Naturally, the the queer son of Irish immigrants didn’t fit well into 1970s’ England, So George O’Dowd (now better known as Boy George) gravitated to glam rockers David Bowie and Marc Bolan. Invariably, he decided to set up his own group Culture Club, so named due to the diversity of the band. “Jon was Jewish, I was Irish, Roy was like totally Anglo-Saxon, and Mikey was Jamaican”. Recognising their differences, the four-piece act opted for a name that reflected this, but the pop group faced a hurdle when two of the members started sleeping together.
In this documentary, all four bandmates share their truths. Drummer Jon Moss was infatuated with Boy George Two young, curious men decided to have sex. Boy George & Culture Club. The singer and percussionist sings the chorus of I’ll Tumble 4 Ya, while eyeing his lover. No matter the in-house politics, Culture Club enjoyed a healthy success during the 1980s, with hits like Karma Chameleon and Do You Really Want to Hurt Me.
Boy George was known for his glossy outfits: long hats and florid hairdos. The singer realises that some of his sartorial choices would be classed as “cultural appropriation” in thepresent-day environment . He gave an interview, highlighting his use of the Star of David, thinking it was an African as well as a Hebrew symbol. His flamboyance caused uncertainty, particularly in the United States, where stunned talk-show hosts found themselves addressing his feminine dress sense ahead of the records. “Weirdos here from England”, the older Boy George chuckles, reflecting on that time.
The band were enjoying popularity there until the singer joked that the country appreciated a good drag artist. Much as Freddie Mercury would discover when he wore a dress in Queen’s promotional video for I Want to Break Free, Boy George realised that the United States did not take kindly to LGBT imagery. Protestors attended the gig, carrying banners: “Adam & Eve, not Adam &Steve.” The drummer remembers with horror at the Aids jokes they endured from angry Americans. Boy George took it on the chin – Liberace had led the way for gender-bending and cross-dressing.
After four years of touring, the group reminisce how they felt burnt out, and the strains of a third-album breathing down their necks. It didn’t help that they were collectively hiding “Jon and George’s” relationship, adding extra baggage. Culture Club’s Waking Up with the House on Firewas a critical disaster, which took its toll on four men in their 20s.
Boy George takes centre stage during most of the the film, which is occasionally unfair on guitarist Roy Hay, who was effectively Culture Club’s main songwriter. But as the main character, the singer is hypnotic and confessional. The vocalist remembers wishing to leave: “I threatened to quit everyday.” He started on a “spliff”, which led to other drugs, causing him to gravitate to “smack”. Publicly, Boy George was caught using drugs, where his bandmates did theirs privately. “I’m sober 16 years,” Hay ruminates; “I don’t know if that’s getting away with it.”
One photoshoot from the 1980s is tinged as much with tragedy as it is comedy: the singer berates boyfriend/bandmate Jon Moss for “casting a shadow” on him. Egos exploded. In reality, the duo split, and Culture Club called it a day in 1986. Judging by the interviews, there is regret. Moss and bassist Mikey Craig still seem angry that they missed out on Live Aid, feeling it was “missing history”. But Boy George &Culture Club is mostly about their impressive bond as a creative vehicle. And what a vessel that was!
Boy George & Culture Club premieres at the 12th edition of the Doc’n Roll Festival, which takes place between between October 23rd and November 9th in London.
