Randy Jones, the original cowboy from the legendary disco group the Village People, is a man of many hats–not just cowboy ones.
He’s starting a party called Sunday Night Fever at Splash this Sunday, May 6.
Here’s what the ever-charming Randy had to say about stuff when I asked.
On his input into the weekly party:
“My brand is fun, and my brand is having someone around who was there and can let you know if it’s being done the right way. They could have used us on that movie  because no one there knew what was going on.”
Is he the host?
“I hesitate to call myself a host, but I think that’s the idea they have. I’m gonna be there on the premises for the majority of that time slot. It’s wonderful to have kind of a residency and a spot where I know where I’m gonna be for several Sundays when I’m not performing somewhere else. It’s nice to have a bigger living room.”
Other projects include the movie Tale of Poe, a trilogy based on Edgar Allan Poe tales.
“I’m also doing a film called Cafe ’65, based on Titus Andronicus. They set it in the early ’60s in an Arizona town, looking at it through the lens of Robert Rodriguez and Quentin Tarantino. It’s by a young filmmaker from Mexico. I play the father of the girl who gets raped and gets her tongue cut out.”
His legacy with the Village People?
“I’m very proud of it, and I honor it. My takeaway from it is it was fun for me, and lots of hard work, and I never knew all that hard work and fun would still be paying off all these years later. It represents fun and an era when people were having a good time. We only had three networks. You weren’t tweeting or listening to your voice mail. You were having a good time, even if that good time meant dancing on the floor with someone half-naked handing you a popper bottle and Disco Sally to the left and Kevyn Aucoin to the right.
“You and I were raised in the generation of turbulence and war and demonstrating. But we also had been raised on the philosophy of free love–‘If it feels good, so long as it doesn’t hurt anyone else.’ When we hit 21 and free, those of us incorporated those philosophies into our adult lives. There was a generation that really loved what they had been taught in the ’60s.
“We’ve got to hand it to Sylvia Rivera standing up to cops that could have shot her dead [at Stonewall]. ‘I am in high heels, a dress, and a wig. Do not fuck with me, and if you do, I will put that parking meter through your fucking windshield.’ After that, the gay community said, ‘We’re gonna reclaim these images of what men can look like. Some people might want a different drag–that drag can be a leather actor or a cowboy.’ The gay community was taking back the male image while women were putting on pants suits and straight men were letting their hair grow long on the road to metrosexuality. And yet we were the opposite of the leisure suit, trend-wise.
“I understood that it was built on male images that had been sold by the Hollywood film industry for years. The first film, The Great Train Robbery, started with a cowboy looking you right in the lens with a gun. We infused it with a little Three Stooges humor, a little Marx brothers, a little fun.
“Everything I’ve done has been with a wink, a wiggle, and a wave, and wanting you to laugh along. I could never have gotten up and sang a song called ‘Macho Man’ with a straight face. Think about it!”
This article from the Village Voice Archive was posted on May 1, 2012