Two Top Singers Just One More Fad—claim (Press, 11 July 1984)
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Summary: Two Top Singers Just One More Fad—claim (Press, 11 July 1984)
In a recent television interview on C.BS., American evangelist Jerry Falwell voiced his opinion that pop icons Michael Jackson and Boy George are not suitable role models for American youth and predicted they will fade away like previous fads in the entertainment industry. He compared the current musical trends to past entertainers like Tiny Tim, indicating that Jackson and Boy George may also eventually be forgotten. Falwell acknowledged a growing trend of outrageousness in popular culture but maintained that he does not believe there is a strong connection between these artists and the movement towards a genderless society. While admitting he had not heard Jackson or Boy George's music, he described them as "fine young people," but expressed concern over the kind of role models they may represent to children. In response, Boy George, the lead singer of the band Culture Club, rejected the notion that he is promoting homosexuality. He argued that sexual orientation is a personal discovery for everyone and that promoting a sense of liberal acceptance is his true aim. Boy George stated his goal is to create a safe environment for individuals who may wish to express themselves freely, irrespective of societal norms around gender expression. He expressed a belief that living with sexual ambiguity could pave the way for a new societal acceptance. Boy George also highlighted that Culture Club was not permitted to perform in the Soviet Union, suggesting that his presence there would signify a level of freedom that starkly contrasts with the restrictions faced by individuals in that regime. Cultural critic Benjamin Demott from Amherst College supported this view, stating that androgynous performers like Boy George fulfil a cultural need by offering a contrast to traditional rock stars, often depicted as threatening. Demott posited that Boy George’s persona is welcoming and non-threatening, which appeals to audiences. This ongoing dialogue reflects differing perspectives on gender identity and the evolving landscape of popular music in the 1980s.
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