"People say things about me all the time and I get over it. I've had some appalling things told about me"
About this Quote
Celebrity is often sold as a kind of armor, but Boy George frames it as abrasion: you don’t become invulnerable, you become practiced at healing. “People say things about me all the time and I get over it” reads like a shrug, yet the verb choice matters. He doesn’t “ignore” it or “laugh it off.” He “gets over it” the way you get over an illness or a breakup: time, repetition, and a little scar tissue.
The second line sharpens the stakes. “Appalling” is a deliberately old-fashioned word for someone whose public image has always toyed with provocation. It signals that the worst stories aren’t spicy gossip; they’re morally loaded narratives meant to stain. For a musician whose career has been entangled with tabloid frenzy, queer visibility, gender nonconformity, and public downfall, the subtext is that the commentary isn’t merely criticism of work. It’s social policing dressed up as rumor.
There’s also a quiet act of control here. He doesn’t deny specifics, which would trap him inside the scandal economy; he zooms out and talks process. That move reframes the audience’s appetite for “what happened” into a more revealing question: what does it cost to be a public canvas for other people’s judgments?
In a culture that confuses access with entitlement, Boy George’s tone lands like a boundary: you can talk, you can speculate, but I’ve survived your stories before, and I’m not handing you a fresh script now.
The second line sharpens the stakes. “Appalling” is a deliberately old-fashioned word for someone whose public image has always toyed with provocation. It signals that the worst stories aren’t spicy gossip; they’re morally loaded narratives meant to stain. For a musician whose career has been entangled with tabloid frenzy, queer visibility, gender nonconformity, and public downfall, the subtext is that the commentary isn’t merely criticism of work. It’s social policing dressed up as rumor.
There’s also a quiet act of control here. He doesn’t deny specifics, which would trap him inside the scandal economy; he zooms out and talks process. That move reframes the audience’s appetite for “what happened” into a more revealing question: what does it cost to be a public canvas for other people’s judgments?
In a culture that confuses access with entitlement, Boy George’s tone lands like a boundary: you can talk, you can speculate, but I’ve survived your stories before, and I’m not handing you a fresh script now.
Quote Details
| Topic | Resilience |
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