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Boy George shot to superstardom as the lead singer of the English new wave band Culture Club, which put out 1980s hits like “Karma Chameleon,” “I’ll Tumble 4 Ya,” and “Do You Really Want To Hurt Me.” Culture Club is performing at the Hollywood Bowl on August 25 and August 26. Boy George reflects on his musical and style influences, as well as why Culture Club’s sad songs can actually put a listener in a better mood.
In his youth, George moved around England, and during his teens in the north, he entered the punk rock scene — in part to rebel against his parents . He considered starting a band, particularly focusing on soul music. And while George didn’t play guitar, he loved songwriting.
At the time, he was also listening to classic 1970s musicians, such as David Bowie, Bob Dylan, and Joni Mitchell.
Once Culture Club was formed, each band member had their own idea of what type of music they wanted to play.
“It just ended up becoming a mix of everything that we love from glam rock, 70s music, to old soul, to punk, to reggae, to classical things. In a way, my generation were allowed to really explore music in a wider sense, because society was changing a lot.”
He adds, “Music is always about the social climate as well. … If it's a great time, people want … joyful songs. Joyful songs are the staple of pop music, but also heartbreak, because everyone falls in love, everyone gets heartbroken.”
Sad songs that can put you in a better mood are core to Culture Club’s sound.
“The songs were a diary of what was going on in my personal life. I was heartbroken by this and that, and I was telling everyone. If I go back to my early childhood, my understanding of …love … was already very distorted by the time I started writing songs. So I've had to learn — in the verses — to understand what the meaning of love is. I can't put it into words, but I can definitely put it into music.”
He adds that he was drawn to more soulful music after witnessing his parent’s relationship.
“My mum was controlled a bit by my father, so those romantic songs were really about the kind of love I wanted my mum to have. I want my mum to be in a relationship where the guys can't live without her.”
He adds, “Sometimes love isn't enough. And sometimes, in my father's case, it was a lot of jealousy. And if you're jealous of someone, you tend to suppress them and take away their spirit. And mum was a beautiful woman. She was an Aquarian, typical creative, just naturally creative, could make anything do anything.”
Culture Club released “Victims” in 1983. The question at the center of it revolves around who controls a relationship. Looking back, George says the song’s changed since its debut.
“When I listened to that person singing, [I’m] very polite, British. Now it's a much more traveled, soulful, slightly more experienced understanding of that song and it suddenly becomes … another point of view completely, and songs can change.”
Being out from the start
From the earliest days of his career, George has been publicly gay. However, during the early Culture Club days, as people saw his persona, he faced scrutiny.
“When I met radio DJs, or TV people, and they realized that what I looked like wasn't a costume, that’s what was disturbing, because it was really just a follow on from what I've been doing in the clubs. It wasn't like, ‘Let's dress up and be a pop star. No, this is how I look all the time.”
He adds, “We're all in a mad play. … Looking back, I wasn't particularly political as a kid. … I just felt like I was quite belligerent. And I was like, why are people bothered if I want to look like this? Why does it bother you?”
The many influences on Boy George
George has long been a fan of Siouxsie Sioux (from punk band Siouxsie and the Banshees) and even knew her pre-fame. In a way, he says he fashioned his look after her, as well as Dorothy Parker and Carmen Miranda.
“Artistic people are drawn towards that bohemian, otherworldly world which only used to exist in rock and roll. Now, it’s everywhere. That's all over the internet, but you used to have to look for it. Before, if you wanted the underground, you had to go and find it.”
Another large influence for George — both musically and personally — was Little Richard.
“He was an absolute hero of mine. Just as the performer, the simplicity of the songs, and then the extravagance of the performance.”
He adds, “Great artists — they share their personal experiences with the audience. They watch them go through whatever it may be. And I think that's how you stay memorable, when people are talking about those different aspects of you as an artist.”
Read more: Little Richard, not Elvis, created modern-day rock and roll
Today, George says he loves his achievements — but doesn’t let that get to his head.
“I always feel like whenever I meet anyone, I want them to be interesting, but I also want them to be completely human. I don't want them to be difficult to speak to, or in a hurry, or awkward. I work a lot on that stuff as well, when I'm on stage about communicating with people and trying to read the room. It's always such a fun experience. Now very different to the old days when … I walked on stage riddled with panic, and everything was a nightmare. And I'm like, ‘God, I'm too relaxed. What's going on? I feel like I'm in my living room.’”
More from Press Play's Summer Mixtape series:
Lucinda Williams & Anne Litt
Ozomatli & Raul Campos
Carla Morrison & Ro Wyldeflower Contreras
