Kissing To Be Clever

Product Information

American album certifications – Culture Club – Kissing to Be Clever". Recording Industry Association of America . Retrieved 9 February 2020. More recently, anthems have shed any need to hide their queerness through hidden messages or innuendos. Proudly queer artists are creating music clearly for their communities, and beyond: think Janelle Monae ’s ode to female pleasure "Pynk," Perfume Genius’ searing "Queen" or Hayley Kiyoko’s "Girls Like Girls," whose title says it all (and was followed up with the more cheerful anthem "for the girls").

George O'Dowd, 14 июня 1961) - увлекся глэм-роком T. Rex и Дэвида Боуи (David Bowie) еще когда был тинейджером. В конце 70-х он стал регулярным посетителем ново-романтических клубов (в том числе и культовых "У Билли" и "Блитц"). Вместе со своими друзьями Мэрилином и Мартином Дегвиллами (Marilyn and Martin Degville) (будущими членами Sigue Sigue Sputnik), он стал широко известен в среде Лондонского андеграунда из-за своего экстравагантного чувства стиля, благодаря чему и был приглашен Малколмом МакЛареном (Malcolm McLaren) в ранний состав Bow Wow Wow. Вскоре Джордж ушел, чтобы с басистом Мики Крейгом (Mikey Craig) сформировать проект In Praise of Lemmings. Когда к ним присоединился гитарист Джон Сьюд (Jon Suede), они изменили название на Sex Gang Children. Через пару-тройку месяцев к коллективу присоединился профессиональный ударник Джон Мосс (Jon Moss), ранее уже игравший в Adam & the Ants и the Damned.

Release

a b Sachs, Lloyd (3 February 1983). "Culture Club: Kissing to Be Clever". Rolling Stone. No.388. p.49. Archived from the original on 15 May 2008 . Retrieved 25 November 2018. Canadian album certifications – Culture Club – Kissing to Be Clever". Music Canada . Retrieved 9 February 2020.

British album certifications – Culture Club – Kissing to Be Clever". British Phonographic Industry . Retrieved 9 February 2020.

24 Reviews

If you are a fan of Culture Club, especially in the timeframe of 1982-1986, I highly recommend getting THIS edition to replace your worn out Cassette tape, if you still have those! The original CD is nothing compared to this one. Trade that in, if you can for this nicely done, updated version. It feels great to have it out. Obviously, no one's in clubs right now, no one's dancing, but at the same time music is such a big thing. It's such a personal thing. It can really elevate or decrease your mood. We all need positive music right now ... As the messages and musical styles have adapted with the times, what’s most powerful in the evolution of queer anthems is just how much more openly gay they have become. An increasing number of artists are able to unabashedly express their identity, including in genres that have been traditionally reticent or hostile to minorities. Tracing the history of the queer anthem provides an opportunity to see how far the LGBTQ+ community has come, and how creative expression can be used to fight for rights that are still being threatened.

Songwriter [All Songs Written], Performer [Performed By], Instruments [All Instruments (Except Where Credited) Played By] – Culture Club

There's nothing else quite like that feeling of the physical release of having a song run through you when it's also running through tons of other people who are in the crowd with you," they said, highlighting the power of that anxiety of whether you fit in dissolving away: "It opens a window into what's possible, in a world beyond the one we're in right now." Colour by numbers" занял высшую позицию в Британии, а в США оставался лишь на втором месте только потому, что на первом восседал "Thriller" Майкла Джексона. Особая популярность досталась песне "Karma chameleon", ставшей трансатлантическим хитом номер один. Сам же альбом, разошедшийся тиражом свыше пяти миллионов экземпляров, стал мультиплатиновым. Holiday and Rainey, along with her prodigy, Bessie Smith, were all bisexual — an identity that along with their race and gender threatened their professional careers. They faced not only social ostracization, but also legal threats due to their sexuality. Yet these pioneers still expressed their emotions openly, as Ma Rainey sings on "Prove It on Me Blues": "I went out last night with a crowd of my friends'/It must've been women, 'cause I don't like no men/ Wear my clothes just like a fan/ Talk to the gals just like any old man." Dutchcharts.nl – Culture Club – Kissing to Be Clever" (in Dutch). Hung Medien. Retrieved 9 February 2020. Matrix / Runout (Runout side A stamped except for E19 and G1 etched, variant 4): G1 P AL 38398-2D COLUMBIA NY E19

It's not all been a disaster. We had a baby four months ago. It's been great being at home and co-parenting. We want to take him out and show him off and do all the things. The best that we can hope for now is for everyone to get better, the vaccines to work, everyone to stay healthy and just live a normal life. You don't realize what you miss until it's gone, do you? Some of the stupidest, tiniest little things. This moment in social and political history highlights the importance of an anthem, which serves as a form of celebration and signaling of allegiance, as well as a salve against repression and motivation to continue the fight. The debut of Culture Club, "Boy George and Company" on Kissing To Be Clever is a decent album all the way through. Updated graphics and liner notes are superb! THIS is what CDs should have been in the beginning. I think it's important to honor these ancestors in the queer narrative and point to how things don't always go from worse to better," Geffen tells GRAMMY.com. "Right now in our current historical moment, where we're seeing a lot of closing in and that can be really scary, but there has always kind of been this pulsing and there has always been the survival." I also want to talk about "Naboo"—I mean, Miss Kittin is also iconic. What was on your mind when you were creating the beat? And when you sent it to her, did she then come up with the lyrics on her own?Kent, David (1993). Australian Chart Book 1970–1992. St Ives, NSW: Australian Chart Book. ISBN 0-646-11917-6. Matrix / Runout (Runout side B stamped except for B1 and G1, variant 5): G1 P BL 38398-2A P COLUMBIA NY B1 Also during the 1980s, queer anthems also began to proliferate beyond English-language music, proving that a desire to express queerness through music was universal. This was notably seen in Canadian-French artist Mylène Farmer’s "Libertine" and "Sans contrefaçon" about embracing androgyny. And in the Spanish-speaking world, there was Alaska y Dinarama's "¿A quién le importa?" which translates to "who cares?" Openly queer artists also began asserting themselves more than ever by the 1980s and the rise of synth pop, finding fans among straight and queer communities, often in a "you know if you know way," according to Geffen. The sound coming from British groups like Culture Club ("Do You Really Want to Hurt Me"), Soft Cell ("Tainted Love") or Bronski Beat ("Smalltown Boy") was inextricable from queerness; an uptempo beat and thematic undercurrent ran through many of the era's biggest pop songs. These artists were "talking about an experience that was very specific to the queer community — this idea of figuring out who you are and leaving home and not knowing where you're gonna be ending up and just trusting something out there might be better than what you've got," Geffen notes.