{
  "$type": "site.standard.document",
  "bskyPostRef": {
    "cid": "bafyreigxpr6c3pq7byhlhzvexxgdprbgrmq55ddfpowooi4ja52scbng7m",
    "uri": "at://did:plc:6o2wbpivvsog6cfn5xr2so4t/app.bsky.feed.post/3mnjpa2zp6ut2"
  },
  "coverImage": {
    "$type": "blob",
    "ref": {
      "$link": "bafkreihscxnaewtnspnhmrjberobfi3tdomlexkn4qzvkjpm5plqxhkec4"
    },
    "mimeType": "image/jpeg",
    "size": 83327
  },
  "path": "/books/2026/6/the-soul-singer-from-north-london",
  "publishedAt": "2026-06-04T00:00:00.000Z",
  "site": "https://airmail.news",
  "tags": [
    "Air Mail",
    "READ ON"
  ],
  "textContent": "\n\n  George Michael at the 1989 MTV Video Music Awards, where he received the Video Vanguard Award for the music videos from his debut solo album, _Faith._\n\n##### With songs like “Father Figure” and “Careless Whisper,” George Michael became the first white solo artist to lead the _Billboard_ Top R&B Albums chart—re-drawing the boundaries of the genre forever\n\nBy Sathnam Sanghera\n\nT\n\nhis year marks the 10th anniversary of George Michael’s death. It’s an excuse to re-evaluate his cultural legacy, which I have done at length in my new book, _Tonight the Music Seems So Loud: The Meaning of George Michael._ And when it comes to American R&B, one of the curious changes the Brit and former Wham! front man arguably helped bring about was the way the traditionally Black genre was classified and appreciated.\n\nIt all started in the late 80s, when the phrase “cultural appropriation” was still sociological jargon, and when _Faith_ —featuring hits like “Father Figure” and the titular track “Faith”—made George Michael the first white soloist to lead the READ ON",
  "title": "The Soul Singer from North London"
}