you’re killing me, 2016

George Michael, a greater tal­ent than most I think re­al­ly realized.

I hope if noth­ing else, the pass­ing of George Michael forces a re­assess­ment of his rich and var­ied cat­a­logue of work. 

Michael was a sin­gu­lar tal­ent and one that shouldn’t be dis­missed as a 2016 celebri­ty death also-ran. He ab­solute­ly earned his place in the pan­theon of gay lib­er­a­tion figures. 

Orig­i­nal­ly pack­aged as a pre­fab teen heart­throb, he nav­i­gat­ed his way up through the usu­al het­ero sex sym­bol iconog­ra­phy, all the while send­ing out cryp­to sonar winks (cmon guys, Faith-era George is one of the gayest sex sym­bols ever giv­en main­stream band­width) un­til he ul­ti­mate­ly had to blow it all up in the blis­ter­ing act of de­fi­ance that was Free­dom! ’90 (be­low), as vi­tal a lib­er­a­tion track as I’m Com­ing Out.

Once com­fort­ably ‘out’ (even if that com­fort was some­thing he wouldn’t yet ex­tend to him­self) he used his 90s out­put to play in the worlds of fash­ion, the club scene, and even torch songs as a new quasar of un­abashed outness. 

His­to­ry trag­i­cal­ly em­pha­sized the shad­owy mis­steps, but the brav­ery of his re­veal and recla­ma­tion of his iden­ti­ty and sex­u­al­i­ty shouldn’t be discounted.

This song is one of my fa­vorite songs. From his mid­dle-late period.

RIP George Michael.

He was more than Wham!, more than Faith, more than the singles.

 
 
 

—ja­son malmberg

Flom­mist Ja­son Malm­berg is a sim­ple man who be­lieves in brown liquor and small dogs. He also makes art some­times. Copy­right © 2016 Ja­son Malm­berg. Foto source.

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