Viewers’ Views (Press, 11 July 1974)
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Summary: Viewers’ Views (Press, 11 July 1974)
A letter to the editor published on 11 July 1974 addresses criticism directed at Ms Sue Wills and the Gay Liberation Front in Christchurch, from a writer identified as "A.R." This individual disparages the group, referring to them as "poor unnatural people." The response, penned by P.R.H. Maling, the Liaison Officer for the Gay Liberation Front, challenges the assertion that homosexuality is unnatural. Maling argues that homosexuality exists in various animal species and has been a part of human societies throughout history, asserting that it is neither a sin nor a sickness. Maling criticises the social and legal discrimination faced by homosexuals, noting that such discrimination contributes to their marginalisation and economic challenges. The letter highlights a perceived lack of understanding in New Zealand about the nature of homosexuality, suggesting that the country lags behind more progressive societies. Maling contends that if "A.R." were more informed about biblical references, he would recognise that the destruction of Sodom was not about homosexuality, but rather about the violation of hospitality, as illustrated in the Book of Genesis. Moreover, Maling criticises "A.R.'s" sense of moral superiority, arguing that it is fundamentally immoral to seek punitive measures against others simply for expressing love. The Gay Liberation Front, Maling states, is weary of societal attempts to impose moral judgments and seeks to counter what they view as harmful and misleading propaganda. The letter also includes a commentary on local New Zealand television productions. The writer, known as “Appreciative,” praises a programme called "Sing" as an example of quality production made in New Zealand. In contrast, the programme "Free Ride" is described as having an exaggerated style inconsistent with New Zealand culture. There is particular criticism of young singers adopting American accents, which are seen as lacking authenticity and originality. The writer urges New Zealand performers to embrace their unique accents and cultural expressions, promoting the idea that their national identity should be celebrated on international stages. Overall, the correspondence encapsulates a discourse on issues of sexual orientation, societal values, and cultural identity in New Zealand during the 1970s, reflecting broader global conversations on these matters.
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