Article: "Morrissey: Fandom, Representations and Identities" - Limerick event/panel discussion (Sep.

Uncleskinny sends the news and press release:

New Morrissey Book + Limerick Event - Hot Press

The University of Limerick is to host a major event dedicated to Morrissey on September 16.

Along with a performance by the Mozza-endorsed These Charming Men, there will be a panel discussion and the offical unveling of Morrissey: Fandom, Representations and Identities, a collection of 18 essays on his contribution to popular culture.

Edited by UL Senior Lecturer in Sociology Eoin Devereux, Aileen Dilane and Martin Power, it can be ordered from intellectbooks.com for £25.95 or $50.

"Known for his outspoken and often controversial views on class, ethnicity and sexuality, Morrissey has remained an anti-establishment figure who continues to provoke argument, debate and devotion among critics and his many fans," reads the promo blurb. "Working across a range of academic disciplines and approaches, these essays seek to make sense of the many complexities of this global icon."


Morrissey: Fandom, Representations and Identities press release (.doc 1.0 MB)

sgtvzk.jpg


Related forum thread:
New book: MORRISSEY: Fandom, Representations & Identities
 
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Mr HateHater you are becoming an angry little clown of this site. Haha very amusing
 

off-topic

We+are+all+David+T.png
 
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CONTENTS OF MORRISSEY: FANDOM, REPRESENTATIONS AND IDENTITIES

Edited by Eoin Devereux, Aileen Dillane and Martin J. Power

Available Now From Intellect Books

Preface By Len Brown

Introduction: But Don’t Forget the Songs that Made You Cry and the Songs that Saved Your Life … Eoin Devereux, Aileen Dillane and Martin J. Power.

Chapter 1: ‘Suedehead’: Paving the Pilgrimage Path to Morrissey’s and Dean’s
Fairmount, Indiana Erin Hazard.

Chapter 2: “The Seaside Town that They Forgot to Bomb”: Morrissey and
Betjeman on Urban Regeneration and British Identity Lawrence Foley

Chapter 3: In the Spirit of ’69? Morrissey and the Skinhead Cult
John H. Baker.

Chapter 4: Fanatics, Apostles and NMEs Colin Snowsell.

Chapter 5: The “Teenage Dad” and “Slum Mums” are Just “Certain People I Know”:Counter Hegemonic Representations of the Working/Underclass in the
Works of Morrissey Martin J. Power.

Chapter 6: In Our Different Ways We are the Same: Morrissey and Representations of Disability. Daniel Manco

Chapter 7: “My So Friendly Lens”: Morrissey as Mediated through His Public Image Melissa Connor.

Chapter 8: “Because I’ve only got Two Hands”: Western Art Undercurrents in the Poses and Gestures of Morrissey. Andrew Cope.

Chapter 9: Moz: art: Adorno Meets Morrissey in the Cultural Divisions
Rachel M. Brett.

Chapter 10: Speedway for Beginners: Morrissey, Martyrdom and Ambiguity
Eoin Devereux and Aileen Dillane.

Chapter 11: No Love in Modern Life: Matters of Performance and Production in a Morrissey Song. Eirik Askerøi.

Chapter 12: ‘Vicar In A Tutu’: Dialogism, Iconicity and the Carnivalesque in
Morrissey. Pierpaolo Martino.

Chapter 13: Smiths Night: A Dream World Created Through Other People’s Music. Dan Jacobson and Ian Jeffrey.

Chapter 14: Talent Borrows, Genius Steals: Morrissey and the Art of Appropriation. Lee Brooks

Chapter 15: ‘I’m Not The Man You Think I Am’: Morrissey’s Negotiation of Dominant Gender and Sexuality Codes. Elisabeth Woronzoff.

Chapter 16: Melodramatic Morrissey: Kill Uncle, Cavell and the Question of the
Human Voice. Johanna Sjöstedt.

Chapter 17: ‘You Have Killed Me’ – Tropes of Hyperbole and Sentimentality in
Morrissey’s Musical Expression. Stan Hawkins.
 
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where or when has Morrissey endorsed "These Charming Men"?

sounds like nonsense to me
 
Re: Article: "Morrissey: Fandom, Representations and Identities" - Limerick event/pan

where or when has Morrissey endorsed "These Charming Men"?

sounds like nonsense to me

It's not. When Morrissey couldn't fulfil a date at the Fuji Rock Festival in 2004 he called the band and they stood in for him.

P.
 
So is that an endorsement or an insult to the Japanese? I follow this site and its news to me. I guess that is what Morrissey was on about when stating to David T that he knew what he did. Not picking up on news that matters. Matters to Morrissey that is.
 
Hm I dont like the photo on the cover. But otherwise, interesting.
 
Crack on you and all you touch. I utterly despise you and all you stand for.
 
Re: Article: "Morrissey: Fandom, Representations and Identities" - Limerick event/pan

You people are all idiots and buffoons and jackasses who should be locked up in an institute and have your meds thrown at you like rocks and hopefully hit your dead and you'll get concussions, you squatters and stragglers and let the dripping of your urine fill up your senses and let your vomit spew out like semen.
You are repulsive creatures who should be castrated and cast out into the ocean to be devoured by an obese whale and seahorses.
Morrissey is a God who you should all be worshiping and kneeling at his boots. He does everything for you and you don’t appreciate anything he does. He treats his true fans like angels. They are blessed to have him in their lives.

If there really was a God, it would be Morrissey.
 
As a fan who has been around since the mid-late 90s on this website (more as an observer in recent years), I wanted to post a message of good will to the inimitable Morrissey and his band. Despite all the vicious attacks on Morrissey's character and on the talent of his band, I am looking forward with relish to seeing him live in London next month, and to his next album, assuming he gets a deal and gets it out where it belongs - on the record store shelves.

I too had doubts about Jesse - and expressed them stridently around the time Ringleader was released - but 'Years of Refusal' was a striking record and blew any doubts out of the water. The finest songs on YOR rank for me alongside Morrissey's finest work, up there with The Queen is dead, The Smiths, Strangeways, Viva Hate, Vauxhall and Quarry. 'Something is Squeezing my Skull' is his most potent album-opener since TQID and served as bootlaces to the lips of those who dared question his ability to pack a punch thirty years on. 'Mama Lay Softly on the Riverbed' is arguably my favourite solo song since the 1980s. It took a little while for Jesse to settle in but I do think he's proven himself to be a fine musician on YOR. YOR is the morrissey record I reach for most often two years on. It's that good.

That Morrissey is still able to do it at age 52 is a miracle; that he is able to do it with such style and eloquence - and a ferocity of spirit that belies his years - is all the more remarkable. Someone who has been - and remains - so great is beyond criticism as far as I'm concerned. I hope he continues for as long as he is able and that he continues to attack this spineless, vacuous, mechanical society we've created.

The great thing about Morrissey is that he never grows up - he remains what he has always been: an outsider, an extremely articulate pre-adult, grappling with the questions most of us simply put on the backburner and learn to forget about. The transformation into adulthood - for most of us - is a trick of the light, an illusion. Morrissey will not forget, will not acquiesce, will not simply roll over and play submissive to the powers that be. And thank God for that.

I have watched recent events unfold with interest and a raised eyebrow. The falling out between Morrissey and this website is obviously terminal and I do feel it's up to Morrissey whom he wishes to sing to. Why should he have to sing to David Tseng if he wishes not to? Having said that, David is, as a few of you have observed, out of pocket and it wouldn't hurt for someone to compensate David. I can see both sides.

My loyalty is to Morrissey, not to David Tseng. Let's get behind our hero and wish him well as he trails a blaze in his fourth decade in popular music. Is there another artist with his legacy? No. Morrissey single-handedly created indie music, influenced almost every band presently doing thr rounds, helped re-invent guitar music (along with Marr and the Roses), has influenced and changed pop culture in ways that even now we struggle to grasp, and has thrilled fans over three decades with great songs. The four classic Smiths albums alone would guarantee his place forever in our hearts. That's a record few bands except perhaps the Beatles, Stones and Bowie can match. but when you hurl in his magnificent solo work, his legacy is more or less peerless.

A lot of the people who frequent this site are haters; some are adolescents; many more are bitter and hankering after 'the good old days.'

Morrissey is not going back to a bedsit in Daveyhulme. He's not going back to Johnny Marr. Morrissey remains the one authentic voice in popular music with the capacity to shred my heart, make me laugh and cry in the same song. Nobody else can do this.

In summary, I shall return to my dignified silence on this site, I'll continue looking for news here, and I'll continue watching morrissey live with the same love I have always felt for an artist i adore. Yes, I hope david receives a refund for the Copehagen fiasco, but I feel it's Morrissey's right to ban him if this is what he wants.

You don't get psychobabble, 2.4 children and perspiration with Morrissey: he's a true artist, and different rules apply. If you don't understand this, then perhaps the past 15 albums+ have gone straight over your head.

Ernest Hemmingway, Oscar Wilde, Vincent Van Gough, George Orwell, Mozart - none of these people were Mr Average; none of them were necessarily people you would want as nextdoor neighbours; but they changed their art forever - they inspired themselves, they dreamed, they created and they left their footprints in our spirits. Morrissey is in that company. His personal qualities are similarly unimportant to me.

Morrissey, I look forward to seeing you in London and I hope you realise this site does not speak for all or indeed many of us. This site is a joke. You are real.

Ever your fan,

broken
 
Re: Article: "Morrissey: Fandom, Representations and Identities" - Limerick event/pan

As a fan who has been around since the mid-late 90s on this website (more as an observer in recent years), I wanted to post a message of good will to the inimitable Morrissey and his band. Despite all the vicious attacks on Morrissey's character and on the talent of his band, I am looking forward with relish to seeing him live in London next month, and to his next album, assuming he gets a deal and gets it out where it belongs - on the record store shelves.

I too had doubts about Jesse - and expressed them stridently around the time Ringleader was released - but 'Years of Refusal' was a striking record and blew any doubts out of the water. The finest songs on YOR rank for me alongside Morrissey's finest work, up there with The Queen is dead, The Smiths, Strangeways, Viva Hate, Vauxhall and Quarry. 'Something is Squeezing my Skull' is his most potent album-opener since TQID and served as bootlaces to the lips of those who dared question his ability to pack a punch thirty years on. 'Mama Lay Softly on the Riverbed' is arguably my favourite solo song since the 1980s. It took a little while for Jesse to settle in but I do think he's proven himself to be a fine musician on YOR. YOR is the morrissey record I reach for most often two years on. It's that good.

That Morrissey is still able to do it at age 52 is a miracle; that he is able to do it with such style and eloquence - and a ferocity of spirit that belies his years - is all the more remarkable. Someone who has been - and remains - so great is beyond criticism as far as I'm concerned. I hope he continues for as long as he is able and that he continues to attack this spineless, vacuous, mechanical society we've created.

The great thing about Morrissey is that he never grows up - he remains what he has always been: an outsider, an extremely articulate pre-adult, grappling with the questions most of us simply put on the backburner and learn to forget about. The transformation into adulthood - for most of us - is a trick of the light, an illusion. Morrissey will not forget, will not acquiesce, will not simply roll over and play submissive to the powers that be. And thank God for that.

I have watched recent events unfold with interest and a raised eyebrow. The falling out between Morrissey and this website is obviously terminal and I do feel it's up to Morrissey whom he wishes to sing to. Why should he have to sing to David Tseng if he wishes not to? Having said that, David is, as a few of you have observed, out of pocket and it wouldn't hurt for someone to compensate David. I can see both sides.

My loyalty is to Morrissey, not to David Tseng. Let's get behind our hero and wish him well as he trails a blaze in his fourth decade in popular music. Is there another artist with his legacy? No. Morrissey single-handedly created indie music, influenced almost every band presently doing thr rounds, helped re-invent guitar music (along with Marr and the Roses), has influenced and changed pop culture in ways that even now we struggle to grasp, and has thrilled fans over three decades with great songs. The four classic Smiths albums alone would guarantee his place forever in our hearts. That's a record few bands except perhaps the Beatles, Stones and Bowie can match. but when you hurl in his magnificent solo work, his legacy is more or less peerless.

A lot of the people who frequent this site are haters; some are adolescents; many more are bitter and hankering after 'the good old days.'

Morrissey is not going back to a bedsit in Daveyhulme. He's not going back to Johnny Marr. Morrissey remains the one authentic voice in popular music with the capacity to shred my heart, make me laugh and cry in the same song. Nobody else can do this.

In summary, I shall return to my dignified silence on this site, I'll continue looking for news here, and I'll continue watching morrissey live with the same love I have always felt for an artist i adore. Yes, I hope david receives a refund for the Copehagen fiasco, but I feel it's Morrissey's right to ban him if this is what he wants.

You don't get psychobabble, 2.4 children and perspiration with Morrissey: he's a true artist, and different rules apply. If you don't understand this, then perhaps the past 15 albums+ have gone straight over your head.

Ernest Hemmingway, Oscar Wilde, Vincent Van Gough, George Orwell, Mozart - none of these people were Mr Average; none of them were necessarily people you would want as nextdoor neighbours; but they changed their art forever - they inspired themselves, they dreamed, they created and they left their footprints in our spirits. Morrissey is in that company. His personal qualities are similarly unimportant to me.

Morrissey, I look forward to seeing you in London and I hope you realise this site does not speak for all or indeed many of us. This site is a joke. You are real.

Ever your fan,

broken


Very well put and I am with you 100 %. Thanks!

Markus
 
Re: Article: "Morrissey: Fandom, Representations and Identities" - Limerick event/pan

As a fan who has been around since the mid-late 90s on this website (more as an observer in recent years), I wanted to post a message of good will to the inimitable Morrissey and his band. Despite all the vicious attacks on Morrissey's character and on the talent of his band, I am looking forward with relish to seeing him live in London next month, and to his next album, assuming he gets a deal and gets it out where it belongs - on the record store shelves.

I too had doubts about Jesse - and expressed them stridently around the time Ringleader was released - but 'Years of Refusal' was a striking record and blew any doubts out of the water. The finest songs on YOR rank for me alongside Morrissey's finest work, up there with The Queen is dead, The Smiths, Strangeways, Viva Hate, Vauxhall and Quarry. 'Something is Squeezing my Skull' is his most potent album-opener since TQID and served as bootlaces to the lips of those who dared question his ability to pack a punch thirty years on. 'Mama Lay Softly on the Riverbed' is arguably my favourite solo song since the 1980s. It took a little while for Jesse to settle in but I do think he's proven himself to be a fine musician on YOR. YOR is the morrissey record I reach for most often two years on. It's that good.

That Morrissey is still able to do it at age 52 is a miracle; that he is able to do it with such style and eloquence - and a ferocity of spirit that belies his years - is all the more remarkable. Someone who has been - and remains - so great is beyond criticism as far as I'm concerned. I hope he continues for as long as he is able and that he continues to attack this spineless, vacuous, mechanical society we've created.

The great thing about Morrissey is that he never grows up - he remains what he has always been: an outsider, an extremely articulate pre-adult, grappling with the questions most of us simply put on the backburner and learn to forget about. The transformation into adulthood - for most of us - is a trick of the light, an illusion. Morrissey will not forget, will not acquiesce, will not simply roll over and play submissive to the powers that be. And thank God for that.

I have watched recent events unfold with interest and a raised eyebrow. The falling out between Morrissey and this website is obviously terminal and I do feel it's up to Morrissey whom he wishes to sing to. Why should he have to sing to David Tseng if he wishes not to? Having said that, David is, as a few of you have observed, out of pocket and it wouldn't hurt for someone to compensate David. I can see both sides.

My loyalty is to Morrissey, not to David Tseng. Let's get behind our hero and wish him well as he trails a blaze in his fourth decade in popular music. Is there another artist with his legacy? No. Morrissey single-handedly created indie music, influenced almost every band presently doing thr rounds, helped re-invent guitar music (along with Marr and the Roses), has influenced and changed pop culture in ways that even now we struggle to grasp, and has thrilled fans over three decades with great songs. The four classic Smiths albums alone would guarantee his place forever in our hearts. That's a record few bands except perhaps the Beatles, Stones and Bowie can match. but when you hurl in his magnificent solo work, his legacy is more or less peerless.

A lot of the people who frequent this site are haters; some are adolescents; many more are bitter and hankering after 'the good old days.'

Morrissey is not going back to a bedsit in Daveyhulme. He's not going back to Johnny Marr. Morrissey remains the one authentic voice in popular music with the capacity to shred my heart, make me laugh and cry in the same song. Nobody else can do this.

In summary, I shall return to my dignified silence on this site, I'll continue looking for news here, and I'll continue watching morrissey live with the same love I have always felt for an artist i adore. Yes, I hope david receives a refund for the Copehagen fiasco, but I feel it's Morrissey's right to ban him if this is what he wants.

You don't get psychobabble, 2.4 children and perspiration with Morrissey: he's a true artist, and different rules apply. If you don't understand this, then perhaps the past 15 albums+ have gone straight over your head.

Ernest Hemmingway, Oscar Wilde, Vincent Van Gough, George Orwell, Mozart - none of these people were Mr Average; none of them were necessarily people you would want as nextdoor neighbours; but they changed their art forever - they inspired themselves, they dreamed, they created and they left their footprints in our spirits. Morrissey is in that company. His personal qualities are similarly unimportant to me.

Morrissey, I look forward to seeing you in London and I hope you realise this site does not speak for all or indeed many of us. This site is a joke. You are real.

Ever your fan,

broken

It's been a while broken. I miss you and the crowd from the wilderness years. Thank you for putting it as eloquently as ever and saying what I think a lot of us wanted to say but couldn't quite find the words.

Being reasonable and Morrissey don't necessarily go so well together. You're right that it doesn't matter in the end.
 
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