Culture Club Quotes
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Certainly for me, when punk exploded in the 1970s, it was just great. We had these wonderful clothes to wear. We could do great things with our hair. We had protest badges that read "I belong to the Blank Generation." It was such a great time to be a kid.
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I'm much more careful now about who I let into my life, but I don't think you could ever change what you're attracted to. You can make choices if you want to be with those people.
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Certain punk bands were influential because I thought, If they can do that then I can .Hanging around those bands was how I started my first band - In Praise of Lemmings.
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I mean, Justin Bieber, Taylor Swift, Ariana Grande, I think the young kids sell lot of records. But for an older kind of artist, more of a sort of heritage, vintage type of artist, you have to think outside the box.
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Don't talk about things you don't like. Talk about music that you love, books that you've read. I put a lot of recipes online.
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For me with "The Apprentice," it kind of blew out my business brain. I don't really think of myself as a business person. I think of myself more as a creative-type person, but it's quite nice to be challenged physically and mentally.
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You get the odd person in social media that will write something nasty and the trick is not to engage with them on any level.
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I suppose there is a lot of toughness in me.
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I started going to Madame Louise's, the lesbian club where all the punk bands used to go - the Sex Pistols, the Clash. I remember seeing Billy Idol walk in there; he was gorgeous.
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I am what I am. There's nothing I can do about it.
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I was unwelcome in the U.S. for four years.
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You have to watch what you eat.
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I felt that making records in a traditional way - putting them out in the same way, wasting loads of money - was just a pointless exercise.
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The New Romantic scene was so tiny. Although it got lots of mileage in the media, it was a really small club with only a core group of people. As it got more popular, kids started to come from the suburbs all dressed up, but it -really wasn't as big as it looked.
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I think people could be a bit friendlier. The only real contact you have with people is when they're annoyed if you've had a party - you know, it's been a bit too noisy for them or something.
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A lot of people come up to me all the time and say thank you for helping me be who I am. So my thing wasn't just about sexuality. It was about anyone who felt different; anyone who felt out of place. Being gay was one part of it.
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Part of me looks at the gay movement now and worries that we're losing our individuality.
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A lot of what I've been learning in the last two years is due to therapy - about my sexuality, why things go wrong, why relationships haven't worked. It isn't anything to do with anybody else; it's to do with me.
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Everything I think in life is about context and intention.
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For me the most interesting thing about Leigh Bowery was the way he used his body as a style statement. He was a big guy, but, because he was tall and had long legs, he looked in proportion - even sexy - despite being overweight by conventional standards.
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I like the big bombastic singers, but I'm also very drawn to what I call character singers. They're people who obviously aren't very huge singers, but they've got this ability to tell a story and touch you emotionally without really using any kind of histrionics or special effects.
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I was approached by this guy Chris Renshaw, who had read my book and had read Leigh's book. He wanted to incorporate both characters - he probably felt Leigh wasn't famous enough and he realized Leigh Bowery and I were associated.
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The most significant New York club for me was Paradise Garage, where they played house music. This was around '84 or '85.
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I have the best job in the world. There's not really a lot to moan or whine about. I've got the privilege of going out and doing something I absolutely love.