The smiths

‘At the record company meeting/ On their hands – at last! – a dead star!’ Back when Morrissey was more concerned with writing a decent lyric than sour internet tirades, ‘Paint a Vulgar Picture’ by the Smiths summed it all up rather neatly: a living pop star is all well and good, but a dead one is far less troublesome – and considerably more profitable. Some artists only really get going once they’re dead. Commercially speaking, Eva Cassidy’s entire career has been posthumous; the Van Gogh of the lustreless Radio 2 ballad. The motive feels pure: a family’s wish to keep their sibling alive through her art Death has been a boon to the pop industry since the year dot.

Many of us who grew up loving the Smiths have rather shelved that affection in recent years. Many of us, being lily-livered liberals, have rather taken against Morrissey’s politics and his public support for the far-right For Britain party. Even those inclined to agree with him might have tired of his unrelenting self-pity and his inability to say anything nice about anyone, ever. Yes, we’ve still got lovely Johnny Marr playing the songs in his solo shows, but with the greatest goodwill in the world — and Marr gets granted the greatest goodwill in the world by being such an obviously decent fella — he’s no one’s idea of a great singer.

As the weird world of lockdown winds down, we might pause to consider what we’ve learned. I am hardly alone in my heightened hankering to unravel, synthesize, undo and discard. In this mission a voice from the past is helping me piece things together anew as the strange tyranny begins to dissolve. It began when Google started throwing videos of the Smiths in my daily cyberpath, prompting a non-essential trip down Memory Lane. Back in the day, I was, as David Cameron used to boast, a ‘huge fan’ of the Smiths. Precisely, I was a fan of Johnny Marr’s guitar literacy and the persona of Morrissey, the enchanting singer who had jettisoned his given names.

On Thursday, May 30, Morrissey was ‘canceled’. According to the Guardian, a British newspaper fond of such decrees, fans now feel ‘betrayed’ by the singer’s recent controversial and provocative statements, which have included support for Anne Marie Waters’s nationalist For Britain party. ‘Morissey [sic], what happened?’ the Guardian agonized on Twitter. But maybe they already know the answer. In just a decade, political correctness has obtained a stranglehold on Western culture. The provocateurs and counter-cultural icons of the late 20th century have been replaced by commercially compromised ‘influencers’, and artists who are carefully selected by social censors.