From “It takes guts to be gentle and kind”; to calling an entire population of people a “sub-species”. How a did a child of working-class immigrants grow into such a racist, people-hating xenophobe? Former frontman of The Smiths, Morrissey, is now known for his controversial opinions and blatantly racist remarks. There is no doubt Morrissey has always been contentious, however, at the time of their prominence; The Smiths represented something very different. A martyr for the misunderstood, Morrissey sung of shyness and the feeling of not fitting in amongst his peers. In those days he appeared to speak for the left, as a vegetarian and a vocal anti-Thatcherite; now he is a member of an organisation which even the infamous Nigel Farage believes to be made up of ‘Nazis and Racists’. Do these displays of hatred taint the early work of Morrissey? Or can we separate the artist from the art?
The band was active between the years 1982 and 1987. In 1984, the single ‘What Difference Does It Make?’ was released and reached number twelve on the UK Singles Chart. The song is said to be about a young Morrissey confessing as secret to his friend in which the later reacts badly to. Many have said this song is about Morrissey’s sexuality, however, this just educated speculation, not fact. The song includes the lyrics: “And your prejudice won't keep you warm tonight”. This is a harrowing lyric, now one of the most prejudiced men in Britain, Morrissey’s expression is now even more symbolic. This articulates the liberation of youth and the callousness that sometimes comes with age. However, this is not to say the lyrics don’t still resonate with many and shouldn’t be listened to. Separating Morrissey from his art, his music did and still does continue to speak too many; especially the young. Thomas Howarth a student that was interviewed by the Guardian stated: “I rarely agree with the things Morrissey says in interviews but I still enjoy his musical output.” This proves that many are willing to put aside the character of Morrissey and listen to his music, detaching him from the man he has become and remembering the man that he was. However, this does not come without its issues, does supporting and subsequently funding a racist make the listener just as guilty as the artist?
“England for the English!” sang a solo thirty-two year old Morrissey in 1992. The song ‘The National Front Disco’ told the story of a young-man persuaded by far-right groups. However, in this song Morrissey appears to be mocking the lack of thought put into far-right organisations. The repetition in the song of ‘yeah, yeah, yeah, yeah’ displays the absentminded chanting of these far-right organisations. It can also be argued that this was just a ploy to get fans singing far-right chants. Returning to ‘What Difference Does It Make?’ the feeling that the song created is still alive and well today. Morrissey’s impact on the youth of the eighties’, sexuality and beliefs has been unequivocal. The lyrics “all men have secrets and here is mine “exhibit to the listener that many have secrets and things that they are ashamed of, however, one shouldn’t be ashamed. This message is still important today; people should be their-authentic-selves. Morrissey’s attitudes should not be able to taint this message which spoke to so many; instead it should teach them a lesson that people are often not who they originally appear to be. It’s also fair to interpret songs separately from the way the artist wants the songs to be interpreted.
Many would contend that Morrissey’s opinions are extremely damaging to his previous music. Journalist Joshua Surtees argues that Morrissey’s actions have ruined his childhood. Surtees, a mixed-race, British-Jamaican, wrote:
“As a mixed-race, British-Jamaican boy raised by a white, working class, reggae-loving, northern mother, your music somehow became the most important thing in my young life. It was a delicious, rebellious pleasure, a refuge through difficult teenage years. As an adult, I’m furious at your betrayal and your rejection of modern, diverse Britain. Your music once evoked the very nature of being British. It was exhilarating to hear somebody proudly outspoken about solitude and awkwardness delivering words with a poetic blend of sarcasm, empathy, bookishness, sincerity and disdain”.
It is understandable that someone who is mixed-raced, or any person of colour, for that matter would no longer even listen to Morrissey’s music. As a child of an immigrant Surtees feels “betrayed” by Morrissey. However, he still upholds the position that it is acceptable to listen to the artist as his bigotry shouldn’t change the original sentiment of the songs written thirty-five years ago. Nevertheless, there is often speculation that Morrissey has never been honest with his fans, in fact many believe the racist bigotry is a façade. Morrissey’s opinions appear to many, as a character; he has always been controversial, although previously controversially left. One can argue that there is a possibly that Morrissey is trying to stay relevant by expressing these outrageous ideas and bashing major news companies like the Guardian. If this is the case, it has worked.
It’s tremendously ironic that a band whose last performance was an ‘Artists Against Apartheid’ benefit in Brixton in 1986, would produce one of the smallest minds in Britain. Yet in arguments of whether or not to listen to The Smiths, the lead guitarist is often left out. Johnny Marr, in an NME interview, stated: ‘All anyone needs to know is that I oppose those views from Morrissey or anybody else’ this creates an argument for why The Smiths should still be listened to. If one agrees with Marr’s viewpoints, surely they should be allowed to listen to some of his earlier work. Marr has often spoken out against Morrissey; explaining they are “two very different people”. Emphasising that when The Smiths were together Morrissey was at least tolerable; and his viewpoints now should not tear away from previous messages in his songs. Morrissey himself sung “and you must be looking very old tonight” when describing a friend with old beliefs and prejudice. It appears Morrissey himself is becoming the person he appeared to hate in the eighties. Therefore, listening to his earlier music could be justified with by that viewpoint. Stewart lee disagrees as he stated: “Suddenly, I just didn’t want Morrissey in my home any more. And I couldn’t imagine any circumstances under which I would ever listen to him again.” This reveals that many are uncomfortable with Morrissey and are unable to listen to his music ever again. He has ruined it for them; creating a monster. Many feel they cannot fund a person whose beliefs are so alien to their own. This is fair, it could be argued hypocritical however as many still read their children Enid Blyton books. Blyton was a known racist; however this does not mean her works stop appealing to children. The same view could be held for Morrisey.
Overall, the argument for whether Morrissey’s past detracts from his earlier music is a strong one. There is sense in detesting the artist; but still loving their music for the way it made you feel when you first heard it. The Smiths were the soundtrack to many childhoods’ in a bleak Britain and that’s something that should not be forgotten. However, it is also justifiable to observe the music differently. It’s important that Morrissey’s opinions are taken into account when speaking of his legacy to ensure he is not put on a pedestal, simply because he made great music. This goes for any artist, writer or poet. One can appreciate their art without believing they are morally superior because they created something impactful. The messages of Morrissey’s music still remain and it’s up to the individual person whether they listen to or buy his music. Instead of loving or hating him, one should remember artists like these are like these are no better than the rest of us. Morrissey has besmirched his legacy; knowing he is hated and capitalising off of it. He has always known he is unlovable.
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Bibliography
Rogan, J. (1992) Morrissey & Marr: The Severed Alliance. Omnibus press, London, Ch2. (pp32-49)
Surtees, J. (2019) ‘as a black teenager, I loved Morrissey. But heaven knows I’m miserable now’. The Guardian. [Online] Available at: https://www.theguardian.com/commentisfree/2019/jun/06/black-teenager-morrissey-racism-support-bigots
NME | Music, Film, TV, Gaming & Pop Culture News. (2018). ‘Johnny Marr says he’s not “mates” with Morrissey: “We’re just very different”’. NME. [Online] Available at: https://www.nme.com/news/music/johnny-marr-morrissey-not-mates-were-just-very-different-2339666
PARACRATOS (2019). The Smiths HD - Brixton Academy England - 12 Dec 1986. YouTube. Available at: https://www.youtube.com/watch?v=-lf3wf9ekOw
Lee, S. (2018). ‘How to treat Morrissey? Stop listening to him’. The Guardian. [Online] Available at: https://www.theguardian.com/commentisfree/2018/jul/08/how-to-treat-morrissey-stop-listening-to-him-stewart-lee
Waddell, L (2019). ‘Enid Blyton’s racism needs to be challenged’. The Scotsman. [online] Available at: https://www.scotsman.com/news/opinion/columnists/enid-blytons-racism-needs-be-challenged-laura-waddell-1409086
Cain, S. (2019) ‘Enid Blyton had racist views. But I still read her’. The Guardian. [Online] Available at: https://www.theguardian.com/commentisfree/2019/sep/03/enid-blyton-racism
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