Steve Bronski, a cofounding member of the British synth-pop trio Bronski Beat, died Thursday. The BBC reported his age as 61. No cause of death or other details were given.
His bandmate Jimmy Somerville described him as a “talented and very melodic man Working with him on songs and the one song that changed our lives and touched so many other lives, was a fun and exciting time. Thanks for the melody, Steve.”
Bronski, whose real name was Steven Forrest, formed the band with Somerville and Larry Steinbachek in 1983. They were militantly opposed to being “safe” gay musicians, and their records were embraced by the community eager to take a more activist stance at the dawn of the AIDS era.
He moved to London in 1983, and Bronski Beat played its first gig in autumn of that year.
Bronski Beat’s debut single, 1984’s “Smalltown Boy,” rose to No. 3 on the UK singles chart.
His bandmate Jimmy Somerville described him as a “talented and very melodic man Working with him on songs and the one song that changed our lives and touched so many other lives, was a fun and exciting time. Thanks for the melody, Steve.”
Bronski, whose real name was Steven Forrest, formed the band with Somerville and Larry Steinbachek in 1983. They were militantly opposed to being “safe” gay musicians, and their records were embraced by the community eager to take a more activist stance at the dawn of the AIDS era.
He moved to London in 1983, and Bronski Beat played its first gig in autumn of that year.
Bronski Beat’s debut single, 1984’s “Smalltown Boy,” rose to No. 3 on the UK singles chart.
- 12/11/2021
- by Bruce Haring
- Deadline Film + TV
In Soundtracks Of Our Lives, The A.V. Club looks at the dying art of the movie companion album, those “various artists” compilations made to complement films on screen but that often end up taking on lives of their own.
In 1986, on any given week, you could likely find me at this juice bar called Medusa’s, located on Sheffield Avenue in Chicago, where DJ Bud Sweet introduced patrons to bands like Bronski Beat and Tones On Tail. Hearing a song from that era sends me back to that dance floor in a heartbeat. As far as soundtracks go, Grosse Pointe Blank is practically a time machine to my own adolescence.
John Cusack set a high bar for soundtrack selection (and music snobbery) with 2000’s High Fidelity, which has already been carefully deconstructed in this space. But he had a test run in 1997, when he took his ...
In 1986, on any given week, you could likely find me at this juice bar called Medusa’s, located on Sheffield Avenue in Chicago, where DJ Bud Sweet introduced patrons to bands like Bronski Beat and Tones On Tail. Hearing a song from that era sends me back to that dance floor in a heartbeat. As far as soundtracks go, Grosse Pointe Blank is practically a time machine to my own adolescence.
John Cusack set a high bar for soundtrack selection (and music snobbery) with 2000’s High Fidelity, which has already been carefully deconstructed in this space. But he had a test run in 1997, when he took his ...
- 8/11/2017
- by Gwen Ihnat
- avclub.com
Some Gentle People There: Johnson’s Sophomore Effort Recalls Place of Fear
Here’s an arresting point of intrigue into the miasma of historical reexaminations of the AIDS onslaught—the fear and trepidation associated with the initial development of the test used to detect infection. Would the government use it to quarantine, as a way to cordon off the diseased before they could spread the virus among others? Would it be information employers could get a hold of? The endless anxieties that resulted from something as simple as confirmation were boundless, and so, Chris Mason Johnson’s sophomore film, Test, manages to gain a unique perspective in this examination of knowing one’s status and the implementation of safe sex. Cineastes may compare its anxious final act to Agnes Varda’s New Wave classic, Cleo From 5 to 7, though Johnson’s film doesn’t quite grapple with its protagonist...
Here’s an arresting point of intrigue into the miasma of historical reexaminations of the AIDS onslaught—the fear and trepidation associated with the initial development of the test used to detect infection. Would the government use it to quarantine, as a way to cordon off the diseased before they could spread the virus among others? Would it be information employers could get a hold of? The endless anxieties that resulted from something as simple as confirmation were boundless, and so, Chris Mason Johnson’s sophomore film, Test, manages to gain a unique perspective in this examination of knowing one’s status and the implementation of safe sex. Cineastes may compare its anxious final act to Agnes Varda’s New Wave classic, Cleo From 5 to 7, though Johnson’s film doesn’t quite grapple with its protagonist...
- 6/4/2014
- by Nicholas Bell
- IONCINEMA.com
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