SCREEN BEAT
Let me tell you—your faithful “Screen Beat” reporter was about as psyched as a writer could be for this month’s column. A chance to discuss something actually controversial? To comment on the philosophical debate about the right of the artist to express him or herself as opposed to societal concerns over moral ethics and the possible exceeding of the boundaries of good taste?
SCREEN BEAT
IT AIN'T THE MEAT, IT'S THE MOTION
Billy Altman
Let me tell you—your faithful “Screen Beat” reporter was about as psyched as a writer could be for this month’s column. A chance to discuss something actually controversial? To comment on the philosophical debate about the right of the artist to express him or herself as opposed to societal concerns over moral ethics and the possible exceeding of the boundaries of good taste? To try and sensibly explore the always sticky and nebulous realm of censorship? To reflect on the responsibilities of the performer who advocates or condones a certain kind of behavior with the full knowledge that some of the more impressionable portions of his or her audience—those who see the artist as a sort of role model, or even a surrogate parent—may well harm themselves, either emotionally or physically, or both, by engaging in that very behavior? I was going to be able to sink my teeth into all these juicy topics because of a MUSIC VIDEO? A video supposedly “TOO HOT” for MTV? A video by— GEORGE MICHAEL? As in WHAM? As in LOOKS LIKE FIFTH BEE GEE BROTHER? The mind boggled in anticipation.