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Wednesday, 14 March 2012

Following The Mozziah Day 182 Wednesday 14th March 2012

MorrisseysWorld has put up a sign saying 'MorrisseysWorld is Dead'. I don't think for one minute that this is true, because as I casually passed the MW chat room the other day, I saw that The Mozziah had been in there and left a message along the lines of 'I'll be back, what else have I got?' There was no concert last night, but tonight The Mozziah plays the 'Jockey Club' in Lima, Peru.

Leading on from all the masonic signs in recent MW articles, it is fair to guess that another masonic sign will be given tonight, and it will probably be the arm inside the shirt, touching the heart. This is the image that has been left on the MW blogsite. But if he does, it'll be yet another coincidence, or he copied the blog, or he copied my blog, or he copied the cover of Alma Matters. It's all explainable, all of it.

Earlier today, I once again tried to explain to one of the doubters that you can't have THAT many coincidences, but yet again I was shot down, so I backed away. I don't know why I put myself up to it.

I was going to write a parody piece today, but while doing some reading on MW, I popped into the chat room to talk to Justice MancladMozfan, and we were joined by 'Broken'. I haven't talked much about Broken, but he was a 'character' that has been involved in MW right from the start. He allegedly had a huge row with a number of the other MW regulars on the MW site and twitter last year. I wasn't involved in the conversation, but was aware it had happened. The whole conversation is available to read on MW, but a few people, such as G.O.B and a few others, have asked for it to be taken down, I presume because they are embarrassed by their actions. It would appear they turned on 'Broken', and he closed his twitter account.

Anyway, 'Broken' entered the chat room and during discussions, he said that he used to post as 'Broken' on So-Low. He linked us to some of his threads and I also then found his review of Morrissey at Reading Festival 2004, which is hilarious. The writing style of 'Broken' is one that I recognised straight away, after all, I have been reading this style for the last 6 months on MW. 'Broken' then disappeared out of the chat room and The Mozziah appeared, in his usual guise of 'Morrissey1959', his only 'official' name on MW. He stayed for ten seconds and then disappeared. What could this mean? Only one thing. 'Broken' is The Mozziah, 100%. Or should that be, The Mozziah is 'Broken'? The So-lowers won't like it.

Here is 'Broken's' Reading review and I have added the link for those who would like to see it:
Now is soon enough (Score:2, Informative)

The NME wrote earlier this week that tonight's show would be the highpoint of Morrissey's Summer. It seemed inevitable. Morrissey's comeback has gained a momentum all of its own - the kind of momentum he hasn't had since "Viva Hate" was released, backed up with two fantastic singles that kept it in the top 40 for a fair old while.

Thumbing through the Reading programme earlier on that afternoon, the notes discussed Morrissey's comeback and pondered on the reasons for his return to the pinnacle of British pop. It seems Morrissey has finally become that most British of things - a "national treasure." The programme notes proclaimed him so, and so it seems that during the course of the past 5 months, the questions about his comeback have been answered and he has finally proven the doubters wrong. Everyone likes Morrissey again. Not least the two bands on stage immediately before Morrissey today - the Libertines and Franz Ferdinand. Tonight's show would be an opportunity to show the young upstarts how it's really done, and to cap a fine Summer with a performance at one of the most prestigious festivals. The only question was, could he manage to top his slightly tired Glastonbury display?

Razorlight were the first band I caught. They looked like Busted, only not as attractive, and sounded like Busted meets the Darkness, only without the tunes. I did a little sunbathing, then returned to watch the New York Dolls. They managed to hit a few highs, notably "another piece of my heart" and "personality crisis." It was a good show. The Roots managed to go through an entire set without playing a single discernable tune. Franz Ferdinand were up next and played most of their recent album. It worked much better live than on record, and they really got the crowd going. The Libertines were up next, and first twenty rows were pandemonium. Carl played his way through a good selection of songs, cigarette hanging out of his mouth, and virtually every teenager in the crowd lost the plot. They really have won the hearts of the kids. Their set lacked the variety and quality of songs to really fly, but they performed well and the audience really seemed to love them.

Around 8.20 and the lights dimmed. The cover was removed from the "Morrissey in Las Vegas" lighting and "the imperfect list" began. Morrissey took to the stage, and from the outset it was obvious tonight was going to be his night. The first chords began and instinctively I thought it was "I Know It's Gonna Happen Someday" as the effect they used was very similar. Morrissey struck a pose straight from the cover of "Kill uncle" - palm outstretched, looking upwards towards the sky. The lights zoned in on him and suddenly the drums started and we all knew it was "How Soon is Now." There was an enormous cheer, a mixture of surprise and elation and Morrissey simply held the pose as the huge chords chimed away in the background. It sounded immense, and the crowd seemed to know every word. "November Spawned a Monster" was as weird and intoxicating as ever, but it wasn't until "First of the Gang to Die" that the crowd really went quite bonkers. It says a lot about Morrissey's new material that probably the most exuberant reactions were reserved for his two latest singles. Can you imagine a similar reaction in the late 90s to "Dagenham Dave" and "The Boy Racer?" Exactly.

An excellent "I Like You," a singalong "Everyday" and "Shoplifters," complete with Marr's only real guitar solo, played perfectly and even embellished slightly by Boz and Jesse, and then the songs just flowed. "Now My heart is Full" sounded less guitar-heavy than on "INtroducing Morrissey" but much heavier than the almost acoustically-light version played on the Oye Esteban tour. It almost sounded like a distant cousin of "I Know It's Gonna Happen Someday" and worked very well. "Have you watched Emmerdale?" asked Morrissey, "well you may not have watched it, but you know the world is full of crashing bores." "Bores" and recent b-side "Munich" slowed the tempo a little, and allowed us all to catch bretah, before Morrissey went off on one again. This time, he didn't choose to lambast Bush, or Blair. No, instead he decided to have a dig at the London borough who had the audacity to stop him for driving "32 miles an hour in a 30.. blah blah limit when there was nobody within a 100 mile radius... this song is not for you..." before he waded into a delightfully light "There is a Light" - it was a very amusing preamble to the song. It's easy to see why Morrissey provokes such differing responses in people. He possesses an ego and yet appears shy and self-depreciating; He's awkward and yet oozes charisma; He's witty and yet, as we all know, insecure about himself. All of these things come across on stage. His fans were virtually eating out of his hand two or three songs into the set, while those at the back perhaps gave a shrug of the shoulders and wandered off to the comedy tent. This is what makes Morrissey special - he's unique - an eccentric and, in my opinion, a genius. His music exudes these qualities too - often deeply touching, sometimes soaring, occasionally odd, or simply annoying. Every human emotion is captured, not least loneliness and exquisite sadness, tempered with delicious irony and slapdash humour. "There is a Light" exemplifies all of these qualities so very well, and yet again it was received rapturously by this festival crowd.

"Let Me Kiss You" was announced as "our new single" and, complete with horn, sounded sublime. If the opening of tonight's set was glorious and vibrant, the set was closed with sleaze and a touch of vitriol. "You're a sight for sore eyes, and these are very sore eyes" Morrissey said earlier. "Daddy's Voice" was a perfect piece of glam trash. It bettered almost the whole of the earlier New York Dolls set, and by the time Mikey got out his maracas for the grinding outro, and Morrissey was wailing in falsetto, it dawned on you what a performer Morrissey is. He gave every other artist on stage today a lesson in the theatre of performance. He was singing beautifully, but it wasn't only his voice, his entire body was speaking to us, every mannerism and posture told a story. In short, he transfixed the audience and as a regular at Morrissey gigs, this is quite a normal event, but it was clearly a surprise to those not well acquainted with his live shows. After hearing the tales of "dour grey" Morrissey, they were probably expecting him to sob his way through the set from the comfort of a rocking chair.

"Jack The Ripper" sounded fabulous, pounding drums and a touch of keyboard really making it sound almost other-wordly. The show was almost over. Morrissey has charmed us, moaned a little, made us laugh, and had taken us on a journey. The set was book-ended by "How Soon is Now" - described in one review as "Morrissey turning rejection at a party into a Wildean experience" - and "You Know I Couldn't Last" - Morrissey's "I Will Survive" meets "Bohemian Rhapsody." Although the piano could have done with being a little louder to achieve the blissed-out sound created on record, the song was the perfect way to finish tonight's show. It's not the festival crowd-pleaser most artist would finish with, but then Morrissey isn't "most artists." Camp, bitter, beautiful, and really *the* archetypal "Morrissey" song. Ironically, after a a lifetime idolising tragi-comic icons of popular culture, Morrissey has now become a figure fit to adorn a Smiths single sleeve, and this song is about Morrissey the icon. Revelling in his role as a self-styled martyr, a fallen pop idol of the old school, a persecued/misunderstood/victimised popstar, every word was stained with bitterness and melodrama. This wasn't a festival-pleaser, it was a song from him to his fans. "oh but the squalor of the mind..." he sang, and then he was gone.


The reason that MW hasn't removed the comments that upset 'Broken' is because it serves as a reminder of just how thoughtless and hurtful people can be. G.O.B may not like to see the truth, but she was hurtful for no reason, and has also had a few digs at me. I'm sure her heart is in the right place, but it serves as a reminder of how we shouldn't judge one another. So, is MorrisseysWorld a social experiment, like I suggested the other day? No, I got that wrong, I believe The Mozziah runs MW because he genuinely lives a very private life, locked away from the outside world, and apart from going on stage, or traveling to concerts, he lives life as a virtual recluse, so MW is his plaything, and his way of communicating with his genuine fans. I guess if he ever gave up the concerts, he would hardly ever be seen. A modern day Howard Hughes. Why is it called MorrisseysWorld? It IS his world, he can become characters and engage with people in a way that he has never felt comfortable with in the flesh. I believe he is thoroughly enjoying this whole experience, and he's not the only one. I now find my 'real' life is being very effected by my 'virtual' life. When I'm not online, I find myself wondering what I'm missing. I would think that my behaviour is abnormal, but there are loads of others doing it too, and what 'is' normal anyway? You end up asking, which is the real me, the one that walks and talks, or the one that types and writes via twitter and chat rooms? Even as I sit here writing this, I find I am expressing the 'real' me far more here, in a blog, than I now tend to in the outside world. I have surrounded myself online, with like minded people, who love Morrissey, love the humour, love the songs, love the mystery. I don't have friends like that in real life. I believe there is room for both. Having said all that, there are deep layers of paranoia laying within all the MorrisseyWorlders, me included, trying to work out, who is real, who is a Morrissey character, and are there others involved, who also play 'characters'? As I sat in the chat room today with The Mozziah, Manclad and John Gill, I presume that JG and Manc are real, but I don't know that for sure. Until you actually meet somebody, you NEVER know for sure.

I write parody comments on MW under various names all the time, and to some that is deceipt, while to other, like minded people, it's harmless fun. I believe that Morrissey writes on both So-low and MW as loads of different persona's, but of course he'd never be able to admit that, not publicly, because some of his fans would never get it, would never understand it and would never forgive him. I am able to admit it, because it doesn't matter to me, I don't have an adoring public. I don't see what I do as wrong, I see it as highly amusing, but I can see why some people wouldn't get it, I have a warped sense of humour, I'm not right in the head, and thankfully, nor is 'he', neither is John Gill (@LoughtonLil on twitter by the way), and neither are a number of other people, but I do think it is a minority who 'get it'.

And finally Cyril, and finally Esther, yesterday, the former Smiths drummer, Mike 'The drums'(catchy) Joyce, tweeted that he was looking for sponsorship for Sport Aid. He declared that he is wearing a Man Utd shirt, and wanted £5. I said if he was prepared to come and cut my grass, I'd give him a million quid,  but as yet, he hasn't replied. He STILL hasn't blocked me either. He knows, you know.


  1. The whole Broken thing was very odd though and very manipulative. Even I got pissed off with Broken, and that's not like me. I can't remember much of the detail now but he was petulant, rude and a complete wind-up.

    As my virtual friend I have to tell you that it's a wee bit unfair to single Biker out here - the provocation was immense.

    Anyway, another sterling rodenty effort.

  2. Brilliant piece. I wrote a play about this very subject of who is the real us in online worlds called Age/Sex/Location. Staged in big space at Riverside Studios in 2004. I got slated. Express critic gave me zero stars. First time he ever gave anyone zero stars. I remortgaged my house to stage it and lost every penny. You can buy the script on Amazon. But occasionally I meet someone who says they never stopped thinking about it. I have no doubt Moz would have multiple personas online. They have to go somewhere.

  3. Marcus, I will tell my friend about you! Her son is at Oxford Uni at the minute and he wants to be a playwright (very talented). Just as a reality check! They are Muslim and he writes a lot of political comedy!

  4. One question Rat - how do you know the 'Broken' above on so-low is the same 'Broken' or same person as this one?

    I am certainly NOT Morrissey!

    And for the well-stated rant above John Gill - cheers mate. Thanks for being so polite in the chat room and so impolite here - such consistency is what we all look for in a non-manipulative friend.

    1. Rant?

      I wasn't impolite at all - I stated how it was at the time and I am right about how it was. Now is different.

      I'm happy to be polite to anybody.

  5. Dear Rat, as the world is full of crashing bores you're full of sense of humour! I like your comments I like Morrisseysworld, this blog, your blog, and I like all of you on twitter, because my friends, in real life, are not Morrissey's fans and I got no ones for sharing the music that I love! Cheers!


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