Arts & Entertainment
Queen of everything
Boy George chats up his new album, tour and how he got his mojo back
Boy George says in some ways straight acts can experiment with gender more than gay artists. (Photo courtesy High Rise PR)
Boy George
Monday, April 21
9:30 Club
815 V St. N.W.
930.com
$35
Doors open at 7 p.m.
Boy George is the first to acknowledge a cliché.
Getting sober in 2008 and turning 50 two years ago are big “take stock” moments for many and no less so for him.
“It was a huge turning point for me,” he says of his milestone birthday. “I thought, ‘I’ve got to get my shit together, I’ve got to focus, this is important.’ I just felt I’d wasted a lot of time. I looked at myself and thought, ‘God, I’ve done nothing.’ I know I’ve done a lot, I’ve always worked. I’ve grafted and always made money, but a lot of it was pointless because no one knew what I was doing.”
This year, the world is seeing the fruit of those epiphanies. His new album “This Is What I Do” was out in the UK last fall and officially drops in the U.S. with three bonus cuts on March 25. The last several years have seen him release a spate of side projects of various scope, but this is his first full-fledged solo album since 1995’s “Cheapness and Beauty.” He starts a U.S. leg of his tour on April 18 in Philadelphia and plays D.C.’s 9:30 Club on April 21.
During a Saturday afternoon phone chat from his London home last weekend, George — in his ever-delightful, clipped British accent — was chatty, self deprecating, quick to laugh and balked or sidestepped no questions. His comments have been slightly edited for length.
WASHINGTON BLADE: I know you’ve been DJing a lot and working on various things, but how did it work out that you released a new album at this time? Why now?
BOY GEORGE: Well, you know, as you said, I’ve been DJing very happily for the last 25 years and I haven’t really had a record deal for a long time. I suppose I have thought about making records but, you know, I wasn’t sure how I was going to do it. You know, whether I was going to sign with a major label or do something more independent. I also changed management a couple of years ago and wanted to kind of start fresh with a bunch of people that perhaps could kind of see beyond what I was. I think when you’ve had a very, very successful career like I had in the ‘80s, people tend to kind of hope you’re going to try and repeat that. They’re always waiting for you to write the next “Karma Chameleon,” but it’s never going to happen (laughs). Everything I’ve ever done has been kind of instinctual and impulsive and spontaneous and I’ve never really been the kind of artist that can kind of just pull it out of a hat. I have to feel it. … I just felt it was the right time. We discussed the different ways I could go about making a record and I decided to be brave and pay for it myself and own it myself which is a new thing for me, kind of a grown up move. And so far, you know, it’s been the right choice.
BLADE: When was it recorded and how long did it take?
GEORGE: We started about March last year and we did it within about four months. Not solidly. We recorded and then somebody else mixed it. I would say about four to five months last year.
BLADE: How was the reception in the UK last fall?
GEORGE: We’ve had amazing reviews. Comeback of the year, Boy George has finally got his mojo back, you know, blah, blah, blah. Lots of compliments. I mean, much to my surprise really, because I wasn’t really sure what kind of reaction I would get. I wasn’t sure what to expect. So yeah, everything in the UK has been kind of another surprise. England tends to get much more excited about Beyonce than anything that comes from here. It’s like all America, America, hip-hop, Beyonce, Lady Gaga. Nobody cares about Boy George anymore (laughs). That’s why I’m relying on you guys in America.
BLADE: The first single “King of Everything” says “What is the word on the street? Have I lost my crown?” Have you?
GEORGE: Well, the song isn’t just about me, it’s about everyone. It’s about human frailty, people messing up, which is a very human thing, yet it is also about me but it’s about you, it’s about everyone. It’s not literal. The crown is a metaphor. If it was about me, I’d call it “Queen of Everything.”
BLADE: How did the UK tour go last fall?
GEORGE: It was amazing. Very small, very affectionate and the audiences were adorable. They were mostly the kind of hardcore fans, so they were really affectionate.
BLADE: About how long do you usually play?
GEORGE: It depends on the curfew. We do about an hour and a half, maybe two hours. Not quite Bruce Springsteen-length. But we play for as long as we can. When you’re doing a show, sometimes if the mood is right, you can keep it going, depending on the audience reaction, really. But obviously some venues have a curfew so you can’t play longer than a certain time.
BLADE: About how much of the new album do you work into the set list?
GEORGE: We kind of try and balance it with things people know, some things people haven’t heard, some new stuff, some old stuff. You know, I’ve been doing this a while and one thing I’ve continued to do is to play live. At the end, you have to figure out a way to reach the audience.
BLADE: How does the new stuff sit with the Culture Club hits? Is it hard to build a set list that flows?
GEORGE: No, I don’t think it’s difficult. With the things people know, you’re always in a very safe area. If you sing a song that’s been a hit, that’s very safe so no, I wouldn’t say it’s difficult. There are certain songs that I don’t do. Obviously with that kind of a back catalogue, there are some songs you grow into and some that you say, “OK, this doesn’t really speak to who I am anymore.” So you kind of try to mix it up and keep it interesting, not just for the audience but also for yourself. You don’t want it to be a kind of robotic show that’s the same every night. Myself and John, who plays guitar in my band, we have sections where we do acoustic stuff and we can do all sorts of things there and change things around and do new things. That helps keep the show exciting.
BLADE: Do you still have the goatee?
GEORGE: I do.
BLADE: Your look at present seems more kind of genderfuck than androgynous. Just a whim or do you feel more comfortable with mixing in masculine elements than you have in previous years?
GEORGE: I just had some time off and didn’t shave for a few days and kind of looked at myself and thought, “Oh, I quite like this look.” It’s not something I really sat down and thought about. I just kind of grew my beard when I was on break and other people seemed to like it and other people didn’t like it, which made me want to keep it more. I might get bored with it at some point but I’m loving it at the moment.
BLADE: Lots of pop stars have played around with androgynous looks — I’m thinking of David Bowie and Prince — and the public seems to accept them as straight. You were always pretty much out for the most part. Do you feel the public overall has pretty good gaydar?
GEORGE: I don’t know really. I think there are some audiences that don’t really want to know, depending on the artist. Sometimes people have this kind of spare-me-the-details kind of attitude. I think it’s more about what kind of artist you are and in what ways you want to affect the audience. That’s the starting point for me. It’s about what’s going to make you happy, do you know what I mean? How much of yourself you reveal. I think it’s much easier for somebody straight to play around with these boundaries because they’re not being defined by their sexuality. If you’re gay, then you’re gay and you have to strike a sort of balance so people don’t feel you’re flaunting it in their face or preaching, you know. I think as a gay artist, you have to walk a much finer line than, say, somebody who’s just having a flirtation with this. I mean, it’s much easier for someone straight like Macklemore to sing a song with the word gay in it. A few years ago I made an album called “Cheapness and Beauty” and there was a song called “Same Thing in Reverse” and I was told categorically this will never, ever get played on the radio because I used the phrase “kamikaze queer” in it. You can get away with more when you’re straight.
BLADE: You’ve talked about making a new album with Culture Club this year. Is that still in the cards?
GEORGE: Yes, we are looking at the possibility of recording some stuff this year but at the moment, we’re kind of still in the writing stages. We’ve had some great sessions and we really did enjoy ourselves and it was a really nice experience. Everybody came away feeling really good about it and, you know, we’re going to see what we can do next.
BLADE: It’s so great to see you looking so good, sounding so good and apparently really thriving. A few of your contemporaries who were also huge in the ‘80s haven’t fared as well. What did you think and feel when you heard Michael Jackson and Whitney Houston had died?
GEORGE: Oh my God, you know, I mean Michael Jackson. And I loved Whitney Houston like so much. I was just a massive, massive fan. I loved her voice. And Michael Jackson, you know, I was at home when it happened and I just remember thinking, “Oh my God, this is so sad.” You know, he was such an incredible artist. For the last few years of his life, I felt like there was so much pressure on him and he looked world-weary every time I saw him. I felt such sadness for him. I was just so sad when he died and Whitney, what a shame for both of them. They were great, great artists. I was a huge Michael Jackson fan and a huge Whitney Houston fan and I’m not ashamed to say I did cry. I thought it was really sad.
BLADE: Conversely does it make you happy when you see some of those artists still doing well today. Like Cyndi Lauper, for instance, just won a Tony.
GEORGE: I’m always happy when anyone does well. That’s a measure of maturity, I think. Cyndi’s a friend. I haven’t seen her for a while, but she’s a great girl and, you know, yeah, I think when you see your contemporaries doing well, it gives you hope. You think, “OK, anything’s possible.”
BLADE: You recognized early on that fame was fickle and I remember you telling Johnny Carson you knew staying at that level at the height of Culture Club was not sustainable and that you envisioned yourself eventually writing songs for other artists and doing other things. How has that played out differently than you thought it might have when you were 22?
GEORGE: Oh, I think when you’re 22 you really think you know it all, don’t you? (laughs) You listen back to the things you say and you think, “Oh my God, you really thought you knew it all.” And I think at that age, you’re still learning so much. I feel very fortunate to still be doing what I love.
BLADE: Yes, but it struck me as rather insightful that you realized even then that pop careers always ebb and flow.
GEORGE: It may be one of the reasons I’ve done other things. I’ve never wanted to just rest on my laurels. I don’t have the idea of trying to kind of repeat something. So in a way, DJing has been an incredible second career for me. When I first started it, my manager at the time thought it was a really bad idea and told me I shouldn’t do it. But again, I just followed my instincts and it was the right thing to do because it allowed me to avoid nostalgia. I’ve been able to be involved in a quite progressive industry and not have to worry about what I used to be or, you know, the ‘80s, and all that stuff. So I’m really happy that I made that decision. I like to work. I’m a worker and I’m always up for a new challenge.
BLADE: Back in the early ‘90s, the theme from “Crying Game” was this huge out-of-nowhere smash radio hit in the U.S. Do you still sing it live?
GEORGE: From time to time. Actually, maybe that’s a good one to put into the set in America. I’ll write that down.
BLADE: Is it harder to break a song in the U.S. now than it was years ago? Not even with yourself, necessarily, but just in general?
GEORGE: I don’t know what it’s like now because I’m not involved in that kind of trying to have hits, you know. I think past a certain age, you’re just kind of marginalized in the world anyway.
BLADE: Does that bring with it artistic freedom?
GEORGE: I think it does. Once you kind of get over the shock and the horror that certain radio stations won’t play your new stuff no matter how good you are, I mean that’s really the bonkers thing. I’m not sure it’s as bad in America as it is here, but certainly here, it’s just ridiculous. But it kind of remains to be seen. It’s a very different landscape now. Making records is very different and the way we promote ourselves is very different. In a way I’m kind of starting again, so I’ll let you know.
BLADE: How many of the players from the album do you tour with?
GEORGE: All of them.
BLADE: The album has such a lush sound — is that easy to duplicate on stage?
GEORGE: Well, we have a nine-piece band that we’re touring with at great expense so we probably won’t be making any money. But I think it’s really important to have a great band and we had a great time in the UK last year. We do England and Europe then we go to America. We’ll be steaming by the time we get to the states.
BLADE: How long have you been a vegan?
GEORGE: I’m not strictly a vegan but I’m very conscious about what I eat and I don’t eat a lot of dairy, though I do eat some cheeses. I’ve been on a very particular metabolic plan diet for two years that’s all about your hormonal reaction to certain foods so some of the stuff I don’t eat is very random — like pumpkin, kale, onion or lemon. It’s very individual and different for each person. It’s been sort of life changing for me but I don’t really call myself anything because then you eat a piece of cheese and everybody freaks out.
BLADE: And you run too?
GEORGE: Well, I exercise.
BLADE: Is the U.S. version of the album the same?
GEORGE: No, it’s got more songs. I wrote a song called “Turn On a Little Light For Me,” which I wrote especially for the American album and which I love. We were asked by the label to provide some more stuff and I had a couple covers — “Video Games” by Lana Del Rey and the Bob Dylan song “Make You Feel My Love,” but I didn’t just want covers as the bonus content so I wrote a new song too. It’s about hope. A lovely kind of little Dylan-esque kind of song.
BLADE: Thanks for your time.
GEORGE: Thank you.
Sports
2 former NBA players launch cheap anti-trans stunt to exploit WNBA rules
Enes Kanter Freedom and Royce White are attempting to extend their finished sports careers through vague gender eligibility policy in the WNBA.
As transgender sports policy continues to make headlines, two former NBA players are attempting to use vague WNBA wording on players’ gender identity to extend their finished professional sports careers.
Enes Kanter Freedom and Royce White, two male former professional basketball players who have aligned themselves with the ‘far-right’ political spectrum, have announced that they plan to self-identify as transgender in order to meet the requirements to declare themselves eligible for the WNBA draft.
Freedom last played for the NBA in 2022, while White played his last professional game in 2018.
Both players have explicitly stated that this choice is an attempt to exploit the policy currently in place in the WNBA — one that assumes those who say they identify as transgender women are women — unlike what these two have done.
The WNBA’s collective bargaining agreement states that “only players who are women are eligible to play in the WNBA,” but it does not include more specific language about gender identity or sex assigned at birth, according to The Athletic, The New York Times’s sports publication.
Neither Freedom nor White has previously made any statements about being trans.
“If simply declaring who you are is all that’s required, then I meet every single requirement necessary to compete in the WNBA,” Freedom wrote on X. “Based on the current guidelines, I can and am officially declaring my eligibility for the upcoming WNBA draft in April 2027.”
Hours later, White made a similar statement to Fox News, emphasizing that this was solely an attempt to exploit the policy — an attempt at inclusion — and use it as a loophole to stay relevant in the sport he left in 2018.
“I’m transgender. I’m a woman. I identify as sometimes identifying as a woman for purpose of basketball, professional basketball, so I’ll be declaring for the WNBA draft in 2027 as well,“ White told Fox News. “I think I’d be unstoppable. But I’m a team-first guy. I’m a pass-first kind of player. I do the little things. I led my team in all five major stat categories at Iowa State University, so I do a little bit of everything. I’ll do whatever the coach needs me to do. I’ll do whatever the girls need me to do.”
White also said that he would be open to suing the WNBA if he were not allowed to be a part of the draft, while making transphobic comments about genitalia in the same breath.
“I think the WNBA could come out and make a definitive statement about guys with a pair of balls playing in the Women’s Association,“ White said, saying he doesn’t “want to be discriminated against.”
“I want fair treatment,” White continued while also using the opportunity to promote his run for the U.S. Senate seat in Minnesota. “I’m a young Black, hopefully United States Senator that would like a fair chance to participate as a sometimes-identifying-as-a-transgender-woman athlete.”
“We’re gonna have to have a huge legal battle about discrimination if I can’t play,” he added.
White has made multiple failed attempts to run for office as a Republican since leaving the NBA, with statements surrounding conspiracy theories and his support for Trump coming under fire.
He has faced court actions after falling behind on court-mandated child support payments and has faced family repercussions for his political activities.
White’s grandfather has distanced himself from White, stating: “There’s no way I can support my grandson supporting the GOP, and in essence, Trump.”
In response to Freedom’s X post and White’s announcement, the Women’s National Basketball Players’ Association, the players’ union for the WNBA, released a statement doubling down on its commitment to inclusivity in the sport.
“We embrace justice, equity, diversity, and inclusion. Those are the values that unite this Union and allow it to protect women’s sports while creating transformational change,” the statement said in a post on Instagram.
“Hate, abuse, and demonization of any person or group of people, including transgender people, only fuel fear, division, and harm. We will continue to have hard conversations,” the post continued. “But we will not be used as political pawns.”
The statement comes just days after WNBA Commissioner Cathy Engelbert sent a memo to teams attempting to address ongoing discussions around transgender athletes in women’s basketball.
“I know many of you have received questions in recent weeks regarding transgender athlete participation in women’s basketball, and I expect this topic will continue to receive significant attention,” Engelbert wrote in the memo, which was sent Friday afternoon and published in the Associated Press. “I wanted to reach out to share how we are approaching these conversations at the league office and to thank those of you who have responded to questions from the media with thoughtfulness and professionalism.”
“We recognize that this is a complex and nuanced topic, and we will continue to have important conversations with all of you and the Players Association in the weeks and months ahead,” Engelbert said. “We also plan to convene additional discussions and offer listening sessions for any team leaders who would like to participate. Your perspectives and feedback are invaluable, and I appreciate those who have already reached out to share their thoughts.”
The memo, which does not clarify whether the league’s stance on gender eligibility will change or what the ongoing conversations have looked like, comes as political figures — particularly those on the right — continue to fuel debates over transgender participation in women’s sports across the country and across sports.
Republican Florida Gov. Ron DeSantis also commented on the ongoing eligibility meetings the WNBA is holding, using the issue to criticize transgender participation in women’s sports.
“WNBA meeting to decide whether 2+2=4 or 2+2=5,” Desantis wrote on X on Saturday.
Indiana Fever player Sophie Cunningham voiced support for barring transgender girls and women from girls’ and women’s sports. Cunningham’s comments sparked small rallies and protests in Seattle and Portland when the Fever were on the road last week.
Despite the loudest voices — and those being covered by non-LGBTQ outlets — highlighting negative takes on transgender inclusion on female sports teams, multiple WNBA members have voiced their support for transgender women participating in sports.
Seattle Storm center Stefanie Dolson and Minnesota Lynx coach Cheryl Reeve have used their platforms to continue their vocal support for transgender women participating in sports.
“We need to protect trans kids,” Reeve said on Aug. 1. “To me, it’s a human rights issue. Every kid has a right to sports.”
A source familiar with the league told the Blade that the WNBA is not taking Freedom and White’s announcements seriously and is not entertaining what the source characterized as bad-faith efforts to demonize the transgender community. The source emphasized that there are no serious or immediate eligibility issues involving the two men and said their attempts to enter women’s sports do not represent an effort to protect women’s sports.
“The WNBA will not allow bad-faith publicity stunts designed to mock or demean others to dictate serious conversations about league policy,” the source told the Blade on Tuesday. “There are no immediate eligibility issues affecting the WNBA.”
Theater
Don’t miss summer productions at Clear Space in Rehoboth Beach
‘Cher Show,’ ‘Pretty Woman’ among season’s standouts
“The Cher Show” at Clear Space Theatre is wonderful. I am always amazed at the talent they attract for their summer series. Kudos to Wes Drummond, the artistic director of the theater. “The Cher Show” is written by Rick Elice. Compliments to the talented director, James FitzSimmons, who brought to life this production. His immensely talented cast includes Shannen Hofheimer as Star, Breanna Lemerise as Lady, Abby Lynne as Babe, and Anya Kay, as young Cher. Each is a pleasure to both watch and listen to. They command the stage. Then more kudos to the entire cast and ensemble. Also, the creative team, which includes among so many who make this show a hit, choreographer Shondelle Graulich; scenic designer, David Chappell; lighting designer Brendan Smith; costume designer Valerie Beardsley; and the entire orchestra led by conductor, Jerry Birl.
But the actor who I was looking forward to seeing in the production, was a young actor I had written about, and reviewed, when I saw him at Clear Space two years ago. In this production he is Sonny Bono, and he definitely didn’t disappoint.
Let me introduce Caetano de Sá. I have written about him before, but his resume is worth repeating. It says; Height: 5’7 ½, Eyes: Brown, Voice part: Tenor G2 – C5, Build: Athletic. All true. Then you add to this he speaks Brazilian Portuguese, is certified in stage combat by the Society of American Fight Directors, and is a 2nd Degree Black Belt in Taekwondo. Then as his resume of roles confirms, he can act, sing, and dance with the best. He does a great job as Sonny and is fun to watch on stage. Here he displays his talents as a singer and actor, and they are as good as I remembered them when I first met Caetano while he was still in school in 2024, and was starring as Frankie Valli in “Jersey Boys,” at Clear Space. At the time he was a rising senior at the Boston Conservatory at Berklee BFA Musical Theater program. I interviewed him, and Harry Sperduto, who played Tommy Devotee, after seeing them in the show, and being amazed by their talent. Since that time, I have followed their careers. When I heard Caetano was coming back to Clear Space for the summer, I reached out, and he agreed to sit down and chat, which we did. I knew Clear Space Theatre was planning a busy summer season. Their lineup of shows included “The Cher Show,” “Mean Girls,” and “Pretty Woman.” They always have talented casts, including the many college students who are getting their first chance to shine, which was the case for Caetano in 2024. Now he is back as a graduate, with more experience under his belt, a little more established. This season he was going to play Sonny in their production of “The Cher Show,” Martin/Coach Carr, in “Mean Girls,” and Mr. Hollister in “Pretty Woman,” and being a part of the ensemble. He told me he really enjoys being at Clear Space, and that his castmates are all talented. He is a lot more experienced than when he was here before, having performed in productions at the Prairie Repertory Theatre, the Emerald Coast Theatre Company, Firehouse Center for the Arts, and the Sullivan Rep, among others. In productions as diverse as “Oklahoma!,” “Mystic Pizza,” “Hairspray,” and “Rock of Ages.” He now lives in New York City and clearly New York is the perfect place for an aspiring actor. He has an agent at Bramante Artists, who is getting him gigs, like the one he had at 54 Below and even a TV commercial for AFLAC.
“The Cher Show” is the second show I have seen at Clear Space this summer. After our chat I got one of the last tickets available that evening for “Pretty Woman.” In that production he has a smaller role, and is part of the incredibly talented ensemble. It is also an entertaining show and its very talented stars, Abby McDonough as Vivian, and Jaiden Leo Riley as Edward, are a pleasure to watch. Kudos to the talented director, Ashley Williams, and the entire creative team.
For anyone living at the beach, or coming for a visit, I urge you to plan a night at Clear Space. You won’t regret it. But know tickets for all the shows, and Sunday evening cabaret nights, sell out fast. So, I suggest you see what’s available online and buy yours today.
The 2026 World Pride March was held on Saturday, Aug. 8 in Amsterdam. Tens of thousands of participants marched from Martin Luther Kingpark to the grounds of the Pride Village at Museumplein.
(Washington Blade photos by Michael Key)
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