Kathy Burke's recent views on Morrissey

[Originally posted in the Strange/unexpected Moz references? thread.]

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From Kathy Burke’s Wikipedia:

 

[Les Tameside]

This makes me sad, the room at Hook End where Moz had his Ouija Board, now just ruins. The passing of time.....
View attachment 106850

That’s what happens when you f*** with Ouija Boards: They come through, do some bad decorating, and revisiting the contract is more hassle than it’s worth. Be warned.

 

[Ashley_TakeABow]

Whenever I hear/read M mentioned in a negative racial space, I know that artist (famous person or whatever) is doing their little “make sure to make a comment about Morrissey being racist” CHECK DONE ok I passed this socially marker to make sure I am still accepted.

I've noticed that, too. Drones.

 

[Seymour Glass]

Ofcourse you do. “Bengali in Platforms” really struck a cord with you, didn’t it?

Great song. Love the guitar on it.

 

[Down south]

He’s not raciest, he’s trying to protect women, homosexuals and children.

 

[Stephen Hofmann]

Have you noticed that ever since Morrissey went racist, his lyrics, album artwork, and looks have all suffered? Hate will do that to people.

Have you noticed all the knife killings and terrorism and grooming gangs raping teenage girls since he went racist?

 

[Johnnie Ray]

Have you noticed all the knife killings and terrorism and grooming gangs raping teenage girls since he went racist?

 

[Stephen Hofmann]

Unfortunately........life in the UK now, isn't much like a clip from Stepbrothers.

 

[goinghome]

yesterday i watched an hour long video on youtube with james dreyfuss her co-star on gimme gimme gimme in the 90s, she has done the same with him,totally disowned anything they did in the past.

She's been telling off Ant and Dec too. And Jeremy Vine's guests. Turning into a latter-day Mary Whitehouse. Maybe partly her way of surviving the purges.

In his 2011 contribution, called “The Seaside Town that They Forgot to Bomb”: Morrissey and Betjeman on Urban Regeneration and British Identity, Lawrence Foley noted that "the success enjoyed by The Smiths was largely due to their working-class image, or as Andrew Warnes (2008: 137) has suggested, the “deft mythologisation of a postindustrial, post-socialist, white proletarian identity”'.

One of Morrissey's favorite poets, John Betjeman was uneasy editor of The Architectural Review in the early 1930s He was concerned about people's quality of life when homes in streets around the country were razed to make way for soulless tower-blocks.

Betjeman’s iconic status as perceived by Morrissey relies on more than the former’s literary output and stature. Rather, Morrissey’s interest in Betjeman owes much to the vigour with which Betjeman upheld what he imagined it meant to be English, or indeed British. Central to Betjeman’s attempt to achieve this were his architectural conservation endeavours, his championing of the British architectural vernacular, and his opposition to the post-war utilitarian housing, which he saw springing up across British city-scapes. The most fundamental correlation between Betjeman and Morrissey then is that as the former expressed concern at the rapid change of Britain’s architectural vernacular, the latter lived through the change.

Significantly, this architectural revolution occurred in tandem with a monumental overhaul of Britain’s racial demographic, linking the two issues in the hearts and minds of many Britons, and particularly those in urban areas. Growing up in Manchester, Morrissey felt the tensions created by these issues, and whilst he addresses the resultant tensions in his lyrics, he does not purport to suggest solutions to them. What Morrissey does in songs like ‘Asian Rut’, ‘National Front Disco’ and ‘Bengali In Platforms’ is address the issues engendered by rapid social change in an observational way, providing an authentic, personal and at times uncomfortable representation of the experience of vast cultural change as he lived it, and as he imagined others lived it. The effect of such expeditious and fundamental change on Morrissey was to create a sense of alienation, a feeling of “not-belonging” in his homeland...

...Whilst it evidently cannot be argued that urban regeneration was stimulated by immigration, or vice versa, the very fact that the two reached their zenith simultaneously made them inextricably linked in the cultural overhaul experienced by Morrissey...

...The “seaside town” imagined in ‘Everyday Is Like Sunday’ represents an articulation of that wasteland, where “everything is silent and grey” and where uniformity reigns supreme.

Coincidentally, that writer Lawrence Foley, who cycled through several careers, one of teaching, also faced racist charges at work. https://schoolsweek.co.uk/looking-to-the-future-after-online-harassment/

I'm a casual fan of groups like The Cure, New Order and Depeche Mode.

I know someone who's in an 80s band called Prevention.
They're better than The Cure...

 

[Stephen Hofmann]

She's been telling off Ant and Dec too. And Jeremy Vine's guests. Turning into a latter-day Mary Whitehouse. Maybe partly her way of surviving the purges.

In his 2011 contribution, called “The Seaside Town that They Forgot to Bomb”: Morrissey and Betjeman on Urban Regeneration and British Identity, Lawrence Foley noted that "the success enjoyed by The Smiths was largely due to their working-class image, or as Andrew Warnes (2008: 137) has suggested, the “deft mythologisation of a postindustrial, post-socialist, white proletarian identity”'.

One of Morrissey's favorite poets, John Betjeman was uneasy editor of The Architectural Review in the early 1930s He was concerned about people's quality of life when homes in streets around the country were razed to make way for soulless tower-blocks.

Betjeman’s iconic status as perceived by Morrissey relies on more than the former’s literary output and stature. Rather, Morrissey’s interest in Betjeman owes much to the vigour with which Betjeman upheld what he imagined it meant to be English, or indeed British. Central to Betjeman’s attempt to achieve this were his architectural conservation endeavours, his championing of the British architectural vernacular, and his opposition to the post-war utilitarian housing, which he saw springing up across British city-scapes. The most fundamental correlation between Betjeman and Morrissey then is that as the former expressed concern at the rapid change of Britain’s architectural vernacular, the latter lived through the change.

Significantly, this architectural revolution occurred in tandem with a monumental overhaul of Britain’s racial demographic, linking the two issues in the hearts and minds of many Britons, and particularly those in urban areas. Growing up in Manchester, Morrissey felt the tensions created by these issues, and whilst he addresses the resultant tensions in his lyrics, he does not purport to suggest solutions to them. What Morrissey does in songs like ‘Asian Rut’, ‘National Front Disco’ and ‘Bengali In Platforms’ is address the issues engendered by rapid social change in an observational way, providing an authentic, personal and at times uncomfortable representation of the experience of vast cultural change as he lived it, and as he imagined others lived it. The effect of such expeditious and fundamental change on Morrissey was to create a sense of alienation, a feeling of “not-belonging” in his homeland...

...Whilst it evidently cannot be argued that urban regeneration was stimulated by immigration, or vice versa, the very fact that the two reached their zenith simultaneously made them inextricably linked in the cultural overhaul experienced by Morrissey...

...The “seaside town” imagined in ‘Everyday Is Like Sunday’ represents an articulation of that wasteland, where “everything is silent and grey” and where uniformity reigns supreme.

Coincidentally, that writer Lawrence Foley, who cycled through several careers, one of teaching, also faced racist charges at work. https://schoolsweek.co.uk/looking-to-the-future-after-online-harassment/


I know someone who's in an 80s band called Prevention.
They're better than The Cure...

To come out with that as a reply so quickly...........is seriously impressive. Hats off sir!

 

[gordyboy9]

She's been telling off Ant and Dec too. And Jeremy Vine's guests. Turning into a latter-day Mary Whitehouse. Maybe partly her way of surviving the purges.

In his 2011 contribution, called “The Seaside Town that They Forgot to Bomb”: Morrissey and Betjeman on Urban Regeneration and British Identity, Lawrence Foley noted that "the success enjoyed by The Smiths was largely due to their working-class image, or as Andrew Warnes (2008: 137) has suggested, the “deft mythologisation of a postindustrial, post-socialist, white proletarian identity”'.

One of Morrissey's favorite poets, John Betjeman was uneasy editor of The Architectural Review in the early 1930s He was concerned about people's quality of life when homes in streets around the country were razed to make way for soulless tower-blocks.

Betjeman’s iconic status as perceived by Morrissey relies on more than the former’s literary output and stature. Rather, Morrissey’s interest in Betjeman owes much to the vigour with which Betjeman upheld what he imagined it meant to be English, or indeed British. Central to Betjeman’s attempt to achieve this were his architectural conservation endeavours, his championing of the British architectural vernacular, and his opposition to the post-war utilitarian housing, which he saw springing up across British city-scapes. The most fundamental correlation between Betjeman and Morrissey then is that as the former expressed concern at the rapid change of Britain’s architectural vernacular, the latter lived through the change.

Significantly, this architectural revolution occurred in tandem with a monumental overhaul of Britain’s racial demographic, linking the two issues in the hearts and minds of many Britons, and particularly those in urban areas. Growing up in Manchester, Morrissey felt the tensions created by these issues, and whilst he addresses the resultant tensions in his lyrics, he does not purport to suggest solutions to them. What Morrissey does in songs like ‘Asian Rut’, ‘National Front Disco’ and ‘Bengali In Platforms’ is address the issues engendered by rapid social change in an observational way, providing an authentic, personal and at times uncomfortable representation of the experience of vast cultural change as he lived it, and as he imagined others lived it. The effect of such expeditious and fundamental change on Morrissey was to create a sense of alienation, a feeling of “not-belonging” in his homeland...

...Whilst it evidently cannot be argued that urban regeneration was stimulated by immigration, or vice versa, the very fact that the two reached their zenith simultaneously made them inextricably linked in the cultural overhaul experienced by Morrissey...

...The “seaside town” imagined in ‘Everyday Is Like Sunday’ represents an articulation of that wasteland, where “everything is silent and grey” and where uniformity reigns supreme.

Coincidentally, that writer Lawrence Foley, who cycled through several careers, one of teaching, also faced racist charges at work. https://schoolsweek.co.uk/looking-to-the-future-after-online-harassment/


I know someone who's in an 80s band called Prevention.
They're better than The Cure...

shes got to have a few skeletons in her closet,everything comes out eventually.

 

[Stephen Hofmann]

shes got to have a few skeletons in her closet,everything comes out eventually.

Kathy's problem is she left her working class roots behind. If she was still living on her council estate......she might see things slightly differently.

 

[gordyboy9]

Kathy's problem is she left her working class roots behind. If she was still living on her council estate......she might see things slightly differently.

these people have no shame,as long as they think they are on the right side.

 

[No 27]

^the expected response from a casual fan.

I love that, even at your age, you think "casual fan" is an insult.

 

[Ryan]

Morrissey? I agree.

Nah, this woman is definitely more annoying.

 

[Johnnie Ray]

Nah, this woman is definitely more annoying.

Sorry you're so upset by her.

 

[Ryan]

Sorry you're so upset by her.

I’m crying under my bed.

 

[Johnnie Ray]

I’m crying under my bed.

In the fetal position.

 

[Young And Alive]

I used to like Kathy until I realized she can’t think for herself. Disappointed.

Truly, truly, truly...

 

[Johnnie Ray]

Truly, truly, truly...

Oh, the irony!

He doesn't want England to become a Muslim shit hole. I think it's great!

What a well thought out, nuanced opinion. Rube.

 

[Johnnie Ray]

He’s not raciest, he’s trying to protect women, homosexuals and children.

True or false: Morrissey is the raciest racist?