Except for one, every band he’s worked with has sued him. If you wanna remember these golden days of Pearlman, click here.
Orlando, obviously, was impacted by the boy band culture Pearlman perpetuated after he became enthralled by all the dollars fans were throwing at New Kids on the Block (a band I bravely (ha), openly dissed previously). Backstreet Boys, ‘N Sync, Take 5 and, obviously, O*Town (technically, a 2000s band) danced on the graves of our area’s more legitimate music legacies (like, I dunno, Gram Parsons).
I know that boy bands meant a lot to a certain sect of teens and tweens (and moms) in the ’90s, and I’m aware that shows like The Voice give a renewed platform to the polished pop machine those boy bands are a distinguished part of. But I just think that if you’re trying to help an artist or a label or a studio or anybody get positive attention, it’s never a good idea to reference one of the most disgraced men in pop’s people-you-need-to-know (to avoid) ledger.
But what Pearlman’s legacy lacks in decency, the boy bands make up in stylishness:
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