ABSTRACT
In Britain 1984 turned out to be the year of the coalminers’ strike and Frankie Goes to Hollywood. Repeating images-the miners’ stolid anger, Frankie’s smirking leatherware; juxtaposed stereotypes-pickets as hooligans, gays lounging promiscuously in the night. If pop is a sign of its times, then Frankie’s social message during the key political struggle of the 1980s was decidedly oblique.
