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The Age Of Consent

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Find sources: "Bronski Beat"– news · newspapers · books · scholar · JSTOR ( January 2019) ( Learn how and when to remove this template message) By 1984, many European countries had reduced the age of consent for homosexual acts to 16, but it remained at 21 in the United Kingdom, having only been partially decriminalised in 1967. Homosexuality was not ‘legalised’ in Scotland, where Somerville was born, until 1981. The wording of the legislation to decriminalise also included wording that placed restrictions such as making illegal the use of a hotel room for sex. [7] [8] Homosexuality was further stigmatised beyond the restrictions placed on homosexual individuals, and homophobia was a danger to gay individuals. [7] The cover featured a prominent pink triangle, reclaimed in the 70s from its horrific Nazi Germany origins, as a symbol of LGBTQ pride and liberation. The number for the Gay Legal Advice Line in Britain was also printed on the album's sleeve.

The thought-police actors who arrest the trio are the swimmer / homophobic gang-leader from the "Smalltown Boy" video and "Martin", a friend of the band whose situation in a gay relationship with a younger man actually inspired the lyrical content of the song. The video extras were mostly friends of the band; they went on strike during the video shoot, due to the excess labour endured by them in the production.

Age of Consent" при поддержке этого сингла "Why" и кавера "I Feel Love" Донны Саммер были приняты очень хорошо. Альбом привлек внимание не только своим сочетанием убедительного написания песен и клубной поп-музыки; на внутренней стороне обложки указан возраст согласия на гомосексуальные отношения в различных странах Европы. Сомервилл смело покинул группу годом позже, прежде чем он смог записать продолжение; он начал более открыто политическое сообщество с Ричардом Коулсом. Бронски и Стейнбачек последовали за вокалистом Джоном Джоном, который ранее был на Bust. It was Bronski Beat's bittersweet kiss off in light of Summer, then a born again Christian, and her alleged homophobic comments at a 1983 concert, allegations she fervently denied. a b c d Roberts, David (2006). British Hit Singles & Albums (19thed.). London: Guinness World Records Limited. p.79. ISBN 1-904994-10-5.

a b Christgau, Robert (30 April 1985). "Christgau's Consumer Guide". The Village Voice . Retrieved 5 June 2015. European Top 100 Albums" (PDF). Eurotipsheet. Vol.2, no.8. 25 February 1985. p.9. OCLC 29800226– via World Radio History. Bronski Beat также была весьма успешной, добившись клубных хитов в Великобритании и за рубежом; Truthdare Doubledare, второй альбом 1986 года, был в топ-20 на родине группы, а "Hit That Perfect Beat" соперничал с "Smalltown Boy" на вершине хит-парадов. До конца года Джон Джон покинул группу, которая в итоге распалась. Стив Бронски собрал новый состав в середине 90-х, включая вокалиста Джонатана Хеллайера, и записал Rainbow Nation для немецкого лейбла ZYX. Somerville пользовался скромным успехом у коммунаров и периодически записывался как сольный исполнитель с конца 1980-х, выпустив такие альбомы, как Read My Lips (1989), Dare to Love (1995), Manage the Damage (2000) и Home Again (2004). ...Dutch album certifications – Bronski Beat – The Age of the Consent" (in Dutch). Nederlandse Vereniging van Producenten en Importeurs van beeld- en geluidsdragers . Retrieved 16 July 2022. Enter The Age of the Consent in the "Artiest of titel" box. Select 1984 in the drop-down menu saying "Alle jaargangen". This section needs additional citations for verification. Please help improve this article by adding citations to reliable sourcesin this section. Unsourced material may be challenged and removed. More subversive are Bronski Beat’s songs about desire, each delivered in a distinct feminine mode. “Ain’t Necessarily So” is a cover of the Gershwins’ Porgy and Bess song about doubting the bible—the implication here obviously being its statements on homosexuality—reinterpreted as a slice of sophisticated percolation more akin to fellow 1984 breakout star Sade than gritty British synth-pop. “Heatwave” finds Somerville playing at being Peggy Lee (another of his childhood obsessions), updating “Fever” as a steamy come-on fit for the beaches of Fire Island or Venice. It sounds a million miles from London’s dank clubs and Glasgow’s damp streets, a sheer fantasy that makes Somerville an agent of lust, rejecting yearning diva worship with its nose pressed up against the glass.

Nederlandse Top 40 – Bronski Beat - Smalltown Boy search results" (in Dutch) Dutch Top 40. Retrieved 20 December 2013. The "Smalltown Boy" and "Why?" videos were directed by Bernard Rose, who also directed the original video for Frankie Goes to Hollywood's "Relax". According to the Police and Criminal Evidence Bill, Britain’s outdated consent laws, and the impending Section 28 legislation (which forbid the so-called “promotion” of homosexuality in schools), the simple act of loving in public made gay men into potential aggressors. So Somerville turned his voice into a weapon, a weedy Scottish boy’s superpower that made him seem 100-feet tall. He’s said that his only vocal training was singing along to Donna Summer and Sylvester records. Apparently, this was strong enough to turn a short redhead from Glasgow into a bona fide diva, who recognized the transgressive potential of reclaiming this style from the female singers who made gay culture unthreatening to the mainstream. Not that it stopped Bronski Beat from crashing it, too: “Why?” peaked at Number 6 in the UK, and “Smalltown Boy” at Number 3. Bronski Beat achieved success in the mid-1980s, particularly with the 1984 single " Smalltown Boy", from their debut album, The Age of Consent. "Smalltown Boy" was their only US Billboard Hot 100 single. All members of the band were openly gay and their songs reflected this, often containing political commentary on gay issues. Somerville left Bronski Beat in 1985, and went on to have success as lead singer of the Communards and as a solo artist. He was replaced by vocalist John Foster, with whom the band continued to have hits in the UK and Europe through 1986. Foster left Bronski Beat after their second album, and the band were joined by Jonathan Hellyer before dissolving in 1995.

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Andrews, Marc; Isaac, Claire; Nichols, David (2011). Pop Life: Inside Smash Hits Australia 1984 – 2007. Affirm Press. p.39. ISBN 978-0-98713-267-3. But if you were a kid from the suburbs and looking for something more relatable, you couldn't go past Bronski Beat.

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