A new documentary offers a sweet yet melancholic glimpse into the life of Dene Michael, the middle-aged trouper from Leeds who found fleeting fame in the 1980s novelty pop act Black Lace.
Kim Hopkins' film, Still Pushing Pineapples, follows Michael as he navigates the twilight of his showbusiness career, a world away from the band's heyday of their infamous earworm hit, Agadoo.
From Pineapple Costume to Frontman
The story of Black Lace is one of constant change, with a lineup that shifted as frequently as that of the Fall. Dene Michael's initial role was a humble one; he provided backing vocals while dressed in a pineapple costume.
His fortunes changed dramatically when the band's frontman, Colin Gibb, was forced out following an underage sex scandal. The other lead singer, Alan Barton, departed to join the band Smokie. This left Michael to be promoted from his fruity attire to the role of lead singer, effectively putting him in sole charge of the Black Lace brand.
Life on the Sad Disco Circuit
Since the 1980s, Michael has been a permanent fixture on what the film portrays as the sad disco circuit, tirelessly touring venues from Blackpool to Benidorm.
The documentary shows him belting out Black Lace hits to dwindling, often inebriated crowds, a scenario compared to an Alan Partridge nightmare. He is accompanied on his travels by his girlfriend, Hayley, and his sweet, elderly mother, Anne.
However, the cruel nature of the business is laid bare when Michael is fired by his manager, who holds the legal rights to the trademarked Black Lace name and its song catalogue. A younger singer is subsequently hired to tour under the band's banner, leaving Dene's future in the industry profoundly uncertain.
A Story with Missing Pieces
While the film presents Michael as a nice guy who dearly loves his mum, it has been noted that it sidesteps a more troubled chapter of his life. In 2016, Dene Michael received a jail sentence for benefit fraud, a fact absent from the documentary's narrative.
Some reviewers suggest that jokey scenes, such as Michael rolling around on a mobility scooter, might be a subtle allusion to this period. The critique is that the film would have been more interesting and frank had it addressed this subject directly, exploring themes of redemption and sympathy with greater depth.
Despite this omission, Still Pushing Pineapples is said to possess a kind of poignant melancholy that photographer Martin Parr might have appreciated. The documentary arrives in UK cinemas on 28 November.
