Boy George and Culture Club More Than Name or Band-They Are LGBTQ+ History

 

In the 90’s, Boy George and Culture Club was all the rage.  Everyone wanted to dress, sing and have that cool swagger. Whether it was the harmonica filled opening bars of “Church of the Poison Mind,”  showcasing backup vocals of the magnamious Helen Terry or their floating down the bayou energied “Karma Chameleon,” there was no denying British blue-eyed soul pop singer George O’Dowd was creating a cultural transformation on how the world viewed identity, fashion, and artistic expression.

Directed by Alison Ellwood and set against the backdrop of 1980’s Britain, this doc explores how four young men formed a multi-racial, ethnically diverse and sexually liberated band with a style and sound that challenged the status quo during the era of New Romantics and Margaret Thatcher’s Britain.

Revelations are dropped revealing the band was actually formed not by O’Dowd, but a Black Jamaican Brit bassist by the name of  Mikey Craig.  Craig and O’Dowd along with a blond Englishman guitarist – Roy Hay and a Jewish drummer from a punk background – Jon Moss developed a song and style that became like a runaway train.  That geisha look that George made uniquely his own was heavily inspired by numerous artists including and not limited to David Bowie and Suzy Clowes creating an androgynous energy making him desired by men and women.

And, like most groups, there comes a time where the party ceases to exist mostly due to the popularity of one single member making  others feel like props or background. Not to mention, during this time in the U.S., anti-gay sentiment was everywhere and seemed to gather steam for Culture Club following George’s 1984 Grammy Awards acceptance speech.  While accepting their award for Best New Artist, George sarcastically stated,  “Thank you, America. You’ve got taste, style and you know a good drag queen when you see one.”  Backlash was fierce and swift to which George shared, “…drag is just a word…why should someone know or be concerned about what you’re doing in the bedroom,” leaving his bandmates feeling like they had been dragged into a gay circus.

Touring nonstop, writing, recording, promoting and being around each other all the time, their 3rd album was rushed and marked the beginning of the end for the group and George’s alleged amped up drug use.

One thing can’t be denied. Boy George and the Culture Club is a perfect example of how fleeting success can ruin friendships and destroy careers.  Yet, the love and respect built can never be tarnish being on a rollercoaster of riches most will never experience in their lifetime.  In other words, karma is a bitch…literally.