Boy George and Jerry Falwell talk androgyny on ‘Face the Nation,’ 1984


 
In the early ‘80s, the USA had a minor collective shitfit about blurred gender divisions. The subject emerged into the mass consciousness almost out of nowhere—all of a sudden, three mainstream movies had cross dressing as their central themes, and Michael Jackson and other androgyny-friendly musicians were experiencing huge pop chart success. Obviously, genderfuck had been a part of rock culture for a long time—it was a decade earlier that David Bowie and Lou Reed made career moves of conspicuous bisexual posturing, and then of course there were the New York Dolls—but MTV pumping Duran Duran, Haysi Fantayzee, and the Belle Stars into millions of Midwestern living rooms newly wired for cable was an altogether different level of cultural penetration.

The appearance of artists like Annie Lennox, Dee Snider and Pete Burns definitely startled a lot of normals, but the figure who, all by himself, racked up by far the high score of shat Middle-American underpants was Boy George of Culture Club. He was such a harmless and goofy figure, but 30 years ago, a lot of people found him genuinely threatening. DM’s Martin Schneider recently made a well-deserved poke at the Midwestern response to Culture Club’s Colour By Numbers tour. As I was a teenaged Clevelander at the time, I can personally vouch for the truth of that piece. A lot of “grownups” fully lost their shit about Boy George.
 

I still don’t get what the big deal was.

Of course, the national news media had to explore the issue for baffled masses in grave danger of seeing the totally artificial social construct to which they were accustomed fall slightly apart on a superficial level. Leslie Stahl, for one, explored “The Feminization of America” on Face the Nation in 1984.
 

 
I love how “the feminizing of society” is illustrated with clips of men doing laundry and caring for infants. Who, WHO I ASK YOU, will save this degenerate civilization from the horror of fathers acting like parents? But as the segment continued, I found myself astonished that the discussion was civil, adult, and not completely trivializing. Megatrends author John Naisbitt offers some perfectly sensible if perhaps simplified insights, and then JERRY FALWELL of all people is genial, respectful, and, though obviously faaaaaaaar from progressive in his views, he’s not totally insane and hateful. The way he was towards the end of his life, I honestly expected him to do some bonkers shit like blame a tornado on Yentl. Imagine a similar conversation as it would happen on Hannity, McLaughlin, or The Five today, and weep for what we’ve lost in just 30 years.
 

 
Apologies, by the way, for the huge glitch in the middle of Falwell’s comments. Not that it’s likely they were illuminating or anything, but I did try to locate an alternate video, and turned up nothing. It’s probably not that great of a loss—in part three, Falwell predictably, and in scripturally unconvincing terms, goes on to defend the American post-WWII gender status quo as God’s eternal and ineffable will, and is called out on his blatant cultural and class biases by co-panelist/actual smartest person in the room Benjamin DeMott. But the most intelligent and moving comments in the whole segment come from Boy George himself. The insights he proffers in his one-on-one interview with Stahl remain relevant today, and fully make up for my disappointment that he and Falwell weren’t on the live panel together. I generally dislike the Internet’s abuse of the adjective “epic,” but god damn, THAT would have been a valid use.
 

Written by Ron Kretsch | Discussion
Boy Serge: Gainsbourg does his best Boy George impression
05.06.2013
09:19 am

Topics:
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Music
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Serge Gainsbourg
Boy George


 
Boy Serge.

Serge Gainsbourg impersonates Boy George and gives French comedian/singer Patrick Sébastien a big smooch on the lips.

Gainsbourg may be the only person on the planet who can dress up like Boy George and not lose my respect.
 

Written by Marc Campbell | Discussion
We Don’t Need This Fascist Groove Thing: Boy George’s fierce ‘No Clause 28’ protest song, 1988


 
One of Boy George’s best pieces of music—well, in my book, anyway—is 1988’s seldom-heard slice of fierce, dance music protest, “No Clause 28.” I picked it up, neither knowing what it was about, nor having actually heard it, because of the amazing cover artwork by Jamie Reid depicting Boy George as Enid Blyton’s “Noddy.” It’s a pretty amazing record of its time, in more ways than one.

Clause 28 or Section 28, as it was also known, was an addition to the Local Government Act of 1988. Clause 28 stipulated that local government councils in the UK “shall not intentionally promote homosexuality or publish material with the intention of promoting homosexuality” or “promote the teaching in any maintained school of the acceptability of homosexuality as a pretended family relationship.”

This was the end of the Thatcher era and due to newly widespread awareness—and fear—of AIDS, then considered a gay disease, homosexuality was frowned upon in such a way that it was thought necessary to officially condemn it and protect children from it. The matter was largely a symbolic issue, but it caused many gay and lesbian groups at high schools and universities to close shop.

The night before Section 28 became law (May 24, 1988) a lesbian chained herself to the desk of BBC Six O’Clock News presenter Sue Lawley. Parliament was also invaded by lesbian activists scaling the building like rock climbers.

In many ways, Clause 28 is what saw the cohesion of Britain’s modern gay rights movement. Aside from Boy George, many big name celebrities spoke out about Clause 28, such as Ian McKellen, beloved One Foot in the Grave actress Annette Crosbie, Helen Mirren, Jane Horrocks and comics great, Alan Moore.

The Section was repealed on June 21, 2000 in Scotland, and in the rest of Great Britain in November of 2003. It’s worth noting that Prime Minister David Cameron was vocally in support of keeping the Section intact, although he thought better of this later and apologized in 2010.
 

Written by Richard Metzger | Discussion
The Legend of Leigh Bowery

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The Legend of Leigh Bowery is a brilliant documentary about a brilliant man.

Directed by Charles Atlas, the film covers Bowery’s life and times from his suburban beginnings in Sunshine, Australia, to his fame on London’s club scene in the 1980s and his success as one of the most influential and daring fashion designers in the past thirty years.

The Legend of Leigh Bowery has incredible archive footage and excellent contributions from Michael Clark, Sue Tilley, Michael Bracewell, Richard Torry, Donald Urquhart, Damien Hirst, Boy George and Leigh’s wife, Nicola Bowery.
 

 
Previously on Dangerous Minds

Leigh Bowery interviewed by Gary Glitter from ‘Night Network’, 1989


 
Watch the rest of ‘The Legend of Leigh Bowery’, after the jump…
 

Written by Paul Gallagher | Discussion
Superb documentary on Malcolm McLaren from 1984

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This excellent documentary on Malcolm McLaren was originally shown as part of Melvyn Bragg’s South Bank Show in 1984, when McLaren was recording Fans—his seminal fusion of R&B and opera.  Apart from great access and behind-the-scenes footage, the film and boasts revealing interviews with Boy George, Adam Ant, Bow-Wow-Wow’s Annabella Lwin, Sex Pistol, Steve Jones, as well as the great man himself.

Everyone whoever came into contact with McLaren had an opinion of the kind of man he was and what he was about. Steve Jones thought him a con man; Adam Ant didn’t understand his anarchy; Boy George couldn’t fathom his lack of interest in having success, especially when he could have had it all; while Annabella Lwin pointed out how he used people to do the very things he wanted to do himself.

All of the above are true. But for McLaren, the answer was simple: “Boys will be boys,” and he saw his role was as:

“To question authority and challenge conventions, is what makes my life exciting.”

It did, Malcolm, and still does. Enjoy.
 

 
Previously on DM

Who Killed Bambi?: the Roger Ebert Sex Pistols screenplay


Scenes from the Malcolm McLaren funeral


 
More from Malcolm McLaren after the jump…
 

Written by Paul Gallagher | Discussion
Lipstick and powder: Boy George presents a Top 10 of New Romantics

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Out of the ashes of Punk came the New Romantics, rising like a painted phoenix over London’s club scene. From clubs like Billy’s and Blitz, where Steve Strange and Rusty Egan played Bowie, the Velvets and T.Rex, and Boy George was the coat-check guy, came the New Romantics. Clubbers known as the Blitz Kids, who were made-up and beautiful, and knew imagination was more important than money when it came to having fun. 

The Blitz Kids were Steve Strange (Visage), Rusty Egan (The Rich Kids), Boy George (Culture Club), Tony Hadley, Martin Kemp, Gary Kemp, John Keeble, Steve Norman (Spandau Ballet), Tony James, James Degville (Sigue Sigue Sputnik), Siobhan Fahey (Bananarama), Marilyn, Princess Julia, Isabella Blow, Stephen Jones and Michael Clarke, and together they were the generation of New Romantics.

Last year, in the Guardian, Priya Elan talked to some of the “movers and shakers behind the scene that spawned the New Romantics.”

STEVE STRANGE, BLITZ CLUB HOST, VISAGE FRONTMAN: By 1977 I’d gotten very bored by punk. It’d become very violent. The skinheads and the National Front had moved in.

RUSTY EGAN, BLITZ DJ, VISAGE MEMBER: The punk venues got invaded by football hooligans wearing Le Coq Sportif clothes. They’d call us “poofs” because we weren’t dressed in a normal way. Hence why we formed the club. It was for those ex-punks who liked Lou Reed, Bowie and Iggy.

SS: It was about being creative, we wanted to start something that didn’t have anything to do with punk.

RE: It was a horrible time of recession. Covent Garden was isolated and badly lit. But then you’d walk into the club and it was like “Ta-da!” Everyone was drinking and taking poppers. The atmosphere was like Studio 54.

SIOBHAN FAHEY, BLITZ CLUBBER AND BANANARAMA MEMBER: We’d spend the whole week preparing our outfits for the club. We’d go and buy fabrics, customise our leather jackets, make cummerbunds, find old military things and throw them together in a mix of glam, military and strangeness. It was all DIY because we didn’t really have any money to properly eat. We lived off coffee and cigarettes, really.

RE: The song that became the anthem of the club was Heroes by Bowie. “Just for one day” you could dress up and be more than what Britain had to offer you.

 

 
Previously on DM

‘The Chemical Generation’: Boy George’s documentary on British Rave Culture


 
Part 2 of Boy George’s Top 10 plus more memories from the Blitz Kids, after the jump…
 

Written by Paul Gallagher | Discussion
‘The Chemical Generation’ - Boy George’s documentary on British Rave Culture

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Will George O’Dowd still be Boy George when he hits his half-century later this year? Man George doesn’t have the same hook to it - sounding like something a porn star would use; and we can never think of him as Middle-Aged George, even though that’s closer to the truth. For the wonderfully soulful-voiced O’Dowd has been a fixture of pop culture for thirty years, and he is now as lovable a character as the Queen Mum was to London cab drivers. Add to this his back catalog of hits and a shelf-full of notable tales - from his own fair share of ups and downs as internationally successful pop star, actor, writer, ex-druggie, ex-convict and DJ - and you’ll see why Boy George is a modern pop culture hero.

In 2000, George presented The Chemical Generation a fascinating documentary examining “the Acid House, rave and club culture revolution and also the generations favourite chemical - ecstasy.” This gem was first broadcast in the UK on Channel 4, on the 27 May 2000, and it is:

...the story of British club and drug culture from the early days of acid house. The documentary includes interviews with promoters, bouncers, drug dealers and the clubbers themselves, shot in clubs and bars around London and club footage from across the country. Interviewees include (DJs) Danny Rampling, Judge Jules, Nicky Holloway, Pete Tong, Lisa Loud, Mike Pickering, Dave Haslan, along with Ken Tappenden (former Divisional Commander of Kent Police) and writer (Trainspotting) Irvine Welsh.

The background to rave in the UK goes something like this:

In 1987 four working class males, Paul Oakenfold, Danny Rampling, Nicky Holloway and Johnny Walker found themselves in clubs across Ibiza, listening to the music which was to make them legends in the dance scene and transform the face of youth subculture in Britain. Not only did they discover the musical genre of Acid House, played by legendary house DJ’s Alredo Fiorillio and Jose Padilla in clubs such as Amnesia and Pacha, they were also crucially introduced to the drug MDMA, more commonly known as ecstasy. Johnny Walker describes the experience:
“It was almost like a religious experience; a combination of taking ecstasy and going to a warm, open-air club full of beautiful people - you’re on holiday, you feel great and you’re suddenly being exposed to entirely different music to what you were used to in London. This strange mixture was completely fresh and new to us, and very inspiring”

The Chemical Generation covers their story and more, and giving an excellent history of Rave Culture, its drugs, its stars, and its music.
 

 
Bonus clip, Boy George sings ‘The Crying Game’, after the jump…
 

Written by Paul Gallagher | Discussion
‘Don’t want no English glitter prince’: Boy George guest stars on The A-Team

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Could this be the worst celebrity guest star appearance in television history? Methinks so. Watch the cringe-worthy trailer below. Also, take note on how Boy George delivers his line “Totally awesome, Hannibal.” It’s sheer brilliance.

You can watch the entire episode titled “Cowboy George” over at Hulu. Thank God!
 

Written by Tara McGinley | Discussion