Crucified: The Outrageous Rise of Army of Lovers and the Song That Shocked (Just a Little Bit)

The Twelve Inch 148 : Crucified (Army Of Lovers)

Few songs can capture a moment in time quite like Crucified by Army of Lovers. This 1991 anthem broke boundaries, stirred controversy, and cemented its place in the history of dance music. For me, it was unforgettable—I vividly recall seeing the music video for the first time on MTV, its camp, religious iconography, and audacious style leaving me stunned. I scrambled to jot down the band’s name and title, knowing I needed that song in my life.

But what made Crucified such a phenomenon? How did a band of Swedish misfits go from eccentric outsiders to trailblazers in European dance music? Let’s dive into the story behind the song, the band, and their broader impact on dance music culture.

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Welcome, I’m Pe Dupre and this is “The Twelve Inch”, a newsletter that tells the history of dance music between 1975 and 1995, one twelve inch at a time.

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Jean-Pierre Barda (left), La Camilla and Alexander Bard (right) on a taxidermist convention

Origins of Army of Lovers: From High Fashion to High Camp

Army of Lovers began in the late 1980s, the brainchild of Alexander Bard, a Swedish musician with a flair for provocation. Bard’s background alone was extraordinary: born in Sweden, he studied in the U.S., lived in Amsterdam as a gay skinhead sex worker, and eventually returned to Sweden to study at the Stockholm School of Economics. The precursor to Army of Lovers was a project called Barbie, where Alexander Bard took on the lead role. However, feeling uncomfortable with the cross-dressing aspect of the character, Alexander decided to bring the project to an end. Despite this, Barbie served as a creative springboard for what would come next, as Alexander later explained: “. So the Barbie project was how we learned to express ourselves and be uncompromising. The record company understood what I had to do it and they thought it was funny. But of course when I came in through the door with Army Of Lovers I said this is the big one”.

Jean-Pierre Barda, a Paris-born Algerian-Jewish immigrant, joined Bard after building a career as a makeup artist and hairdresser in Stockholm. La Camilla (Camilla Henemark), a striking Nigerian-Swedish model, completed the trio, bringing her own charisma and glamor to the group.

In a strange “twist” it is said that Lady Gaga took her cue from Barbie

The band’s aesthetic was unapologetically camp, theatrical, and provocative. They collaborated with stylists, videographers, and photographers to create a distinctive image rooted in LGBTQ+ activism and playful yet subversive religious imagery.

The Birth of “Crucified”: A Pop Masterpiece

The early Army of Lovers sound was experimental—more suited for underground clubs than mainstream radio. That changed when Ola Håkansson, their record label executive, encouraged Bard to aim for a broader audience. The result was Crucified, a song that fused disco, house, and Europop with provocative lyrics and an irresistible hook.

Why did it became such a massive success? “Oh God, it was so gay” said Bard. “We were coming out of the AIDS period. Finally there was hope on the horizon” “Crucify was this hysterical idea that we played with. Take the christ figure. Put a jew, Jean-Pierre Barda, on the cross. Let it be a gay jewish guy die on the cross, who sacrifices himself so the rest can live. A total tragicomedy” “The song nailed the mood of the time : the hope for the future”

Controversy and Backlash: Too Gay, Too Bold

Crucified didn’t just make waves—it made enemies. Religious imagery in the song and its music video, featuring crosses, angels, and biblical pageantry, drew backlash from conservative groups across Europe. In Sweden, it was labeled blasphemous; in Germany and the UK, some networks refused to air the video.

For Bard, the controversy was a triumph: “If you’re not upsetting someone, you’re not doing it right.”

A Visual Spectacle: The Music Video That Changed Everything

The Crucified video, directed by Fredrik Boklund, was an explosion of high camp. With extravagant costumes, surreal imagery, and over-the-top theatrics, it captured MTV viewers’ imaginations and cemented the band’s reputation as visual innovators.

The gamble paid off. The video became a staple on MTV Europe, helping propel the song to international success.

Chart Success and Global Reach

Crucified climbed charts across Europe, reaching No. 1 in Sweden and Belgium and the top 10 in Germany, Italy, and the Netherlands. It also found success in Australia and South America. In the U.S., it became a club hit, peaking at No. 6 on the dance charts, though it never broke into the mainstream. The 2013 re-release in a remix version would equally only be a hit in the American nightclubs, not in the pop charts

Drama, Breakups, and the Legacy of Army of Lovers

Success brought tension. By late 1991, La Camilla was fired from the group amidst internal strife. Bard admitted, ““The cost of MTV was that breakthroughs happened much more quickly at that time and we weren’t prepared for the pressure. It meant chaos in the band. It didn’t work anymore between La Camilla and me & Jean-Pierre so something had to be done to save the band”. “It turned out that we lost a lot of credibility. La Camilla was the star. We promoted her that way. The breakup looked like two nasty gay guys breaking up with a black girl. The drama was all over the place but we saved Army Of Lovers” La Camilla’s firing sparked public backlash, damaging the band’s credibility. Though she rejoined briefly in later years, her relationship with the group remained turbulent. On Youtube a clip from a Swedish live television show can be found where Army Of Lovers are confronted with La Camilla. It provides for some cringing moments.

Army of Lovers’ career followed a rollercoaster trajectory, with hit singles like Obsession and Judgment Day, lineup changes, and high-profile controversies. Their 2013 participation in Sweden’s Melodifestivalen saw more drama. La Camilla was blamed and dismissed once more, facing public criticism from both Alexander Bard, Jean-Pierre Barda, and her replacement, Dominika Peczynski. The tension and animosity created during that incident left lasting scars, making it impossible to reconcile. As a result, when the group reunited years later, La Camilla was notably absent, with Dominika Peczynski taking her place.

La Camilla pursued a solo career and even hosted her own late-night sex show on Swedish TV, though it failed to achieve lasting success. Another notably awkward moment in her career was her appearance on the acclaimed British television program Eurotrash, hosted by Antoine de Caunes and Jean Paul Gaultier.

Sweden’s Role in (Dance) Music History

Sweden has long been a powerhouse in European (dance) music, starting with ABBA’s rise to global fame. The 1980s brought more stars like Roxette, Europe, and Neneh Cherry. However, as eurodance gained momentum, Sweden truly excelled, producing hits from acts like E-Type, Dr. Alban, Rob’n’Razz, and Leila K. Many of these hits emerged from the iconic Cheiron Studios, founded by Denniz Pop and Max Martin, who later crafted chart-topping songs for Britney Spears, the Backstreet Boys, Westlife, and N*Sync. Before dominating global pop, they kicked off with another Swedish success story: Ace of Base. Sweden’s reputation for producing high-quality, internationally successful music undoubtedly helped Army of Lovers break into global markets.

Legacy: Why “Crucified” Still Matters

“Crucified” stands out as a truly unique song in many ways. It has inspired countless queer and straight artists and bands, offering a blueprint for blending bold theatrics with infectious dance beats. The track takes ABBA’s formula of unforgettable hooks and harmonies and dials it up to eleven, adding layers of glitter, camp, and unapologetic flair. Its ultracampy touches, like the lyrical aside “I cry, I pray, mon dieu,” only enhance the song’s giddy charm, as do the soaring chorus, dramatic church organ, and twangy Duane Eddy-style guitar. The combination of its striking beauty and dark humor made it an unforgettable anthem.

What Are Your Memories of “Crucified”?

Did you dance to “Crucified” in the clubs, or did you stumble upon it later as a cult classic? I’m particularly curious to hear from my American readers. Some sources suggest the song was a hit on U.S. radio, yet it didn’t even crack the Bubbling Under chart of the Hot 100—a surprising outcome. At the time, Eurodance wasn’t widely embraced in the U.S., but I’d love to know: did you hear “Crucified” on American airwaves? And why do you think it didn’t achieve mainstream success stateside?

Further reading (or should I say watching)

There are a number of interesting video’s/links :

1. The official video

2. The “famous” confrontation between the boys and La Camilla on Swedish tv (with English subtitles)

3. La Camilla in Eurotrash

4. Army Of Lovers on Eurotrash

5. Crucified in Beavis & Butt-head

So You Wanna Hear More ?

I thought you would !

It’s fun to write about music but let’s be honest. Music is made to listen to.

Every week, together with this newsletter, I release a 1 hour beatmix on Mixcloud and Soundcloud. I start with the discussed twelve inch and follow up with 10/15 songs from the same timeframe/genre. The ideal soundtrack for…. Well whatever you like to do when you listen to dance music.

The MIXCLOUD Mix Of The Week

So what’s in this week’s mix ?

We kick things off with Crucified by Army of Lovers, followed by extended twelve-inch versions of two other pop gems from the era: Adamski’s Space Jungle (the follow-up to Killer) and I’m Too Sexy by Right Said Fred.

From there, we dive into the more club-focused Balearic sounds of 1990/1991, featuring tracks by Clubland, Mantronix, Snap, and The Shamen. Along the way, we weave in a few mainstream hits in their club mix versions, like Call It What You Want by New Kids on the Block and the Balearic smash Right On Time by Blackbox.

We wrap things up with two absolute classics: I’m Gonna Get You by Bizarre Inc and the iconic anthem Techno Trance (also known as Yaaaah) by D-Shake.

Enjoy !

Next week, we’ll dive into the story of another genre-blending band from the early 1980s. Hailing from New York with Puerto Rican roots, their first incarnation delivered a massive big-band disco hit in 1976. However, it wasn’t until the early 1980s that they achieved global fame—ironically, not in the U.S. Join us as we uncover the why, what, and when behind their fascinating journey.