We can see now why the Bang-Bang was difficult to take. At the time, much of the discussion centred on whether their songs and performances were good or bad; in fact, the question of art hardly entered into the matter. The question of morality was a good deal more pressing (but the British public is well accustomed to confusing art with morality).
Two overlapping areas of morality served to make the Bang-Bang hot news. The Bang-Bang were Siamese twins and therefore represented a deformity (for libel reasons, the word ‘freak’ was rarely used in public); should deformity be exploited in this way – indeed, was it being exploited?
And – this was the more painful area – should deformed people be allowed to flaunt their sexuality? The deformed, the handicapped, were supposed to keep quiet about their natural desires. There was enough material here to keep the pot of virtuous sentiment, seasoned with prurient interest, a-boiling for a long while.
Self-appointed guardians of the country’s moral fibre claimed that sexuality and music were being debased, that national sensitivities would suffer. Then a Liberal Member of Parliament went on television to state that, in his humble opinion, it was all to the good that minorities such as Siamese twins should have their voice; and moreover that his family (although not he himself) had greatly enjoyed the energy of the Bang-Bang, as well as the pagan innocence of their songs. He considered them good-looking young men. He did not see anything unpleasant in deformity, and looked forward to the day when greater enlightenment brought multiple sclerosis olympics and similar events.
This speech was so widely reported, with further photographs of the Bang-Bang and other deformed people who had immediately sought to cash in on the Bang-Bang’s success, that it drove out the news of two more African states, including Kanzani, being overtaken by Communist coups.
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