“I sing out to the youth of the slums”: Morrissey and Class Disgust

Power, Martin J.; Dillane, Aileen; Devereux, Eoin

doi:10.1080/03007766.2015.1072871

Cited by 2 publications

(2 citation statements)

References 23 publications

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“…Literature on the cultural workforce of music production contains some findings that initially appear contradictory. For instance, O’Brien et al (2016) found that musicians are likely to be originally drawn from higher professional and higher managerial social class positions, while other research suggests that the music industry encourages popular musicians to present themselves as being from the working classes (Fox, 2004; Harkness, 2014; Hawkins, 2010; Jones, 2013; Morra, 2013; Petersen, 1997), with such positions generally celebrated in popular music (Gildart, 2012; Harkness, 2014; Hesmondhalgh, 2013; McDonald, 2009; Palmer, 2014; Power et al, 2012, 2016). Indeed, Wiseman-Trowse (2008) even went as far as to suggest that social class becomes a way of conveying ‘meaning’ through music.…”

Section: Discussionmentioning

confidence: 99%

“…Additionally they found that a disproportionate number of musicians hailed from higher professional and higher managerial original social class positions. Social class is a regular theme in the lyrics of some music genres and, in contrast to theatre, selective dimensions of working-class culture are celebrated in popular music (Gildart, 2012; Harkness, 2014; Hesmondhalgh, 2013; McDonald, 2009; Palmer, 2014; Power et al, 2012, 2016). Indeed, Wiseman-Trowse (2008) found social class to be ‘performed’ through the actions and managed identities of musicians.…”

Section: Literature Reviewmentioning

confidence: 99%

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A ‘Different Class’? Homophily and Heterophily in the Social Class Networks of Britpop

2017

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Social network analysis is increasingly recognised as a useful way to explore music scenes. In this article we examine the individuals who were the cultural workforce that comprised the ‘Britpop’ music scene of the 1990s. The focus of our analysis is homophily and heterophily to determine whether the clusters of friendships and working relationships of those who were ‘best connected’ in the scene were patterned by original social class position. We find that Britpop’s ‘whole network’ is heterophilic but that its ‘sub-networks’ are more likely to be social class homophilic. The sub-networks that remain heterophilic are likely to be united by other common experiences that brought individuals in the network to the same social spaces. We suggest that our findings on Britpop might be generalised to the composition of other music scenes, cultural workforces and aggregations of young people. Our study differs from research on, first, British ‘indie music’ and social class which focuses upon the construction, representation and performance of social location rather than the relationships it might shape and second, the pioneering social network analyses of music scenes which currently lack explicit emphasis on social class.

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Section: Discussionmentioning

confidence: 99%

Section: Literature Reviewmentioning

confidence: 99%

A ‘Different Class’? Homophily and Heterophily in the Social Class Networks of Britpop

2017

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Mexican Blood, American Heart : l’entrepreneuriat de soi et le culte DIY des fans latinos de Morrissey à Los Angeles

Grossi¹

2020

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Cet article s'intéresse aux discours et pratiques des fans de Morrissey et des Smiths en Californie, à Los Angeles, qui sont majoritairement immigrants et descendants d'immigrants mexicains-américains de première et deuxième génération. En s'appuyant sur les résultats d'un questionnaire quantitatif dont les participants ont été recrutés sur la page « Moz Angeles » du réseau social Facebook, ainsi que sur des sessions d'observations participantes lors de concerts dans le comté de Los Angeles, et sur une enquête qualitative conduite entre juin et août 2016, on cherchera à mettre en relief les modalités de structuration de ce groupe de fans à Los Angeles. On s'intéressera aux discours des fans qui rationalisent leur attachement à l'artiste, ainsi qu'aux diverses fonctions qu'occupent la production et la consommation par les fans de produits dérivés locaux à l'effigie de Morrissey. L'article montre en quoi les fans latinos de Morrissey à Los Angeles livrent une ré-interprétation originale de leur idole : plutôt qu'un culte de fans orienté seulement vers la célébration de la personnalité et de la musique du chanteur, les fans organisent un marché local de production et de consommation d'artefacts DIY qui sont formulés sous l'angle de l'ethnicité. Mots-clés : fans / identité / Morrissey / Latino / Californie / ethnographie

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“I sing out to the youth of the slums”: Morrissey and Class Disgust

Cited by 2 publications

References 23 publications

A ‘Different Class’? Homophily and Heterophily in the Social Class Networks of Britpop

A ‘Different Class’? Homophily and Heterophily in the Social Class Networks of Britpop

Mexican Blood, American Heart : l’entrepreneuriat de soi et le culte DIY des fans latinos de Morrissey à Los Angeles

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