Emotional Places: The Role of Affect in the Relocation of Mancunian Melancholia

  • Georgina Gregory
Part of the Pop Music, Culture and Identity book series (PMCI)


The scene in Los Angeles described above, could hardly be further from the music’s place of origin in the north of England where, due to the autobiographical character of much of his song writing, the music of the Mancunian songwriter Morrissey features multiple references to localities drawn from his native city. Morrissey rose to fame during the 1980s with his band the Smiths and subsequently pursued a solo career. Despite living for many years in Los Angeles and Rome, he is forever conflated with the city of Manchester. Indeed Morrissey’s association with Manchester, referred to by O’Hagan (2007) as ‘poetic provincialism’, exemplifies the use of location as a source of identification. In addition to numerous allusions within song lyrics, the Smiths’ record cover art also included signifiers relating to Manchester and northern England.


Popular Music Song Lyric Global Marketing Marketing Executive Stage Persona 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Works cited

  1. Adorno, Theodore (1941). ‘On popular music,’ Studies in Philosophy and Social Sciences IX, 1, pp. 17–18.Google Scholar
  2. Aitch, I. ‘Mad about Morrissey’, The Guardian, 25 March 2005 (accessed 12 August 2014).Google Scholar
  3. Applegate, Celia and Pamela Potter (2002). Music and German National Identity (Chicago: University of Chicago Press).Google Scholar
  4. Arellano, Gustavo (2008). Ask a Mexican (New York: Simon and Schuster).Google Scholar
  5. Bakhtin, Mikhail (2002). ‘Forms of time and of the chronotope in the novel’, in Michael Holquist (ed.), The Dialogic Imagination: Four Essays (Austin: University of Texas Press), pp. 3–40.Google Scholar
  6. Barthes, Roland (1985). The Grain of the Voice: Interviews 1962–1980 (London: Cape).Google Scholar
  7. Bennett, Andy in John Belchem (2009). Merseypride: Essays in Liverpool Exceptionalism (Liverpool: Liverpool University Press)Google Scholar
  8. Bracewell, Michael (2002). The Nineties: When Surface Was Depth (London: Flamingo).Google Scholar
  9. Cohen, Sara (1991). Rock Culture in Liverpool: Popular Music in the Making (Oxford: Clarendon Press).Google Scholar
  10. Coleman, Nick (1995). ‘The lights are much brighter there’. The Independent, (accessed 8 April 2015).Google Scholar
  11. Cumming, Naomi (2000). The Sonic Self: Musical Subjectivity and Signification (Bloomington: Indiana University Press).Google Scholar
  12. Deleuze, Gilles (1995). Negotiations 1972–1990, trans. Martin Joughin (London: Continuum).Google Scholar
  13. Devereux, Eoin, Aileen Dillane and Martin Power (eds) (2011). Morrissey: Fandom, Representations and Identities (Chicago: The University of Chicago Press).Google Scholar
  14. Frith, Simon (1983). Sound Effects: Youth, Leisure, and the Politics of Rock (London: Constable).Google Scholar
  15. Finnegan, Ruth (2007). The Hidden Musicians: Music-Making in an English Town (Hanover: Wesleyan University Press).Google Scholar
  16. Fiske, John (2006). Reading the Popular (London: Routledge).Google Scholar
  17. Fitch, William Tecumseh (2005). ‘Computation and cognition: Four distinctions and their implications’, in Anne Cutler (ed.), Twenty-First Century Psycholinguistics: Four Cornerstones (New York: Psychology Press), pp. 381–400.Google Scholar
  18. Gilbert, Jeremy (2004). ‘Signifying nothing: “Culture,” “discourse” and the sociality of affect’, Culture Machine, 6. php/cm/issue/view/1 (accessed 10 August 2014).Google Scholar
  19. Klosterman, Chuck (2006). ‘Viva Morrissey’, in Chuck Klosterman (ed.), IV: A Decade of Curious People and Dangerous Ideas (New York: Scribner), pp. 48–56.Google Scholar
  20. Lathrop, Tad (2013). This Business of Global Music Marketing, [Kindle DX version] retrieved from Amazon (New York: Billboard Books).Google Scholar
  21. Leonard, Marion and Rob Strachan (2010). The Beat Goes on: Liverpool, Popular Music and the Changing City (Liverpool: Liverpool University Press).Google Scholar
  22. Levitt, Theodore (1983). ‘The globalization of markets’, Harvard Business Review, May–June, 92.Google Scholar
  23. Mendoza, Vincent (1998). La canción Mexicana: Ensayo de clasificación y antología (Mexico, D. F.: Fondo de Cultura Económica).Google Scholar
  24. Mattheson, Johann (1981). Johann Mattheson’s Der vollkommene Capellmeister: A Revised Translation with Critical Commentary, (trans. By Ernest C. Harriss) (Ann Arbor: UMI Research Press).Google Scholar
  25. Menchaca, Martha (1995). The Mexican Outsiders: A Community History of Marginalization and Discrimination in California (Austin: University of Texas Press).Google Scholar
  26. Mitchell Tony (1996). Popular Music and Local Identity: Rock, Pop and Rap in Europe and Oceania (Leicester University Press: London).Google Scholar
  27. Morra, Irene (2013). Britishness, Popular Music, and National Identity: The Making of Modern Britain (London: Routledge).Google Scholar
  28. Morrissey (2013). Autobiography (London: Penguin).Google Scholar
  29. Negus, Keith (1999) Music Genres and Corporate Culture (London: Routledge).CrossRefGoogle Scholar
  30. North, Adrian and David Hargreaves and Jon Hargreaves (2004). ‘The uses of music in everyday life’, Music Perception, 22, pp. 63–99.CrossRefGoogle Scholar
  31. O’Hagan, Sean (2007). ‘Morrissey–So much to answer for’, The Observer, 6 May 2007, 11.Google Scholar
  32. Sapir, Edward (1929). ‘The status of linguistics as a science’, in Sapir (ed.), Culture, Language and Personality (Berkeley: University of California Press).Google Scholar
  33. Susam-Saraeva, Sebnem (2008). ‘Translation and music: Changing perspectives, frameworks and significance’, The Translator, 14, 2, pp. 187–200CrossRefGoogle Scholar
  34. Shank Barry (1994). Dissonant Identities: The Rock ‘n’ Roll Scene in Austin, Texas (Hanover: University Press of New England).Google Scholar
  35. Sherer, Klaus and Marcel Zentner (2001). ‘Emotional effects of music production rules’, in Juslin, Patrick and John Sloboda (eds), Music and Emotion: Theory and Research (Oxford: Oxford University Press), pp. 361–392.Google Scholar
  36. Simpson, Mark (2003). Saint Morrissey (New York: Touchstone).Google Scholar
  37. Thompson, William, Phil Graham, and Frank Russo (2005). ‘Seeing music performance: Visual influences on perception and experience’, Semiotica 156, pp. 203–227.Google Scholar
  38. Wald, Gayle (2002) ‘I want it that way: Teenybopper music and the girling of boy bands’, Genders, 35. (accessed 1 September 2014).Google Scholar
  39. Washabaugh, William (2012) Flamenco Music and National Identity in Spain (Aldershot: Ashgate).Google Scholar
  40. Worbs, Hans (1963) Der Schlager; Bestandsaufnahme, Analyse, Dokumentation, ein Leitfaden (Bremen: C. Schünemann).Google Scholar
  41. Whiteley, Sheila, Andy Bennett, and Stan Hawkins, (eds) (2005). Music, Space and Place: Popular Music and Cultural Identity (Aldershot: Ashgate).Google Scholar

Copyright information

© Georgina Gregory 2015

Authors and Affiliations

  • Georgina Gregory

There are no affiliations available

Personalised recommendations