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*****WRITE.UP ABOUT .."GEORGE AND THE ARIZONA STAR"MOVIE............................................... Pre-Madonna A colorful parable of 1970’s Nashville, Pre-Madonna* is the true story of George and the Arizona Star, the unlikeliest duo ever to record in America’s Music City. Financed by a bad check, these outrageous women turned Nashville on its ear, then double pierced it, making a sequin-suited town look positively buttoned down. "When they arrived,they were bigger then everybody;First day they got here." Music notables Kris Kristofferson, Tracy Nelson, Marshall Chapman, Bucky Wilkin, Mac Gayden and Chris Gantry are among those who recollect a Nashville where the creative climate produced some of the most enduring and heartfelt music in America. A climate that proved briefly magnetic for counterculture characters like George & the Arizona Star. Inspired by the Guy Clark song, Pre-Madonna* is the latest documentary from Demetria Kalodimos and genuine human productions,******** Back in the early 70's George was at the heart of the Nashville freak scene,she and her stage partner Arizona Star mixing up a Bizarre cocktail of performance art and homegrown Rock...In a 1971 issue,BRITISH mag. CREAM called them "the most outlandish act since "DAVID BOWIE". They performed for the inmates at the Tennessee State Penitentiary,with DAVID ALLAN COE and FARON YOUNG..KRISTOFFERSON would bring JOAN BAEZ, and JERRY JEFF WALKER,to the RED DOG SALOON to see them play....Everyone in town came to the EXIT IN to see their movie THE LOBOTOMY...They crashed the Grammies and the Country music awards...upstaged David Bowie,just walking in the concert..recorded with Pete Drake...Toured with DR.HOOK,CHUCK BERRY,STEVIE WONDER,,,,,in 1975 Girl George went to London.and hung out with Chrissie Hynde..crashed at her house for a while.came back to the states,produced and starred in her own TV show for 5 yrs.played the Fab Mab in SF..when punk happened,George was there..on to LA...Punk club AL'S BAR was made for girl george...also the CENTRAL.in Hollywood..which turned into the VIPER Rm.she ran the open mic at the famed punk club CATHAY DE GRAND...Produced Love in reunions '85 to 95 '..after 12 yrs she came back home to the bay area,,,to run open mics at the cafe franciscan,stork club,coffee gallery,and co host the open mic at the STARRY PLOUGH......with JOAN PEZ...She brings the same crazy warmth and Energy to everything she dose.This is not a show to watch,it is some thing to participate in. *****"GEORGE'S JUNGLE"(write up) East Bay Express,(on moive)2004EAST BAY EXPRESS "George's Jungle" A starring role in a new doc isn't enough for ex-Nashville scenester Girl George....... By Rob Harvilla ....(music editor east bay express).. Sep 29, 2004.... Presumably, Girl George would've enjoyed attending the premiere of Pre-Madonna, the feature-length documentary detailing her dalliances in 1970s Nashville. But alas, the East Bay open mic legend was indisposed. Though she missed Pre-Madonna's Nashville premiere, she did catch its public Berkeley debut late last month at the Starry Plough during her weekly Tuesday night open mic gig. Cool flick, weird subjects. Storys of bein' born to gettin' married to gettin' unmarried to topless dancer to ridin' with the Hells Angels to bein' pregnant - Then again, music has never been the most interesting thing about Girl George. She's a Bay Area icon more by sheer force of personality, with her shock of white-blonde hair; bombastically craggy voice; riveting pacing, flailing, and howling conversational habits; and patented mix of childlike exuberance and veteran disdain. Nothing she'll ever do onstage will top the mesmerizing performances she puts on, as herself, offstage. Which, Pre-Madonna asserts, is exactly what made George nominally famous. Except back then she had a little help. Pre-Madonna is subtitled "The Anecdotal Adventures of George and the Arizona Star," the latter being, depending on whom you ask, either George's equal partner in crime or mere sideshow/sidekick. The gist: In '70s Nashville, a halcyon time and place described as "Paris in the '20s," or, more to the point, "When the '60s hit the South," the fertile, talented, but decidedly boring scene is suddenly invaded and held hostage by two young ladies with sparkling musical talents, and world-class scenester skills. First there's a young George, fresh from SF,with a waifish frame, a short blonde pixie cut and, on her belt, an actual sword, the total package an asexual mix of David Bowie and Prince Valiant. And then there's Star, an Arizona-bred sexpot with a finely tuned sense of Marilyn Monroe melodrama. Together, they destroyed Nashville and rebuilt it in their own fractured image. On-camera interviews with big-shot scenesters like Kris Kristofferson reveal earnest musicians thunderstruck by the duo's nonmusical magnetism. "When they arrived they were bigger than everybody," someone onscreen notes as, from the back of the Starry Plough, George violently giggles. "First day they got here." "They weren't writers yet, they were images," another worshipper declares. "Colorful images." The ninety-minute flick rolls by with the usual mix of still photos, archival video footage, present-day interviews, earnest narration, and incidental backing music. Anecdote after anecdote -- the arrests, the scene-crashing public appearances, the various depravities and eccentricities -- Pre-Madonna director Demetria Kalodimos, a twenty-year Nashville vet and beloved TV newscaster who doubles as a greenhorn documentarian -- "I'm sort of committed to underground Nashville tales,"Some footage of George and Star that sneaks in -- a few brief glimpses of a goofy play they wrote entitled The Lobotomy -- required months of technical doctoring to salvage from an old reel-to-reel setup. Demetria says. "I think most of the people who saw the film here in Nashville thought George was the star of the show. I had more people tell me that they were endeared to George and curious about her. I think George as a character is one of the true originals." Did you ever want to be more fem like star?.."You missed that part," George hollers. "Didn't you hear me say she's everything I
ever hated? Ha ha ha. That's not what I wanted to be. I wanted to be a performer. I wanted to be Dylan. I wanted to be Mick Jagger, I wanted to be John Lennon. You take me seriously, not as a girl, I'm supposed to walk two feet behind a man -- I don't think so. That was Star, which was as far over that way as you ever could get."I was Steel..Real as you could ever get..Star was fluff..cotton candy..take a bite and it disapears".. What Pre-Madonna ultimately posits is that you can get famous without ever really being famous, and that you might be better off for it. Nostalgia isn't the point, either. "It isn't like, 'Oh, I wish I were in the '60s, I wish I were in the '20s," George mock-moans. "It's always been there. Artists do that. That's what artists do. They grow up and they grow old, or they O.D., or they grow out of it. I never did. Everyone's half my age, a third my age, but I'm still there doing it. I'm playin' every week." Indeed, her four-year death grip on the Starry Plough won't loosen anytime soon, and her weekly fifteen-minute slot is plenty, thanks -- "I'm a million yrs old," George notes. But she is self-deprecating only to a point. "It's not over," she insists. "Art is forever. I'm doing it. I'm still doing it. If you get famous, then you can't play anymore -- so maybe I lucked out -- and your kid's all fucked up. My kid's great. We get along great. She went to college, she likes me. So my kid turned out great, I get to play every week -- what more can you ask? People get famous, they can't play anymore. They play once a year, on tour. Rolling Stones get to play, what, once every five years? I like to play. This is what I enjoy. The rest is all, nothin' to do with it. I'm a performer." Nobody's gonna dispute that. However unnerved Pre-Madonna left her -- watching a documentary about yourself for the first time in public has gotta be disquieting -- Girl George recovered admirably that night at the Starry Plough. After whisking away the projection screen, she leapt onstage, grabbed a microphone, lassoed the usual pack of backup singers, and launched into an original tune: "Everybodys crazy,But Me"........................ ****
