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I agree. There's a fascination with the strange which seems to inform the music lover, especially those who retain the sense of... I suppose 'awe' is the best word, when relating to the iconography of pop music.
When I refer to 'the strange', I'm not really speaking of the othering that occurs when (for example) a straight George Michael fan is informed that he's gay - it's more the mystery of 'what is he/she?'
For example, one less loaded from my own school days... Annie Lennox and Dave Stewart - I remember sitting in school earnestly discussing this with a couple of tiny friends... "Are they... you know... doing it? Is that song about, um, her?"
When we found out what was going on, it was kind of deflating. It was the not knowing, the aloof quality they had as pop stars writing about this and that. A mate of mine told me that she held Annie up to be a gay icon for years, and was a little hurt when someone told her she wasn't... as if Annie had lied to her.
Morrisey is probably the most interesting example to use. He still holds that element of mystery, of attraction, to men and women, after years both in and out of the public eye.
Basically, I want my rock/pop stars imaginary, larger than life, and dead, if possible. In other words... bodiless.
Reading that back, I now have no idea whether that actually agrees with what you were talking about, 'Nesh... but there we go.
And 'The Boy With The Thorn In His Side' is the twelfth best song of all time. But I would say that, because I'm a dodgy goth dragonboy with delusions of pulchritude. |
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