Ep. 132-Karma Chameleon (Culture Club)

Everybody get on board the steamboat Chameleon as Louie, Ryan & Al embark on a discussion on Culture Club's 1983 classic, Karma Chameleon! Do we keep it afloat, or do we torpedo this music video? Listen to find out!

Episode Transcript

Speaker 1 (00:08):
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(00:28):
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Speaker 2 (00:32):
Okay, hello, and welcome to episode one hundred and thirty
two of Throwback Music Video Review podcast, and tonight we
will be reviewing Culture Clubs. Comma Camellion Comma Chamelion is
a song by Englishman Culture Club, featured on the group's
nineteen eighty three album Color by Numbers. The single became

(00:54):
the second Culture Club song to reach the top of
the UK Singles Chart after Do You Reach You Want
to Hurt Me, and also became the UK's biggest selling
single of the year you Know in nineteen eighty three.
To date, it is the thirty eighth biggest selling single
of all time in the in the UK, selling over
one point five to two million copies on The music
video was directed by Peter Sinclair and currently has eight

(01:18):
hundred and eighty million views on YouTube. So fellas Ryan
and Louis, and I'm al, what are your histories with
Comma Chameleon.

Speaker 3 (01:28):
First of all, I like the reintroductions. It's great thus far.
I've never seen the video until I probably in the
last ten years, but not really familiar with the video.
But the song, of course is it's one of the
classics of the eighties. Growing up in the Philippines, culture
of is huge, specifically of course for George. Right when
I was doing my research for this video, I was
thinking about how do I attach it to my upbringing,

(01:49):
But then I remember in the Philippines it's very Homosexuality
is very open. It's just like this flamboyant actually very
entertaining company, the people that you can hang out with,
it's like the life of the party. So boy George
was immediately accepted, you know, like that look, everybody knew
that obviously he's a guy. But at the same time
he's very beautiful and feminine. But it just reminds me
of how accepting that was. That's kind of cool, you know,

(02:11):
So because I think he got some backlash for being
too too I.

Speaker 2 (02:14):
Mean yeah, you know, he got different. If you have
an established puritan views, yes, yeah, that will definitely get
some pushback from them because they make them uncomfortable.

Speaker 3 (02:23):
And I think that's the that's partially why they were
so big in places like that, you know, like the Philippines,
how it's open and of course the music is great,
but I really just knew the hits. I never really
got to dig into their discography until later when I
started buying records and I would just kind of leave
it playing and it's really good, and I didn't realize how,
you know, at the time, I wasn't really familiar with
like like a lot of the reggae, you know, I didn't.
I just knew like the pop stuff. So I didn't

(02:44):
really understand a lot of that kind of stuff even
until later. But yeah, but that's pretty much it until
he made his comeback. They disappeared for a long time.
But mainly we're talking about this. One of my favorite
movies to not mock but have run with riff Yeah,
is the Crying Game. Of course his song oh right,
and I think Paul he bought the single.

Speaker 4 (03:01):
It's a good song.

Speaker 3 (03:01):
It's a really really good song. Even now, like listening
back to I'm like, wow, that's a perfect comeback for him,
you know. So they're awesome.

Speaker 4 (03:08):
I mean as for me, I mean this was huge
in my house. My mom was a huge boy George Fan.
I always thought it was great because it also sounds
very soulful. It's got that you know, the blue eyed soul,
you know, very inviting. Yeah, I mean from England, you
have you know, George Michael. It just has it's a
good eighty sound, you know, it's it's got like a
dance beat to it. And their voices are amazing, you know.

(03:29):
Like so I remember listening to this as a kid
all the time and all you know, all their albums.
Because I'm telling you, my mom was a huge boy.

Speaker 3 (03:37):
George Fan, I would imagine this would be the scene too. Yeah.

Speaker 4 (03:39):
Yeah, totally totally like this and especially this song was
just like I mean, he played on a loop and
I just I love this song like it's such I
think it's such a great song. It's such a great
mix of different music genres and stuff like that. And
I remember watching the video when I was a kid
and I just thought it was so cool because it's
a period piece. There's a story to it, you know,
something rough scallion, Yeah, yeah, some grifters, you know, it's

(04:03):
it's all my favorite things in life, you know, steamboats, yeah, steamboats,
you know of twelve years of slave era clothing. Like
I was waiting for Brad Fitt to walk in Save
her ready, but no, no, no, there's just a huge
place in my heart for Culture Club and boy George.
I just love it's and his voice is amazing.

Speaker 2 (04:26):
So good, so buttery.

Speaker 4 (04:28):
Yeah, yes, it's so good.

Speaker 3 (04:30):
I also like the way he moves. It's you know,
it fits perfectly with the way he looks in his voice.

Speaker 4 (04:35):
Like I think this is like one of my favorite
was when I was a kid, but when I got older,
like in Church of the Poison Mind. Like the way
he bounts that song out, it's amazing, Like I can't
He's one of those like top ten singers of all time.
You know, he's just he could just beat sounds like
a female singer from the sixties or the fifties. You know,
it's it's yeah, it's wildsome like Motown, you know, with

(04:55):
those high notes that he's hitting and stuff. It's so good.
So yeah, I have a lot of love for this
video and the Culture Club spoiler alert for you, well, no,
I will see.

Speaker 2 (05:05):
But for me, my experience of Culture Club was actually
this song. I don't remember if I actually heard it
on the radio first or sada music video, but I
remember I do remember seeing it back home, and you
know as well, I knew it got airplay, but like
I somehow just didn't catch it enough to actually leave
an impression. I just remember this learn a boat and
just you know, looking all cool. And I had no

(05:27):
idea of US history at the time, so I had
I just thought, oh, it's a long time ago, and
everybody dressed like that, right and doing a can can.
But as far as like Culture Club is concerned, though,
boy George was my first foray into androgynous men in
pop culture even before I think he was the first

(05:49):
one to actually, yeah, I want to look like a
you know, like a woman kind of thing, you know, like,
I mean, it's a style, but it is androgynist. Being
in the Philippines stew around that time, he looks so
cool and he was you know, everybody thought it was cool.
But like, if you're instacre write your masculinity, you you
hate him? Right? To me's just like, yeah, you know,
I'm a kid, like, hey, that looks cool. Cool, And
I think there was a period of time where, like

(06:09):
I had my cousins put makeup on me, and I
think that's that kind of spiraled me to you never
turned back after that. I turned back after that. But yeah,
it was around you know, the boom of the British
invasion New Waves, so you know, yeah, like so I
had cousins They're like, hey, let's put makeup on these
you know, nine year old kids. Right, So anyway, but

(06:30):
I just thought boy Geers look cool. He did look
like feminine. I was like, wow, you know, like do
I like girls or do I like boys? Because someone
body attracted to this dude right here. But you know
that's that's the point, right, It's to provoke some emotions,
you know that that aesthetic of it. But I always
thought that culture love was cool. Boy Gers music was
pervasive in around my childhood. It was this do you

(06:52):
really want to Hurt Me? The War song? You guys know,
the warst Yeah, that one.

Speaker 3 (06:57):
I love that song too, Stupid.

Speaker 2 (07:00):
Whoa Stupid Love His Love, which is a song that
I think he did for the Electric Favorites, Right, Yeah,
So you know, like I always always Doug boy Geers
and of course he had like one of the opening
lines in band Aids, do they know it's Christmas? So
it's always cool. It's always cool, you know, to hear
that that soulful, very distinct yea, the very distinct crew

(07:22):
like light hearted creon. I don't know how to describe
his voice, but a really culture but I never really
followed him, never bought any sure it's already merch either,
never pursued any I never bought any of their albums either.

Speaker 3 (07:33):
Even the Thrift stars quite know.

Speaker 2 (07:36):
Yeah, yeah, like I just never like I mean, I
just if I had a culture club song, it's by accident.
It was from an eighties compilation or something. But I
was more of a dead or alive guy. So he's
more of a cursed boy Georgia kind of guy, so
like her lives, like that's a curse culture club in
the way, if you think about.

Speaker 4 (07:54):
It, it's more it's more drum machine than than I'm
dating the drummer.

Speaker 3 (08:01):
You know what. I think his beauty and like his
charisma vieweled their popularity, because you're right, it did provoke
especially like teens, you know, your young kids. You look
at somebody like that and you hear and it's like wow,
like you don't really know, how should I feel? Right?
Like it's and I'm kind of relating to John Moss
in the relationship where the first time you meet somebody

(08:21):
and you're like just struck, right, You're like, you know,
it's stunning, He's like, whoa, it's unbelievable. And then when
you don't see the gender anymore, is just this pure
like love, like attract attraction. Of course there's that physical
part two that we're going to talk about them. No,
I guess what I'm saying is like he's beautiful, you know,
like the way he comes off, the style he chose,

(08:42):
you know that he feels most comfortable with. It's like,
but yeah, I think that's the reason. One of the things,
you know, as a teen, maybe you're a fan, you
kind of question. Girls are like, well, he's a guy,
and he's a beautiful guy. And then the guys are saying, well,
you know, he's a guy, but he's a beautiful guy.
They're saying the same thing, and it's like, you know,
that push and pull.

Speaker 4 (08:57):
I think it's also too, like not only is he
is boy George like feminine, you know, but he also
has a style that's you would see a woman wearing
like that would be in like the slits or something
like that. You know, like it's not a traditional female style.
It's you know, he also puts in like his reggae

(09:18):
influences and his dub influences, and there's a lot of
other influences layered on his style. It's not just I'm
trying to dress like a woman. I also have these
things that I like and I'm also into them. And
he's just got like a punk aesthetic, a ska reggae aesthetic.
So it's all these kind of different layers that he's
putting on his style, which makes it very different than

(09:41):
a lot of the other people who are getting a
little bit more fami at the time too. I mean,
he does have like the eighties dress.

Speaker 3 (09:47):
It's kind of futuristic almost, you know, look some of
the colors, I.

Speaker 4 (09:49):
Mean it looks very matrix.

Speaker 3 (09:51):
Yeah.

Speaker 2 (09:51):
Look at Iran music video, right, the girls were makeup
on and there that came. You know, they're kind of contemporaries.

Speaker 4 (09:58):
Right yeah, yeah, yeah, And he's out of that new
romantics clubs, the new romantic that golf club scene in England,
so where they were kind of going, you know, one
of those litz kids. So he's like kind of extra,
but he.

Speaker 2 (10:11):
Was accused of you know, like the guy from Hazy
Fantasy accused him of stealing his look.

Speaker 3 (10:17):
Oh really, yeah, who came out first? I'm sure.

Speaker 4 (10:21):
Okay, so you.

Speaker 2 (10:22):
Know that that hobo punk look that Yeah, yeah, I
can see that. So like he did accuse Boy Georgie
of kind of you know, boy George is.

Speaker 4 (10:30):
Like, but I think I think the Slits did it
before Hazy Fantasy, Oh for sure.

Speaker 2 (10:34):
Yeah.

Speaker 4 (10:35):
Yeah.

Speaker 2 (10:35):
But then again, you know, Adam has been doing that
look too with the you know, the Pirate that that
kind of but he kind of converted into andro andro
aesthetic as well.

Speaker 3 (10:45):
And yeah, it's always I guess that was a very
British thing, right, Like it's stemming from the punk scene,
and then they kind of broke off into these little
and if.

Speaker 2 (10:52):
You think about it, it's a very theater culture.

Speaker 3 (10:54):
The absolutely because it's very like tunics maybe like medieval
kind of fluffy shirts, best kind of stuff. Yeah, you're right,
it's exactly that. And then they just kind of tweak
it more into like the pirates scene or more like
a futuristic reggae, you know, disco.

Speaker 2 (11:07):
Wonder if Sydney Laffer caught some of the inspiration too.

Speaker 3 (11:10):
It has that love, yeah, it has like a braided
like the but I.

Speaker 2 (11:14):
Think everybody dressed dressing up like that back then.

Speaker 4 (11:18):
You know.

Speaker 3 (11:18):
It's just very wild, right, It's like it's out of
the box. It's like not trying to it's freeing, you know,
like you can wear whatever you yes.

Speaker 4 (11:26):
Well, even like the mohawk was like the Mohican, which
is that is kind of very you know, kind of
you know, Native American. It's inspired, you know. So there's
all these kind of like England taking American culture and
kind of twisting it, you know, and then it going
back as fashion maybe to a period. You know. It's
so it's very how colonial the heck.

Speaker 3 (11:47):
That's the look, right.

Speaker 2 (11:48):
I didn't read know much about their drama. Actually I
never followed that.

Speaker 4 (11:51):
I didn't know much about that at all until I
started doing like more research on on the band for this,
and I was like, oh wait, I had no idea
about the did drum moss and stuff like that.

Speaker 2 (12:01):
I mean I heard about it, like, you know, like
after the fact that like it was my adult years.
But like the weird part is that, like I never
paid attention to the lyrics of this song ever until
the research to this point. Wait, man, this is like,
imagine you're the drummer, right of a band. You know,
Ryan was the drummer in the band, right, So imagine
me singing about Ryan and he's just kind of oblivis

(12:22):
and he has to play music on top of it.

Speaker 4 (12:26):
I'm going to go through your lyrics right now.

Speaker 3 (12:27):
Check him out about like that song You're right, it's
called You're So Thick? Remember I remember that song. I
thought it was about other stuff.

Speaker 2 (12:35):
Yeah, so thick? You think this song is about?

Speaker 3 (12:40):
Did you write that song?

Speaker 2 (12:42):
I write that I got I got sued.

Speaker 3 (12:46):
No, but you know, like nobody knew that, right. All
the documentaries where they start off with it the band
is about their relationship.

Speaker 4 (12:54):
It's like no doubt, right, yea, yeah, no doubt.

Speaker 3 (12:58):
But well, I guess it begs a question that if
that hadn't happened, would they be as big because I
think that kind of artistically.

Speaker 4 (13:05):
Yeah it did you know what I mean is writing?

Speaker 3 (13:08):
Yeah, but there are really good musicians and I think
they all kind of knew what they wanted to do,
so I'm sure they would have still made it.

Speaker 2 (13:14):
Yeah, Well with boy George alone, it was just a
charisma alone that can go for you.

Speaker 4 (13:18):
One of the things that I found very different than
a lot of the other bands that we've covered is
are not that we covered, but that I'm into that
I know history of is that they weren't friends before.
They were just a band that got together.

Speaker 2 (13:30):
Were they assembled by somebody.

Speaker 4 (13:33):
They just kind of just stumbled upon each other to
play in a band together. But they weren't friends before
it had so that was like a was.

Speaker 3 (13:40):
There like an advert like a it was it's boy
George and Mikey the bass player, and then they got
Roy Hey and then what's his name? Yeah, he was
he was like going to school and he didn't really
know what to do, and somebody told him like that.
Somebody asked him like I think a psychiatrist or that
he was going to therapy. He's like, what do you
want to do? He's like, oh, I want to make music.

(14:01):
And then I think it dawned on him and then
he started hanging out with people and then he met
boy George and I think that's you know that's where
the story begins.

Speaker 4 (14:09):
Yeah, and so that's kind of like weird. Usually it's like, oh,
two of them have been friends since, you.

Speaker 3 (14:13):
Know, growing up or something, right, art school, they went
to art.

Speaker 4 (14:16):
School or you know, they did their A levels, they
went to university, you know.

Speaker 2 (14:23):
Yeah.

Speaker 3 (14:23):
Story.

Speaker 2 (14:23):
Do you think they were industry plants?

Speaker 4 (14:26):
I don't know. I don't think so, because it seems like,
especially with boy George being such a club kid at
the time and being it seemed like he wanted to
get famous that he just kind of found people.

Speaker 2 (14:37):
Yeah, and everybody wanted to be in a band after
that whole the new wave explosion. So it's like, nah,
I got the look, let's go, let's go.

Speaker 4 (14:45):
The thing that I couldn't really find any information on
was like, did boy George sing before, because I mean
his voice is.

Speaker 3 (14:53):
Yeah, did he how did he get so good? Or
was he naturally good? Right? Yeah?

Speaker 4 (14:56):
Did he sing in chorus or something like that?

Speaker 3 (14:58):
You know, because I don't really I don't remember reading
anything about him anything in other bands, you know what
I'm saying, like already having some of those beginnings like
an industry planting.

Speaker 4 (15:08):
Gotten someone found him and they hooked him. Up. But
that's the whole thing, right, they met, they started playing together,
and then the traction began, and then all the lyrics
stem boy did. George wrote all the lyrics, and then
Hey wrote all the songs and music.

Speaker 3 (15:25):
Yeah. See the problem is that he was in love
with a man, and I don't think he considers himself gay, right,
and so John, Yeah, I mean because I think he's
having these you know, maybe he's writing the he's married
to He's married to a woman now now yeah, So
I mean I think it was it was a parod
in his time where he just he's feeling good.

Speaker 2 (15:45):
And I mean it's not the first time it happens.

Speaker 3 (15:48):
Yeah, And like I said, in the Philippines, Louis, it
was this very common that guys that were straight would have, right,
do you remember us, I'm sure so common. No, I
mean no, no. My point is it's open. It's out in
the open, like you know, like well, not like all
these not.

Speaker 2 (16:02):
Least in my circles. You would be shamed.

Speaker 3 (16:04):
It's no in the in just in the streets, you know,
like the neighbors, everybody's just kind of hanging out. There
will be some who just hang out and are crushing
hard on certain boys in the neighborhood, and it's out
on the open, like they're cool and they're kind of
flirting and stuff, and the guy is usually like kind
of stand offish and whatever about it. But sometimes it
becomes a relationship. I've seen it several times. So it's

(16:27):
kind of like the John Moss And that's why I
was relating it to that, because I saw that before.
You know, when people they're just attracted to one person,
the other ones sometimes kind of falls into.

Speaker 4 (16:37):
It too, you know, fluid attraction.

Speaker 2 (16:38):
I mean, I don't know, like I mean, if I
was a straight adult man and boy George was kind
of thing, they're like, you know what you look like
a girl, a really hot girl. I might give it
a shot, you know, I might give it a shot.

Speaker 4 (16:50):
Like they were like in their early twenties.

Speaker 2 (16:52):
Yeah, but you know, impressionable, experimental kind of phase of
my life.

Speaker 3 (16:56):
You spend a lot of time together alcohol, some drugs,
having fun.

Speaker 2 (17:00):
I might.

Speaker 4 (17:01):
I might go that John Moss was going to university
at the time.

Speaker 3 (17:03):
I think he left.

Speaker 4 (17:04):
He left, I mean, and then you meet you've never
been around the Blitz club scene or any scene, you know,
and then you finally meet somebody who just you think
is you're it's just like the most fantastic person.

Speaker 2 (17:15):
And you hang out with them all the time since
you have to make music with together and hang out
and like, I don't know, do business.

Speaker 3 (17:22):
Interestingly, Boy George tells the Sword and documentary that I
saw that eventually, like you know, their relationship starts to
crumble a little bit. Yeah, and uh, one of the
major points were that John Moss cheated on on Boy
George with a woman and like but he knew who
she was and you know, this was really mean all
this stuff. But anyway, Yeah, so it's it's like that
where he's maybe just just open, right, I mean, he's.

Speaker 2 (17:44):
Just yeah, and I guess, I mean it kind of sucks,
right because I don't know. I guess Boys was faithful
to him and he's just you know, like I'm a
comma chameleon. Baby, I don't know, I don't know what.

Speaker 4 (18:00):
You come and go, you come and go out, you know,
like you're my.

Speaker 2 (18:03):
Lover, not my rival. It's messed up. But I'm reading
the lyrics and putting in the context of the relationship, like.

Speaker 4 (18:09):
How could you go and do a press to her?
About this album when you know this song because it's directly.

Speaker 3 (18:16):
But at the time, right, there was a period of
time where they didn't it wasn't out obviously, like he
was trying to hide it so they wouldn't get those
types of questions. Yeah, right, but I'm sure and that's
that's the struggle and John Moss probably where it's like,
you know, do we.

Speaker 2 (18:28):
Probably got out?

Speaker 3 (18:29):
I don't want to, you know what I mean, it's like,
so what do you do?

Speaker 4 (18:31):
Really well, that's the thing is like what ended up
happening is boy George ended up singing in an interview
and saying that they were together or they Yeah, and
that was like a big like the whole band scared
that they were going to like tank because he came
out and he's like he said that they're in a relationship,
and it was like it was like a real scary
time for the band. They thought they were going to

(18:52):
lose everything, and then it didn't end up not happening.

Speaker 3 (18:55):
I didn't really affect.

Speaker 4 (18:56):
Yeah, did you ever watch the Behind the Music on?

Speaker 3 (18:59):
No?

Speaker 4 (19:01):
Yeah, I watched it. It's it's I remember watching it
back by Behind the Music days, you know. Yeah, and
then I watched it recently too, and they talk a
lot about that, you know, how ups and downs and
stuff like that. But it really focused a lot on
boy George and his struggles with heroin and then his
arrest and then imprisonment for actually imprisoning somebody, you know,

(19:24):
when he was you know, at his height of heroin addiction.
So yeah, he went to jail and stuff like that.
So it focused more on that than.

Speaker 3 (19:31):
I actual where he locked somebody up. You tied him up, handcuffs,
handcuffed him in the house. Yeah, I wouldn't let him leave. Wow.

Speaker 4 (19:39):
And then the person that this happened to said that
he like assaulted him with like a chain, like hit
him with a chain or something like that. But when
the testimony came out of Bojor said he went on
the stand and just told the truth and said that
I never did that. I didn't. I did lock him there, right,
and it was wrong with me, and I was on
like heroin's like a psycho from being high for so long,

(20:01):
being up for so long. And he apologized and and
you know said like I'm going to tell the truth
that I go to jail, like, so be it, but
I'm not gonna lie like this guy's line saying that I,
like I abused him at the time, I did, and
I just kept him there, which is bad too, you know.
But he said like he said that he was doing
stuff that he didn't do to him. And then yeah,

(20:22):
he went to jail for I think three or four months.
He got a sentence of twelve months or fourteen months,
but he got he got out like on good behavior
after like three or four months.

Speaker 2 (20:30):
He wasn't released by a couple of Soulful singers though, right.

Speaker 4 (20:33):
And that, I mean, the heroin addiction is what ended
up breaking up the band, right, that's right, I'm sure.
I mean, if there's two people in the band who
are fighting, that's terrible, you know, so, and then the
hero adiction on top of that, and then that was
a relationship relationships and that kind of is not a
joke too, and that kind of killed his career until

(20:55):
force worker Witker saved his life.

Speaker 2 (20:57):
He was the Scorpion and the frog, right or which
were was it?

Speaker 4 (21:00):
Who's the one thatttle bit submits? But yeah, that's uh
yeah until the Crying Game, which when that came back,
what year was crying ninety three?

Speaker 2 (21:09):
Ninety two? Three yeah, ninety three, I think.

Speaker 4 (21:11):
Okay, ninety three. What year was the eighties revival with
Duran Duran and New Order coming done? Oh, ninety three,
ninety three, so it was that was Ripe. We're like
in high school and we're like, wow, these eighties bands
that you were coming back with new records. It was
just like a weird right, But that the Crying Game
is like an amazing song.

Speaker 3 (21:32):
Jeez, but I didn't hear it. See, that's the thing.
I didn't hear from them for a very very long
time after that until like the festivals, and then.

Speaker 2 (21:39):
I mean you, yeah, you probably hear the greatest compilations
from Culture Club and that's basically.

Speaker 3 (21:43):
What you'll get. Yeah, and also they didn't really make
another album until twenty eighteen.

Speaker 2 (21:48):
But anyways, Okay, we'll be right back for some pop
quiz on Karma Chameleon. Okay, it's time with some pop
quiz hop pop all.

Speaker 4 (21:59):
Right, guys, So I couple questions first, multiple choice, and
then we're gonna do a true and false lightning round.
But here we go. Once it go first, I'll take
it all right, we go, Oh, this is pretty easy one.
I'll take the easy one. Culture Clever emerged from which
music scene in the early eighties A glam rock, B
punk rock, see new Wave, New Romantics, r D, Disco.

Speaker 2 (22:19):
Emerged, re emerged, new no emerged, Oh emerged.

Speaker 4 (22:23):
New wave new wave new Romantics. You are correct, you
got it your.

Speaker 2 (22:29):
Maybe punk maybe maybe if they were punkers at one point,
you know.

Speaker 4 (22:34):
I mean Ryan. What is the title of the Culture
Club's debut album in nineteen eighty two, A Colored by Numbers?
Be Kiss Me to Be Clever? C from Exile, r
D Walking up with the House on Fire?

Speaker 3 (22:46):
See I don't even know, but I think it's kiss
me one.

Speaker 4 (22:50):
Yes, you're right, kid, it is be Clever, kiss kissing,
kiss to be Clever?

Speaker 3 (22:55):
Yeah.

Speaker 4 (22:57):
All. Besides polcals, Boy George is also known for his
day drumming, B songwriting, c D, Jane r D. All
of the above.

Speaker 2 (23:07):
I think all of the above.

Speaker 4 (23:08):
You are correct.

Speaker 3 (23:09):
Yeah, he's a drummer.

Speaker 4 (23:10):
He's a drummer.

Speaker 3 (23:11):
Wow, crazy right, that's what he fell in love with
the drums, fall in.

Speaker 4 (23:15):
Love with the drummer. Okay, he bangs the drums. Here
we go. Boy George was born in London, England, but
which country was his mom and dad? Originally from A France, B,
New Zealand, C, Japan, R. D Ireland.

Speaker 3 (23:32):
It's Ireland, it's Ireland. Yeah, but this is not the
lightning round, right, we both do it? Yeah? Choose, I choose?

Speaker 4 (23:39):
Yeah, No, we go back and forth.

Speaker 2 (23:42):
This is part of the lightning round ready.

Speaker 3 (23:43):
No, no, I just haven't removed this bar, but lightning
round as we go back and forth. But the other
one is we're both answer right?

Speaker 4 (23:50):
Oh yeah, yeah, I'm sorry, Yeah, I gotcha. Which of
these religious themes names belonged to the band that George
fronted between nineteen eighty nine in nineteen ninety two, so
he fronted another band that had a religious theme name. Okay,

(24:11):
what is it? Jesus loves You? Get down with the lamas,
bowed down to the jabberwork are slackcloth and harsheish. Do
you know what religion he is?

Speaker 2 (24:23):
Theology is not my thing, but I will guess the
down to the Jabbrawaukee.

Speaker 4 (24:31):
Terry Gillianwaukee, I know the answer.

Speaker 3 (24:37):
Jesus loves Yes, you're right, homework.

Speaker 4 (24:40):
And I was trying to throw you off because I
think he's like a Harry Christiana.

Speaker 3 (24:42):
Now so is he really think?

Speaker 4 (24:44):
So?

Speaker 2 (24:44):
I thought it reflects on the make up.

Speaker 3 (24:46):
I guess.

Speaker 4 (24:48):
Okay, here's something we haven't talked about. In nineteen ninety five,
George was sued by Spear of Destiny's Kirk Brandon, one
of his fallow eighties performers, which brand him acute them
of a George had consumed Islama I'm sorry, aid? Is
Lama right? That George had stolen his clothes? That George
had kidnapped his children, or that George had falsely claimed

(25:11):
that they had a relationship.

Speaker 3 (25:13):
Oh, I don't know this one. Let's go with the
relationships drama.

Speaker 2 (25:20):
I think he's stolen.

Speaker 4 (25:21):
It's closed. Ryan, You're right, So he sued him. George Boy.
George said that he that they were Spear of Destiny.
It's like an eighties band that I've never heard of,
the kind of weird.

Speaker 3 (25:35):
So probably happened.

Speaker 2 (25:38):
Boys just like stealing random people, stealing their looks, stealing.

Speaker 3 (25:43):
Fairly, the become popular right.

Speaker 4 (25:47):
When asked about his sexuality, George once famously remarked that
he preferred which typical bridge thing then sex, A baseball,
b a cup of tea, see more dancing or d fox. Honey,
I'll go bet a cup of tea tea.

Speaker 3 (26:07):
That's that Fox hunting, right, Fox something sounds I'm gonna
go with the.

Speaker 4 (26:11):
B coup of tea. Yes, he said that he would
rather have a cup of tea than have sex for sex.

Speaker 2 (26:15):
Yeah, I can't imagine, even though you know he's very
sexual kind of guy, I just can't imagine him having
no just being in the act of anything sexual at all.

Speaker 3 (26:26):
Remember we talked about this with Robert Smith and The Cure, right, Like,
it's just so difficult a sexual you know, Yeah, they're
almost like a character, you know.

Speaker 2 (26:34):
Right, Yeah, I don't know. I mean, I'm sure other
people might view him differently, but I just can't see him.

Speaker 4 (26:39):
I mean, he's got that Morsey vibe too, where.

Speaker 2 (26:41):
You're a sexual.

Speaker 4 (26:43):
But I mean sometimes when I think like that, I'm like,
am I putting something on them? They have a thing
that women and girls are like, you know, swinging over them.

Speaker 3 (26:52):
You know, yeah, yeah, both sexes are, and then you know.

Speaker 4 (26:56):
So it's it is a wild thing. But I could
see him saying that because if you had a relationship
that caused so much drama, and it seems like almost
any time you do anything with somebody that you might
be in a relationship. It causes drama. So it's almost
like you're like, I'm done, it's just too much work,
you know, like I've been there. I'm guessing I don't know.

(27:16):
I'm not not to speak for him, but if he
says like I'd rather have a cup of tea, then
you know, have sex, it seems like it.

Speaker 3 (27:21):
Well, we probably have had those kinds of situations, you know,
where it's like, is it worth even trying because it's
gonna end up to you.

Speaker 4 (27:28):
It's gonna be a problem.

Speaker 2 (27:30):
Write a song about me.

Speaker 3 (27:34):
It's a camerail at steep some tea bags, not that kind.
But yes, all right, here we go.

Speaker 4 (27:42):
Since we were talking about comic chameleon, we're gonna do
a true or false light around on chameleons.

Speaker 3 (27:51):
Yes, we got to Kando on the Chameleons. Oh you
did you know those books? Right, those series of books.
It's so fa actual.

Speaker 4 (28:03):
Ryan, all right, chure false. Comelians change color to perfectly
match any background like a ninja.

Speaker 3 (28:11):
Let's go with true.

Speaker 4 (28:12):
That is false. They change color for communication, moon mating,
and dominance their temperature regulation, not just camouflage. And they
can't match any background perfectly, right, so.

Speaker 2 (28:23):
You can do that, right, Yeah.

Speaker 4 (28:26):
We should have studied without al. A comelian's tongue can
be longer than its bodychure false.

Speaker 2 (28:33):
No, that's false.

Speaker 4 (28:35):
It is true. Some species have tongues twice as long
as their body length and use it to slingshot to
catch prey.

Speaker 3 (28:43):
It's like a fruit roller.

Speaker 4 (28:44):
Yeah, Ryan. Chamelions have eyes that can move independently in
opposite directions. Sure false, This is true. Yes, they can
in two directions, scanning for food and predators. Right. All
chameleons live in warm climates. Sure or false?

Speaker 2 (29:00):
That is true?

Speaker 4 (29:01):
That is false. They live in diverse regions across Africa, Madagascar, Europe,
in Asia and various types of environments.

Speaker 3 (29:12):
You've never seen the Antarctic chameleon.

Speaker 2 (29:15):
I can't find them because I know they're white.

Speaker 4 (29:19):
You gotta fight ones that they come out of.

Speaker 2 (29:21):
The Dude, if you're an ice fight, it's over for you.
I can't see those chameleons in the frozen a.

Speaker 4 (29:27):
Nice flee, right, Comeleians eat only insects s u or false?

Speaker 3 (29:31):
This is spas and the similar. I think they're both.

Speaker 4 (29:34):
I mean, you gotta write it is false. Well, insects
are there staple. Larger species eat small birds and other lizards.

Speaker 3 (29:42):
Wow, that I didn't know. I was thinking plants.

Speaker 4 (29:44):
You got a tongue is twice as long as your body.

Speaker 3 (29:46):
Catch a bird in there, it's crazy staples.

Speaker 4 (29:52):
Birds all comments are silent creatures. They never make a
noise or fuse.

Speaker 2 (30:01):
That's true, anything about that only no comedian is the
band not?

Speaker 3 (30:09):
They don't. They do make it.

Speaker 2 (30:13):
They make My ex girlfriend had a pet communion, never
made really sound, never made a.

Speaker 3 (30:20):
Sound when he has a girlfriends like at least fifteen years.

Speaker 4 (30:23):
Yeah, exactly.

Speaker 2 (30:26):
A fucking sound.

Speaker 3 (30:27):
You learn nothing. I don't know.

Speaker 2 (30:28):
I learned nothing. Apparently everything I had to communits from
that thing. Well, do you know you know what the
name of the chameleon was? Karma? She named him Karma.

Speaker 3 (30:39):
You're barely bringing this up right now, experiences, So maybe
you should have.

Speaker 4 (30:44):
You should have threatened him. If you threaten a chameleon,
they hiss when they're threatened or in defense. You might
hear a scratching sound as they climb.

Speaker 2 (30:53):
Oh wait, wait, they make the sound though what they're scratching,
but they don't make it out of their mouths.

Speaker 4 (30:57):
Yeah, they're not completely islands because you know, when you
see them walking, they look like they're kind of going
slow like a saw. True, they're very deliberate, but they
do hiss.

Speaker 2 (31:06):
Yeah. I've never heard them hiss though, because I you know,
I love communions. They're so peaceful looking, and why would
I want to make it hiss.

Speaker 4 (31:13):
You don't love them that much. You don't know if
they should listen to them Somewhere you could have fed
on one of your birds.

Speaker 2 (31:19):
I fed those meal worms at the first time I
see meal worms was for those things.

Speaker 4 (31:24):
But anyway, okay, right here we go. A chameleon curls
up and goes limp when it's happy.

Speaker 3 (31:29):
To cuddle and sounds like I'm gonna go with the boss.

Speaker 4 (31:31):
That is the sign of the extreme stress and fear,
indicating that they feel threatened and its body starts to
shut down.

Speaker 2 (31:38):
They kind of go limbs busting possums.

Speaker 4 (31:42):
I mean, that's the last one. I'm sorry, but here's
a little fact for you guys. The word chameleon comes
from the Greek word meaning earth lion, earth.

Speaker 3 (31:52):
Lion, so the lean would be the lion.

Speaker 2 (31:55):
Yeah, can camomeal.

Speaker 3 (31:59):
Regards on the earth.

Speaker 2 (32:00):
So we'll be right back for the music. Video discussions
of Karma Chamelion. Let's talk about the music video for
Karma Chamelion. You are in eighteen seventy Mississippi.

Speaker 4 (32:13):
Sure, but it is actually filmed in England, which is crazy, right.

Speaker 5 (32:16):
Right they filmed it in uh well, it's it is
the same river, right, it's from that channel, the Mercy River,
but it was filmed in Desborough Island in Weybridge and
right now, currently that island is a nature sanctuary and
also has a water treatment factory in the same block

(32:38):
of land.

Speaker 2 (32:39):
But if you check it out on trip Advisor, which
I did, so nice beautiful, diverse birds, all sorts of
finches in Paris, but really some cranes in there as well.
It's crazy, Like I had no idea that this Mississippi
analog is that pretty close. It's probably known as humid
as the Mississippi River, right, but anyway, starts talking eighteen

(33:04):
it's a nature sanctuary, but most, I guess most of
the pictures that I saw from trip Advisor were beautiful birds.
So if you're a bird enthusiast or you just love
to walk your dog, like Ryan here, that's the place
to go, right, that's the place to be. But yeah,
we started off, you know, we got so this is
this is very distinguished gentleman walking around wearing his interview
with the vampireless. Yeah, this is like when the starts

(33:28):
picking off as his victim right in Mississippi and dump
them the river or something afterwards.

Speaker 3 (33:33):
Nobody's clough the same.

Speaker 2 (33:37):
The river probably flows through it to Gas, yeah for sure.
So so yeah, like he's going around stealing trinkets and
jewelry from the various women, Like it looks like they're
they're very dignified, maybe elite.

Speaker 3 (33:52):
They have money, money right to have jewelry like that,
And just like I also have the you know, this
kind of lifestyle right to be going.

Speaker 4 (34:01):
On a on one of those like steamboats.

Speaker 2 (34:04):
Have you guys ever been on a steamboat.

Speaker 4 (34:05):
On a Disneyland?

Speaker 2 (34:06):
Disneyland nothing is run by steam, It's like on a track, right,
But I've always.

Speaker 4 (34:16):
Loved that that that whole, like the way.

Speaker 2 (34:19):
They talk parts of the Caribbean way.

Speaker 4 (34:21):
No, what is it like like Tom Sawyer and Huckleberry
Finn and you know, you know, hey, I'm a filling
to paint this fan, you know, you know. And then
also the way Mark Twain talks you know, it's just
like that whole it's not it's not the same time,
but it's.

Speaker 2 (34:38):
Like lie not the fantel Land.

Speaker 4 (34:41):
It's that kind of speak, like a southern lawyer almost right.

Speaker 3 (34:43):
I love that they have a colorful terms leg horn
have certain like sayings.

Speaker 4 (34:49):
It's like weird like euphanism.

Speaker 2 (34:51):
Yeah, like talking about well dogs and.

Speaker 3 (34:53):
Cats, which kind of still exists today, but it's very
rare in that city.

Speaker 2 (34:58):
In steam culture, I'm sure it's all over if you
hang on in Disneyland and that'll steamboat there, right, they
probably they probably talk like that.

Speaker 3 (35:06):
Step culture, culture club.

Speaker 2 (35:09):
You know, a lot of culture going on here. So
so yeah, like this guy's just like picking off all
these jewelries. Well, you know, all the people are enamored
by boy George's let the rebuttery tone while they're like
before they're get to board.

Speaker 3 (35:22):
The right, I think that's what it is, right, entertainment
before they they depart.

Speaker 4 (35:27):
But then they get on and he continues. But he
gets caught, right, yeah.

Speaker 2 (35:31):
Not yet and I have because they're still paying the
poker game. That's where he gets caught.

Speaker 3 (35:35):
It's almost like a little bit, right, a little bit
of a sting happening or they're kind of setting them up,
and I think they.

Speaker 2 (35:40):
Were really unaware that he was robbing these people once
they get on the boat. But you know, a lot
of pleasantries happen. You get the band members right mixed
along with the crowd, all in costume of eighteen seventies Mississippi,
you know, post Civil War, you know, Abe Lincoln's in
the grave around this time, already reconstruction Areaconstruction era reparations.
You know, the Wild West was about to boom down west, right,

(36:03):
so you know, like but right now steamboat culture right
here strong and uh in Surrey.

Speaker 4 (36:09):
England is a changing time.

Speaker 2 (36:12):
Yeah, times be changing. Bob Dylan's right there playing the harmonica, which,
by the way, apparently yeah, we also get a glimpse
of a harmonica player, but he's not really the.

Speaker 3 (36:22):
Music and the other videos he's also it is the
same guy too, right, harmonica player George playing it's boy George. Yeah,
but in the other ones it's different kinds. Yeah, I
asked with his question if he does.

Speaker 4 (36:34):
Yeah, on the record, boy George doesn't play the monica
they have.

Speaker 2 (36:37):
Yeah, that is an actual, you know, harmonica play player,
because yeah, I don't think I mean that that's some
good harmonica in playing.

Speaker 4 (36:43):
But then we saw the them practicing live and boy
George played the harmonica during their practice.

Speaker 2 (36:49):
Sets about melodic but yeah, yeah cool, Like can you
play harmonica any of this table horribly?

Speaker 3 (36:58):
Yeah, but I can't. I can't come up anything.

Speaker 2 (37:00):
I could play nothing, borrow my lungs. I can't do it.

Speaker 4 (37:03):
Nothing involving your lucky as.

Speaker 2 (37:05):
Far as like blowing on something, I can't do it.

Speaker 4 (37:07):
So you can't play the lung flute.

Speaker 2 (37:10):
The lung guitar, the lung keyboards.

Speaker 4 (37:14):
I've owned a couple of harmonicas, and I can play
a couple of songs.

Speaker 3 (37:17):
Yeah.

Speaker 4 (37:17):
Yeah, it's actually pretty easy to get used to yeah
without being I know, I usually piss everybody off, and
that's for some reason. The harmonica disappears at the time.
Because I'll play like I'll play like Love Me Do
by the Beatles. I'll play I'm the Face by the Who,

(37:38):
and it's pretty easy to kind of get used to it.
You kind of get the notes pretty easy. But I'll
play like Love Me Do over and over again because
it's just like such an easy song to play, and
it just sounds so good and you can kind of
like play with it while you're playing it. Whoever I'm
dating at the time is with the hammer and throws

(37:59):
it down Mississippi River. I'll never find it again. I
even have one of those like Bob Dylan microphone holders.

Speaker 2 (38:05):
Like you play well, are you playing guitars?

Speaker 4 (38:08):
Guitar?

Speaker 2 (38:09):
Oh?

Speaker 4 (38:10):
I played like an acoustics at one time.

Speaker 2 (38:12):
These women know that what a catch they had, right right? Yeah,
if I had, if I had, if I'm doing someone
that they could do that, I'll be like, amazing, amazing,
right right, I was here playing left me all well,
maybe if I grind on me the sex matter be
fucking good or something.

Speaker 4 (38:29):
Oh it's not very good.

Speaker 2 (38:31):
Makes me want to write a song cale like you're
so thick. But yeah, so you know the guys just
stealing away, grifting away all these all these little trinkets,
from these these little valuables.

Speaker 3 (38:43):
Where is he keeping it? Right? I mean?

Speaker 2 (38:45):
And is dignified top hat? Maybe?

Speaker 4 (38:49):
I mean, if you're a professional grift, you have a
grifter's coat with a lot of pocket. Maybe you have
a you know, like a little like a tardist bag
and you're her boot. You know, the heat comes down,
you have a little storage container right there. If you're
a professional grifter.

Speaker 2 (39:05):
Very quipped, right, you have to be so yeah, you
got this grifter elite right.

Speaker 4 (39:09):
I have a feeling if I was born around that time,
I'd probably be a grifter. I mean it seems like
the best thing to do.

Speaker 3 (39:15):
It's a scene i'd get into because I definitely wouldn't
be rich nor have any money.

Speaker 4 (39:19):
I would not be rich. I don't have a I.

Speaker 3 (39:20):
Don't think I want to work in the fields or
anywhere else. I'll be baking anything or plowing.

Speaker 2 (39:26):
I would will be working the railroad.

Speaker 3 (39:28):
Yeah, I'll grit the people on the rails.

Speaker 2 (39:31):
I would do something. I would be in the shovels
in the gold rush.

Speaker 4 (39:35):
I would have someone make me a fake law degree,
and i'd be pre basically all.

Speaker 2 (39:39):
We need to spare suspenders.

Speaker 3 (39:41):
Like and all that. Didn't you wear the suspenders yesterday?

Speaker 4 (39:47):
I'd be tricky like what like.

Speaker 2 (39:49):
Just find some bride and try to get the deed
over land.

Speaker 4 (39:52):
Like Tom Sawyer Huckbery Finn. I'd be like tricking somebody
to paint the fence for me. I would be the
griftiest grifter and all of Griffisville Griffippy. I'd be telling
people like plots I don't own.

Speaker 3 (40:07):
And bridges like a bunch of deeds.

Speaker 4 (40:09):
Yeah, exactly, I'd probably become president one day.

Speaker 2 (40:12):
He starts the president just totally butterfly effects. The whole
American culture.

Speaker 4 (40:16):
Probably would have been like the twentieth president or something
like that, and that's it.

Speaker 2 (40:19):
You're the only president. Someone can still keep you alive.
In the twenty first century.

Speaker 4 (40:24):
I probably would have gotten assassinated in like three weeks,
but I would have been president for a little bit time.
Maybe died of consumption or something.

Speaker 2 (40:31):
Oh yeah, I'm just still running rampant.

Speaker 4 (40:34):
That one of those little blankets, and I'd be telling
my speeches and then someone would get on.

Speaker 3 (40:39):
He'd be conceited, didn't that was his name.

Speaker 2 (40:41):
And Theodore Roosevelt gets shot while giving a speech and
he still went on with the speech. Yeah, yeah, until like,
oh get him.

Speaker 4 (40:47):
Yeah, he's hard corelling though. I'd be on the back.
I'd be on the back of a train doing a
speech too, like my constituous.

Speaker 2 (40:53):
Yeah, so it's safe to say Louis would beat his grifter, right.
He'd be one of the Yeah, if we we t
MBR podcast shot we created this movie.

Speaker 4 (41:02):
It would probably be me and Ran busting grips and
I could see I have to bust like a little.

Speaker 2 (41:09):
I'd be like boy geors like a saying like a
mermaid on a rock or something, a siren siren. Right,
but yeah, you know is looking good looking, colorful? This
is colorful as all these people.

Speaker 4 (41:21):
He looks great. It's crazy. He aged amazing too, Like
he still looks great today. I was like, whoa, yeah, yeah,
and you.

Speaker 2 (41:28):
Know he has this grizzled look with a beard. He
still pulls it off great, just slight makeup and like
it's wow, you know, and it's.

Speaker 4 (41:35):
Wild when you like now and there's like the documentaries
that we watch when you see him without makeup, he
just throws on like a baseball cap. You can't even
tell these boy georgs. She just looks like like, I mean,
a good looking dude, but like you know, an older
good looking dude walking around with like you know, sweats
on or something.

Speaker 3 (41:51):
You know, but he has he.

Speaker 2 (41:53):
Has a backpack stealing your ear ins in the street. Right. Well,
he didn't decline much like like Pete Burns did in
a in a weird physical way.

Speaker 3 (42:04):
Yeah, he didn't offer for that. Huh. He aged gracefully?

Speaker 2 (42:07):
Yeah, yeah, And I mean, I don't know, I guess
you guess you still got to be somewhat generically be
gifted to age gracefully, because you could be as clean
as you want, but we can still age horribly.

Speaker 4 (42:18):
I'm sure he has a lot of He was always
pretty financially stable because oh yeah, their music catalog is
it's been playing NonStop since.

Speaker 2 (42:27):
Oh yeah, like a serious XM. You know, they probably
plays his music. Probably makes like a few thousand dollars.

Speaker 3 (42:33):
A day just him alone. I mean, you know, all
his solo work, right, and I'm sure he gets a
lot of gigs just him.

Speaker 2 (42:39):
Back DJing, you know, probably gets like twenty grand I
think your recession.

Speaker 3 (42:43):
He was pretty uh stable throughout those you know, nineties
and two thousands.

Speaker 4 (42:47):
Yeah, he lives in the same like beautiful, like almost
castle like home that he bought in the eighties when
he was at the height of his fame, you know.

Speaker 2 (42:55):
And he could just sell that house and you know,
get a good a cool what nine mil out of it?

Speaker 3 (43:01):
I was on the market estimating you got your red
fin eyes On.

Speaker 2 (43:09):
Says it's nine mil, cool mil.

Speaker 3 (43:13):
Icy with a little little smoking.

Speaker 4 (43:17):
So they start playing cards. He's playing cards with the band.

Speaker 2 (43:21):
He's playing he's playing poker with band members, just a
red a few, just.

Speaker 3 (43:24):
The three, just three band members. But George's outside, he's.

Speaker 2 (43:27):
Like peering through the window playing.

Speaker 4 (43:30):
And then he gets like a royal flush and then
they're like, wait a minute, this guy, he's winning too much.

Speaker 2 (43:38):
Yeah, and and the the ladies suits are discovering their trinkets.
Their ears are.

Speaker 3 (43:42):
Kind of like looking and feeling.

Speaker 2 (43:45):
Much like the music video for B Movies.

Speaker 3 (43:48):
That's what made me think about it. Just problem nels.

Speaker 2 (43:54):
But yeah, so everyone discovers and then they somehow figured
out it was in and he.

Speaker 4 (43:58):
Has like cards are ups in his pocket when they
like right right, yeah, off of them. I mean he
should have had better rifter pockets, like clothes like that
would close, right, I mean they all fell out of
the pockets.

Speaker 3 (44:13):
It's cartoonist.

Speaker 2 (44:14):
I think that's like the Bane of the Grifter was
like when you found out all your pockets just get weakened. Yeah,
they just got compromised. All the treasure stolen just comes out.

Speaker 4 (44:26):
As a grifter, I would have not got on the boat.
I would have got you know the little jewel I
got while boys was singing on the shore.

Speaker 3 (44:35):
He pushed, That's what happens.

Speaker 2 (44:38):
And that thing he has no escape, you know, dinghy
or anything, if he had escape raft or something on
the side there and paddled away. So off to the
brig right, and.

Speaker 4 (44:51):
What are you gonna You're not gonna come with You're
not gonna jump in the water to get away. It's
full of gators, you know.

Speaker 3 (44:56):
Waiting for you. Yeah.

Speaker 2 (44:58):
Well, if it's in England, it's full of benches and crane,
so he'll be safe. But he falls into water, and like,
you know, to me, like I was put myself in
a situation when some falls into water, how I would
react because as someone who can't swim.

Speaker 3 (45:11):
No plan, Oh yeah, make it walk the plank.

Speaker 2 (45:16):
But but he's still water. So like if that was
me who fell in the water, I'm dead. I'm fucking
dead because I can't. But the fact that like they
still caught him on film, like you know, okay, I'll
get you. He's like swinging his space at him and
like that's hilarious to me.

Speaker 3 (45:33):
Culture Club, like that shaking.

Speaker 4 (45:35):
His face, that's so funny. You drowned. But the water
like six feks tall. It's not even that.

Speaker 2 (45:41):
I don't know how deep though that river is in
the River Thames, but.

Speaker 4 (45:46):
It's like Disneyland.

Speaker 2 (45:48):
It probably is, right, was full of algae. I'll probably
die of whatever the Church of the Poison waters all
the germs in the water is then't actually drowning.

Speaker 4 (45:59):
Yeah, you would probably like die of what like Simon
the Bond died of and the Wild Boys video that
he drinks the water from that rag so gross.

Speaker 2 (46:10):
And then in the end everybody celebrates.

Speaker 3 (46:12):
Right do they get their stuff back?

Speaker 2 (46:14):
Well, all the coins has fell on the floor.

Speaker 4 (46:16):
I'd imagine when he walks up, like he doesn't have
his jacket on anymore.

Speaker 3 (46:20):
I think his jacket away.

Speaker 2 (46:22):
Yeah, he was wearing that nice you know, like the
ruffled shirt that I always treasured in my vampire, my
goth vampire.

Speaker 3 (46:28):
You know, I don't see ruffles shirts the Thrift Stars anymore.
It's long and their backman is so much.

Speaker 2 (46:33):
Yeah, I think they ever bought them, and they're like
museums costumes, three company revivals. But yeah, in the end,
everyone's celebrating, and then the camera pans out and the
name of the steam boat.

Speaker 4 (46:47):
Is the chameleon, Yeah yeah, and end scene. So the
song is really about John Moss, right, yeah, yeah, how
boy doors percept of his relationship with John Moss, how
he's a comelean and he would go back and forth.
He loves him, but then he's straight and gay.

Speaker 3 (47:09):
But also not showing his true self to the public
because they're so popular at the time, but he didn't
feel comfortable.

Speaker 4 (47:15):
Is it about John? Is about him?

Speaker 3 (47:17):
I would imagine. Yeah, it deals with both of them
and what's really happening and with I mean that's his outlet. Yeah.

Speaker 4 (47:24):
Like the lyric I really like, is the love would
be easy if your colors were like my dream? Like,
that's such a beautiful lyric. Yeah, it's catchy. Yeah, it's
really really cool.

Speaker 2 (47:35):
Red Golden green and then.

Speaker 4 (47:38):
The red Golden Green he said, is.

Speaker 3 (47:41):
Which is a big influence in their band.

Speaker 4 (47:43):
Yeah, which is really cool. I never I would That's.

Speaker 3 (47:46):
What I'm saying. We didn't really weren't familiar as like,
you know, they have a lot of influence like dub right,
like Restafarian reggae, and I didn't. I wasn't familiar with
that genre for you know, until last twenty years.

Speaker 4 (47:58):
So he's a good lyric writer.

Speaker 3 (48:00):
His lyrics, it's also his delivery too, right, the way
he sings things.

Speaker 2 (48:04):
Well, when he's inspired, he's like dead on. He could
he could communicate the you know, some good poetry for
you you know when when he when he has a
when he has a life crisis. Yeah, I mean brings
out the best of us creatively.

Speaker 3 (48:19):
That's that's where the best art comes from, I guess, right,
like that, those kinds of pains and experiences. That's why
when I when I hear like young you know, like
late teens or I'm just being a hater, but like
early twenties and they're writing about these relationships and the
and like these right you think you know, all right,
it almost kind of like you cringe. But that's that's
what they What can I do? Right? And the reason

(48:42):
why is because it's so good. I'm so impressed. It's
like like where where did that come from? Is it's
a mystery to mean like when but I can Yeah.

Speaker 2 (48:49):
But when you think about it, like incurs Roy's lyrics
for he was he was like in his early twenties.

Speaker 3 (48:55):
Damn man, Well that's a different thing because I think
he's got some real maybe like depression or not, you know,
some deep seated issues that it's not being kind of
talked through. Yeah, these kids, right, these like spoiled kids
have access to cool you know, programs on their computer
and they're making this amazing music and it's like you know,

(49:17):
ageah being an old man haters. All right, it's impressive.
But at the same time, like, wow, where are they
getting that from? Because we never really you know, I mean,
it took us so long to even get to those levels,
you know, after all the experiences of life.

Speaker 4 (49:29):
Well, I think I could say because we laugh more.

Speaker 2 (49:32):
That's why.

Speaker 3 (49:33):
That's true. We are pretty yeah.

Speaker 4 (49:36):
Cru And it's also to your like nowadays, I think
you're taught to embrace your feelings, where back then it
was kind of like you really don't you know, yeah,
you suppress them.

Speaker 3 (49:49):
That's true. That's a good point, you know.

Speaker 4 (49:50):
I mean, if I had YouTube in nineteen ninety three four,
I mean, it'd probably be terrible. But I kind of
I can't even imagine putting stuff that I wrote back
then some content hell memory. So I also even when
it is kind of like either cringey or I'm like,
well that's that's interesting lyrics, I'm like still like, Wow,

(50:12):
you're brave enough to put it out there. That's pretty cool.
You know, give you problems for that.

Speaker 2 (50:15):
That's how I'll cope with it.

Speaker 4 (50:16):
I'm good for you, man. You know that's pretty hardcore.

Speaker 2 (50:21):
I used to like like one hundred percent. Yeah, I
released that ship. And then I'm like a.

Speaker 4 (50:27):
Stop stop talking for your computer.

Speaker 2 (50:30):
You tell me, I'm got my space shut down, because
holy shit, it's there somewhere there, there's somewhere to.

Speaker 4 (50:36):
Ether like turn off the modem.

Speaker 3 (50:41):
And you know, and to think he wrote those lyrics,
they're probably in their early twenties at that time, right, Yeah,
like twenties, you're really young too, you know what I mean.
But it reached a lot of people, right.

Speaker 2 (50:51):
And that's the thing, though, is that they're more that
was your You hung up with these people all the time.

Speaker 3 (50:56):
That was that was your world.

Speaker 2 (50:57):
That was your world. So like, I don't know what
his home life was outside of music or being in
a band or the blitz the Blitz club scene, but
you know that consumed enough of his time that you know,
you can come up with these and then bring it
up with the main part is just bringing it out
to the world, right And the having it. The entire
planet knows this song. It's crazy. It's crazy in the

(51:18):
you know, in the eighties where the song just took over.

Speaker 4 (51:22):
Do you think that it could also be from growing
up in like England and like reading different things than
we read here, you know, going to you know, primary
school or you know, stuff like that. It's just like
a different focus on what you how you learn or
what you learn, so, you know, reading a lot of
like old historical things, right, what's taught? Yeah, what's taught there?

(51:44):
And then also connecting him connecting with like the Blitz
club kids and all that stuff like that, and they're
already kind of like deep set in like Germany and
like ba House movement and all these different arts scenes
from back in the time, and then he gets into
it and starts reading that kind of stuff. So by
the time he's twenty, he's read all these things were.

Speaker 2 (52:04):
I mean, quality of education was probably better, you.

Speaker 4 (52:06):
Know what i mean. But it's just like you get
to either the people who you're surround yourself with kind
of bring you up too, you know, so you sharp
and yeah, exactly, So he's just kind of by the
time he's twenty two, he's already read all these different things.

Speaker 2 (52:19):
And it's find how midyere right, yeah, exactly.

Speaker 3 (52:22):
Yeah, it's like you you get inspired by other people,
like you know about that, and then you Yeah.

Speaker 2 (52:26):
It's even strange.

Speaker 3 (52:27):
It's just these cultures, right, these microcultures that kind of
start off from hanging out. You meet somebody at a
club or a show, and I'm sure there's hangout parties,
there's tons of those, and you start talking about literature,
write art, artists, music, and then that's it's it's really
nice and you feel really good and you want to
do it yourself.

Speaker 4 (52:46):
So yeah, you're right, especially when you're so young and
your brain is developing, you're just sponging air with all
that stuff up now. I like to read something that
I forget it like the next week, because because.

Speaker 3 (52:55):
There's too much information.

Speaker 2 (52:56):
Yeah, we brain ride ourselves by doing way. It's yeah,
like I hate it when I catch myself, I'm like,
you should be doing.

Speaker 3 (53:04):
It's almost as hard to it feels pretentious trying to
be deep because you know, like I'm not well read
enough or you know what I'm saying. I didn't sure
I watched the YouTube video on this or a history
of that or you know what I'm saying. But it
wasn't really like a curriculum where it was taught and
I had to study it.

Speaker 2 (53:18):
You write about it wasn't an organic thing.

Speaker 3 (53:20):
Yeah, exactly, so it was an algorithm.

Speaker 4 (53:22):
You don't know it to its bones, you just kind
of know.

Speaker 3 (53:25):
So you bring a good point about how education really
plays a role in how the music, you know, carried
all of these like really meaningful kind of like you know,
just lyric writing and just the art of it and
the art behind it. Yeah.

Speaker 4 (53:37):
Absolutely, Yeah, that's wild. Got to read more.

Speaker 3 (53:41):
You know, when you meet people at playing parties, right
and you talk like, oh, man, like you know, that's well,
that person is very impressive, very impressive. That's cool, especially
nowadays if you meet somebody like that, because it's like
they're really interesting.

Speaker 2 (53:52):
Thing is, though, it's like at this point in time
in our lives, like at least for me, it's like
if I meet someone fascinating a party, I'll probably forget
about them. But when you're younger, you want to pursue
that person a little more, right, necessarily like attractive to them,
but just like you know, want to hang out with
them more.

Speaker 4 (54:07):
Things like that.

Speaker 3 (54:08):
But there's something exciting about it.

Speaker 2 (54:09):
Yeah, because it's it's something I don't know. It's like
a master yeah yeah, yeah.

Speaker 4 (54:13):
And it's also like you're gonna you meet that person,
or you meet somebody. You might not see them again,
but whatever they did tell you about or talk about,
you're like, you remember that, and you go to the
library and pick up that book or Barnes and Noble
or wherever you're going I mean now Amazon, but back then,
you know you actually have to pursue it, and when
you get it, you're like, fuck, I did so much

(54:34):
work to get this thing. I better read it because
it also cost me twenty bucks, you know, so you're
gonna put the work in now. Like it's like, oh,
let me ordered Amazon. They drop it off of my
house and it's just on my counter. I never read it,
you know, it's just there, you know. So it's like
it's also like a different kind of time when you're
when you get older and you have money to kind

(54:54):
of like order it.

Speaker 3 (54:55):
And you're hungry. Yeah.

Speaker 2 (54:56):
Yeah, it's not a special when you can just get it.
The access so easy.

Speaker 4 (55:00):
Yeah.

Speaker 2 (55:01):
Reminds me of that quote, was it that My angela quote
about you can forget a person, but they'll know you'll
never forget how they made you feel. Something like that.
It's not the exact quote, but it's to that.

Speaker 3 (55:10):
To that.

Speaker 2 (55:14):
Future future friend of the podcast Mariah Carey.

Speaker 4 (55:16):
Right, No, it's just amazing there. You know. His lyrics
are just.

Speaker 2 (55:20):
It's pure at that age, right, I mean, it's it's
not even that it's a poetically deep or abstract. It's
plain and simple.

Speaker 4 (55:27):
It is been in there. I think that's the beauty
of it. It's like so plain and simple and like
how dumb you feel when you finally learn about them.
You're like, oh, wait, that's what it's about.

Speaker 3 (55:37):
Light bulb turns. I just did.

Speaker 2 (55:39):
Yeah, like as a kid, I just you know, I
was so I don't know the words, distracted by just
the whole culture club, you know, boy George appear like
appearance or the way he looked that I can't even
pay attention to the lyrics. I don't know that that
was That's an issue with me, not not with culture, I.

Speaker 4 (55:56):
Mean also to me. I mean also to at the
time when they were big, you're what eight years old,
you know, and then by the time they were you
found their their music, you were already taking in a
hundred other bands at the same time. Yeah, so it's
like no, yeah.

Speaker 2 (56:10):
It's hard to you know. It was already like sorry
fall out Duel, freaking Phil Collins was everywhere. Oh my god,
your vanilla eyes was creeping around the corner. And then
and then I got the whole metal scene that's about
to like jump me from behind you go, So like, yeah,

(56:30):
I was, I was. I wasn't ready for what was
gonna tell them.

Speaker 4 (56:33):
At that time. You're just like, hmmm, two steps forward
and two steps opposite. Rhyme you made it rhyme duel.
You're a genius. Em scat Cat, Oh we should do that.
Mc scatpads one of my my favorite rappers. I don't

(56:55):
know if you know that about me.

Speaker 2 (56:57):
Didn't you pull emcy Scatcat when you open those cards?

Speaker 3 (57:02):
Gangster?

Speaker 2 (57:03):
So I guess that can plays the music, video, discussion
and movie. Right back for some notable YouTube comment. All right,
for some notable YouTube comments or karma chamellion.

Speaker 4 (57:20):
All right, here we go. This is English cafe club
from five years.

Speaker 2 (57:23):
Ago, Blue Cafe.

Speaker 4 (57:25):
My mom was walking her dog beside the River Away
Bridge when she heard music in the distance from a
boat came past with Georgian company, mimicking and dancing while
filming it. She still remembers this at age ninety six.

Speaker 2 (57:37):
Wow, so she got to see.

Speaker 3 (57:38):
You saw they recorded the film because it was happening.
It's probably bird watching hu that she put.

Speaker 2 (57:46):
That's cool, that's so cool.

Speaker 3 (57:49):
So she was about look around fifty around that time. Oh,
dang right, that's cool.

Speaker 4 (57:53):
That's pretty cool, right, just walking her dog. Here we
go and Ogie Gaya from six years ago, only en
George and Boy George's imagination. Could there be an interracial
dance parties on a steep boat in eighteen seventies Mississippi?
It is a wild video. And there we go the
last one. This is from Apostle Writers from five five

(58:15):
minutes ago.

Speaker 2 (58:16):
Five minutes ago. Yeah we're when we're filming this video.

Speaker 4 (58:21):
At Aristotle Rights from five minutes ago. Tell me why?
For years I thought this song was coma coma coma
coma coma Kamala and not Karma Camellia coma coma chameleon.

Speaker 2 (58:33):
Kamela like Camela, Kamala.

Speaker 4 (58:35):
Kamela like Kamela. Yeah, Kamala. I don't hear that at all.

Speaker 3 (58:41):
Right now Comma.

Speaker 2 (58:43):
I think we got a budgeting like a emerging stand
up comedian.

Speaker 3 (58:47):
Yeah, yeah, but definitely Comma. Right, I thought it was
common yeah coma yeah yeah, like a come or maybe
just a common I don't know really.

Speaker 4 (58:55):
Yeah, but there's a lot of really funny ones on
here if you go through them. But those are just
some of the ones that I grat that caught my
eye at the time.

Speaker 2 (59:01):
Okay, so Karma Chameleon. Guys, would you keep it or
would you throw it back?

Speaker 3 (59:09):
All right, gents, Well, you know it's really hard to
throw a video from Culture. I think they're very fun,
very influential, very positive. I think their music. I listened
to the whole album Colored by Numbers. There's some like
activist type music that that they sing about to that's
kind of interesting, you know, like like apartheid stuff. Yeah,
well yeah, definitely racial look some you know, justice and

(59:30):
as well as even like economic like helping people. It's
very it's fascinating, but it's it always has that edge
of party, but you know, at the same time, we're
trying to say something, but we want to like hook
you first, right, so you can kind of join the club,
the Culture club that is of course now, but seriously, no,
it's it's harder, it's it's good. I mean, you know
that you can't really say anything bad about the music

(59:51):
you've got boy George, and they're all great. Although, like
you know, we love the buy ins of the band Chara,
like the look they're characters in the video. But yeah,
that's okay for sure, there you go.

Speaker 4 (01:00:04):
Right, Oh yeah, I'm gonna keep this video. I like
all their videos. We didn't even talk about Peter Sinclair,
who was a director director of this video.

Speaker 3 (01:00:12):
Yes, that's right.

Speaker 2 (01:00:14):
He's directed a few friends recent friends of the podcast too, right.

Speaker 4 (01:00:17):
Yeah, what are some of the videos that he directed?

Speaker 2 (01:00:19):
This is Mercy videos? Crazy? He directed two of them.

Speaker 3 (01:00:23):
What a what a weird coincidence?

Speaker 2 (01:00:25):
Right after Yeah, nineteen fifty nine and Lucretia My Reflection,
our favorite cane sword wielding singer.

Speaker 4 (01:00:32):
Orchestral maneuvers of the dark, which will probably do one day,
Peter Shielding. I'm sure we'll do that video one day too,
Major Tom Major Tom. So he's done some pretty pretty
big videos of the of the eighties. He did something
for Inexcess Billy Idol. This is a mercy, like you said,
but yeah, you know, he's been a pretty madonna. He
worked as a cinematographer for Like a Virgin, Yeah, which

(01:00:54):
is a pretty big video too. Yeah.

Speaker 2 (01:00:56):
So he has some boting skills right with maritime. That's
how he got the roll.

Speaker 4 (01:01:03):
He's just in the boat film.

Speaker 3 (01:01:06):
He's like a rear admiral in the Royal Navy or.

Speaker 2 (01:01:08):
Something, especially in the film Journey Separate Ways too, right
by the docks of New Orleans. But he probably filmed
it in England.

Speaker 4 (01:01:18):
But yeah, yeah, this video is great. I love it.
I've always liked it. I always thought it was pretty cool,
like you know, like I said already with my you know,
wanting to be a grifter one.

Speaker 2 (01:01:26):
Days, had this grift fantasy this video.

Speaker 4 (01:01:30):
But yeah, yeah, to keep it for me.

Speaker 2 (01:01:32):
All right, And that's for me, much like the Grifter
and the Ocean. I'm throwing it back nuts. This is
This is a fun video. It's it gives you good vibes,
it hypes you up. Given though like the context of
the lyrics it's about insecurity, would love but the overall
vibe of this video, even though people are getting ripped off,

(01:01:54):
they got this street justice right, Steam Justice.

Speaker 4 (01:01:57):
River It's called River Justice.

Speaker 2 (01:01:59):
For Justice by Adventures to Buy You Billy.

Speaker 3 (01:02:02):
Or I never got good at the game.

Speaker 2 (01:02:06):
I never even played it. I was too poorto in
that game. But yeah, you know, kicked them off the steamboat.
But of course I'm keeping this video.

Speaker 4 (01:02:14):
It's it's in the vein of the classic I don't
know what the budget was on it, but it's like
one of those classic big budget eighties videos, like a
Duran Duran you know where it's like it's in his location.
It's a time period, you know. Yeah, it's always cool
when you get with those videos.

Speaker 2 (01:02:31):
But I wonder though, what the what the scripting was.
You know, it was like, let's do this in eighteen
seventies Mississippi.

Speaker 3 (01:02:38):
Well so specific. Yeah, they even have to put that.

Speaker 2 (01:02:40):
What are they trying to say, like this, I have
this script here of just ripping it off, just turn
to music video, Well, what's the film idea or something?

Speaker 4 (01:02:48):
Do you want to hurt me? Video is kind of
around the same time too, right, It seems like.

Speaker 2 (01:02:53):
Yeah, it jumps through different time here, I say earlier.
It was in nineteen three. Yeah, the Fountains Darren Aronofsky's
just in the thirties and all of a sudden he's
in the mid fifties.

Speaker 4 (01:03:03):
Yeah, so I'm.

Speaker 2 (01:03:04):
Saying boy George's Time Traveler.

Speaker 4 (01:03:06):
It's another time based time jump video which has like
minstrel themes to it along with like Caribbean themes and
kind of slavery kind of you know.

Speaker 2 (01:03:18):
It's like I think if you look closely too, you'll
find boy George and close across the moon by the
robin right somewhere in the back. He's way about in
the future. I don't know, it's just that was just
a phase of the Color by Numbers Arab Culture Club,
I'd imagine, right, is this the time Traveler?

Speaker 3 (01:03:36):
It was a theme, right, several.

Speaker 2 (01:03:38):
Time jumps, Like, I don't know, but yeah, it's it's
the cool video. It's it's definitely a what made MTV
so good or so memorable of that time? And everyone's
introduction to boy George, well either that or do you
really want to hurt me? But this was my introduction
to boy George was Karmacamelian, so it hells it holds
that very and then his face was everywhere in every
magazine that you can find.

Speaker 4 (01:03:59):
Right, huh oh, but who's next?

Speaker 2 (01:04:01):
I guess I'm next. I've been kind of juggling these
music videos in my head, and I think this for
this time, I'm gonna I'm gonna settle for Genesis's Mama
around the same time. Actually, he has culture clubs, We're
stuck in nineteen eighty three, nineteen eighty two. I think
Genesis Mama when Phil Collins took over the band, but
before his big boom in the in the in the

(01:04:24):
eight late eighties. I mean, okay, so.

Speaker 4 (01:04:26):
That's not that's the Genesis one. So that's not Phil
Collins with the with the Ronald Reagan.

Speaker 2 (01:04:32):
No, no, not yet, No, not Genesis with a little
more daring still.

Speaker 4 (01:04:36):
Yeah, yeah, that's the.

Speaker 2 (01:04:38):
Land of Confusion era Genesis.

Speaker 4 (01:04:40):
We'll get there. That's gonna be a horror movie.

Speaker 2 (01:04:44):
Yeah. That was so disturbing. But you know, in a
much more abstract sense, the song Mama is also a
very is This is disturbing, especially when you see that
the breakdown of the song. Have you guys heard that
you guys have not heard?

Speaker 3 (01:04:57):
Maybe, I guess maybe title the title.

Speaker 2 (01:04:59):
Okay, well, I'm not even going to show you the
music video. I'll just leave you guys to your own
selves to watch it and tell me what you think
when we meet up here in a few weeks. Okay.
Thank you for listening, guys, and we'll see you next time.

Speaker 1 (01:05:12):
Thank you for making it to the end of the show.
Please subscribe to us through your favorite podcast feed, and
if you have any comments, requests, or suggestions, hit us
up at Instagram at TMBR podcast. If you would like
to support our show, please rate us a five star
review on Apple Podcasts or buy us a coffee at
buy Me a Coffee dot com slash TMBR podcast.

Speaker 3 (01:05:32):
See you soon.

Speaker 4 (01:05:36):
Over the years, George has had a number of comebacks.
One came in nineteen ninety two with the film Release
which tear based song from a film with the same
name which stars Worst Witaker. What is the name of
this movie?

Speaker 3 (01:05:49):
Hey?

Speaker 4 (01:05:50):
The crying game be Crying in the chapel, Seek Crying
of the Wind or b George, don't cry? Whate is
it out?

Speaker 3 (01:05:59):
Crying ghost dog.

Speaker 2 (01:06:01):
The way of the crying.

Speaker 4 (01:06:04):
Crying. They're crying, You guys are correct.

Speaker 2 (01:06:09):
Cry Never watched Peppa Pig, of course, Yeah, the babies
and George and cries all the time. He cracks already cried.

Speaker 3 (01:06:21):
He