The Smiths’ ‘William, It Was Really Nothing’: Feeling the Fast and Witty Indie Pop Song
(Lecture Hall Ambiance – Imagine slightly uncomfortable chairs and the faint smell of stale coffee)
Alright, settle down, settle down, you beautiful, tortured souls! Today, we’re diving headfirst into a song that’s practically synonymous with indie angst, wry humor, and the eternal question: "Is there more to life than a sensible career and a stable relationship?"
Yes, my friends, we’re dissecting The Smiths’ glorious, chaotic, and utterly brilliant "William, It Was Really Nothing."
(Professor clears throat, adjusts glasses, and beams enthusiastically)
So, grab your notebooks (digital or analog, I don’t judge… much), because we’re about to embark on a journey into the heart of Morrissey’s lyrical genius and Johnny Marr’s jangly, almost gleeful guitar work.
(Slide 1: Title of Lecture, Image of The Smiths in their iconic black and white, maybe a slightly ironic emoji like 😒)
I. Introduction: The Smiths – More Than Just Mopey Melancholy
Now, I know what some of you are thinking: "The Smiths? Aren’t they just that band your overly-sensitive cousin listens to when they’re feeling emo?"
(Professor raises an eyebrow, a slight smirk playing on their lips)
Well, yes and no. While The Smiths certainly mastered the art of melancholy, reducing them to mere mopers is a grave injustice. They were sharp, witty, and often downright hilarious. They were the soundtrack to existential crises, yes, but with a wink and a nudge. Think of them as the Oscar Wilde of indie rock – cynical but with a hidden romanticism.
(Slide 2: A Venn Diagram: Circle 1: Melancholy, Circle 2: Wit, Overlap: The Smiths)
The Smiths emerged from the Manchester music scene in the early 1980s, a period dominated by synthesizers and New Romantic excess. They were a breath of fresh (albeit slightly melancholic) air, offering a return to guitar-based music with literate lyrics that resonated with a generation feeling disillusioned and disconnected.
The band’s core was, of course, the dynamic duo of Morrissey (vocals, lyrics) and Johnny Marr (guitar, music). Their contrasting personalities and musical approaches created a unique alchemy. Morrissey, the self-proclaimed celibate and vegetarian, penned lyrics filled with irony, social commentary, and a healthy dose of self-deprecation. Marr, the guitar prodigy, provided the infectious melodies and intricate arrangements that made The Smiths instantly recognizable.
(Slide 3: Images of Morrissey and Marr, side-by-side, maybe with contrasting emojis: 😢 vs. 😄)
II. "William, It Was Really Nothing": A Song is Born
"William, It Was Really Nothing" was released as a single in August 1984, sandwiched between the albums The Smiths and Meat Is Murder. It wasn’t a massive chart topper, but it became an instant fan favorite and a staple of indie discos worldwide.
The song is characterized by its breakneck tempo, Marr’s shimmering guitar riffs, and Morrissey’s rapid-fire delivery of lyrics that are both deeply personal and universally relatable.
(Slide 4: Image of the Single Artwork – a picture of Viv Nicholson, a woman who won a fortune on the football pools and blew it all.)
Why Viv Nicholson?
The choice of Viv Nicholson for the single artwork is no accident. Nicholson’s story, of instant wealth followed by financial ruin and personal hardship, mirrors the song’s theme of fleeting happiness and the dangers of pursuing material possessions over genuine connection. It’s a stark reminder that money doesn’t necessarily buy happiness, a sentiment that resonates throughout The Smiths’ discography.
(Slide 5: A Spotify/YouTube embed of the song, if possible. Otherwise, a QR code leading to it.)
III. Decoding the Lyrics: What’s Morrissey Really Saying?
Alright, let’s get down to the nitty-gritty. The lyrics of "William, It Was Really Nothing" are deceptively simple, but packed with meaning. On the surface, it’s a conversation between Morrissey and Billy Mackenzie, the flamboyant singer of the band Associates. But beneath the surface, it’s a meditation on societal expectations, career choices, and the pursuit of happiness.
(Professor puts on their "serious scholar" face)
Let’s break it down stanza by stanza, shall we?
(Table 1: Lyric Breakdown – Stanza by Stanza)
| Stanza | Possible Interpretations | Morrissey-ism Level (1-5, 5 being peak Morrissey) |
|---|---|---|
| "William, it was really nothing William, it was really nothing" |
The repeated refrain is crucial. It suggests a dismissal of something significant, perhaps a past relationship, a societal expectation, or a missed opportunity. The "William" could be a specific person (Billy Mackenzie), but it also functions as a general address to anyone trapped in a similar situation. | 2 |
| "I was driving in your car I never never want to see you again" |
A blunt, almost brutal declaration of independence. The car symbolizes freedom and mobility, and the desire to never see the other person again suggests a rejection of their lifestyle or values. | 3 |
| "I don’t want to go to London" | London, in this context, represents the center of the music industry, the pursuit of fame and fortune. Morrissey is rejecting the conventional path to success, choosing instead to remain true to his own artistic vision. | 4 |
| "I don’t want to go to London" | (Repeated for emphasis!) This reinforces the rejection of commercialism and the London-centric music scene. Morrissey is doubling down on his anti-establishment stance. | 5 |
| "You were driving in your car I said ‘Something is bound to happen’" |
A shift in perspective. Now it’s Morrissey in the passenger seat, suggesting a moment of vulnerability and uncertainty. The line "Something is bound to happen" hints at a sense of anticipation, but also a fear of the unknown. | 3 |
| "And I was right" | A knowing acknowledgement that things are about to change, for better or worse. This adds a layer of fatalism to the song. | 2 |
| "Smack me in the head Smack me in the head" |
A bizarre and almost comical line. It could be interpreted as a desire for a wake-up call, a jolt out of complacency. Or, perhaps, a masochistic plea for attention. Let’s be real, it’s peak Morrissey ambiguity. | 5 (Ultra Morrissey) |
| "Something must be done About England" |
A broad and sweeping statement about the state of the nation. This line hints at Morrissey’s social and political concerns, a recurring theme in his songwriting. It could be a critique of Thatcherite policies, social inequality, or the stifling conformity of British society. | 4 |
| "This joke isn’t funny anymore It’s too close to home It’s too close to home It’s too close to home It’s too close to home It’s too close to home It’s too close to home" |
This is the emotional core of the song. The "joke" could refer to the disillusionment of modern life, the emptiness of material pursuits, or the pressures of conforming to societal expectations. The repetition emphasizes the painful truth that these issues are deeply personal and inescapable. | 5 |
| "So I would like to drop my trousers To the Queen Every sensible child Will know why" |
This is classic Morrissey provocation. The image of dropping his trousers to the Queen is both absurd and defiant. It’s a symbolic act of rebellion against authority and tradition. The line "Every sensible child will know why" suggests that the reasons are self-evident to those who haven’t been corrupted by the system. | 5 (Legendary Morrissey) |
| "William, it was really nothing William, it was really nothing" |
(Repeat) The song circles back to the initial dismissal, but now with a deeper understanding of the underlying pain and disillusionment. The repetition is no longer just a casual dismissal, but a coping mechanism for dealing with the complexities of life. | 3 |
| "Was it really nothing?" | The final, lingering question. This leaves the listener with a sense of uncertainty and doubt. Was it really nothing? Or was it something deeply significant that Morrissey is trying to downplay? This ambiguity is what makes the song so compelling. | 5 |
(Professor takes a sip of water, adjusts glasses again)
See? It’s not just moping! There’s layers, people! Layers! Like a delicious, slightly depressing onion.
(Slide 6: A picture of an onion, with the words "Layers of Meaning" superimposed on it)
IV. Johnny Marr’s Guitar Magic: The Sonic Landscape of Disaffection
While Morrissey’s lyrics provide the intellectual and emotional core of the song, Johnny Marr’s guitar work is the engine that drives it forward. His jangly, upbeat riffs create a sense of urgency and energy that perfectly complements Morrissey’s often-cynical lyrics.
(Professor starts air-guitaring awkwardly)
The opening riff is instantly recognizable and incredibly catchy. It’s a masterclass in melodic simplicity, using a combination of open chords and arpeggiated patterns to create a shimmering, almost ethereal sound.
Marr’s use of a Rickenbacker 330 guitar is crucial to the song’s distinctive sound. The Rickenbacker’s bright, jangly tone is perfect for creating the kind of shimmering, almost psychedelic soundscapes that defined The Smiths’ music.
(Slide 7: Image of a Rickenbacker 330 guitar, possibly with the caption "The Sound of Disaffection")
But it’s not just the guitar tone that’s important. Marr’s arrangements are incredibly intricate and dynamic. He uses a variety of techniques, including tremolo, arpeggios, and counter-melodies, to create a constantly shifting and evolving sonic landscape.
The rhythm section, featuring Andy Rourke on bass and Mike Joyce on drums, provides a solid foundation for Marr’s guitar work. Rourke’s melodic bass lines add depth and complexity to the song, while Joyce’s driving drum beat keeps the energy high.
(Slide 8: A breakdown of the song’s structure: Intro, Verse 1, Chorus, Verse 2, Chorus, Bridge, Verse 3, Chorus, Outro.)
V. The Impact and Legacy: More Than Just a Song
"William, It Was Really Nothing" is more than just a catchy indie pop song. It’s a cultural artifact that captures the spirit of a generation. It’s a song about disillusionment, rebellion, and the search for meaning in a world that often feels absurd and meaningless.
The song’s influence can be heard in countless indie bands that followed in The Smiths’ footsteps. From Belle and Sebastian to The Arctic Monkeys, many artists have cited The Smiths as a major influence on their music.
(Slide 9: A collage of bands influenced by The Smiths, with lines connecting them like a family tree.)
But perhaps the most important thing about "William, It Was Really Nothing" is its enduring relevance. The themes of disillusionment, social alienation, and the search for meaning are just as relevant today as they were in the 1980s. In a world dominated by social media, consumerism, and political polarization, The Smiths’ music continues to resonate with those who feel like they don’t quite fit in.
(Professor sighs dramatically)
So, the next time you’re feeling lost, confused, or just plain fed up with the world, put on "William, It Was Really Nothing." Let Morrissey’s cynical wit and Johnny Marr’s jangly guitars wash over you. You might not find all the answers, but you’ll at least know that you’re not alone.
(Slide 10: Final Slide: "Thank You! Now go forth and be melancholic… but also witty!")
(Professor bows slightly as the lecture hall slowly empties, leaving behind only the faint smell of stale coffee and the lingering echoes of jangly guitars.)
Further Listening & Reading (Optional):
- Albums: The Smiths, Meat Is Murder, The Queen Is Dead
- Biographies: Autobiography by Morrissey, Set the Boy Free by Johnny Marr
- Documentaries: The Importance of Being Morrissey
(Professor gathers notes, muttering something about needing more coffee and less existential dread.)
