Popular Culture Review Vol. 5, No. 1, February 1994 | Page 88

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Popular Culture Review

See Dick Hebdige's analysis of the glam rock phenomenon in
Subculture: The Meaning of Style (London: Metheun, 1979) 59-62.
Hebdige 106-107.
John A. Waller, Cross-Overs (London: Comedia, 1987) 120.
See, for example, interviews with Morrissey on this issue, including
Mark Kemp, "Wake Me When It's Over," Select (July 1991) M.
Johnny Marr comments, "It was a conscious decision to sign to Rough
Trade because they had done a lot of good work in the past___We got
offers f rom every major company in England and a few in America."
Quoted in Mick Middles, The Smiths (London: Omnibus Press, 1985)
21 .
Morrissey and Johnny Marr chose to pursue solo projects after the
Smiths album Strangeways Here We Come. Due to the strong
connection between the work of the Smiths and Morrissey's four solo
albums, 1 am discussing Morrissey's solo work as an extension to the
overall project within The Smiths.
As Morrissey comments, "My relentless obsession with British hlms of
the '40s, '50s and '60s has had an overwhelming influence on
everything I've ever written___Modem Blms do not inspire me at all.
I refuse to watch anything post-1971 because every story had been told
by then." [Lauren Spencer, "Sound & Vision," Movieline (March 1993)
55].
Pam Cook, "Auteur Theory and British Cinema," in Cook (ed) The
Cinema Book (New York: Pantheon Books, 1985) 149.
Orton appears on the album cover for Hatful of Hollow, while
Whitelaw can be located on the 45 cover for "William It Was Really
Nothing" and Stamp on the 45 cover for "What Difference Does It
Make?"
For a review of the exact references to various media icons, see Stuart
Maconia, David (^antick, and Len Brown, 'There's a Bignose Who
Knows," New Musical Express (May 25, 1991) 12-13.
Andrew Goodwin, "Popular Music and Postmodern Theory," Cultural
Studies 5 (May 1991) 187.
Nick Kent, "Tlie Dead End: Morrissey Interviewed," The Face (May
1990) 53.
Cornel West, 'The New Cultural Politics of Difference," in Russell
Ferguson, Martha Gever, Trinh T. Minh-ha and Cornel West (editors)
Out There: Marginalization and Contemporary Cultures (Cambridge,
MA: MIT Press, 1990) 20.
Armond White, "Superstar: Morrissey Finds a Space in Hell," LA
Weekly (April 26, 1991) 34.
Julian Stringer offers an interesting discussion of this issue in "The
Smiths: Repressed (But Remarkably Dressed)," Popular Music 11.1
(1990) 24.