It seems the saying the more you learn the less you know is particularly salient with regard to Steven Patrick Morrissey. Intriguing , mythologised, adored, hated - Morrissey is one of the few true music icons of the modern age. He occupies that ephemeral world usually reserved for the dead- his lyrics are examined with the same ferocity of those by Jim Morrison, Ian Curtis and Jeff Buckley- and he goes some way to encapsulating the idea of a poet musician.
Cleverly it is his reticence and paradoxical nature that ensure he is idolised by millions. His ability to on the one hand be relatively private and coy lends an his oeuvre an air of mysticism. However his ability to deliver a witty, and often contreversial, soundbite makes his a master of pop PR. It is this inner conflict that is parhaps primarily examined in David Bret's biography "Scandal and Passion" a task seemingly as difficult as examining the meaning of existence itself.
There are contradictions throughout Morrisseys life and work. Whilst seemingly an effete literate, intellectual enamoured by the iconograpghy of camp and often bisexual figures he has also displayed an affinity with thuggery, sexual violence and admiration for "gangster" figures, notably Ronnie Kray. Unravelling these disjointed threads is a difficult task especially without actually speaking to your subject, Morrissey has never sanctioned an "official" biography, and it is further complicated by Bret's obvious and unadulterated admiration for the "Stretford Bard". Morrissey is depicted entirely as a Romantic isolated figure railed against by a cruel world, hated by jelaous journalists and the victim of conspiracy and igorance wherever he goes. To some extent these exertions seem true. Morrissey's lyrical content, which was often heavily criticised for "explicit" imagery, is not the work of a subversive homosexual condoning violence and sexual abuse. They are invariably eloquent and tender evocations of what it means to be lonley, to be in love, to be lustful and they stand as a testament to the prowess of British songwriting; a field in which Morrissey inhabits the highest echelons, perhaps even with demi-gods such as Lennon and Mcartney.
On the other hand Morrissey has said some very silly things. It is hard to complain that the press have it in for you when you perpetually give them more than enough rope with which to hang you. Allusions to far right imagery and nods to a wholly unacceptable type of "nationalism" are seemingly misinterpreted more often than not, and Morrissey's toungue in cheek headline seeking attitude may signal them as no more than allusions, but all the same their very presence is disturbing and raises questions over one of the greatest ever songwriters to put pen to paper.
It is clear that, just like his hero Oscar Wilde, Morrissey will be debated, obssessed over and scorned for years to come even though he has reached a half century not out. Whatever he says or does it is perhaps important to remember what he truly stands for- mesmeric, articulate and beautiful songwriting that perhaps hasn't be matched in the last twenty years.
Cleverly it is his reticence and paradoxical nature that ensure he is idolised by millions. His ability to on the one hand be relatively private and coy lends an his oeuvre an air of mysticism. However his ability to deliver a witty, and often contreversial, soundbite makes his a master of pop PR. It is this inner conflict that is parhaps primarily examined in David Bret's biography "Scandal and Passion" a task seemingly as difficult as examining the meaning of existence itself.
There are contradictions throughout Morrisseys life and work. Whilst seemingly an effete literate, intellectual enamoured by the iconograpghy of camp and often bisexual figures he has also displayed an affinity with thuggery, sexual violence and admiration for "gangster" figures, notably Ronnie Kray. Unravelling these disjointed threads is a difficult task especially without actually speaking to your subject, Morrissey has never sanctioned an "official" biography, and it is further complicated by Bret's obvious and unadulterated admiration for the "Stretford Bard". Morrissey is depicted entirely as a Romantic isolated figure railed against by a cruel world, hated by jelaous journalists and the victim of conspiracy and igorance wherever he goes. To some extent these exertions seem true. Morrissey's lyrical content, which was often heavily criticised for "explicit" imagery, is not the work of a subversive homosexual condoning violence and sexual abuse. They are invariably eloquent and tender evocations of what it means to be lonley, to be in love, to be lustful and they stand as a testament to the prowess of British songwriting; a field in which Morrissey inhabits the highest echelons, perhaps even with demi-gods such as Lennon and Mcartney.
On the other hand Morrissey has said some very silly things. It is hard to complain that the press have it in for you when you perpetually give them more than enough rope with which to hang you. Allusions to far right imagery and nods to a wholly unacceptable type of "nationalism" are seemingly misinterpreted more often than not, and Morrissey's toungue in cheek headline seeking attitude may signal them as no more than allusions, but all the same their very presence is disturbing and raises questions over one of the greatest ever songwriters to put pen to paper.
It is clear that, just like his hero Oscar Wilde, Morrissey will be debated, obssessed over and scorned for years to come even though he has reached a half century not out. Whatever he says or does it is perhaps important to remember what he truly stands for- mesmeric, articulate and beautiful songwriting that perhaps hasn't be matched in the last twenty years.
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