Episode Transcript
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Speaker 1 (00:00):
All right, So here's the thing. Do I call you boy?
(00:02):
Do I call you boy George? I call you George.
Speaker 2 (00:04):
Either one's fine, boy, either one's fine. In American people
think my name's mister George.
Speaker 1 (00:09):
Mister George because people.
Speaker 3 (00:11):
Think my first name's boy, which obviously it isn't.
Speaker 1 (00:14):
Which, by the way, great stage name.
Speaker 4 (00:16):
Because who would have thought that you would have still
looked as young as you look like you are?
Speaker 3 (00:21):
Perfect love makeup? I mean, is that the magic? Now?
Speaker 2 (00:24):
I feel like, you know, because I get to dress art,
so I get to transform myself, so, you know, people
don't really know what I look like. Usually when I'm
walking around the streets. It's like a bit of a
Batman thing.
Speaker 4 (00:37):
So let me ask you that, do you walk around
the streets without makeup on it every day?
Speaker 1 (00:41):
You never get recognized?
Speaker 2 (00:42):
Well, I do, but I don't have a sort of
attitude about it. I basically move through the world with
the attitude I'm not trying not to be seen and
I'm not trying to stand out unless i'm you know,
when I'm dressed up, obviously i'm me and I accept
it and it attracts attention.
Speaker 3 (00:59):
But if I'm on the bus or the tube or
whatever it may be.
Speaker 2 (01:03):
People do come up to me, but I'm always friendly,
so there's never I don't walk around with hostility. I
don't have a I just don't have that attitude thing.
I kind of used to have it, and I kind
of got rid of it. I just I found that
it was so stifling, and I used to think, like,
you know, because obviously now there's everybody takes photos all
the time of films, so I kind of, you know,
(01:25):
I kind of accept it where I can't, you know,
And I just I never want anyone to walk away going, oh,
he wasn't nice, because I have done that before, done.
Speaker 1 (01:36):
It, you know, but you're human.
Speaker 3 (01:37):
Yeah, But the.
Speaker 2 (01:38):
Trick is to become a better human, not a less
not a grumpy version. I feel like, you know, I'm
not grumpy.
Speaker 3 (01:44):
I'm not, you know.
Speaker 2 (01:45):
I kind of accept what I've created. I accepted who
I am. I am poor George. I like being broad George.
I enjoy being in much more now than I did
twenty years ago because I kind of accept that it
comes with a responsibility. So, you know, just enjoy it,
you know, because I take the view everything is now,
life is always now. It's not tomorrow or in two minutes,
(02:06):
it will even in two minutes it will be now.
Speaker 3 (02:09):
That is true.
Speaker 2 (02:10):
You know, whatever you're doing, I think, you know, you
should do your utmost to enjoy it, even if it's difficult,
even if there's problems whatever. You know, you kind of
I try not to argue about. I try not to
argue against what's happening. If I've agreed to do something,
I don't turn out, I do it with good grace.
Whatever it is, whatever it is, it's like, you know,
(02:31):
put the trash out or do the watch out.
Speaker 1 (02:33):
Or agree to talk to us.
Speaker 4 (02:35):
That's not difficult talking, you know, I will say, so,
you are such an icon.
Speaker 1 (02:40):
I will put this out there.
Speaker 4 (02:41):
I have been a fan of yours since I was
in the single digits, to the point that I had
your posters hanging up on my wall and I would
kiss you every single night because I because I loved
you to death, as did so many people. I told
everybody that was going to get a chance to talk
to you today, and I want to talk about obviously.
I know you have some new music out. You just
(03:01):
dropped a brand new album. Let's get into that.
Speaker 2 (03:03):
Yeah, yeah, Since the pandemic I've been on this kind
of insane writing binge.
Speaker 3 (03:08):
So I've written hundreds and hundreds of songs, not just with.
Speaker 2 (03:13):
Myself but with other bands. I've been collaborating a lot.
I've just been making a lot of music, but I
haven't really put anything out. I've been sitting on this
kind of massive pyramid of music. And I put se eighteen,
my new album, out on vinyl to start with, and
then I'll put it out to stream. But the next
lot of records I put out, I'm just going to
put them out all at the same time.
Speaker 4 (03:34):
Now, let's talk about it sonically, because the sound of
it is quite different yet almost similar to what we
remember from the original boy George Day's.
Speaker 2 (03:41):
I feel like, you know, I've always been into my reggae,
you know. But again, if I try and write a
reggae song, I always think, what would Bowie do if
he was playing around with reggae? What would he do
if Bowie was approaching a disco song. He wouldn't do
what's expected. He do something a little bit off center.
And so I think what I tried to do is
(04:03):
work with all those classic kind of sounds, you know,
allow them all to kind of flow through me and
just take what I want and put things maybe that
shouldn't go together together. And that's how you get something unique.
You have to stop kind of thinking you've invented anything
and realize that you're just using what's there, and there's
(04:24):
a freedom in that, which when I was younger, I
didn't understand how easy it was. So the idea of
having writer's block was the normal thing when I was younger.
Now I just say, oh, there's the writers, Well, there's Google,
there's chat GBT.
Speaker 3 (04:41):
That turns into it gives you ideas though it turns it.
Speaker 2 (04:45):
Well, it's no different looking in the dictionary, fair enough,
or reading a newspaper or looking in a book of poetry,
or googling something or whatever, or overhearing something in a conversation.
People always say to me all the time, you turn
everything into a song, And I'm like, that's what everyone does.
Speaker 4 (05:01):
Okay, on the album, give me your top three songs
that anyone should listen to?
Speaker 3 (05:06):
First, I quite like but but but.
Speaker 1 (05:09):
Okay, I.
Speaker 3 (05:13):
Have a song called but which is very funny.
Speaker 1 (05:16):
What is that about?
Speaker 3 (05:16):
It's about but about actually booties, men's booties.
Speaker 2 (05:22):
But it's it was kind of inspired by this documentary
called Move that I saw on on Netflix, and it
was about this Jamaican female dancer that was competing with
these men. It was the first time a female sort
of dance troupe competed in this kind of raga dance competition,
(05:44):
and it just inspired me. Some of the things that
I saw in the documentary. There's a line in the
song that says, boys don't dance like girls.
Speaker 3 (05:51):
Oh, yes they do. He's a mom and man, but
MoMA made you too.
Speaker 2 (05:55):
So it's just because watching the conversations in the documentary,
there was a moment where little boy, the boy of
the little son of the woman says I'm pretty and
she tells the mof for calling himself pretty, and then.
Speaker 3 (06:06):
You see how it starts.
Speaker 2 (06:08):
You know when people start kids just don't have discrimination,
right absolutely, So you know, so my stuff, I work
with a lot of subtexts.
Speaker 3 (06:16):
What I write isn't always obvious.
Speaker 2 (06:18):
I mix in my own personal stuff with things I've overheard,
stuff I see on the TV.
Speaker 4 (06:24):
So you're like almost like a people watcher, yet people.
Speaker 3 (06:27):
A life watcher.
Speaker 2 (06:28):
Everything kind of inspires me and where I in the
old days, I would never listen to other people's records
in the studio. But now I will absolutely put on
someone's tune and listen to it and go, oh yeah,
I like that sound.
Speaker 1 (06:42):
Or you're listening to right now.
Speaker 2 (06:44):
It's always the same people, really, Bowie. You know a
lot of soul music. I love Slying the Family Stone,
Dada's Night. I love all the kind of obvious like
Smoking Robinson, Marvin Gay, then going back to jazz down
in Washington.
Speaker 3 (06:59):
But always a Bowie, lou Reed, underground, just everything I.
Speaker 1 (07:04):
Saw you were hanging out with Sam Smith the other day.
Any possibility of doing a.
Speaker 3 (07:07):
Collab, Well, yeah, I think it should happen.
Speaker 1 (07:10):
I think it should.
Speaker 3 (07:11):
It should. We probably feel the same way.
Speaker 1 (07:14):
I think so.
Speaker 3 (07:14):
I think we work it out. Yeah, yeah, it was.
Speaker 2 (07:18):
He's in such a fantastic place, like it's so nice
to see him. He loves he lives in New York now.
He loves it here, Yes, fucking loves it. And yeah,
he just seemed so happy.
Speaker 1 (07:30):
I mean, you drop it, we'll play it with Hollywood,
Hamilton and the keys.
Speaker 2 (07:32):
It was really nice. You know, he just looked so good.
He is really happy. He said that he loves New
York and just feels and.
Speaker 1 (07:40):
Now let's talk about your time when you were on Broadway.
You were in Mulin Rouge. Tell us about that.
Speaker 3 (07:45):
It was a beautiful experience.
Speaker 2 (07:46):
You know, again, it was something that forced me to
kind of go outside of my ideas of myself because
you know, it's a very silly role. Which role did
you play, Harold Ziedler? He's sure, right, but no, no,
he's the ring master. He's the guy that with the
hat and the beard and the wig. Cuban Hills. It
(08:09):
was great, you know, it was great, and I did
it twice. I did it last year and then the
year before. It was great too. Every time you do it,
you know, you you loosen up a bit, you know,
you get more silly, You find the sort of nuances
in the performance. You remember everything, so it's a point
where once it's all in there singing, it's like singing
(08:30):
your favorite song. But there are times when you think,
oh shit, I've forgotten everything. Like a second before you
go and stage, what's that word?
Speaker 3 (08:37):
And everyone looks at you and that I.
Speaker 1 (08:39):
Don't know, But you cover it up so well it
can't you know.
Speaker 3 (08:42):
It's funny. What I learned to do was if there
was a word in the show.
Speaker 2 (08:45):
That I didn't get was to look it up in
the dictionary and find out what it meant and really
get the understanding of it.
Speaker 3 (08:52):
You know that that helps a lot, you know, Oh.
Speaker 1 (08:54):
My goodness, and I do know.
Speaker 3 (08:55):
Okay.
Speaker 4 (08:55):
So Marie one of our co hosts on Hollywood Alimals
and The Key two Morning Cruise, she is a big
fan of Mark movies Christmas stuff.
Speaker 1 (09:02):
I know that you're doing a Christmas movie. Can you
talk about that?
Speaker 3 (09:05):
All I do in the movie this point?
Speaker 1 (09:07):
Wait? What I do a.
Speaker 3 (09:08):
Point and sing?
Speaker 2 (09:09):
So that is make there won't be any like oscars.
Speaker 1 (09:13):
Not really just singing, singing, singing.
Speaker 2 (09:16):
Actually a song written by a guy called Gary Barlow.
Some of the bands a big band in the UK
called Take That. I think they've ever really made it
in America. But Gary is a big star in the
UK and he wrote this song which I'm singing and
it's a beautiful song. Actually, because I'm quite precious about
singing other.
Speaker 1 (09:33):
People's song oh huh, okay.
Speaker 2 (09:35):
I'm a writer, so I never want to sing. But
it's a really nice song. But you know, don't expect
any there's no acting, I point.
Speaker 1 (09:42):
No actent fabulous now of.
Speaker 4 (09:45):
Course you're here at Beatstock twenty twenty five. We have
we're actually we brought back Beatstock after fifteen years and
we're so happy that you're headlining. Can you give us
an idea of what we can expect on your sets?
Speaker 2 (09:57):
It is it's not very long because we used to
do I mean, I could come on for like four hours.
Speaker 3 (10:02):
I'm how do we do? You know?
Speaker 1 (10:04):
How do you condense?
Speaker 3 (10:06):
Very condensed?
Speaker 2 (10:06):
Yeah, I feel like there's we're doing a new version
of Do You Really Want to Hurt Me? Which we
have just redone with cr A Coach Club. I've redone
it with Cea, so at some point that will come out.
We've been sitting on it for a while, but we're
doing that version. So obviously not with Sea she's not here.
And then you know, some solo stuff, some other hits,
you know, Chamelion doing Common Chameleon that's in there, but
(10:29):
time no a Coach Club show.
Speaker 1 (10:32):
Oh okay, are we getting any of the new music though?
Speaker 2 (10:35):
I'm doing at the World of School with Somebody Loves You,
which is the lead track from se eighteen.
Speaker 1 (10:39):
Incredible.
Speaker 3 (10:40):
I'm doing I'm doing this song called Free Brittany.
Speaker 2 (10:42):
It's just hilarious, which we did like obviously when the
first thing happened, right when the whole thing was going on,
we did it then, and then I started DJing my
song with Toxic.
Speaker 4 (10:54):
Speaking of so you are a DJ too, because that's
when I saw it Planet Hollywood.
Speaker 1 (10:57):
You were there to DJ, which I was like, boy,
George DJ.
Speaker 3 (11:00):
I mean DJ since the seven years.
Speaker 1 (11:01):
I had no idea before I.
Speaker 3 (11:03):
Started the band. That was what I did.
Speaker 1 (11:04):
So you started as the DJ. Then got into saying,
oh so DJ first, Yeah, in the.
Speaker 3 (11:09):
Seven years, yeah, late seven years.
Speaker 1 (11:10):
I had no idea and I'm such a huge fan.
How did I not know that?
Speaker 3 (11:14):
Well, you know, it's.
Speaker 2 (11:16):
And also I DJ sort of so beginning obviously before
culture got a dj' and then from about eighty seven
when the rave culture happened in the UK Acid House
we called it. You know, it was something that kind
of swept me away because I'd done the whole massive
eighties pop star thing and it was kind of just
I couldn't go out anywhere and it was a nightmare.
(11:37):
And suddenly I got into the rave scene and it
was very downbeat and people didn't care.
Speaker 3 (11:43):
Who you were. You know, people would be like, oh, yeah, boy, George.
Speaker 1 (11:46):
Whatever, you're booking DJ gigs like on the frequent.
Speaker 3 (11:50):
I did alb for this year.
Speaker 2 (11:52):
I did three shows at Pasha, which was a sort
of return. I've been going to ib for since nineteen
eighty seven, but it's been a while since I DJ there,
so that was great. I did that, and when I DJ,
kind of create the music for my shows, so it's
not really playing other people's records. I'm playing a mix
of like I really make things like you know, like
(12:14):
Dead or Alive, but I'll do it in a.
Speaker 3 (12:16):
Tech house style, very cool.
Speaker 2 (12:18):
So I'll find tracks that people know but they go, oh,
I don't know this version. So it's about having music
that nobody else has. Because when you're a DJ and
there's theres so many DJs. Now everyone's playing the same thing,
so you want to be oh, I love that record,
but what's this version?
Speaker 1 (12:34):
But now you got your new stuff to drop.
Speaker 4 (12:36):
Absolutely it's even better now you can drop it for
everybody to hear, which.
Speaker 1 (12:39):
I'm just mix.
Speaker 2 (12:40):
If you mix up people don't. It's just always like
doing a gig. You know, there's nothing wrong with doing
something new as long as it's good and as long
as it's relatable, and you know, you just have to
be confident, and people don't necessarily know what they want.
They always complain, oh, you didn't do this, you didn't
wear that, say this, So it's like.
Speaker 1 (13:00):
I let you go.
Speaker 4 (13:00):
I do have one last question, because you are known
for the hats and you are known for the eyeliner.
If you were only allowed to have one item for
the rest of your life, either the hat or the eyeliner,
which one would it be?
Speaker 3 (13:14):
The hat?
Speaker 1 (13:15):
The hat? Oh my gosh, I love it. Sweet. Well,
thank you so much for joining.
Speaker 3 (13:21):
Hat because it kind of gives you a bit of high.
Speaker 1 (13:23):
And you can change the color, you can go with
the outfit exactly fair.
Speaker 2 (13:26):
But you know, well without hats an eyeliner, that's really
not a fair world.
Speaker 4 (13:31):
Fair enough, Well, thank you so much for joining us,
Hollywood Hamilton in the cats you on Instagram.
All right, So here's the thing. Do I call you boy?
(00:02):
Do I call you boy George? I call you George.
Speaker 2 (00:04):
Either one's fine, boy, either one's fine. In American people
think my name's mister George.
Speaker 1 (00:09):
Mister George because people.
Speaker 3 (00:11):
Think my first name's boy, which obviously it isn't.
Speaker 1 (00:14):
Which, by the way, great stage name.
Speaker 4 (00:16):
Because who would have thought that you would have still
looked as young as you look like you are?
Speaker 3 (00:21):
Perfect love makeup? I mean, is that the magic? Now?
Speaker 2 (00:24):
I feel like, you know, because I get to dress art,
so I get to transform myself, so, you know, people
don't really know what I look like. Usually when I'm
walking around the streets. It's like a bit of a
Batman thing.
Speaker 4 (00:37):
So let me ask you that, do you walk around
the streets without makeup on it every day?
Speaker 1 (00:41):
You never get recognized?
Speaker 2 (00:42):
Well, I do, but I don't have a sort of
attitude about it. I basically move through the world with
the attitude I'm not trying not to be seen and
I'm not trying to stand out unless i'm you know,
when I'm dressed up, obviously i'm me and I accept
it and it attracts attention.
Speaker 3 (00:59):
But if I'm on the bus or the tube or
whatever it may be.
Speaker 2 (01:03):
People do come up to me, but I'm always friendly,
so there's never I don't walk around with hostility. I
don't have a I just don't have that attitude thing.
I kind of used to have it, and I kind
of got rid of it. I just I found that
it was so stifling, and I used to think, like,
you know, because obviously now there's everybody takes photos all
the time of films, so I kind of, you know,
(01:25):
I kind of accept it where I can't, you know,
And I just I never want anyone to walk away going, oh,
he wasn't nice, because I have done that before, done.
Speaker 1 (01:36):
It, you know, but you're human.
Speaker 3 (01:37):
Yeah, But the.
Speaker 2 (01:38):
Trick is to become a better human, not a less
not a grumpy version. I feel like, you know, I'm
not grumpy.
Speaker 3 (01:44):
I'm not, you know.
Speaker 2 (01:45):
I kind of accept what I've created. I accepted who
I am. I am poor George. I like being broad George.
I enjoy being in much more now than I did
twenty years ago because I kind of accept that it
comes with a responsibility. So, you know, just enjoy it,
you know, because I take the view everything is now,
life is always now. It's not tomorrow or in two minutes,
(02:06):
it will even in two minutes it will be now.
Speaker 3 (02:09):
That is true.
Speaker 2 (02:10):
You know, whatever you're doing, I think, you know, you
should do your utmost to enjoy it, even if it's difficult,
even if there's problems whatever. You know, you kind of
I try not to argue about. I try not to
argue against what's happening. If I've agreed to do something,
I don't turn out, I do it with good grace.
Whatever it is, whatever it is, it's like, you know,
(02:31):
put the trash out or do the watch out.
Speaker 1 (02:33):
Or agree to talk to us.
Speaker 4 (02:35):
That's not difficult talking, you know, I will say, so,
you are such an icon.
Speaker 1 (02:40):
I will put this out there.
Speaker 4 (02:41):
I have been a fan of yours since I was
in the single digits, to the point that I had
your posters hanging up on my wall and I would
kiss you every single night because I because I loved
you to death, as did so many people. I told
everybody that was going to get a chance to talk
to you today, and I want to talk about obviously.
I know you have some new music out. You just
(03:01):
dropped a brand new album. Let's get into that.
Speaker 2 (03:03):
Yeah, yeah, Since the pandemic I've been on this kind
of insane writing binge.
Speaker 3 (03:08):
So I've written hundreds and hundreds of songs, not just with.
Speaker 2 (03:13):
Myself but with other bands. I've been collaborating a lot.
I've just been making a lot of music, but I
haven't really put anything out. I've been sitting on this
kind of massive pyramid of music. And I put se eighteen,
my new album, out on vinyl to start with, and
then I'll put it out to stream. But the next
lot of records I put out, I'm just going to
put them out all at the same time.
Speaker 4 (03:34):
Now, let's talk about it sonically, because the sound of
it is quite different yet almost similar to what we
remember from the original boy George Day's.
Speaker 2 (03:41):
I feel like, you know, I've always been into my reggae,
you know. But again, if I try and write a
reggae song, I always think, what would Bowie do if
he was playing around with reggae? What would he do
if Bowie was approaching a disco song. He wouldn't do
what's expected. He do something a little bit off center.
And so I think what I tried to do is
(04:03):
work with all those classic kind of sounds, you know,
allow them all to kind of flow through me and
just take what I want and put things maybe that
shouldn't go together together. And that's how you get something unique.
You have to stop kind of thinking you've invented anything
and realize that you're just using what's there, and there's
(04:24):
a freedom in that, which when I was younger, I
didn't understand how easy it was. So the idea of
having writer's block was the normal thing when I was younger.
Now I just say, oh, there's the writers, Well, there's Google,
there's chat GBT.
Speaker 3 (04:41):
That turns into it gives you ideas though it turns it.
Speaker 2 (04:45):
Well, it's no different looking in the dictionary, fair enough,
or reading a newspaper or looking in a book of poetry,
or googling something or whatever, or overhearing something in a conversation.
People always say to me all the time, you turn
everything into a song, And I'm like, that's what everyone does.
Speaker 4 (05:01):
Okay, on the album, give me your top three songs
that anyone should listen to?
Speaker 3 (05:06):
First, I quite like but but but.
Speaker 1 (05:09):
Okay, I.
Speaker 3 (05:13):
Have a song called but which is very funny.
Speaker 1 (05:16):
What is that about?
Speaker 3 (05:16):
It's about but about actually booties, men's booties.
Speaker 2 (05:22):
But it's it was kind of inspired by this documentary
called Move that I saw on on Netflix, and it
was about this Jamaican female dancer that was competing with
these men. It was the first time a female sort
of dance troupe competed in this kind of raga dance competition,
(05:44):
and it just inspired me. Some of the things that
I saw in the documentary. There's a line in the
song that says, boys don't dance like girls.
Speaker 3 (05:51):
Oh, yes they do. He's a mom and man, but
MoMA made you too.
Speaker 2 (05:55):
So it's just because watching the conversations in the documentary,
there was a moment where little boy, the boy of
the little son of the woman says I'm pretty and
she tells the mof for calling himself pretty, and then.
Speaker 3 (06:06):
You see how it starts.
Speaker 2 (06:08):
You know when people start kids just don't have discrimination,
right absolutely, So you know, so my stuff, I work
with a lot of subtexts.
Speaker 3 (06:16):
What I write isn't always obvious.
Speaker 2 (06:18):
I mix in my own personal stuff with things I've overheard,
stuff I see on the TV.
Speaker 4 (06:24):
So you're like almost like a people watcher, yet people.
Speaker 3 (06:27):
A life watcher.
Speaker 2 (06:28):
Everything kind of inspires me and where I in the
old days, I would never listen to other people's records
in the studio. But now I will absolutely put on
someone's tune and listen to it and go, oh yeah,
I like that sound.
Speaker 1 (06:42):
Or you're listening to right now.
Speaker 2 (06:44):
It's always the same people, really, Bowie. You know a
lot of soul music. I love Slying the Family Stone,
Dada's Night. I love all the kind of obvious like
Smoking Robinson, Marvin Gay, then going back to jazz down
in Washington.
Speaker 3 (06:59):
But always a Bowie, lou Reed, underground, just everything I.
Speaker 1 (07:04):
Saw you were hanging out with Sam Smith the other day.
Any possibility of doing a.
Speaker 3 (07:07):
Collab, Well, yeah, I think it should happen.
Speaker 1 (07:10):
I think it should.
Speaker 3 (07:11):
It should. We probably feel the same way.
Speaker 1 (07:14):
I think so.
Speaker 3 (07:14):
I think we work it out. Yeah, yeah, it was.
Speaker 2 (07:18):
He's in such a fantastic place, like it's so nice
to see him. He loves he lives in New York now.
He loves it here, Yes, fucking loves it. And yeah,
he just seemed so happy.
Speaker 1 (07:30):
I mean, you drop it, we'll play it with Hollywood,
Hamilton and the keys.
Speaker 2 (07:32):
It was really nice. You know, he just looked so good.
He is really happy. He said that he loves New
York and just feels and.
Speaker 1 (07:40):
Now let's talk about your time when you were on Broadway.
You were in Mulin Rouge. Tell us about that.
Speaker 3 (07:45):
It was a beautiful experience.
Speaker 2 (07:46):
You know, again, it was something that forced me to
kind of go outside of my ideas of myself because
you know, it's a very silly role. Which role did
you play, Harold Ziedler? He's sure, right, but no, no,
he's the ring master. He's the guy that with the
hat and the beard and the wig. Cuban Hills. It
(08:09):
was great, you know, it was great, and I did
it twice. I did it last year and then the
year before. It was great too. Every time you do it,
you know, you you loosen up a bit, you know,
you get more silly, You find the sort of nuances
in the performance. You remember everything, so it's a point
where once it's all in there singing, it's like singing
(08:30):
your favorite song. But there are times when you think,
oh shit, I've forgotten everything. Like a second before you
go and stage, what's that word?
Speaker 3 (08:37):
And everyone looks at you and that I.
Speaker 1 (08:39):
Don't know, But you cover it up so well it
can't you know.
Speaker 3 (08:42):
It's funny. What I learned to do was if there
was a word in the show.
Speaker 2 (08:45):
That I didn't get was to look it up in
the dictionary and find out what it meant and really
get the understanding of it.
Speaker 3 (08:52):
You know that that helps a lot, you know, Oh.
Speaker 1 (08:54):
My goodness, and I do know.
Speaker 3 (08:55):
Okay.
Speaker 4 (08:55):
So Marie one of our co hosts on Hollywood Alimals
and The Key two Morning Cruise, she is a big
fan of Mark movies Christmas stuff.
Speaker 1 (09:02):
I know that you're doing a Christmas movie. Can you
talk about that?
Speaker 3 (09:05):
All I do in the movie this point?
Speaker 1 (09:07):
Wait? What I do a.
Speaker 3 (09:08):
Point and sing?
Speaker 2 (09:09):
So that is make there won't be any like oscars.
Speaker 1 (09:13):
Not really just singing, singing, singing.
Speaker 2 (09:16):
Actually a song written by a guy called Gary Barlow.
Some of the bands a big band in the UK
called Take That. I think they've ever really made it
in America. But Gary is a big star in the
UK and he wrote this song which I'm singing and
it's a beautiful song. Actually, because I'm quite precious about
singing other.
Speaker 1 (09:33):
People's song oh huh, okay.
Speaker 2 (09:35):
I'm a writer, so I never want to sing. But
it's a really nice song. But you know, don't expect
any there's no acting, I point.
Speaker 1 (09:42):
No actent fabulous now of.
Speaker 4 (09:45):
Course you're here at Beatstock twenty twenty five. We have
we're actually we brought back Beatstock after fifteen years and
we're so happy that you're headlining. Can you give us
an idea of what we can expect on your sets?
Speaker 2 (09:57):
It is it's not very long because we used to
do I mean, I could come on for like four hours.
Speaker 3 (10:02):
I'm how do we do? You know?
Speaker 1 (10:04):
How do you condense?
Speaker 3 (10:06):
Very condensed?
Speaker 2 (10:06):
Yeah, I feel like there's we're doing a new version
of Do You Really Want to Hurt Me? Which we
have just redone with cr A Coach Club. I've redone
it with Cea, so at some point that will come out.
We've been sitting on it for a while, but we're
doing that version. So obviously not with Sea she's not here.
And then you know, some solo stuff, some other hits,
you know, Chamelion doing Common Chameleon that's in there, but
(10:29):
time no a Coach Club show.
Speaker 1 (10:32):
Oh okay, are we getting any of the new music though?
Speaker 2 (10:35):
I'm doing at the World of School with Somebody Loves You,
which is the lead track from se eighteen.
Speaker 1 (10:39):
Incredible.
Speaker 3 (10:40):
I'm doing I'm doing this song called Free Brittany.
Speaker 2 (10:42):
It's just hilarious, which we did like obviously when the
first thing happened, right when the whole thing was going on,
we did it then, and then I started DJing my
song with Toxic.
Speaker 4 (10:54):
Speaking of so you are a DJ too, because that's
when I saw it Planet Hollywood.
Speaker 1 (10:57):
You were there to DJ, which I was like, boy,
George DJ.
Speaker 3 (11:00):
I mean DJ since the seven years.
Speaker 1 (11:01):
I had no idea before I.
Speaker 3 (11:03):
Started the band. That was what I did.
Speaker 1 (11:04):
So you started as the DJ. Then got into saying,
oh so DJ first, Yeah, in the.
Speaker 3 (11:09):
Seven years, yeah, late seven years.
Speaker 1 (11:10):
I had no idea and I'm such a huge fan.
How did I not know that?
Speaker 3 (11:14):
Well, you know, it's.
Speaker 2 (11:16):
And also I DJ sort of so beginning obviously before
culture got a dj' and then from about eighty seven
when the rave culture happened in the UK Acid House
we called it. You know, it was something that kind
of swept me away because I'd done the whole massive
eighties pop star thing and it was kind of just
I couldn't go out anywhere and it was a nightmare.
(11:37):
And suddenly I got into the rave scene and it
was very downbeat and people didn't care.
Speaker 3 (11:43):
Who you were. You know, people would be like, oh, yeah, boy, George.
Speaker 1 (11:46):
Whatever, you're booking DJ gigs like on the frequent.
Speaker 3 (11:50):
I did alb for this year.
Speaker 2 (11:52):
I did three shows at Pasha, which was a sort
of return. I've been going to ib for since nineteen
eighty seven, but it's been a while since I DJ there,
so that was great. I did that, and when I DJ,
kind of create the music for my shows, so it's
not really playing other people's records. I'm playing a mix
of like I really make things like you know, like
(12:14):
Dead or Alive, but I'll do it in a.
Speaker 3 (12:16):
Tech house style, very cool.
Speaker 2 (12:18):
So I'll find tracks that people know but they go, oh,
I don't know this version. So it's about having music
that nobody else has. Because when you're a DJ and
there's theres so many DJs. Now everyone's playing the same thing,
so you want to be oh, I love that record,
but what's this version?
Speaker 1 (12:34):
But now you got your new stuff to drop.
Speaker 4 (12:36):
Absolutely it's even better now you can drop it for
everybody to hear, which.
Speaker 1 (12:39):
I'm just mix.
Speaker 2 (12:40):
If you mix up people don't. It's just always like
doing a gig. You know, there's nothing wrong with doing
something new as long as it's good and as long
as it's relatable, and you know, you just have to
be confident, and people don't necessarily know what they want.
They always complain, oh, you didn't do this, you didn't
wear that, say this, So it's like.
Speaker 1 (13:00):
I let you go.
Speaker 4 (13:00):
I do have one last question, because you are known
for the hats and you are known for the eyeliner.
If you were only allowed to have one item for
the rest of your life, either the hat or the eyeliner,
which one would it be?
Speaker 3 (13:14):
The hat?
Speaker 1 (13:15):
The hat? Oh my gosh, I love it. Sweet. Well,
thank you so much for joining.
Speaker 3 (13:21):
Hat because it kind of gives you a bit of high.
Speaker 1 (13:23):
And you can change the color, you can go with
the outfit exactly fair.
Speaker 2 (13:26):
But you know, well without hats an eyeliner, that's really
not a fair world.
Speaker 4 (13:31):
Fair enough, Well, thank you so much for joining us,
Hollywood Hamilton in the cats you on Instagram.
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