as Rita flits in and out of her secretive social whirl. There is only ever a sense of change and of slipping away, but never a sense of security or stability. Tomorrow is already a jigsaw…

We had waved goodbye to Mary at Manchester Airport, a US emigree in her nineteenth year, and to never again be a Manchester lass. We all cry uncontrollably as Mary’s flight is called – a much loved branch hacked away. (Morrissey, Autobiography, 2013)

It’s easy enough to accept or reject someone who arrives in a country – it’s not so easy to cope with being accepted and rejected, as well as everything that’s been left behind, and what this means for who you are now.

In the UK even arts hacks are in the pulpit & punditry business. They expect clear moral commentary & when faced with none, they assume it must be in code. If it’s in code it must be socially unacceptable, ipso facto, Bengali In Platforms, must be a racist song.

Especially as it violates the norms of polite society by using the words Bengalishelve your Western plans & when you belong here, routinely summarised as Morrissey saying that Asians don’t belong in the UK.

Further that it’s a terrible stereotype to say someone is friendly, might be wearing an unfashionable item, and might own a cornershop (with shelves) – because under the English class system what could be worse than being ordinary?

And if that fails to convince, even if it’s not racist, it’s patronising and condescending, as if a man who was mocked as a prat, as old-fashioned, as embarrassing, from the very beginning of his career could condescend to anyone.

The Guardian, 1983

So what’s in the song?

A gauche, eager innocent going somewhere new & trying to fit in.

Bengali, Bengali
Bengali, Bengali
No no no
He does not want to depress you
Oh no no no no no
He only wants to impress you
Oh…

Bengali in platforms
He only wants to embrace your culture
And to be your friend forever
Forever

Similar to Half A Person:

Call me morbid, call me pale
I’ve spent six years on your trail
Six full years of my life on your trail

And if you have five seconds to spare
Then I’ll tell you the story of my life
Sixteen, clumsy and shy
I went to London and I
I booked myself in at the why W.C.A.
I said I like it here, can I stay?
I like it here, can I stay?
Do you have a vacancy for a back-scrubber?

She was left behind, and sour
And she wrote to me equally dour
She said in the days when you were hopelessly poor
I just liked you more

Harsh reality in the form of someone telling him life is hard & his plans won’t work out.

Don’t blame me
Don’t hate me
Just because I’m the one to tell you

That life is hard enough when you belong here
That life is hard enough when you belong here
Oh…
Shelve your Western plans
Oh…
Shelve your Western plans
‘Cause life is hard enough when you belong
Life is hard enough when you belong here

Similar to You Just Haven’t Earned It Yet Baby:

If you’re wondering why
All the love that you long for eludes you
And people are rude and cruel to you
I’ll tell you why
I’ll tell you why
I’ll tell you why
I’ll tell you why

You just haven’t earned it yet, baby
You just haven’t earned it, son
You just haven’t earned it yet, baby
You must suffer and cry for a longer time
You just haven’t earned it yet, baby
And I’m telling you now

An unsuitable object of desire – the platform boots

A silver-studded rim that glistens
And an ankle-star that…blinds me
A lemon sole so very high
Which only reminds me; to tell you
Break the news gently
Break the news to him gently
“Shelve your plans; shelve your plans, shelve them”

Like the platform boots dowdy Morrissey hadn’t dared to wear in 1970s Manchester:

Jon Daley walked along Great Stone Road towards the Hardrock wearing silver knee-length boots… So striking is he that a passing lorry slows down beside him and gruff voices call out in order to throw Jon off balance (well, this is the North) – a compliment of sorts, since it proves just how much you are getting at people, pinging their own self-doubts… my own slavishly dull school uniform is wretched compared to Jon’s intergalactic grace… Jon has no friends at all. (Morrissey, Autobiography, 2013)

And fame itself that pulls a Mancunian to London, to America, and makes them tour the world:

If you’re wondering why
When all I wanted from life was to be Famous
I have tried for so long, it’s all gone wrong
I’ll tell you why
I’ll tell you why
I’ll tell you why
I’ll tell you why
But you wouldn’t believe me

You just haven’t earned it yet, baby
You just haven’t earned it, son
You just haven’t earned it yet, baby
You must suffer and cry for a longer time
You just haven’t earned it yet, Baby
And I’m telling you now
I’ll tell you why
I’ll tell you why

Today I am remembering the time
When they pulled me back
And held me down
And looked me in the eyes and said
You just haven’t earned it yet, baby
You just haven’t earned it, my son
You just haven’t earned it yet, baby
You must stay on your own for slightly longer
You just haven’t earned it yet baby
And I’m telling you now

Time that binds:

Bengali, Bengali
It’s the touchy march of time that binds you

Morrissey’s attitude to time is bleak. It takes us from the safety of home, past early promise to failure & death. From My Hurling Days Are Done:

Time will mold you and craft you
But soon, when you’re looking away
It will slide up and shaft you
Oh, time
Oh, time
No friend of mine

Mama, mama and teddy bear
Were the first full firm spectrum of time
Now my hurling days are done
And there’s no one to tell and there’s nowhere to run

& what binds us? Family, friends, history, community, love. Morrissey is Northern, English & Irish Catholic. His work struggles with the themes of attachment to people and places verses the want for autonomy & control. And with the relationship between the country of his birth & his old country.

In Back To The Old House:

I would rather not go
Back to the old house
I would rather not go
Back to the old house
There’s too many bad memories
Too many memories there

When you cycled by
Here began all my dreams
The saddest thing I’ve ever seen
And you never knew
How much I really liked you
Because I never even told you
Oh, and I meant to
Are you still there or have you moved away?
Or have you moved away?

In A Rush And A Push And The Land Is Ours (which is often added to his list of racist crimes):

A rush and a push and the land
That we stand on is ours
Your youth may be gone
But you’re still a young man
So phone me, phone me
So phone me, phone me, phone me

In The Queen Is Dead:

Oh! Take me back to dear old Blighty,
Put me on the train for London Town,
Take me anywhere,
Drop me anywhere,
Liverpool, Leeds or Birmingham
‘Cause I don’t care,
I should like to see my…By land, by sea.

Farewell… to this land’s cheerless marshes
Hemmed in like a boar between archers
Her very Lowness with her head in a sling
I’m truly sorry but it sounds like a wonderful thing

In Mountjoy (an Irish prison where the British who ruled Ireland executed Irish Nationalists):

What those in power do to you
Reminds us at a glance
How humans hate each other’s guts
And show it given a chance

We never say aloud the things
That we say in our prayers
Cause no one cares

Many executed here
By the awful lawfully good
But the only thing that makes me cry
Is when I see the sky

Brendan Behan’s laughter rings
For what he had or hadn’t done
For he knew then as I know now
That for each and every one of us
We all lose
Rich or poor, we all lose
Rich or poor, they all lose

In This Is Not Your Country (about the troubles in Northern Ireland & often added to his list of racist crimes):

We’re old news
All’s well
And thirty years could be a thousand
And this Peugeot ad
Spins round in my head
British soldier pointing a gun
And I’m only trying to post a letter
A short walk home becomes a run
And I’m scared, and I’m scared, I am scared

Old news
All’s well
BBC scum
You’ve got more than the dead, so zip up your mouth
Zip up your mouth

& in Irish Blood, English Heart (sometimes adapted to Racist Blood, English Heart in articles featuring his list of racist crimes):

Irish blood, English heart, this I’m made of
There is no one on earth I’m afraid of
And no regime can buy or sell me

I’ve been dreaming of a time when
To be English is not to be baneful
To be standing by the flag not feeling shameful
Racist or partial

Irish blood, English heart, this I’m made of
There is no one on earth I’m afraid of
And I will die with both of my hands untied

I’ve been dreaming of a time when
The English are sick to death of labour and Tories
And spit upon the name Oliver Cromwell
And denounce this royal line
That still salute him and will salute him forever

Only an Irish person would care about Oliver Cromwell, or be that angry at the Royals. They’re the villains of Irish history.

And it’s a sign of how complicated immigration can be that the English media singled out an Irish Catholic to demonise for holding a Union Jack (nicknamed the Butcher’s Apron by Irish Republicans) – leaving him more agonised about his background. The song’s right – life is hard enough when you belong here – because here won’t understand how you feel. And here won’t let you tell them.

As Sands starved to death in protest at being tagged a ‘criminal’ and not a ‘political prisoner’ by the Thatcher government, the Queen sat in her Palace and said nothing. If the Queen had any human feelings for the Sands family or other hunger strikers then she did not express them… The Queen also has the power to give back the six counties to the Irish people, allowing Ireland to be a nation once again. The fact that she has not done so is Fascism in full flow. What else could it be? Name one other European country that is controlled by its neighbour? (Morrissey, Hot Press, May 2011)

https://www.hotpress.com/opinion/the-existence-of-the-queen-is-against-any-notion-of-democracy-7901992

What these songs are doing is asking important questions without easy answers. What are we? How do we fit in? What’s allowed?

There’s really no doubt that Bengali In Platforms empathises with the man from Bengal. What it doesn’t do is put on a cod Indian accent & speak over him, or soothe him – & us – with nice slogans.

So why someone from Bengal & not Ireland?

He was a Loudon Wainwright fan, so could have taken a cue from East Indian Princess:

East Indian princess lives in a western dream
Happy like a child, her mother is a queen
You know she’s safe as a cow on a Calcutta street
This English way of life has got that other life beat

And reading magazines, she sits in straight backed chairs
She’s got a common welfare, she’s got a queen that cares
She’s got meat on her bones, she doesn’t starve at least
Not like the folks back home, not like the folks back east

Yeah, but this Indian is English, no matter how she tries
You know the sari and the sandals, it’s just a bad disguise
She got a mark on her forehead, she got a stud in her nose
Yeah, but this Indian is English and I’m afraid it shows’

Cause you can see her at Wimpey’s and on a movie queue line
Her river’s not the Ganges, it is the Serpentine
East Indian princess, she got the western pain
She got the western mind, that girl has gone insane

Or could have been inspired by film or tv. – A Passage To England (1972, 1975), My Beautiful Laundrette (1985) and countless others from the 60s to the 80s.

Or news, like the strike in Brick Lane:

Or he wanted someone who outwardly didn’t fit in, but inwardly was keen to join, to echo the dilemma in Dial A Cliche, also on the album Viva Hate, where the narrator could outwardly ‘be a man’, but he inwardly doesn’t feel it:

Further into the fog I fall
Well, I was just
Following you

When you said, “Do as I do and scrap your fey ways”
Dial-A-Cliché
“Grow up, be a man, and close your mealy-mouth”
Dial-A-Cliché
Dial-A-Cliché
Dial-A-Cliché

But the person underneath
Where does he go?
Does he slide by the wayside?
Or does he just die?

And you find that you’ve organized
Your feelings, for people
Who didn’t like you then
And do not like you now

But still you say, “Do as I do and scrap your fey ways”
Dial-A-Cliché
“Grow up, be a man, and close your mealy-mouth”
Dial-A-Cliché

“The safe way is the only way”
“There’s always time to change, son”
I’ve changed, but I’m in pain
Dial-A-Cliché

Which seems connected to Morrissey’s own search for evidence that men are attracted to other men, while trying to avoid being attacked or shunned for it. Another identity crisis:

Partial disclosures of male closeness fascinate me, because it’s something that is nowhere in the life around me. All males are adversaries in muggy Manchester…

I represent filth. I am forbidden to live – by religion.

(of a PE teacher) he is obsessed with homosexuality – that it should be traced and uncovered, named and shamed. This tirade goes on and on for more years than could be thought possible, and I am not surprised that I am regularly the butt of his bombast… (Morrissey, Autobiography, 2013)

Or if we’re taking a creative leap based on words – the British have been accused of two genocides via famine, in Bengal and in Ireland. A person from Bengal and a person from Ireland would both be trying to belong to a country that tried to starve them.

http://www.bbc.co.uk/history/british/victorians/famine_01.shtml

https://www.bbc.co.uk/news/world-asia-india-36339524

We might find out if Morrissey’s notebooks ever become public – but it’s absurd to think that a racist would write a song about a friendly man, who wants to embrace your culture, cruelly being told to shelve his plans by someone who knows this news would make him ‘hate’ him & ‘blame’ him.

A racist song wouldn’t frame the person telling the immigrant to shelve his plans as blameworthy and hateful, and the immigrant as friendly and embracing.

And part of the wincing reaction to the song is probably because it makes you feel sorry for the rejected immigrant, without giving you the moral solace of the narrator being told he’s wrong.

All you get is the pain.

Which is closer to life than a tagged on comeuppance.

Asian Rut

Asian Rut regularly turns up in the list of Moz crimes, though no one explains why.

Maybe they think the word Asian in the title is racist.

Or that Rut makes it racist. Rut can mean aggressive male sexual excitement, so could be connected to the idea that violence is a form of sexual rivalry. It might even make you wonder how very was the best friend. Or he’s stuck in a rut, a cycle of retribution that will lead to nothing but destruction.

The album it comes from, Kill Uncle, has an air of sardonic ennui, so as with Mute Witness, you could suspect that he was mocking the distress of the song’s protagonist, in this case the boy trying & failing to get revenge. But in context it’s more about the way fate mocks us.

The Asian boy is the hero so he gets the title.

& we don’t know if the narrator will get home, or if, having witnessed the crime, the English boys will get him next, or if he’s somewhere safe repeating a story he heard about that violent place that no one does anything about.

Another objection could be that the Asian boy is English too, but it’s a fight centred around group identity & it’s a drama, not a lecture.

Morrissey has described himself as both English & Irish Catholic, so he knows the way labels move around regardless of citizenship.

The family is young and amused asn all Irish-born but for my sister and I… we Irish Catholics know very well how raucous happiness displeases God, so there is much evidence of guilt in all we say and do, but nonetheless it is said and done… The Irish banter is lyrical against the Manchester blank astonishment. (Morrissey, Autobiography, 2013)

Or they could demand that art should be morally clear and respectable when dealing with a sensitive subject – but Morrissey felt he was battling against the class system, and heteronormativity to become a writer and a singer. He had no reason to credit society with making the right things taboo.

I pin so much prestige on James Baldwin that to risk approach places my life on the line: I’d hang myself at any glimmer of a rejection. History books overlook James Baldwin because he presented an unvarnished view of the American essence – as blunt and rousing as print would allow… His liking for male flesh gave the world a perfect excuse to brush him aside as a social danger, and he was erased away as someone who used his blackness as an excuse for everything. In fact, his purity scared them off, and his honesty ignited irrational fear in an America where men were draped in medals for killing other men yet imprisoned for loving one another. (Morrissey, Autobiography, 2013)

The essence of… (Moz Art)… came from an idea I had to take images that were the opposite of glamour and to pump enough heart and desire into them to show ordinaryness as a instrument of power – or possibly, glamour… to present cheerless and cluttered bed-sitter art in a beautiful and proudly frank way… Rules in all things, are simply laid down so that someone might break them. I had learned to guard my secrets carefully…. it would be the ache of love sought, but not found; buttoning your overcoat as you stand before an ash-slag fire as you ponder years of wasted devotion amid the endless complaint of boredom. (Morrissey, Autobiography, 2013)

He was also a punk fan, with its ironic subversion of pop culture – The Ramones singing a teenage tragedy song about the KKK, exposing the bad taste behind the clean-cut beehives.

https://www.legacyrecordings.co.uk/news/death-disc-phenomenon

But then Morrissey tends to put more agony into a song, life is ridiculous AND painful.

I am shocked, but then I fold into convulsive laughter. Some terrible moments are funny. (Morrissey, Autobiography, 2013)

Lyrics:

Day oh so late
Strangely the sun still shone
Ooh Asian boy
What are you on?
Day oh so late
Strangely the sun still shone
Oh Asian boy
What are drugs are you on?Oh… strange
Tooled-up Asian boy
Has come to take revenge
For the cruel, cold killing
Of his very best friend
Tooled-up Asian boy
Has come to avenge
The cruel, cold killing
Of his only friend

There’s peace through our school
It’s so quiet in the hall
It’s a strange sign for one
Of what’s to come
Tough and cold and pale
Oh, they may just impale you on railings
Oh, English boys
It must be wrong
Three against one

Oh …
Brakes slammed and
His gun jammed
And as far as I could tell
Brave Asian boy
Was dealt a blow and fell
I’m just passing through here
On my way to somewhere civilized
And maybe I’ll even arrive
Maybe I’ll even arrive

National Front Disco

In 1992, Morrissey’s album Your Arsenal, had a track called The National Front Disco.

The National Front was a fascist political party founded in the UK in 1967. In the 1970s they tried to appeal to youths via social events like football matches and discos, eventually becoming associated with punks, skinheads and hooligans.

In a 2015 essay by Frank Owen about the 1970s Manchester punk scene, Morrissey is described as a ‘wallflower’ and a ‘delicate bloom’. Many of the details were a rehash from the Melody Maker interview in 1986 where Frank calls him ‘camp’, a ‘big jessie’ and a ‘big girl’s shirt’.

https://medium.com/cuepoint/booze-blood-and-noise-the-violent-roots-of-manchester-punk-af8092bcaac3

https://fxowen.wordpress.com/golden-oldies/home-thoughts-from-abroad/

Giving the impression that Morrissey was girly and gay seemed important at the time, now he calls him a bigot and a racist.

The song had a variety of inspirations – Bill Buford’s Among The Thugs that described a homoerotic National Front Disco in Bury. Nick Knight’s Skinhead. Bands like Bradford, Angelic Upstarts, and Cockney Rejects. Photographs by Derek Ridgers. The pulp novels of Richard Allen.

In it family and friends tell a young man that they’ve lost him, they know why they’ve lost him, and they doubt he’ll get the revenge or the reward he’s seeking.

In August 1992 Morrissey played a gig with Madness at Finsbury Park. It was reported that the crowd threw missiles and yelled homophobic slurs like ‘poofy bastard’. Morrissey finished his set, but refused to return for the next date. This refusal was widely condemned in the music press culminating in the NME running an article accusing him of encouraging racism with his ‘fascist iconography’ – a union jack and a picture of two female skinheads – and citing The National Front Disco as the latest of a series of racist words in his interviews and lyrics ie Hang The DJ, Bengali In Platforms, When You Belong Here, Shelve Your Western Plans, Asian Rut, Reggae is vile and the fabricated Black Pop Conspiracy.

In The Observer, December 1992, Robert Chalmers, thought he was ‘perversely attracted to the iconography of the far right.’

Morrissey said: ‘I like the flag. I think it’s very attractive. When does a Union Jack become racist?… The National Front interests me, like it interests everyone. Just as all manner of sexuality interests everyone. That doesn’t mean you necessarily want to take part.’

Billy Bragg said ‘I don’t think Morrissey has ever quite got his politics worked out… The real problem with neo-fascist symbolism’ – that’s two girls and the UK’s official flag on a stage with a poofy bastard – ‘is that it is extremely difficult to retain an attitude which is neutral or ironic, which is what I think he is attempting to do.’

Except Morrissey’s politics were clear at the time. He hated Mrs Thatcher. He said he was a socialist. Much of the left shared his dislike of American hegemony and saw the European Union as a continuation of Imperialism. And while he was never keen on benefits and boycotts, he had dutifully turned up.

Beyond wanting to give him a kicking for not fulfilling professional engagements there seemed to be an underlying moral panic about his sexuality.

That he might be exploring violent male subcultures as a kink and the only way anyone could deal with it was to attack it for non-existent racism, or contain it by framing it as ironic or neutral.

Scruples from an industry that had no problem with the iconography of future Trump supporter John Lydon, or girlfriend murderer, Sid Vicious:

That’s happy to wax nostalgic about larky bad boys regardless of violence, homophobia and David Icke conspiracy theories:

Mark himself had once had his head banged repeatedly against a wall by Elvis Costello’s combative manager, Jake Riviera; one of his former NME colleagues was set on fire by Rat Scabies from The Damned, and another was left gaffer-taped to a tree in a desert by The Stranglers… Being “duffed up” (as Mark put it) by disgruntled rock stars was, I realised, a journalistic rite-of-passage. Still, he recommended I call (Ian) Brown’s record company and tell them that their “talent” was going around threatening critics… Within two weeks of our phone “chat” came the infamous air-rage incident, when he threatened to cut off the hands of a British Airways stewardess, then hammered on the cockpit door as the flight came into land… Brown was arrested. (He was eventually sentenced to four months in Strangeways, of which he served eight weeks.)… And, a few months later, Brown launched into a bizarre homophobic rant… ”I don’t trust the British fascination with homosexuals… Violence comes from Romans, Nazis, Greeks – they were all homosexuals.”... How did the lead singer of such an epoch-defining band become a swivel-eyed Covid-denier and online truth warrior? Well, one could plausibly point to a heady cocktail of toxic masculinity, over-inflated ego and drug use… A more sympathetic reading is that the 57-year-old divorced father-of-three might not be feeling quite himself in this new normal™, as is the case with many of us right now. Brown’s “me against the world” complex could be heightened by his counter-cultural leanings, instinctive anti-establishment beliefs and estrangement from his former bandmates. (Michael Hogan, October 2020, The Telegraph)

https://www.telegraph.co.uk/music/artists/gonna-give-proper-manchester-kicking-ian-browns-journey-violence/

That will collect together anti-Moz songs that include homophobic lyrics because paraphrases of his ‘inflammatory’ statements make him fair game:

All you do is hate life and tell me about it. You’re a homosexual, just keep me out of it. All your music sounds the same
I don’t even like your art fag name. Cause I hate The Smiths and Steven Morrissey
(I Hate The Smiths, Ween)

That crybaby son of bitch, no-talent motherfucker/Bastard-ass dickhead, ball-flapping dicksucker/Baggy-shirted depressed Dean-loving bonehead/Making lots of money with boring songs like Suedehead. (Morrissey Rides A Cockhorse, Warlock Pinchers)

Slap that fag with a toe tag , If you won’t do it then I will. (Morrissey Must Die, Meatmen)

Shaking hands with Morrissey, Sucking cock in East Africa, Ask a lesbian for a fuck, Take a shower in…Auschwitz (Deathtime, Turbonegro)

https://music.avclub.com/viva-hate-15-anti-morrissey-songs-1798222021

Where homophobic anecdotes can be repeated without fear of denting anyone’s career:

When Julian Casablancas (Strokes) has a drink” Jimi (Goodwin, Doves) warns “he goes nuts.” He launches into his favourite Strokes anecdote. Apparently the two bands were in LA having post-gig drinks in a British theme bar. None other than Morrissey was nearby, at a table with 3 girls. “It was fucking strange, man” Jimi laughs “He kept sending these girls over to say ‘Morrissey is sat in the corner if you’d like to talk to him’. He is dead shy, but it was like he was holding fucking court. We were like “We’re cool, tell him to come over and join us”. So he came over and sat down, and Julian started calling him a fucking faggot. I was like “just leave it out, Julian” and he was all “Jimi’s upset with me, man – what’s the problem?” and then he kept doing it! (NME, August, 2001)

Where rock stars can routinely demand everything from drugs to groupies, but Morrissey can’t get a towel:

‘He’s a woman in a man’s body… I remember a feeling of absolute revulsion standing at the side of the stage at the palace watching Stuart James, who’s a brilliant engineer, a good producer and a fine young man, scurrying across the stage with eight freshly cleaned towels for Morrissey.’ (Tony Wilson, The Severed Alliance by Johnny Rogan)

Where casual racism is just a snappy lead:

OK. So it’s not the same as having millions of Muslims baying for your blood, but being at the receiving end of a fatwah issued by Pop’s most vehement star is not an uninteresting circumstance in which to find oneself. (Hot Press, March 2001)

Captions can be in bad taste:

The Smiths, Johnny Rogan

And your friends get corrections:

“No, because your rabbi respects PIG ISLAM”. (Julie Burchill, Independent, September 2014).

Julie Burchill – the funniest, brightest writer I ever met. (David Quantick, Le Document, July 2020)

The National Front Disco

David, the wind blows,
The wind blows

Bits of your life away.
Your friends all say,
“Where is our boy?
Ah, we’ve lost our boy”.
But they should know,
Where you’ve gone,
Because again and again you’ve explained
That you’re going to . . .
Oh, oh, oh, going to . . .
Yeah, yeah, yeah, yeah
“England for the English”,
“England for the English”.
David, the wind’s blown,
The wind’s blown
All of my dreams away.
And I still say,
“Where is our boy?
Ah, we’ve lost our boy”.
But I should know
Why you’ve gone,

Because again and again you’ve explained
You’re going to the National . . .
Ah, to the National . . .
There’s a country,
You don’t live there,
But one day you would like to.
And if you show them what you’re made of,
Ah, then you might do.
But David, we wonder,
We wonder if the thunder
Is ever really gonna begin,
Begin, begin
Your mum says,
“I’ve lost my boy”.
But she should know
Why you’ve gone,

Because again and again you’ve explained
You’re going to the National,
To the National,
To the National Front disco,
Because you want the day to come sooner,
You want the day to come sooner,
You want the day to come sooner,
When you’ve settled the score.
Oh, the National,
Oh, the National,
Oh, the National,
Oh, the National,
Oh, the National