Boy George

Nostalgia for the 1980s New Romantic scene 

It is hard to write the history of a subculture without upsetting people. Events were either significant or inconsequential depending on who was there, which leads to absurdities. When Jon Savage wrote England’s Dreaming, his history of punk, Jenny Turner berated him in the London Review of Books for being ‘a bit of a Sex Pistols snob’. Ironically, the most exclusive British subculture of them all seems to have escaped infighting over who or what mattered, possibly because so few people were part of it. The Blitz, Steve Strange and Rusty Egan’s much mythologised early 1980s nightclub, had a brutally selective door policy. Strange let hardly anyone in, which must

We're wrong to mock Do They Know It’s Christmas?

‘I hope we passed the audition,’ said an alarmingly youthful Bob Geldof at one point in The Making of Do They Know It’s Christmas? He was, of course, quoting John Lennon from the 1969 Beatles rooftop concert: an appropriate reference in the circumstances – because this documentary was a kind of Get Back for the Smash Hits generation. Like a far shorter version of Peter Jackson’s film of the Beatles at work, it mixed footage we’d seen before with stuff locked away in the vaults for decades. It was also equally unafraid of longueurs, equally determined to accentuate the positive and equally likely to warm the flintiest of hearts. I