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This programme contains strong language. | 0:00:02 | 0:00:05 | |
With so many pop stars here, it's just like... It's like a sheep dip. | 0:00:05 | 0:00:08 | |
All right. | 0:00:08 | 0:00:09 | |
It's pretty weird, seeing as I don't know anybody and they don't know me. | 0:00:09 | 0:00:12 | |
This is nice, you know. | 0:00:15 | 0:00:16 | |
Haven't done this for a long while. | 0:00:16 | 0:00:17 | |
It's all right. A lot of memories come flooding back. | 0:00:17 | 0:00:20 | |
Being pushed out the way while people try and get to George. | 0:00:20 | 0:00:22 | |
And what is it that you've been nominated for today? | 0:00:22 | 0:00:25 | |
The Idle Award for doing nothing for the last 20 years. | 0:00:25 | 0:00:27 | |
HE LAUGHS | 0:00:27 | 0:00:29 | |
I-D-L-E. | 0:00:29 | 0:00:30 | |
In the 1980s, Culture Club's meteoric rise | 0:00:31 | 0:00:34 | |
made them one of the biggest bands in the world, | 0:00:34 | 0:00:36 | |
selling over 150 million records. | 0:00:36 | 0:00:39 | |
The songs and the band have stood the test of time | 0:00:39 | 0:00:41 | |
and are as relevant as they ever were. | 0:00:41 | 0:00:44 | |
Let's take a look at the guys in action. | 0:00:44 | 0:00:45 | |
CHEERING # Do you really want to hurt me? | 0:00:48 | 0:00:51 | |
-# Do you really... # -But during this time, | 0:00:51 | 0:00:54 | |
George and drummer Jon Moss were hiding something from the public. | 0:00:54 | 0:00:58 | |
I fell in love with him. | 0:00:58 | 0:01:00 | |
I fell in love with George. He happened to be a man. | 0:01:00 | 0:01:02 | |
And when their volatile relationship ended in 1986, | 0:01:02 | 0:01:05 | |
the band fell apart and George unravelled. | 0:01:05 | 0:01:08 | |
He literally went from nothing to heroin in about three weeks. | 0:01:08 | 0:01:12 | |
All previous attempts to reform the band have broken down, | 0:01:12 | 0:01:16 | |
but now, for the first time in 15 years, | 0:01:16 | 0:01:18 | |
they're planning to record an album and go on tour. | 0:01:18 | 0:01:21 | |
We've attempted to do it a few times | 0:01:23 | 0:01:25 | |
and I felt like it was our last chance if we were going to do it. | 0:01:25 | 0:01:28 | |
The thing with Culture that's interesting is that, | 0:01:28 | 0:01:30 | |
you know, us without George - nothing. | 0:01:30 | 0:01:32 | |
And I'm afraid, George, not as great without the band. | 0:01:32 | 0:01:35 | |
There's no Lady Gaga without Culture Club. | 0:01:37 | 0:01:39 | |
There wasn't even a Madonna without Culture Club. | 0:01:39 | 0:01:42 | |
We want to come back and reclaim our legacy. | 0:01:42 | 0:01:45 | |
It's our first big tour for about 15 years. | 0:01:45 | 0:01:47 | |
There's certain anxieties that come with that. | 0:01:48 | 0:01:51 | |
I followed the band over ten months | 0:01:51 | 0:01:53 | |
as they endeavoured to put old rivalries aside. | 0:01:53 | 0:01:56 | |
But for a band with such a volatile history, | 0:01:56 | 0:01:58 | |
how will they cope coming back together? | 0:01:58 | 0:02:00 | |
I know what I'm doing. I think there's the problem. | 0:02:01 | 0:02:04 | |
You know, what I want and what Roy, Jon and Mikey want | 0:02:04 | 0:02:06 | |
are entirely different things. | 0:02:06 | 0:02:08 | |
If that means that the rest of the band | 0:02:09 | 0:02:11 | |
think I'm being selfish and difficult, | 0:02:11 | 0:02:12 | |
that's just how it's going to be. | 0:02:12 | 0:02:14 | |
Well, it's really weird, you know. | 0:02:31 | 0:02:33 | |
We weren't mates before we started Culture Club. | 0:02:33 | 0:02:35 | |
We are a band in the very traditional sense of being a band. | 0:02:35 | 0:02:38 | |
You know, we came together to be a band. | 0:02:38 | 0:02:40 | |
Erm, you know, pushing aside the kind of... | 0:02:41 | 0:02:44 | |
sort of relationship things that happened, | 0:02:44 | 0:02:47 | |
we were a band. That's why we started. | 0:02:47 | 0:02:50 | |
So...our history with each other is about being a band. | 0:02:50 | 0:02:54 | |
I don't live here, so for me to come over is quite a big deal. | 0:02:58 | 0:03:01 | |
But to George it's like, "What are you doing that you can't come over?" | 0:03:01 | 0:03:04 | |
I'm like, "Well, I have a life." "Well, what is it?" | 0:03:04 | 0:03:06 | |
-I'm like, "It's my life!" -HE LAUGHS | 0:03:06 | 0:03:09 | |
So... | 0:03:09 | 0:03:11 | |
BUZZER RINGS | 0:03:13 | 0:03:15 | |
Hi, Royston. | 0:03:15 | 0:03:17 | |
Push. | 0:03:17 | 0:03:18 | |
-I didn't see you. You're wearing camouflage. -Yeah. | 0:03:20 | 0:03:22 | |
I'm ready for battle, | 0:03:23 | 0:03:25 | |
as I said earlier. THEY LAUGH | 0:03:25 | 0:03:27 | |
BUZZER | 0:03:28 | 0:03:30 | |
Oh, my God. If it isn't Mikey Craig! | 0:03:30 | 0:03:33 | |
Come in, push the gate. | 0:03:33 | 0:03:35 | |
-I was about to start... -How are you? | 0:03:35 | 0:03:37 | |
-Yeah, good. How are you? -Good. -Nice to see you. | 0:03:37 | 0:03:39 | |
Wrapping his own parcels these days. | 0:03:40 | 0:03:42 | |
Yeah, no. This is my Vitamix. You know what it is, Vitamix? | 0:03:42 | 0:03:45 | |
-I love my Vitamix. I live by my Vitamix. -This broke. | 0:03:45 | 0:03:48 | |
It spins so fast. | 0:03:48 | 0:03:49 | |
Soup setting, it actually sort of half cooks and makes a soup | 0:03:49 | 0:03:53 | |
when you put the things in there. | 0:03:53 | 0:03:54 | |
-Put Jon Moss in there, no problem. -Put Jon Moss in there. Yeah. | 0:03:54 | 0:03:57 | |
A Jon Moss smoothie. | 0:03:57 | 0:03:59 | |
Could he be any more smooth? | 0:04:01 | 0:04:03 | |
BUZZER | 0:04:03 | 0:04:05 | |
-How nice. -Oh, hello! -God. | 0:04:07 | 0:04:10 | |
Shut up! Hello, everyone. | 0:04:10 | 0:04:12 | |
Erm... Do you want to play it, Roy? | 0:04:13 | 0:04:16 | |
Getting Old. | 0:04:16 | 0:04:18 | |
HE PLAYS | 0:04:18 | 0:04:22 | |
# Getting old | 0:04:22 | 0:04:25 | |
# Getting old... # | 0:04:25 | 0:04:28 | |
'Myself and Roy are probably the main songwriters.' | 0:04:28 | 0:04:33 | |
So no, I mean, I think... | 0:04:33 | 0:04:34 | |
Roy might think he's in charge! HE LAUGHS | 0:04:34 | 0:04:37 | |
I might think I'm in charge too, but I don't think any of us are really. | 0:04:37 | 0:04:40 | |
Let's just move on and do something else anyway. | 0:04:40 | 0:04:43 | |
Remember that? | 0:04:43 | 0:04:44 | |
Just take the vibe of those early Destiny's Child records. | 0:04:44 | 0:04:47 | |
HE HUMS A RHYTHM | 0:04:47 | 0:04:49 | |
"Question - do-dee-doo-dee-doo about..." | 0:04:49 | 0:04:51 | |
But just the groove on that, I thought was really kind of cool. | 0:04:51 | 0:04:54 | |
-You know, that swinging thing. -Are you saying we're in RnB? | 0:04:54 | 0:04:57 | |
-You deny your soul voice? -Absolutely not. -OK. | 0:04:57 | 0:05:00 | |
-OK. -JON PLAYS GUITAR | 0:05:00 | 0:05:02 | |
That sounds like Neil Young to me now. | 0:05:04 | 0:05:06 | |
Don't start writing melodies. Please. | 0:05:10 | 0:05:12 | |
That's another drama! BOY GEORGE LAUGHS | 0:05:12 | 0:05:15 | |
-You could do like an artist thing about... -ROY SCATS | 0:05:15 | 0:05:18 | |
Yes. | 0:05:18 | 0:05:19 | |
-You know? -Don't, don't fucking do that! | 0:05:19 | 0:05:23 | |
So aggravating, man. No, no, no. I mean... | 0:05:23 | 0:05:25 | |
-No, we don't start writing things... -Well, why not? I'm a writer! | 0:05:25 | 0:05:28 | |
-Well, then write for someone else! -I'm writing with you! | 0:05:28 | 0:05:31 | |
You don't have a monopoly on melodies here. | 0:05:31 | 0:05:33 | |
We need to sort that out, | 0:05:33 | 0:05:34 | |
because I'm not singing other people's melodies, | 0:05:34 | 0:05:36 | |
-so either get over it, or... -George, we'll write together. | 0:05:36 | 0:05:40 | |
Yeah, I write melodies, you write the music. That's how it works. | 0:05:40 | 0:05:43 | |
Shout as loud as you like, it's not going to make a difference. | 0:05:43 | 0:05:46 | |
You do shout, actually, you raised your voice. | 0:05:46 | 0:05:48 | |
You raised your voice, no-one took suggestions, ever. | 0:05:48 | 0:05:50 | |
-Don't raise your voice to me like that. -I wasn't... -Well, you were... | 0:05:50 | 0:05:54 | |
I got excited about the music. | 0:05:54 | 0:05:56 | |
No, you got excited about trying to tell me what to do. | 0:05:56 | 0:05:59 | |
Not a good idea. | 0:05:59 | 0:06:01 | |
ROY PLAYS GUITAR | 0:06:01 | 0:06:02 | |
Doing a band, | 0:06:04 | 0:06:06 | |
it's so much more complicated than just being a solo artist. | 0:06:06 | 0:06:09 | |
'We were sent a poster yesterday for the tour and I was like, | 0:06:09 | 0:06:12 | |
' "I'll approve it" and you think,' | 0:06:12 | 0:06:13 | |
"Oh, I should show everyone else." But... | 0:06:13 | 0:06:16 | |
it gets really complicated. Democracy, it's a hard one. | 0:06:16 | 0:06:20 | |
Can we do this? | 0:06:20 | 0:06:21 | |
At the end, I have to do this thing where I say, | 0:06:21 | 0:06:24 | |
-"See you in December," so don't speak at the end, OK? -All right. | 0:06:24 | 0:06:26 | |
You need to go out for a minute so you're not in it. | 0:06:26 | 0:06:29 | |
Can you take that camera? | 0:06:29 | 0:06:30 | |
-No, no, don't go outside, you've got to be in it. -I'm back! -OK. | 0:06:30 | 0:06:34 | |
-Fucking hell. -Ah... | 0:06:34 | 0:06:36 | |
# Karma karma karma Karma karma chameleon | 0:06:38 | 0:06:42 | |
# You come and go...# | 0:06:42 | 0:06:44 | |
You... You have to say when you want us to come in, you see. | 0:06:44 | 0:06:47 | |
Right away, once he does his thing, then I'll come in and you... | 0:06:47 | 0:06:50 | |
ROY CLEARS HIS THROAT | 0:06:50 | 0:06:51 | |
One, two, three, four! | 0:06:51 | 0:06:54 | |
# Karma karma karma Karma karma chameleon | 0:06:54 | 0:06:58 | |
-ALL: -# You come and go | 0:06:58 | 0:07:00 | |
# You come and go | 0:07:00 | 0:07:03 | |
# Loving would be easy if your Colours were like my dream | 0:07:03 | 0:07:07 | |
# Red gold and green | 0:07:07 | 0:07:10 | |
# Red gold and green... # | 0:07:10 | 0:07:13 | |
See you in December. | 0:07:13 | 0:07:14 | |
-Hey, they won't notice. -Work here is done. | 0:07:16 | 0:07:19 | |
-Be quiet. Shut up, Jon. -No, I will not shut up. -Shut the fuck up, Jon. | 0:07:19 | 0:07:23 | |
-No. -Fucking hell. | 0:07:23 | 0:07:26 | |
ROY PLAYS GUITAR | 0:07:26 | 0:07:28 | |
Yes, it was OK, it was as I expected today, really. | 0:07:28 | 0:07:30 | |
George was intolerant, as usual. So am I, probably, so that's fine. | 0:07:30 | 0:07:34 | |
You know, nothing's changed really, so... | 0:07:34 | 0:07:36 | |
Well, I'm sorry, but he doesn't shut up, it's like fucking... | 0:07:36 | 0:07:39 | |
It's like an insane person. | 0:07:39 | 0:07:41 | |
ROY LAUGHS I'm finding it very difficult and that's just one day in. | 0:07:41 | 0:07:45 | |
I'm really, I've just had to spray chakra spray on myself... | 0:07:45 | 0:07:47 | |
I was like, "God, can you leave?" | 0:07:47 | 0:07:50 | |
BAND MEMBER LAUGHS | 0:07:50 | 0:07:52 | |
So, when you are you next meeting up? | 0:07:52 | 0:07:54 | |
It will be in Spain on Monday, or later. | 0:07:54 | 0:07:56 | |
-NEWSREADER: -Boy George doesn't like flying | 0:08:07 | 0:08:09 | |
and finds ways to amuse himself. | 0:08:09 | 0:08:11 | |
Hello there. | 0:08:11 | 0:08:12 | |
Melbourne Airport erupted in a frenzy as the pop idol arrived. | 0:08:12 | 0:08:16 | |
Hundreds of his teenage fans screamed, wept, | 0:08:16 | 0:08:19 | |
waved and yelled in an uncontrollable burst of emotion. | 0:08:19 | 0:08:22 | |
But for airport officials it meant security problems. | 0:08:23 | 0:08:26 | |
For the press and media, | 0:08:26 | 0:08:28 | |
some of those colourful comments that always make the headlines. | 0:08:28 | 0:08:31 | |
Do you ever feel trapped by your image? | 0:08:31 | 0:08:33 | |
No! REPORTER LAUGHS | 0:08:33 | 0:08:35 | |
The waiting Mercedes didn't whisk away the superstar. | 0:08:35 | 0:08:38 | |
Boy George had made a special request | 0:08:38 | 0:08:40 | |
to travel in a minibus as one of the band. | 0:08:40 | 0:08:43 | |
About 10,000 were jam-packed between the store's glass walls... | 0:08:46 | 0:08:49 | |
CROWD CHANTING DROWNS SPEECH | 0:08:49 | 0:08:52 | |
And their thrilled greeting showed | 0:08:52 | 0:08:54 | |
how much the club stopover was appreciated. | 0:08:54 | 0:08:56 | |
How embarrassing. | 0:09:01 | 0:09:02 | |
And you met Boy George too and said he was a really nice guy. | 0:09:02 | 0:09:05 | |
Very intelligent, very considerate fellow, actually. | 0:09:05 | 0:09:07 | |
-That's good. -Appearances aren't everything, are they? | 0:09:07 | 0:09:10 | |
Hi, we're in Grenada. | 0:09:17 | 0:09:19 | |
Granada. I can't believe you brought me to here. | 0:09:19 | 0:09:23 | |
Come in to mi casa. | 0:09:23 | 0:09:25 | |
Hello. | 0:09:25 | 0:09:27 | |
Do you want Reggie in here or do you want Jonny? | 0:09:27 | 0:09:30 | |
No! Are you crazy? I don't want Jonny anywhere near me. | 0:09:30 | 0:09:32 | |
-Because this is your room, OK? -Lots of people sleep in here? | 0:09:32 | 0:09:37 | |
It can be a spare bedroom but it's empty at the moment. | 0:09:37 | 0:09:39 | |
-Keep it away from Mickey. -So it's like you've got a suite. | 0:09:39 | 0:09:41 | |
-Don't put Jon, put Ritchie there, it's fine. -Put Ritchie there. | 0:09:41 | 0:09:44 | |
-I think Ritchie likes solitude. Jon just likes talking. -Yes. | 0:09:44 | 0:09:48 | |
Fucking ha-ha. | 0:09:51 | 0:09:52 | |
-Do you guys want to get out? -Fucking hell. | 0:09:52 | 0:09:55 | |
-You guys have got to get out. -Thank you. | 0:09:55 | 0:09:57 | |
-Oh, my God. Crazy. Loco. -Ritchie, move back. | 0:09:57 | 0:10:01 | |
This is insane! | 0:10:01 | 0:10:02 | |
Oh, my God! | 0:10:02 | 0:10:04 | |
Your entrance was very LA, I have to say. | 0:10:04 | 0:10:06 | |
EXAGGERATED ACCENT: Oh, my gawd! Oh, my gawd! | 0:10:06 | 0:10:09 | |
Good cherry as well. Mm. | 0:10:09 | 0:10:11 | |
I've already got my own room. | 0:10:11 | 0:10:12 | |
-Oh, you've got the big, golden suite. -No, it's fine. | 0:10:12 | 0:10:15 | |
Nothing special. | 0:10:15 | 0:10:16 | |
You know. | 0:10:16 | 0:10:17 | |
Oh, that's good. | 0:10:17 | 0:10:19 | |
So where are the bedrooms then? | 0:10:19 | 0:10:20 | |
You ain't got one, you've got to sleep up here. GENTLE LAUGHTER | 0:10:20 | 0:10:23 | |
Can I have the hobbit room? | 0:10:23 | 0:10:26 | |
Or has somebody already taken it? | 0:10:26 | 0:10:28 | |
That's what George wanted. | 0:10:28 | 0:10:29 | |
That's cute, isn't it? I like that. | 0:10:29 | 0:10:31 | |
-This is the big round hobbit room. -Yeah. -It's a really good acoustic. | 0:10:31 | 0:10:34 | |
-Mm. -Why was people in my room? -Yes. | 0:10:34 | 0:10:37 | |
-Why was people in my grill? -Very nice. -OK, and... | 0:10:37 | 0:10:41 | |
-Right, come on and I'll show you the studio and the other rooms. -Ah. | 0:10:41 | 0:10:45 | |
I was going to put you and Jon in the guesthouse. | 0:10:47 | 0:10:51 | |
A bit spooky out here. | 0:10:51 | 0:10:53 | |
Hope you've got your flashlight out. | 0:10:54 | 0:10:56 | |
-Mm. -Did anyone show you how to get here? | 0:10:59 | 0:11:02 | |
-I will stay here, yes? -Sure. | 0:11:02 | 0:11:04 | |
'Yes, well...' | 0:11:04 | 0:11:06 | |
it's not bad. Fine, it's lovely. It will do. | 0:11:06 | 0:11:10 | |
# Nam-myoho-renge-kyo | 0:11:16 | 0:11:20 | |
# Nam-myoho-renge-kyo | 0:11:20 | 0:11:23 | |
# Nam-myoho-renge-kyo | 0:11:23 | 0:11:27 | |
# Nam-myoho-renge-kyo | 0:11:27 | 0:11:29 | |
# Nam-myoho-renge-kyo... # | 0:11:29 | 0:11:33 | |
BELL RINGS | 0:11:33 | 0:11:34 | |
Just to warn you, I haven't quite woke up yet. | 0:11:35 | 0:11:38 | |
I've been up for a while, but... | 0:11:38 | 0:11:39 | |
Also, it's quite a lot of reverb with my voice, so... | 0:11:39 | 0:11:43 | |
Not a floppy ring, dear. | 0:11:43 | 0:11:44 | |
-GENTLE LAUGHTER -Floppy. | 0:11:44 | 0:11:47 | |
# It can't be easy Hell you said can't | 0:11:49 | 0:11:53 | |
# If you'd be a different man... | 0:11:53 | 0:11:57 | |
# Yeah. # BOY GEORGE CLEARS HIS THROAT | 0:11:57 | 0:11:59 | |
Yes, that's the lyric. | 0:11:59 | 0:12:01 | |
So I'm not needed for a minute, right? | 0:12:03 | 0:12:05 | |
Come back tomorrow. | 0:12:05 | 0:12:07 | |
ROY LAUGHS | 0:12:07 | 0:12:08 | |
# If you'd be a different man... | 0:12:08 | 0:12:12 | |
# Yeah. # | 0:12:12 | 0:12:13 | |
GUITAR SOLO | 0:12:13 | 0:12:15 | |
We've just been picking cherries. | 0:12:22 | 0:12:25 | |
Very glamorous, it's very, what's it called? The Good Life. | 0:12:25 | 0:12:28 | |
You actually picked those? | 0:12:28 | 0:12:31 | |
Sort of. BOY GEORGE LAUGHS | 0:12:31 | 0:12:33 | |
She wanted to, basically, we went to this place | 0:12:33 | 0:12:36 | |
where you CAN pick cherries, let's rephrase, | 0:12:36 | 0:12:39 | |
and she wanted to pick cherries | 0:12:39 | 0:12:40 | |
and I was like, "Love, I've got an album to make, | 0:12:40 | 0:12:42 | |
"they've picked them already, how nice of them. | 0:12:42 | 0:12:45 | |
I'll just go to the studio and see what's going on. | 0:12:45 | 0:12:47 | |
Do you want to be the bearer of cherries? | 0:12:47 | 0:12:50 | |
-Shall I bring them? Make me look organic and loving. -Yes. | 0:12:50 | 0:12:53 | |
-Like I care. -Yes. | 0:12:53 | 0:12:55 | |
I do, obviously. | 0:12:55 | 0:12:56 | |
# If you'll be a different man! # | 0:12:59 | 0:13:03 | |
The 1A sounded good. | 0:13:03 | 0:13:04 | |
It's a bit low, Michael, what are you trying to do? | 0:13:05 | 0:13:07 | |
-We want to generate a kick. -I know we're old, but... | 0:13:07 | 0:13:10 | |
-Is this what you were doing last night? -Yes. | 0:13:10 | 0:13:12 | |
MUSIC STARTS | 0:13:12 | 0:13:13 | |
Very dancey. | 0:13:14 | 0:13:16 | |
# Ooh... | 0:13:16 | 0:13:18 | |
# Ooh... | 0:13:18 | 0:13:20 | |
# Ooh... | 0:13:20 | 0:13:22 | |
# Ooh... | 0:13:24 | 0:13:25 | |
# I'm never gonna catch out The one you love | 0:13:25 | 0:13:29 | |
# Like a black cat Buddha | 0:13:29 | 0:13:31 | |
# Like a slide show | 0:13:31 | 0:13:34 | |
# It can't be easy Hell you said it can't | 0:13:34 | 0:13:39 | |
# If you'd be a different man... | 0:13:39 | 0:13:41 | |
Different man! | 0:13:41 | 0:13:43 | |
# It can't be easy Hell you said it can't | 0:13:43 | 0:13:48 | |
# If you'd be a better man | 0:13:48 | 0:13:51 | |
Different man! | 0:13:51 | 0:13:53 | |
-No! -Better. -It's not better! | 0:13:53 | 0:13:55 | |
Stop. MUSIC STOPS | 0:13:55 | 0:13:57 | |
No, if you'd be a different man, it's not better man. | 0:13:57 | 0:14:01 | |
-Did you once say? -No, never. -Yes, he's right. -All right. | 0:14:01 | 0:14:04 | |
-If you'd be a different man - don't change my lyrics. -Did I do that? | 0:14:04 | 0:14:07 | |
-Hello. -If you'd be a different man, | 0:14:07 | 0:14:08 | |
-not better man. -OK, we'll do it again. | 0:14:08 | 0:14:10 | |
Well, listen, you know what it is. | 0:14:10 | 0:14:12 | |
-See how calm I've remained? -What about..? | 0:14:12 | 0:14:14 | |
-We could do it again, or leave it as an idea. -No, no. It's different man. | 0:14:14 | 0:14:18 | |
Different man - don't change my lyrics. | 0:14:18 | 0:14:20 | |
This is what's going to happen when I go out to the shops, | 0:14:20 | 0:14:23 | |
-you'll change my lyrics. Not going to work. -It's only little ideas. | 0:14:23 | 0:14:26 | |
-Yes, but, different, don't change the lyrics, OK? -Yes, I missed that. | 0:14:26 | 0:14:29 | |
Maybe we just thought... | 0:14:29 | 0:14:32 | |
You know what thought did? Wet the bed and thought it was sweating. | 0:14:32 | 0:14:34 | |
My mum used to say. | 0:14:34 | 0:14:36 | |
OK. | 0:14:37 | 0:14:38 | |
In an Irish accent. | 0:14:38 | 0:14:40 | |
IRISH ACCENT: Wet the bed and thought it was sweating. | 0:14:40 | 0:14:42 | |
Don't make faces about my mum! Go on. Nice try. | 0:14:42 | 0:14:46 | |
BOY GEORGE LAUGHS | 0:14:46 | 0:14:48 | |
Listen, you know, there's going to be rows, cos, you know, | 0:14:49 | 0:14:54 | |
the nature of trying to have a democracy is so hard. | 0:14:54 | 0:14:59 | |
# Daddy-o... | 0:14:59 | 0:15:01 | |
# Daddy-o... # | 0:15:01 | 0:15:02 | |
You see, there's a key change. Do you like it or not? Like that? | 0:15:02 | 0:15:05 | |
THEY TALK OVER EACH OTHER | 0:15:05 | 0:15:07 | |
-Should he do the key change there? -Yes. | 0:15:07 | 0:15:10 | |
If it turns out when we listen to the whole song back | 0:15:10 | 0:15:12 | |
that it sounds too soon - it might do - we'll change it, you know. | 0:15:12 | 0:15:15 | |
That's it, Roy, that kind of attitude, not, like, no. | 0:15:15 | 0:15:19 | |
-BAND MEMBERS: -One, two, three, four... | 0:15:19 | 0:15:21 | |
'The kind of rule is that the writer of the lyrics | 0:15:21 | 0:15:24 | |
'and the manager gets 50%, which is what I'm entitled to, | 0:15:24 | 0:15:26 | |
'but we'll have a debate about that, I'm sure.' | 0:15:26 | 0:15:29 | |
But I'm not sure how flexible I'm going to be. | 0:15:29 | 0:15:32 | |
'We just have to be fair. | 0:15:32 | 0:15:34 | |
'And if somebody's written most of a song, | 0:15:34 | 0:15:36 | |
'why should they give it away? You know, | 0:15:36 | 0:15:39 | |
'I am a generous person, but, you know, there's a limit.' | 0:15:39 | 0:15:43 | |
Back in the day, we did everything 25%. | 0:15:43 | 0:15:46 | |
That ain't going to happen now. | 0:15:46 | 0:15:48 | |
-Shall we record it? -Hold-up, one then? Oh, nice. | 0:15:48 | 0:15:51 | |
-Make a note to yourself, get rid of this later. -We did it in D before. | 0:15:51 | 0:15:54 | |
PLAYS PIANO | 0:15:54 | 0:15:56 | |
Can we have a shot of Roy crying at the end on a wheelchair? | 0:15:57 | 0:16:00 | |
-GENTLE LAUGHTER -That's nice. | 0:16:00 | 0:16:02 | |
With a keyboard on his lap? | 0:16:02 | 0:16:04 | |
Naked? | 0:16:05 | 0:16:07 | |
George, he still has the authority, he's still the queen, | 0:16:07 | 0:16:12 | |
he's still the queen bee, although he's not taken so seriously now. | 0:16:12 | 0:16:15 | |
Don't know about you, I'm about to slip into something more comfortable, like a coma. Fucking hell. | 0:16:16 | 0:16:21 | |
-Shove that on. -Yeah... -Oh, yeah... -Nice with some strings... -Yeah, exactly. | 0:16:21 | 0:16:25 | |
You're right up his arse. | 0:16:25 | 0:16:26 | |
Think Beatles, man. Think Beatles. It's three Beatles. | 0:16:26 | 0:16:29 | |
OK. All right, then. You've won me over! | 0:16:29 | 0:16:33 | |
Shall we record it? | 0:16:33 | 0:16:34 | |
They made the announcement today about the tour, 15 dates in the UK. | 0:16:36 | 0:16:42 | |
Big venues. | 0:16:42 | 0:16:43 | |
BOY GEORGE CHUCKLES | 0:16:43 | 0:16:44 | |
-Yes, like the O2, you know. -Yeah, but, you know... | 0:16:44 | 0:16:47 | |
we're a big band. BOY GEORGE LAUGHS | 0:16:47 | 0:16:49 | |
There we go. | 0:16:49 | 0:16:51 | |
Somebody's saying they've booked their tickets for Leeds. | 0:16:51 | 0:16:54 | |
Wow, really cool. | 0:16:54 | 0:16:56 | |
That's 12 we've sold. | 0:16:56 | 0:16:58 | |
LAUGHTER | 0:16:58 | 0:16:59 | |
My bags are packed. | 0:17:01 | 0:17:02 | |
Away we go. | 0:17:02 | 0:17:04 | |
Well, I'm busy that night, I can't do that one. | 0:17:04 | 0:17:07 | |
THEY LAUGH | 0:17:07 | 0:17:08 | |
When it all kicked off, I was about 22, yeah. | 0:17:17 | 0:17:20 | |
That's quite a lot to take on board. | 0:17:20 | 0:17:22 | |
It is, but it doesn't mean anything now. Like, | 0:17:22 | 0:17:25 | |
you know when you go on TV shows, they introduce you, | 0:17:25 | 0:17:28 | |
they say, "You sold 150 million records," and I think, | 0:17:28 | 0:17:31 | |
"What does it matter?" Now is all that matters. | 0:17:31 | 0:17:34 | |
You know. Oh, forget it. | 0:17:34 | 0:17:37 | |
BOY GEORGE LAUGHS | 0:17:37 | 0:17:39 | |
The first single we put out did nothing. | 0:17:39 | 0:17:42 | |
The second one did nothing, | 0:17:42 | 0:17:43 | |
the third one we started to pay for the promotion ourselves, didn't we? | 0:17:43 | 0:17:46 | |
-Which is Do You Really and then it kicked off. -Jonny had a plan. | 0:17:46 | 0:17:50 | |
Yeah, Jonny did have a plan. | 0:17:50 | 0:17:52 | |
Do a few gigs, Top Of The Pops, big hit record, lovely, | 0:17:52 | 0:17:54 | |
we'll go on tour. Sounds good to me, yes! | 0:17:54 | 0:17:56 | |
Bad drug habits, get divorced. | 0:17:56 | 0:17:58 | |
End up making a record. | 0:17:58 | 0:18:00 | |
You left that bit out. You left that bit out. | 0:18:00 | 0:18:02 | |
I left it out, I wasn't so sure about that. | 0:18:02 | 0:18:04 | |
Jon and George, they were the powerhouse within the band. | 0:18:04 | 0:18:08 | |
They kind of led the band. | 0:18:08 | 0:18:11 | |
And they were very strong. | 0:18:11 | 0:18:13 | |
The two of them. Together. | 0:18:13 | 0:18:15 | |
And because they were together it made it difficult for us | 0:18:15 | 0:18:19 | |
to input things at times. | 0:18:19 | 0:18:21 | |
But, um... | 0:18:22 | 0:18:23 | |
I'm not sure, I don't know | 0:18:23 | 0:18:24 | |
if I want to talk about their relationship so much, | 0:18:24 | 0:18:27 | |
because, cos Jon's got... | 0:18:27 | 0:18:29 | |
..kids now. | 0:18:30 | 0:18:31 | |
I fell in love with him. | 0:18:31 | 0:18:33 | |
Just fell in love with him. | 0:18:34 | 0:18:35 | |
I fell in love with George, he happened to be a man. | 0:18:35 | 0:18:39 | |
We were instantly attracted to each other. | 0:18:39 | 0:18:42 | |
Not sexually, it was like a childish crush, it was very exciting. | 0:18:42 | 0:18:46 | |
You know, very exciting, you know. | 0:18:46 | 0:18:48 | |
It was a little weird being in the band with that secret, | 0:18:48 | 0:18:51 | |
I've got to be honest. | 0:18:51 | 0:18:53 | |
I mean, it was no secret, | 0:18:53 | 0:18:55 | |
our relationship, between my friends or anything like that, | 0:18:55 | 0:18:58 | |
but I was thinking the other day how things have changed so much. | 0:18:58 | 0:19:01 | |
When Culture Club started there wasn't the liberalism there is now, | 0:19:01 | 0:19:04 | |
there was a lot of queer-bashing, you know, | 0:19:04 | 0:19:06 | |
and it was not cool. | 0:19:06 | 0:19:08 | |
People didn't want to know. | 0:19:08 | 0:19:10 | |
I grew up just wanting to be in a band and... | 0:19:11 | 0:19:14 | |
have fun. | 0:19:14 | 0:19:16 | |
All the girls backstage and all the things that go with it, | 0:19:16 | 0:19:18 | |
I ended up in a fucking homosexual drama. | 0:19:18 | 0:19:20 | |
ROY LAUGHS | 0:19:20 | 0:19:22 | |
Jon and I did not have a normal relationship. | 0:19:24 | 0:19:27 | |
We weren't nice to each other. | 0:19:27 | 0:19:30 | |
We didn't go out for meals. | 0:19:30 | 0:19:31 | |
I mean their relationship wasn't a problem, the fighting was a problem. | 0:19:31 | 0:19:35 | |
You know? | 0:19:35 | 0:19:36 | |
Stuff all over the place, | 0:19:36 | 0:19:37 | |
literally hitting each other and screaming and shouting. | 0:19:37 | 0:19:40 | |
The others were going, "Oh, I can't take this any more." | 0:19:40 | 0:19:43 | |
One couldn't help feeling that George's mood | 0:19:43 | 0:19:45 | |
was determined by how he was getting on with Jon. | 0:19:45 | 0:19:48 | |
It was a soap opera, you know. | 0:19:48 | 0:19:50 | |
A really bad one that doesn't get aired after three series. | 0:19:50 | 0:19:54 | |
That's what it was like. | 0:19:54 | 0:19:55 | |
I'm just doing it as a little experiment. | 0:20:00 | 0:20:02 | |
I used to do this every day - what you talking about? | 0:20:02 | 0:20:05 | |
I quite liked it when it was a bit more dense. | 0:20:05 | 0:20:07 | |
-Maybe needs something here. -Let Christine... -Like a crystal, or something there. | 0:20:07 | 0:20:11 | |
She's eccentric. | 0:20:11 | 0:20:13 | |
SHE CHUCKLES | 0:20:13 | 0:20:15 | |
And, also, when you've worn as much make-up as we have, | 0:20:16 | 0:20:19 | |
you have to find new ways of putting it on. | 0:20:19 | 0:20:21 | |
No, I don't like that. It's ridiculous! | 0:20:21 | 0:20:23 | |
No, the reason you don't like it is cos it hasn't got the gold leaf that side. | 0:20:23 | 0:20:26 | |
No, I don't like it, because I jus... No. I just don't like it. | 0:20:26 | 0:20:29 | |
-Think it's too much. -No, it's good! | 0:20:29 | 0:20:31 | |
No, Christine, it's not good. | 0:20:31 | 0:20:32 | |
SHE LAUGHS | 0:20:32 | 0:20:34 | |
Wonder if the band'll like it. Probably not. | 0:20:34 | 0:20:36 | |
-We could go and ask their opinion. -Yeah, shall I? -Yeah. | 0:20:36 | 0:20:38 | |
-Shall I? -Yeah, go on. | 0:20:38 | 0:20:40 | |
"Hey, look, I'm thinking this is..." Actually, yeah, let's do it. | 0:20:40 | 0:20:43 | |
I'm sure it's going to go down really well. | 0:20:43 | 0:20:46 | |
Guys! | 0:20:46 | 0:20:47 | |
LAUGHTER | 0:20:49 | 0:20:50 | |
-Thought we could use a new look for the band. -Wow! | 0:20:50 | 0:20:53 | |
-Nose-guards. -Lovely. | 0:20:53 | 0:20:55 | |
Can you do the original melody on the B sessions for us in a minute? | 0:20:55 | 0:20:58 | |
I'm not going to do it now. | 0:20:58 | 0:21:00 | |
I've got, like, things on my face. | 0:21:00 | 0:21:02 | |
LAUGHTER Can we just play Planningtorock? | 0:21:02 | 0:21:04 | |
So, great - the make-up girl arrives and we get no more vocals, | 0:21:04 | 0:21:07 | |
-cos George now has things on his face! -Priorities have changed. | 0:21:07 | 0:21:10 | |
Priorities have changed. | 0:21:10 | 0:21:11 | |
-Jon. -Yes. | 0:21:15 | 0:21:16 | |
Shall we pull the screens back and show them we're really in Shepperton? | 0:21:16 | 0:21:19 | |
Yes. Blue screens. Blue screens. | 0:21:19 | 0:21:22 | |
-One more for safety. -All right, good. E-mail that to me. | 0:21:22 | 0:21:25 | |
Where's George? | 0:21:25 | 0:21:27 | |
Where's his communal dining stuff? Where is he? | 0:21:27 | 0:21:29 | |
L'chaim, everyone. L'chaim. | 0:21:32 | 0:21:33 | |
LIVELY CHATTER | 0:21:36 | 0:21:39 | |
Go and eat your dinner elsewhere, | 0:21:39 | 0:21:42 | |
you're ruining this perfect shot of Boy George. | 0:21:42 | 0:21:45 | |
There's nothing perfect about this scene. | 0:21:45 | 0:21:47 | |
It's like something from a Fellini movie gone wrong. | 0:21:47 | 0:21:50 | |
Like Fellini with ketchup. | 0:21:50 | 0:21:52 | |
You say tomay-to... | 0:21:52 | 0:21:54 | |
Do you say migraine or mee-graine? | 0:21:54 | 0:21:56 | |
That lovely moment when people aren't speaking because their mouths are full. | 0:21:56 | 0:21:59 | |
-Do you say aluminium or alumin-um? -Then they start again. | 0:21:59 | 0:22:02 | |
Aluminium! It's got an "i" in it. | 0:22:02 | 0:22:03 | |
Did we have nicknames? | 0:22:03 | 0:22:05 | |
Joan Moist. | 0:22:05 | 0:22:08 | |
-Rowenna Hay. -Rowenna Hay?! | 0:22:08 | 0:22:10 | |
Joan Moist, Rowenna Hay and Michaela Craig. | 0:22:10 | 0:22:13 | |
Not very imaginative! Got to come up with a better one than that. | 0:22:13 | 0:22:16 | |
-Oh, she's getting all bitchy. -Oh, fuck off! | 0:22:16 | 0:22:18 | |
She's getting all bitchy. | 0:22:18 | 0:22:20 | |
What was your nickname, George? | 0:22:20 | 0:22:23 | |
-Gina. -Georgina. -Gina. | 0:22:23 | 0:22:25 | |
George is a nice bunch of guys. | 0:22:25 | 0:22:28 | |
Excuse me, Jon Moss. | 0:22:28 | 0:22:30 | |
I'm a nice bunch of guys? | 0:22:30 | 0:22:32 | |
A nice bunch of guys! | 0:22:32 | 0:22:34 | |
We were the only band with two singers - George and Georgina. | 0:22:35 | 0:22:38 | |
And we've got a musical director person | 0:22:39 | 0:22:42 | |
who's like Stalin and Pol Pot rolled into one. | 0:22:42 | 0:22:45 | |
-INDISTINCT RESPONSE No, you. -Oh! | 0:22:45 | 0:22:48 | |
Me and Roy get on very well, actually. Considering. | 0:22:48 | 0:22:51 | |
-Don't we? -Yeah. Absolutely. | 0:22:51 | 0:22:54 | |
-I've been to his house. -Blimey. | 0:22:54 | 0:22:57 | |
-You hadn't been to Jon's house, though. -No, or Mikey's. | 0:22:57 | 0:23:00 | |
Last time I went into your house I had to go through the garage. | 0:23:00 | 0:23:04 | |
-In a Cortina. -Yeah, you did. That's right. | 0:23:04 | 0:23:07 | |
He drove his car into your house? | 0:23:07 | 0:23:09 | |
Yes, a lime green Cortina. I remember. | 0:23:09 | 0:23:11 | |
He then got attacked by a very small hammer. | 0:23:11 | 0:23:13 | |
It sounds like a country song - | 0:23:13 | 0:23:15 | |
# I drove my car into your garage... # | 0:23:15 | 0:23:18 | |
It was a sort of gay mugging. | 0:23:20 | 0:23:23 | |
A tiny little hammer - "Fuck off!" | 0:23:23 | 0:23:25 | |
When you want to have a sensible conversation, I'll come back. | 0:23:27 | 0:23:30 | |
Are you going, George? | 0:23:30 | 0:23:31 | |
Hang on, wasn't he the one who just pulled that conversation up? | 0:23:31 | 0:23:34 | |
He brought up going to Jon's house, | 0:23:34 | 0:23:36 | |
and he brought up feelings, and he left. | 0:23:36 | 0:23:38 | |
What? Mikey? | 0:23:38 | 0:23:39 | |
-No, George brought up the conv... -No, I was actually talking. | 0:23:39 | 0:23:42 | |
No, George brought it up about going to your house. | 0:23:42 | 0:23:44 | |
-Coming to your house. -Yes. | 0:23:44 | 0:23:46 | |
And then he didn't like it, and he left. | 0:23:46 | 0:23:49 | |
Do you like to keep a bit of distance? | 0:23:49 | 0:23:50 | |
Yeah, I like being separate. I'm an outsider. | 0:23:50 | 0:23:53 | |
When I'm dressed up, it seems to bother them. | 0:23:53 | 0:23:56 | |
-I don't know. -Do they react differently to you? -Yeah. | 0:23:56 | 0:23:58 | |
Well, people do act different to you when you're dressed up, anyway. | 0:23:58 | 0:24:01 | |
People do. But you don't expect people that you know to, but they do. | 0:24:01 | 0:24:06 | |
It's kind of, "Who's she think she is?!" | 0:24:06 | 0:24:08 | |
Jon did say to me tonight, "Why are you dressed up?" | 0:24:08 | 0:24:10 | |
Like there has to be a reason! | 0:24:10 | 0:24:12 | |
It was all right. It wasn't about me, that, anyway. | 0:24:12 | 0:24:14 | |
Everyone's having such a drama about it. "Oh, George's... | 0:24:14 | 0:24:17 | |
"You really pissed George off." Didn't fucking piss... | 0:24:17 | 0:24:20 | |
-George just pissed off. Nothing to do with me. -Yeah. | 0:24:20 | 0:24:22 | |
Basically, I'm here to work. | 0:24:22 | 0:24:23 | |
I'm not here to make friends or have dinner or play card games or any of that shit. | 0:24:23 | 0:24:27 | |
MUSIC PLAYS BACK HE MOUTHS | 0:24:27 | 0:24:30 | |
I don't know... It's so weird, this band. | 0:24:32 | 0:24:35 | |
By the time the documentary'll come, | 0:24:35 | 0:24:37 | |
we'll probably have fallen out again. | 0:24:37 | 0:24:39 | |
They might not even air it! | 0:24:39 | 0:24:41 | |
Better come out quickly, I'm telling you. | 0:24:41 | 0:24:43 | |
There's only a small window with us, | 0:24:43 | 0:24:45 | |
they you have to wait another 12 years. | 0:24:45 | 0:24:47 | |
In a situation like this, | 0:24:53 | 0:24:54 | |
where you're in a beautiful place but you're also quite trapped... | 0:24:54 | 0:24:58 | |
I like to go out and have a coffee and walk around... | 0:24:58 | 0:25:00 | |
I like to be...a bit freer. | 0:25:00 | 0:25:02 | |
So it's slightly difficult for me to be here. | 0:25:02 | 0:25:05 | |
But, you know, we'll get round it. | 0:25:05 | 0:25:07 | |
THEY CHEER | 0:25:09 | 0:25:12 | |
-Roy's acting... -Tonight we are men! Real Madrid! | 0:25:13 | 0:25:15 | |
-Roy's acting - he's gay and doesn't like football. -Athletico! | 0:25:15 | 0:25:19 | |
Bueno, bueno! | 0:25:21 | 0:25:22 | |
FOOTBALL ON TV | 0:25:22 | 0:25:24 | |
Oh, fuck it, I'm so pissed! What? Hello. | 0:25:26 | 0:25:29 | |
-Hello. -So, you've got an e-mail today. | 0:25:29 | 0:25:31 | |
Yeah, I just got an e-mail from Peter Katsis, our manager. | 0:25:31 | 0:25:36 | |
And the e-mail says, "Hi, guys. These figures look fantastic. | 0:25:36 | 0:25:40 | |
"Apparently, we've sold 18,000 tickets..." | 0:25:40 | 0:25:43 | |
-In the first day. -In the first day. Which is amazing. | 0:25:43 | 0:25:46 | |
Excellent. Yeah. | 0:25:46 | 0:25:47 | |
Absolutely amazing. | 0:25:47 | 0:25:50 | |
'It's good fun doing this.' | 0:25:50 | 0:25:52 | |
'I thought it was just me. I could not sleep the night before we came.' | 0:25:52 | 0:25:55 | |
I was really anxious about who was going to feed the goldfish, | 0:25:55 | 0:25:58 | |
and my dog and my kids and... You know. All that crap. | 0:25:58 | 0:26:01 | |
But really it was anxiety about "Where am I going? | 0:26:01 | 0:26:03 | |
"What's it going to be like? | 0:26:03 | 0:26:04 | |
"Is it going to be comfortable," you know? | 0:26:04 | 0:26:06 | |
Did I remember my hand cream. Sort of. You know. | 0:26:06 | 0:26:10 | |
LIVELY HUBBUB | 0:26:10 | 0:26:11 | |
If you're somewhere like this | 0:26:11 | 0:26:13 | |
and someone's really getting on your nerves, and it's really bad. | 0:26:13 | 0:26:16 | |
And when you're older you're... "I don't need to do this. | 0:26:16 | 0:26:19 | |
"I don't need to put up with this." | 0:26:19 | 0:26:21 | |
HE HOOTS | 0:26:26 | 0:26:28 | |
-It's a wedding. -What is it? -I think it's a wedding. | 0:26:28 | 0:26:31 | |
But, I mean, is there something else | 0:26:31 | 0:26:34 | |
you need to get out of the trunk, darling? | 0:26:34 | 0:26:36 | |
Look at the other one's legs, man! | 0:26:40 | 0:26:42 | |
Pretty girls, Jesus! That's all I need. | 0:26:42 | 0:26:45 | |
-Look at this little Renault. -Which little Renault? -This one right here. | 0:26:45 | 0:26:48 | |
Fucking crap, mate. I had one of those in Spain, awful. | 0:26:48 | 0:26:50 | |
It's not. It's a cool little car. | 0:26:50 | 0:26:52 | |
-Yes, but it doesn't drive very well. -You're joking. -Football and cars. | 0:26:52 | 0:26:55 | |
-How pathetic is that? -No, and women! | 0:26:55 | 0:26:57 | |
HE LAUGHS | 0:26:57 | 0:26:59 | |
I'm not sure about this wind. | 0:27:05 | 0:27:07 | |
Have you arranged for this wind just to annoy me? | 0:27:07 | 0:27:10 | |
What about your face? You been in a punch-up? | 0:27:10 | 0:27:13 | |
I've had a bit of a punch-up, yeah. With a clown. | 0:27:13 | 0:27:16 | |
The word styling, when you're over 50, | 0:27:19 | 0:27:21 | |
can wreak fear in your soul. | 0:27:21 | 0:27:23 | |
But it's kind of a pre-requisite, isn't it? Being a pop star. | 0:27:24 | 0:27:28 | |
Yeah, but you're not a pop star, at our age, are you? | 0:27:28 | 0:27:30 | |
Well, I don't know... | 0:27:30 | 0:27:32 | |
No, it's a prerequisite, but... | 0:27:32 | 0:27:34 | |
I think the idea at our age | 0:27:34 | 0:27:35 | |
is not to LOOK like you've been styled, isn't it? | 0:27:35 | 0:27:37 | |
-Hm. -You know? -I guess. -Do you know what I mean? -Mm. | 0:27:37 | 0:27:40 | |
Not an ageing Burton dummy, you know what I mean? | 0:27:41 | 0:27:44 | |
Glasses on or off? | 0:27:44 | 0:27:45 | |
-Off. -Off. | 0:27:45 | 0:27:46 | |
People want to see your face. | 0:27:46 | 0:27:48 | |
Do you want to go right back to the wall? | 0:27:48 | 0:27:50 | |
I'd like to go back to London. | 0:27:50 | 0:27:53 | |
Get on with it, Dean. You're dragging this out. | 0:27:57 | 0:28:00 | |
-Lovely. -If you're kind of quite using this space... | 0:28:00 | 0:28:02 | |
-That's quite nice. -That feels good. | 0:28:02 | 0:28:04 | |
-That's it. -Turn that way, Jon. | 0:28:04 | 0:28:06 | |
Don't fart on me. | 0:28:06 | 0:28:08 | |
That's my glasses, man. | 0:28:08 | 0:28:09 | |
Go on, Jon, turn around. | 0:28:09 | 0:28:11 | |
I'm standing like this, stop it. | 0:28:11 | 0:28:13 | |
This is going well, then! | 0:28:14 | 0:28:16 | |
THEY LAUGH | 0:28:16 | 0:28:18 | |
If it doesn't stop in a minute, I'll just go. | 0:28:18 | 0:28:20 | |
Hello, mate. Can I be in the photo? | 0:28:20 | 0:28:24 | |
Jon, concentrate on the picture, mate. | 0:28:24 | 0:28:26 | |
-I am concentrating on the photo, George. -Lovely. One, two, three... | 0:28:26 | 0:28:29 | |
-And shall we do a kind of...? -No, no, no. | 0:28:29 | 0:28:31 | |
Fuck all that. | 0:28:31 | 0:28:32 | |
Flies are undone, Mikey. | 0:28:32 | 0:28:34 | |
Flies undone, Mikey. | 0:28:34 | 0:28:35 | |
If you're talking, the picture will look shit. | 0:28:37 | 0:28:40 | |
Been amazing. Thanks. | 0:28:42 | 0:28:43 | |
THEY LAUGH | 0:28:43 | 0:28:45 | |
-No, George...! -He's not finished. Not finished. | 0:28:45 | 0:28:47 | |
I need a break from them. | 0:28:53 | 0:28:55 | |
Some of Jon's behaviour... I just thought, "Come on, man!" | 0:28:56 | 0:28:59 | |
You know, "You're nearly 60. | 0:28:59 | 0:29:01 | |
"Stop being an idiot. Let's just do this. | 0:29:01 | 0:29:03 | |
"We're taking this to the world stage. Be classy." | 0:29:03 | 0:29:06 | |
'It's just who he is. And I can only take so much of it.' | 0:29:06 | 0:29:09 | |
I feel that we hit the wall two days ago. | 0:29:09 | 0:29:12 | |
And it has been very odd. | 0:29:12 | 0:29:14 | |
Like, you said it was a Noel Coward day the other day. | 0:29:14 | 0:29:16 | |
Which it was, really. | 0:29:16 | 0:29:17 | |
People were sitting on the balcony, smoking cigarettes and... | 0:29:17 | 0:29:20 | |
-It was arch, I think is the word. -Yeah, arch. | 0:29:20 | 0:29:22 | |
People just sort of not really | 0:29:22 | 0:29:24 | |
knowing what to do when we're all together. | 0:29:24 | 0:29:26 | |
See you in London. | 0:29:44 | 0:29:46 | |
-Safe journey. Take care. -Bye-bye. | 0:29:46 | 0:29:48 | |
Eats! | 0:30:05 | 0:30:06 | |
The glorious city of London. | 0:30:08 | 0:30:10 | |
-I like this side. -Yeah, yeah, yeah... | 0:30:10 | 0:30:13 | |
-Did we go to a party here in a penthouse, once? -Probably. | 0:30:13 | 0:30:15 | |
Did you have a friend who lived in there? | 0:30:15 | 0:30:18 | |
There were many parties in many penthouses in the '80s. | 0:30:18 | 0:30:20 | |
The whole of the '80s was a party in a penthouse. | 0:30:20 | 0:30:23 | |
Concentration! | 0:30:26 | 0:30:27 | |
That's super. | 0:30:28 | 0:30:30 | |
Lovely! | 0:30:30 | 0:30:31 | |
My worst memories of Culture Club were photo sessions | 0:30:31 | 0:30:34 | |
and video shoots. | 0:30:34 | 0:30:36 | |
So this, for me, was quite a little... | 0:30:36 | 0:30:38 | |
And they were all his fucking fault! | 0:30:38 | 0:30:40 | |
It was all my fucking fault. | 0:30:40 | 0:30:41 | |
-Are you uncomfortable, generally, in these situations? -I have been. | 0:30:41 | 0:30:44 | |
-Not your natural environment, is it? -No, it's not. | 0:30:44 | 0:30:47 | |
George thrives here. His mother hen comes out. | 0:30:47 | 0:30:49 | |
-Mother hen?! No... -But you do, though. | 0:30:49 | 0:30:51 | |
No, no, my Ziggy Stardust comes out, not my fucking Mother Goose. | 0:30:51 | 0:30:54 | |
Get it right! | 0:30:54 | 0:30:57 | |
Whatever it is that makes him get up front, makes him dress up - | 0:30:57 | 0:31:00 | |
it's the thing that shines here. | 0:31:00 | 0:31:01 | |
Meanwhile, we make-a the music, yeah? | 0:31:01 | 0:31:03 | |
We make the music. | 0:31:03 | 0:31:05 | |
On your own, of course, yeah. SO deluded! | 0:31:05 | 0:31:08 | |
He comes up with a few words, so he's a bit of a genius... | 0:31:08 | 0:31:11 | |
See you in fucking court! THEY LAUGH | 0:31:11 | 0:31:14 | |
Great. | 0:31:14 | 0:31:15 | |
Sunny's here! | 0:31:15 | 0:31:18 | |
-Oh, Sunny! -Hi, Sunny! | 0:31:18 | 0:31:19 | |
You're hot. You must be really hot. | 0:31:19 | 0:31:22 | |
How's it been today seeing your dad all dressed up? | 0:31:22 | 0:31:24 | |
Yeah, he looks great! It's really exciting. | 0:31:24 | 0:31:26 | |
He looks really amazing. | 0:31:26 | 0:31:28 | |
It makes me really happy. | 0:31:28 | 0:31:29 | |
It was crazy growing up, like, you know, | 0:31:29 | 0:31:33 | |
in the rock and roll lifestyle that I grew up in. | 0:31:33 | 0:31:36 | |
Kind of, like, no supervision | 0:31:36 | 0:31:38 | |
and pretty much madness from age 14 onwards. | 0:31:38 | 0:31:41 | |
It was just growing up in, like, pretty much chaos. | 0:31:41 | 0:31:45 | |
We used to party together and... | 0:31:46 | 0:31:48 | |
Yeah, it is kind of like we were just buddies for a long time. | 0:31:48 | 0:31:51 | |
But he's doing great now. | 0:31:51 | 0:31:53 | |
And I'm doing all right, now, so now it's really good. | 0:31:53 | 0:31:55 | |
He's a grandpa now. | 0:31:55 | 0:31:57 | |
Makes me really happy when I see them play music | 0:31:57 | 0:31:59 | |
and making music and he's in his element. | 0:31:59 | 0:32:01 | |
I love it. It's great. | 0:32:01 | 0:32:03 | |
Fame does weird things. | 0:32:09 | 0:32:11 | |
Makes people very weird. | 0:32:11 | 0:32:13 | |
I challenge anyone for it not to. | 0:32:14 | 0:32:16 | |
REPORTER: 'As expected, Culture Club were besieged by their fans | 0:32:16 | 0:32:19 | |
'outside the hotel and besieged by the press photographers inside.' | 0:32:19 | 0:32:23 | |
It was crazy. | 0:32:23 | 0:32:24 | |
We couldn't get out of theatres sometimes. | 0:32:24 | 0:32:28 | |
Very scary stuff. | 0:32:28 | 0:32:29 | |
And you become isolated, | 0:32:29 | 0:32:31 | |
and when you become isolated you lose touch with reality and | 0:32:31 | 0:32:34 | |
when you lose touch with reality, | 0:32:34 | 0:32:36 | |
then of course it changed you. | 0:32:36 | 0:32:37 | |
It took me a long while to come to terms with that, | 0:32:37 | 0:32:40 | |
and move on from that in my life, to be honest. | 0:32:40 | 0:32:43 | |
-MC: -The winner for the Best British Group... Culture Club! | 0:32:43 | 0:32:47 | |
CHEERING AND APPLAUSE | 0:32:47 | 0:32:50 | |
It had mixed blessings being successful, so, yeah... | 0:32:51 | 0:32:54 | |
The highs are high and the lows were really low. | 0:32:54 | 0:32:57 | |
It was right about the time that we were asked to do Live Aid | 0:32:59 | 0:33:02 | |
we noticed that George was not making proper decisions. | 0:33:02 | 0:33:06 | |
Which led to us not doing Live Aid in the end. | 0:33:08 | 0:33:11 | |
And it was one of the things that hurt the most about the band. | 0:33:11 | 0:33:15 | |
We hadn't...not worked for many years, | 0:33:15 | 0:33:19 | |
and I think everyone had just had enough. | 0:33:19 | 0:33:22 | |
That's when we noticed that George was beginning to fall apart. | 0:33:22 | 0:33:26 | |
Beginning to... | 0:33:26 | 0:33:27 | |
Well, experiment with drugs, I guess. | 0:33:29 | 0:33:31 | |
Well, it was funny, | 0:33:31 | 0:33:33 | |
he literally went from nothing to heroin in about three weeks. | 0:33:33 | 0:33:36 | |
Seeing George descend into heroin addiction was probably... | 0:33:36 | 0:33:39 | |
I mean, it was horrible. | 0:33:39 | 0:33:40 | |
It was absolutely horrible. | 0:33:40 | 0:33:42 | |
Horrible. | 0:33:42 | 0:33:44 | |
George O'Dowd was greeted by scores of squealing fans | 0:33:44 | 0:33:47 | |
as he arrived to face the magistrate - | 0:33:47 | 0:33:49 | |
and the music, as well. | 0:33:49 | 0:33:51 | |
He was found guilty of possession of heroin, | 0:33:51 | 0:33:54 | |
and was fined £250, about 375 in US money. | 0:33:54 | 0:33:57 | |
When he came out of the courtroom, | 0:33:59 | 0:34:01 | |
he told his fans he was sorry, | 0:34:01 | 0:34:03 | |
and he urged them to learn from what happened to him. | 0:34:03 | 0:34:06 | |
That made me... I was off. | 0:34:06 | 0:34:08 | |
I just, you know, I couldn't...care about the band. | 0:34:08 | 0:34:10 | |
"You can't do it," you know. "The band'll break up!" | 0:34:10 | 0:34:13 | |
Fuck it, I don't care. I don't want to be around this. | 0:34:13 | 0:34:15 | |
I just did not want to be around that. | 0:34:15 | 0:34:17 | |
Those couple of years after the band, | 0:34:17 | 0:34:19 | |
and watching all that shit in the papers about George. | 0:34:19 | 0:34:21 | |
Kind of watching our legacy be destroyed in public, really... | 0:34:21 | 0:34:24 | |
It was kind of a low point for me. | 0:34:24 | 0:34:26 | |
After you'd stopped working for Culture Club, | 0:34:26 | 0:34:29 | |
-what have you done in the interim? -Oh, God. | 0:34:29 | 0:34:32 | |
Writing songs for a while, | 0:34:32 | 0:34:33 | |
producing for a while, | 0:34:33 | 0:34:35 | |
then I got into doing music for commercials | 0:34:35 | 0:34:37 | |
then into doing TV stuff... | 0:34:37 | 0:34:38 | |
then I got into becoming | 0:34:38 | 0:34:40 | |
an international playboy. | 0:34:40 | 0:34:42 | |
That didn't go very well. | 0:34:43 | 0:34:45 | |
And then, erm... Just madness. | 0:34:45 | 0:34:47 | |
Most of the time, really, I've been, erm...being Mr Dad. | 0:34:47 | 0:34:51 | |
WOMAN: Ciao! Morning! | 0:34:55 | 0:34:56 | |
Ciao, Paco! How was the game yesterday? | 0:34:56 | 0:34:59 | |
It was good. It was... | 0:34:59 | 0:35:00 | |
-We got worked. -What was the score? | 0:35:00 | 0:35:03 | |
We lost by 4-1 but two of their goals were pure jam. | 0:35:03 | 0:35:05 | |
What about your dad going on tour? | 0:35:05 | 0:35:07 | |
Are you looking forward to seeing him on stage? | 0:35:07 | 0:35:09 | |
Um, obviously it's nice that he's going back on tour, | 0:35:09 | 0:35:12 | |
but I'm not really that excited | 0:35:12 | 0:35:13 | |
about him on stage and things like that. | 0:35:13 | 0:35:16 | |
He's just my dad, he takes me to and from matches, so... | 0:35:16 | 0:35:20 | |
It's more my teachers and my mates and their parents, kind of thing, | 0:35:20 | 0:35:24 | |
that are quite excited and come up to me, but, | 0:35:24 | 0:35:27 | |
I don't... I kind of missed that excitement, really, yeah. | 0:35:27 | 0:35:31 | |
All right, and make sure this documentary | 0:35:31 | 0:35:33 | |
is the start of something, instead of...you know. | 0:35:33 | 0:35:36 | |
You know what I'm saying, Dad? | 0:35:36 | 0:35:38 | |
Cos you guys do this stuff every now and then | 0:35:38 | 0:35:40 | |
-and I want to make sure you follow this through. -Right. | 0:35:40 | 0:35:43 | |
-Well put! -Thank you. | 0:35:43 | 0:35:44 | |
All right, my darling. | 0:35:44 | 0:35:46 | |
Come on. We're going to go now. | 0:35:46 | 0:35:49 | |
-Love you. -See you later, Paco. -Ciao amore. -Ciao, amore. | 0:35:49 | 0:35:52 | |
I'll take it, I'll take it, I'll take it. | 0:35:52 | 0:35:54 | |
The first time I ever heard house music was in the Paradise Garage, | 0:35:57 | 0:36:00 | |
and I was actually making | 0:36:00 | 0:36:01 | |
an album with Culture Club and it was really overproduced, | 0:36:01 | 0:36:04 | |
and I went to this club on the weekend and heard this amazing music | 0:36:04 | 0:36:08 | |
and was like, "Oh, my God, what we're doing's so wrong." | 0:36:08 | 0:36:11 | |
But it was too late, we were in the middle of it. | 0:36:11 | 0:36:14 | |
And that record was a record called... | 0:36:14 | 0:36:16 | |
This weekend I've got a gig in London on Friday | 0:36:17 | 0:36:19 | |
and then I've got a gig in Rimini on Saturday. | 0:36:19 | 0:36:21 | |
Then I go to Toronto, Provence, Ibiza... | 0:36:21 | 0:36:24 | |
But all that travelling, does that in some way... | 0:36:24 | 0:36:27 | |
Is that at the expense of other things in your life? | 0:36:27 | 0:36:30 | |
You mean like sex? | 0:36:30 | 0:36:31 | |
HE LAUGHS | 0:36:31 | 0:36:33 | |
Dental appointments. | 0:36:33 | 0:36:35 | |
But you're not at home a lot, so in terms of forging relationships | 0:36:35 | 0:36:38 | |
and things like this, do you think it gets in the way? | 0:36:38 | 0:36:40 | |
I was talking about this the other day, | 0:36:40 | 0:36:42 | |
that I used to have such a kind of... | 0:36:42 | 0:36:44 | |
So much energy for the chase, | 0:36:44 | 0:36:46 | |
you know, like, "Oh, you know, what's your star sign?" | 0:36:46 | 0:36:50 | |
"Oh, I feel like we've met before." Yawn. | 0:36:50 | 0:36:52 | |
You know, all that palaver - now I just can't be bothered. | 0:36:52 | 0:36:56 | |
You know, I don't feel like I'm missing anything. | 0:36:56 | 0:36:58 | |
OK, let's go. | 0:37:02 | 0:37:03 | |
Can we go somewhere other than this lobby? Cos it's, like, non-stop. | 0:37:03 | 0:37:08 | |
For some reason, I don't know, I think people engage | 0:37:08 | 0:37:11 | |
very differently with famous people now. | 0:37:11 | 0:37:14 | |
It's weird now. If people know who you are | 0:37:14 | 0:37:16 | |
they'll come up and ask for a selfie or an autograph. | 0:37:16 | 0:37:19 | |
If you're a reality star or a pop star or a footballer, | 0:37:19 | 0:37:22 | |
it's like, "Oh, you know, you're famous, can I take a picture?" | 0:37:22 | 0:37:26 | |
It's not about you, it's about them. | 0:37:26 | 0:37:28 | |
-Don't be frightened. -Are we ready? | 0:37:32 | 0:37:34 | |
It's a joyous song. | 0:37:34 | 0:37:36 | |
It's a song about a chameleon. | 0:37:36 | 0:37:38 | |
One, two, one, two, three, four. | 0:37:39 | 0:37:41 | |
# There's a love in your eyes... # | 0:37:47 | 0:37:50 | |
Have you seen your dad play before? | 0:37:50 | 0:37:52 | |
Yeah, when I was about five, Albert Hall. | 0:37:52 | 0:37:54 | |
He spent his whole life saying, "What does my dad do?", poor thing. | 0:37:54 | 0:37:57 | |
Playing with little bands and... All my kids are the same, | 0:37:58 | 0:38:01 | |
that's what's going to be so good about this. | 0:38:01 | 0:38:03 | |
By the time I got married and had my kids we'd stopped, | 0:38:03 | 0:38:05 | |
we'd stopped stopping. | 0:38:05 | 0:38:06 | |
So this is really good, because when you actually see it, | 0:38:06 | 0:38:09 | |
like the O2 or something, then it all makes sense. | 0:38:09 | 0:38:11 | |
And I put him off the business forever, which is a good thing. | 0:38:11 | 0:38:14 | |
He'll be a lawyer or a doctor or something. | 0:38:14 | 0:38:16 | |
# Loving would be easy if your colours were like my dream | 0:38:21 | 0:38:25 | |
# Red, gold and green Red, gold and green. # | 0:38:25 | 0:38:31 | |
Thank God Roy's not here or we'd be getting all sorts of orders | 0:38:37 | 0:38:40 | |
about how it should be done and shouldn't be done, | 0:38:40 | 0:38:42 | |
how we're not doing this right. | 0:38:42 | 0:38:44 | |
But Peg Leg's not here, so... | 0:38:44 | 0:38:46 | |
Peggy Mount's not here. | 0:38:48 | 0:38:49 | |
"Peg Leg's not here," oh, dear. | 0:38:49 | 0:38:52 | |
You know what I did was | 0:38:52 | 0:38:53 | |
I kind of registered my disappointment, then I moved on. | 0:38:53 | 0:38:56 | |
I just sent him an e-mail saying "I'm disappointed you're not coming," | 0:38:56 | 0:39:00 | |
because - I don't know if you remember, maybe you filmed this - | 0:39:00 | 0:39:02 | |
but he didn't really want to come anyway. | 0:39:02 | 0:39:04 | |
So it seems a bit con... | 0:39:04 | 0:39:05 | |
I mean, I know he has to have knee surgery and all of that, | 0:39:05 | 0:39:09 | |
but it did seem a bit like he planned it so he didn't have to come. | 0:39:09 | 0:39:12 | |
"Oh, my knee! Oh, my knee! I couldn't possibly be there!" | 0:39:12 | 0:39:15 | |
-Do you think that he didn't actually want to come? -Not at all. | 0:39:15 | 0:39:18 | |
No, that's ridiculous. No, he's really... | 0:39:18 | 0:39:20 | |
When we were in Spain his leg was really bad. | 0:39:20 | 0:39:22 | |
I sympathise with him. | 0:39:22 | 0:39:23 | |
I learned quite a lot in Spain. | 0:39:25 | 0:39:28 | |
You think you know it all, but you don't, really, don't you? | 0:39:28 | 0:39:31 | |
We're all different because we're older, | 0:39:31 | 0:39:33 | |
but underneath it all we're still the same, | 0:39:33 | 0:39:35 | |
so when those same things surface... | 0:39:35 | 0:39:39 | |
you know, it gets you a little bit, "Argh!" | 0:39:39 | 0:39:41 | |
Och aye. What a dump. | 0:39:46 | 0:39:48 | |
By the way, Roy sends his love. | 0:39:50 | 0:39:51 | |
Oh, don't overdo it. Poor Roy! | 0:39:51 | 0:39:53 | |
-Roy sends his love to you, you, you, you... -It's the Roy appreciation. | 0:39:53 | 0:39:57 | |
-"Oh, poor Roy." -To everyone. He sends his love. | 0:39:57 | 0:39:59 | |
Didn't want to come! | 0:39:59 | 0:40:01 | |
-She wouldn't... -No, he had to have the work done. | 0:40:01 | 0:40:03 | |
-Hold on. -He had to have the work done. | 0:40:03 | 0:40:05 | |
She's had a gammy knee for years. | 0:40:05 | 0:40:06 | |
-Yeah, I've got a gammy knee as well. -Well, you're here. | 0:40:06 | 0:40:09 | |
Yeah. But anyway, Roy did need to do it. | 0:40:09 | 0:40:11 | |
-Has he paid you a fiver to keep going, "Oh, poor Roy?" -No, no, no. | 0:40:11 | 0:40:14 | |
Basically, Roy's not here bossing everyone around | 0:40:14 | 0:40:16 | |
and trying to call the shots. | 0:40:16 | 0:40:18 | |
-Michael, quick, it's a coup! -No, no, no, no. | 0:40:18 | 0:40:21 | |
-Anyway. -Never mind, it's fine. | 0:40:21 | 0:40:23 | |
And the end of the day I was sitting there going... | 0:40:23 | 0:40:26 | |
Do you know what? I've learned not to hate you any more... | 0:40:26 | 0:40:29 | |
Why would you hate me? I'm lovely! | 0:40:29 | 0:40:31 | |
..even when you, you piss me off, I've learned not to hate you. | 0:40:31 | 0:40:35 | |
-It's got my name wrong, as well. -Joan. -Joan Moist. | 0:40:36 | 0:40:39 | |
That's, like, a bit filthy. | 0:40:39 | 0:40:41 | |
Your kids are going to see this. Behave. | 0:40:41 | 0:40:43 | |
-They're my children. -I know your children very well. | 0:40:43 | 0:40:46 | |
Babs used to go on about this. | 0:40:46 | 0:40:47 | |
"The kids are going to find out what happens, they'll watch that programme." | 0:40:47 | 0:40:51 | |
Watched it. "You all right about it?" | 0:40:51 | 0:40:53 | |
-"Yeah." And she was like, "And?" -Good. | 0:40:53 | 0:40:55 | |
She was quite excited about it, in fact, something to talk about. | 0:40:55 | 0:40:58 | |
Good. Well, I can fill her in the details if she wants. | 0:40:58 | 0:41:00 | |
No, that's probably not a good idea. | 0:41:00 | 0:41:02 | |
You're sailing a bit close to the wind here, George. | 0:41:02 | 0:41:04 | |
-Like when you said... -Shut up! I'll kill you! | 0:41:04 | 0:41:06 | |
When you said to the journalist, | 0:41:06 | 0:41:08 | |
"I smashed a pot over George's head and he tried to set fire to me." | 0:41:08 | 0:41:11 | |
But that's true! | 0:41:11 | 0:41:12 | |
You threw a plant pot through the first floor | 0:41:12 | 0:41:14 | |
and it would have killed me, and then you wouldn't come out, | 0:41:14 | 0:41:17 | |
going, "I'm not coming out! Fuck off, Jon, fuck off, Jon!" | 0:41:17 | 0:41:20 | |
-But, Jon, babe, babe, babe... -Look at your shoes! | 0:41:20 | 0:41:23 | |
..can I just say something? | 0:41:23 | 0:41:24 | |
I could spend the next 20 years telling you stories | 0:41:24 | 0:41:27 | |
about things you did. | 0:41:27 | 0:41:29 | |
-Cool, I don't mind. -Don't tell journalists things like that. | 0:41:29 | 0:41:32 | |
Well, it's better than saying you sniffed my bum in Hampstead. | 0:41:32 | 0:41:34 | |
-My mum was like, "Why did he say that?" -That's what you said. | 0:41:34 | 0:41:37 | |
She said, "Why did he say that?" I said, "That's Jon." | 0:41:37 | 0:41:40 | |
You said you sniffed my bum like a dog in Hampstead. | 0:41:40 | 0:41:42 | |
-That would have been a much worse headline! -I never said that! | 0:41:42 | 0:41:44 | |
-Much worse headline. -I never said that! | 0:41:44 | 0:41:46 | |
-You did! -No, no, I did not. -Oh, yes, you did. | 0:41:46 | 0:41:49 | |
OK, let me say what I said. | 0:41:49 | 0:41:51 | |
I said when you're around people you do the sniffy thing like dogs. | 0:41:51 | 0:41:54 | |
-You said, "He sniffed my bum!" -No, I didn't. | 0:41:54 | 0:41:56 | |
-I never said that! -I didn't say you sniffed my bum. | 0:41:56 | 0:41:58 | |
An animal, going... HE SNIFFS | 0:41:58 | 0:41:59 | |
No. Roy said, "That's good, George, isn't it?! | 0:41:59 | 0:42:01 | |
"Now they're going to write you sniffed his bum in Hampstead!" | 0:42:01 | 0:42:04 | |
That's what it was. "That's bloody clever, George, isn't it?! | 0:42:04 | 0:42:06 | |
"I'm leaving!" | 0:42:06 | 0:42:08 | |
Move on. | 0:42:08 | 0:42:09 | |
SAXOPHONE PLAYS | 0:42:09 | 0:42:12 | |
Sounds like Benny Hill. | 0:42:14 | 0:42:16 | |
It's like Benny Hill with the sax, though, don't you think? | 0:42:16 | 0:42:20 | |
I'm going round to everyone going, | 0:42:20 | 0:42:22 | |
"Don't mess this up, right? It's really important." | 0:42:22 | 0:42:24 | |
Psychological games. | 0:42:26 | 0:42:27 | |
Don't fuck this up. | 0:42:30 | 0:42:32 | |
Don't fuck this up. | 0:42:34 | 0:42:36 | |
-Jon? -Yeah? | 0:42:38 | 0:42:40 | |
-Don't fuck this up. -Don't what? -Don't fuck this up. | 0:42:40 | 0:42:43 | |
I was going to say the same to you, actually. | 0:42:43 | 0:42:45 | |
He said it to everyone, the bastard. | 0:42:45 | 0:42:47 | |
Guys, are we ready? | 0:42:49 | 0:42:51 | |
He keeps asking if I'm nervous, he's trying to make me edgy. | 0:42:51 | 0:42:54 | |
CHEERING AND APPLAUSE | 0:42:54 | 0:42:56 | |
The battlements of Edinburgh Castle have witnessed wars, sieges, | 0:42:56 | 0:43:00 | |
murders and revolutions, | 0:43:00 | 0:43:01 | |
but the tension and turmoil of changed are nothing | 0:43:01 | 0:43:04 | |
compared to what our next guests have been through. | 0:43:04 | 0:43:07 | |
Please welcome Mikey Craig, Jon Moss and Boy George - | 0:43:07 | 0:43:10 | |
it's happening - from Culture Club! | 0:43:10 | 0:43:13 | |
CHEERING AND APPLAUSE | 0:43:13 | 0:43:15 | |
# Do you really want to hurt me? | 0:43:19 | 0:43:22 | |
# Do you really want to make me cry? | 0:43:24 | 0:43:27 | |
# Precious kisses, words that burn me | 0:43:29 | 0:43:33 | |
# Those lovers never ask you why | 0:43:33 | 0:43:38 | |
# Do you really want to hurt me? | 0:43:38 | 0:43:43 | |
# Do you really want to make me cry... # | 0:43:43 | 0:43:48 | |
Happy birthday to Jon's son, Clyde, who's 17 today. | 0:43:48 | 0:43:51 | |
# Do you really want to make me cry? # | 0:43:54 | 0:44:00 | |
Ho! Beautiful. | 0:44:00 | 0:44:01 | |
CHEERING AND APPLAUSE | 0:44:01 | 0:44:03 | |
Thank you very much. | 0:44:04 | 0:44:06 | |
CHEERING | 0:44:06 | 0:44:08 | |
I hope you're going to come and see us when we play in December. | 0:44:10 | 0:44:13 | |
Absolutely phenomenal, so brilliant to have you back. | 0:44:14 | 0:44:17 | |
Wasn't it good? | 0:44:20 | 0:44:22 | |
-We've got to be out of here in ten minutes. -All right. | 0:44:22 | 0:44:25 | |
Let's go, let's go. Let's vamoose. | 0:44:25 | 0:44:27 | |
That was good, it's good. | 0:44:27 | 0:44:29 | |
It's like one of those weird things, it was, like, so quick, | 0:44:29 | 0:44:34 | |
it's hard to even kind of think about what it was like. | 0:44:34 | 0:44:36 | |
I just couldn't tell you, I'll wait to see the tweets. | 0:44:36 | 0:44:40 | |
"Oh, she's awful, she's out of tune, | 0:44:40 | 0:44:42 | |
"they should give up." | 0:44:42 | 0:44:43 | |
You know that saying, critics go in after the battle is won | 0:44:43 | 0:44:46 | |
and shoot the survivors? | 0:44:46 | 0:44:47 | |
Move on. | 0:44:47 | 0:44:49 | |
BAND PLAYS | 0:44:55 | 0:44:58 | |
# He was living in his car on the side of the road | 0:45:02 | 0:45:06 | |
# Like a crack pipe Jesus... # | 0:45:06 | 0:45:10 | |
Interesting times, yes. George has... | 0:45:11 | 0:45:14 | |
George has changed management in midstream. | 0:45:14 | 0:45:17 | |
Yeah, which is, er... | 0:45:17 | 0:45:20 | |
Well, even by George's standards, | 0:45:20 | 0:45:22 | |
that's pretty impressive to create chaos. | 0:45:22 | 0:45:24 | |
It's the first person I've ever met who actually has a kind of plan. | 0:45:24 | 0:45:28 | |
'The kind of music business that we know doesn't exist any more. | 0:45:28 | 0:45:31 | |
'The sort of bog-standard ways of doing things just are over. | 0:45:31 | 0:45:35 | |
'I need someone who can see a bigger picture, and I've found someone.' | 0:45:35 | 0:45:39 | |
We've almost got three sets of managers now managing the band, | 0:45:39 | 0:45:43 | |
so you've got e-mails going round and round and round and round, | 0:45:43 | 0:45:46 | |
and we got to the point where we almost lost an American tour. | 0:45:46 | 0:45:52 | |
It's amazing that I'm actually here in this country. | 0:45:52 | 0:45:55 | |
So you nearly didn't come over, then? | 0:45:57 | 0:45:59 | |
No, because nothing was arranged. | 0:45:59 | 0:46:00 | |
All I really want is to be able to go out and play new songs. | 0:46:00 | 0:46:05 | |
I mean, thank God we've got the album in the bag. | 0:46:07 | 0:46:10 | |
I think that saved us, because we all believe in the record. | 0:46:10 | 0:46:14 | |
-JON: -Really, it's not that difficult, you know what I mean? | 0:46:15 | 0:46:18 | |
We do it, we rehearse, we go out and play. | 0:46:18 | 0:46:20 | |
It's just a question of whether you want drama | 0:46:20 | 0:46:22 | |
or you don't want drama, you know. I personally go for the non-drama. | 0:46:22 | 0:46:26 | |
But this is Culture Club. | 0:46:26 | 0:46:28 | |
I know, but it's supposed to get better! | 0:46:28 | 0:46:30 | |
It's got fucking worse! | 0:46:30 | 0:46:32 | |
# You could be a different man... # | 0:46:33 | 0:46:37 | |
CROWD CHATTERING | 0:46:41 | 0:46:44 | |
It's a very historic day. | 0:46:52 | 0:46:53 | |
Culture Club back after 12 years, isn't it? So I love it. | 0:46:53 | 0:46:59 | |
# Do you really want to hurt me? # | 0:46:59 | 0:47:02 | |
Lovely. I love it. Fantastic. | 0:47:02 | 0:47:04 | |
This is like my idea of hell. | 0:47:04 | 0:47:06 | |
There's, like, so many people in the dressing room, | 0:47:06 | 0:47:09 | |
there's nowhere to get changed, there's nowhere just to be quiet. | 0:47:09 | 0:47:11 | |
That's really important before a show. | 0:47:11 | 0:47:13 | |
There were supposed to be some press interviews and things. | 0:47:13 | 0:47:16 | |
-Don't know about that. -Cancelled? -I don't know. -OK. | 0:47:16 | 0:47:20 | |
I'm just a drummer now. | 0:47:20 | 0:47:22 | |
I'm not going to do interviews on the day of the show. | 0:47:22 | 0:47:25 | |
So get ready two hours before you need to, for what? | 0:47:25 | 0:47:28 | |
To be on the news? | 0:47:28 | 0:47:30 | |
It really wasn't my... I didn't cancel Vogue. | 0:47:30 | 0:47:33 | |
Shall we go? Shall we go, Georgie? | 0:47:35 | 0:47:37 | |
CHEERING | 0:47:37 | 0:47:40 | |
Hello, Heaven! | 0:47:42 | 0:47:43 | |
CHEERING | 0:47:43 | 0:47:45 | |
BAND PLAYS | 0:47:48 | 0:47:50 | |
CHEERING AND WHOOPING | 0:47:55 | 0:47:58 | |
# Desolate loving in your eyes | 0:47:58 | 0:48:01 | |
# You used to make my life so sweet | 0:48:01 | 0:48:04 | |
# In the church of the poison mind | 0:48:04 | 0:48:06 | |
# In the church of the poison mind | 0:48:06 | 0:48:08 | |
# In the church of the poison mind | 0:48:08 | 0:48:10 | |
# In the church of the poison mind | 0:48:10 | 0:48:12 | |
# In the church of the poison mind. # | 0:48:12 | 0:48:15 | |
CHEERING AND APPLAUSE | 0:48:16 | 0:48:19 | |
Someone backstage just asked me my name, so there's work to be done. | 0:48:24 | 0:48:27 | |
# I could use a little more than silence | 0:48:28 | 0:48:35 | |
# Silence is a moon | 0:48:35 | 0:48:40 | |
# In a lonely sky... # | 0:48:40 | 0:48:43 | |
Loved it, especially the new songs. | 0:48:43 | 0:48:46 | |
He looks amazing and sounded amazing. It's fantastic. | 0:48:46 | 0:48:49 | |
Very nice. It was a fantastic night, seriously. | 0:48:50 | 0:48:54 | |
Thank you very much! | 0:48:54 | 0:48:56 | |
CHEERING AND APPLAUSE | 0:48:58 | 0:49:02 | |
Everybody, well done. Everybody, well done. Great, man. | 0:49:11 | 0:49:15 | |
-Thank you, girls. Magnificent. -Thank you, Roy. | 0:49:15 | 0:49:17 | |
I'm happy, yeah, good. | 0:49:17 | 0:49:19 | |
Quite tired, actually, which is not good. | 0:49:21 | 0:49:24 | |
Now what do I do? | 0:49:24 | 0:49:25 | |
I used to drink myself into oblivion, | 0:49:27 | 0:49:29 | |
but I can't do that any more! | 0:49:29 | 0:49:31 | |
Great gig, mate, thanks very much. Guys, great job. | 0:49:33 | 0:49:35 | |
Do you know what the dates are? | 0:49:37 | 0:49:39 | |
Yeah. We get there on the Monday, I think, | 0:49:39 | 0:49:42 | |
Friday's Atlantic City, we fly out on Saturday. | 0:49:42 | 0:49:44 | |
Who knows? Who knows what's going to happen? We don't know. | 0:49:45 | 0:49:49 | |
-Who knows what might happen? -Anything's possible for January. | 0:49:49 | 0:49:53 | |
-Signing a deal for... -Revlon. | 0:49:53 | 0:49:55 | |
I don't think he quite understands rock 'n' roll. | 0:49:55 | 0:49:58 | |
I've got him ten revenue, ten streams of revenue for George, | 0:49:58 | 0:50:02 | |
it's going to be this and that, this and that. | 0:50:02 | 0:50:04 | |
You boys, 300 million it's going to be worth, you boys will be in on it. | 0:50:04 | 0:50:08 | |
But, in a way, maybe that's a good thing. | 0:50:08 | 0:50:11 | |
Has it created divisions? | 0:50:11 | 0:50:12 | |
Yeah, having a new person in the mix when everything was...? | 0:50:12 | 0:50:15 | |
No, it's kind of brought the three of us very close together, actually. | 0:50:15 | 0:50:19 | |
When you say the three of us, I mean, the three of you... | 0:50:19 | 0:50:22 | |
-Divisions with George? -Yeah? -Well, George is George, you know. | 0:50:22 | 0:50:26 | |
But the three of us are now, you know, | 0:50:26 | 0:50:28 | |
very much...close together. | 0:50:28 | 0:50:31 | |
Glitzy! | 0:50:37 | 0:50:38 | |
VOCAL WARM-UPS | 0:50:40 | 0:50:43 | |
VOCAL WARM-UPS | 0:50:47 | 0:50:50 | |
OK, stand by. | 0:50:50 | 0:50:51 | |
MUSIC: Karma Chameleon | 0:50:53 | 0:50:55 | |
# There's a loving in your eyes all the way... # | 0:50:59 | 0:51:04 | |
'I'm the only one that's singing live. | 0:51:04 | 0:51:06 | |
'We don't do it like that any more, so it's a bit of a weird thing.' | 0:51:06 | 0:51:08 | |
And it's really weird... It's just... | 0:51:08 | 0:51:11 | |
You know what? We just made a great new album | 0:51:11 | 0:51:13 | |
that they could have easily done a dance to. | 0:51:13 | 0:51:16 | |
# Every day is about survival... # | 0:51:16 | 0:51:20 | |
'I just thought we could have done Runaway Train, | 0:51:36 | 0:51:38 | |
'it would have been just as good as Karma Chameleon.' | 0:51:38 | 0:51:41 | |
I love it, I do it live, I've always done it live. | 0:51:41 | 0:51:43 | |
It's kind of like a... | 0:51:43 | 0:51:45 | |
What you'd call a fait accompli. | 0:51:45 | 0:51:47 | |
Time for some brilliant music. | 0:51:56 | 0:51:58 | |
Here with Karma Chameleon, it's Culture Club! | 0:51:58 | 0:52:00 | |
CHEERING AND APPLAUSE | 0:52:00 | 0:52:02 | |
# Karma karma karma karma Karma chameleon | 0:52:04 | 0:52:08 | |
# You come and go | 0:52:08 | 0:52:11 | |
# You come and go | 0:52:11 | 0:52:14 | |
# Loving would be easy if your colours were like my dream | 0:52:14 | 0:52:19 | |
# Red, gold and green Red, gold and green. # | 0:52:19 | 0:52:24 | |
CHEERING AND APPLAUSE | 0:52:28 | 0:52:31 | |
HE HUMS | 0:52:32 | 0:52:34 | |
-Thank you very, very, very much. -Thank you, honey, fabulous. Bless you. | 0:52:36 | 0:52:39 | |
I wouldn't describe it as my finest musical moment. | 0:52:40 | 0:52:43 | |
I couldn't really hear anything, La-la-la-la-la. | 0:52:44 | 0:52:47 | |
La-la-la! | 0:52:47 | 0:52:49 | |
No, I mean, you know, I'm... | 0:52:51 | 0:52:53 | |
I'm old, I'm very old. I'm very old. | 0:52:53 | 0:52:56 | |
I suppose, at the end of the day, the bottom line is that it's done, | 0:52:56 | 0:53:00 | |
so what's next? | 0:53:00 | 0:53:02 | |
Some more coconut soup. That's what I want. | 0:53:02 | 0:53:04 | |
MUSIC PLAYS | 0:53:10 | 0:53:13 | |
Let's go from the chorus. Very nice. | 0:53:17 | 0:53:19 | |
How are you, Mr Hay? | 0:53:19 | 0:53:20 | |
Recovering from the barrage of bad comments after last night. | 0:53:20 | 0:53:23 | |
I know, I know! | 0:53:23 | 0:53:25 | |
The reviews for Heaven - fantastic, you know, great show. | 0:53:26 | 0:53:28 | |
We were on such high, man. Everything was great, and then... | 0:53:28 | 0:53:32 | |
I think getting in front of 12 million | 0:53:32 | 0:53:35 | |
and a lacklustre performance. | 0:53:35 | 0:53:37 | |
I don't know if he was tired or sick or didn't want to do it, | 0:53:37 | 0:53:40 | |
he was pissed off we had to do Karma... | 0:53:40 | 0:53:43 | |
-But he was in a good mood all day. -Yeah. | 0:53:43 | 0:53:44 | |
I'm just hoping he's OK, you know. | 0:53:44 | 0:53:47 | |
Maybe physically he wasn't feeling very well. | 0:53:47 | 0:53:49 | |
You know, everybody's been going wild about Heaven. | 0:53:51 | 0:53:55 | |
It was amazing. | 0:53:56 | 0:53:58 | |
And then to have that high and then come down to a low is... | 0:53:58 | 0:54:00 | |
It's a little bit worrying. | 0:54:00 | 0:54:02 | |
An iconic band cancels their North American tour. | 0:54:14 | 0:54:17 | |
# Do you really want to hurt me? # | 0:54:20 | 0:54:23 | |
'80s band Culture Club has cancelled their North American | 0:54:23 | 0:54:26 | |
and UK reunion tour after it was discovered | 0:54:26 | 0:54:29 | |
Boy George has a vocal polyp. | 0:54:29 | 0:54:31 | |
Doctors ordered the 53-year-old to stop singing | 0:54:31 | 0:54:34 | |
otherwise he'll need to undergo surgery. | 0:54:34 | 0:54:36 | |
Boy George took to Facebook to apologise to his fans, saying... | 0:54:36 | 0:54:39 | |
-What did he say? -There's been a bit of an improvement. | 0:54:58 | 0:55:01 | |
But I'm going to have to actually have some periods | 0:55:01 | 0:55:05 | |
where I don't speak, so that's going to be really challenging! | 0:55:05 | 0:55:09 | |
And did they give you any indication of when you can sing again? | 0:55:10 | 0:55:13 | |
Well, he said it's one of those things. | 0:55:13 | 0:55:15 | |
I need, you know, therapy, I need to have some therapy, | 0:55:15 | 0:55:18 | |
which is what I'll do with this lady, and then we'll see. | 0:55:18 | 0:55:21 | |
It's not something you can kind of measure. Do you know what I mean? | 0:55:21 | 0:55:24 | |
He said there's been an improvement, so that's good news, | 0:55:24 | 0:55:27 | |
but, obviously, if I were to go out and start shouting and screaming | 0:55:27 | 0:55:30 | |
and, you know, running around town it probably wouldn't be a good idea, | 0:55:30 | 0:55:33 | |
so, you know, I've got to recuperate. I think that's the key, you know. | 0:55:33 | 0:55:37 | |
Really, the last thing I should be doing right now | 0:55:37 | 0:55:40 | |
is going to meet the fans, but I'll just try and keep quiet. | 0:55:40 | 0:55:43 | |
The band think that I'm just being... | 0:55:55 | 0:55:59 | |
difficult and selfish and blah blah blah blah. | 0:55:59 | 0:56:02 | |
They want to go out and just do it and I don't, | 0:56:02 | 0:56:05 | |
and I'm not going to. | 0:56:05 | 0:56:07 | |
I just want to do this properly. | 0:56:07 | 0:56:09 | |
Sometimes, in order to do that, | 0:56:09 | 0:56:11 | |
you have to be belligerent and fight people. | 0:56:11 | 0:56:14 | |
That's what's happening right now. | 0:56:14 | 0:56:16 | |
-Are there plans for you to go back out on the road? -Not right now. | 0:56:25 | 0:56:28 | |
Not right now. No. | 0:56:28 | 0:56:30 | |
-Where have you come from? -Singapore. | 0:56:37 | 0:56:40 | |
I'm from New York. We just arrived today. | 0:56:40 | 0:56:43 | |
-Where have you two come from? -From Italy. | 0:56:43 | 0:56:46 | |
How did you feel when you heard that the dates were cancelled? | 0:56:46 | 0:56:49 | |
It was very disappointing. | 0:56:50 | 0:56:52 | |
We've had the flights and the hotel, | 0:56:52 | 0:56:55 | |
and so we couldn't believe that it was cancelled. | 0:56:55 | 0:56:59 | |
We just decided to come anyway | 0:56:59 | 0:57:00 | |
because we can't cancel the hotel and flights. | 0:57:00 | 0:57:03 | |
Cos you've been a fan of George's a long time, haven't you? | 0:57:03 | 0:57:06 | |
Oh, my God, since I was 13. Yeah, that's a long time, and I'm 46 now. | 0:57:06 | 0:57:10 | |
So, yeah, that's quite a bit, yeah. | 0:57:10 | 0:57:12 | |
I'm in a cafe in Hampstead with a load of people | 0:57:16 | 0:57:18 | |
that came to the shows. | 0:57:18 | 0:57:20 | |
There's like one, two... There's a lot. | 0:57:20 | 0:57:23 | |
I'm buying them chips. | 0:57:23 | 0:57:25 | |
It felt like a dream, it was, like, not real. | 0:57:31 | 0:57:33 | |
Didn't really feel like we were really there, but... | 0:57:33 | 0:57:36 | |
Everybody put their hands up! | 0:57:36 | 0:57:38 | |
I couldn't believe that I had a conversation like friends. | 0:57:40 | 0:57:44 | |
I never saw this article. | 0:57:45 | 0:57:47 | |
It's actually quite a good picture. Well, of me! | 0:57:48 | 0:57:51 | |
"The happy ending." | 0:57:53 | 0:57:54 | |
Love you. And I'm going. Au revoir. | 0:57:58 | 0:58:01 | |
-Bye-bye. Safe travels. -Bye, George! | 0:58:01 | 0:58:04 | |
A bientot. | 0:58:04 | 0:58:06 | |
Right, so I'm going now. Where's the thing? | 0:58:06 | 0:58:08 | |
OK, well, thanks for that. | 0:58:08 | 0:58:10 | |
Really got on my nerves, just want you to know. | 0:58:10 | 0:58:12 | |
Please don't bother me again, don't come round me again with your stupid camera. | 0:58:12 | 0:58:15 | |
See you later. | 0:58:15 | 0:58:16 | |
-We'll see each other next week, yeah? -Yeah, Monday, yeah? | 0:58:16 | 0:58:19 | |
-All right, love you, bye. -Bye, bye, bye. | 0:58:19 | 0:58:21 | |
The common-sense thing is if you sit down and talk about things, | 0:58:32 | 0:58:35 | |
things sort of get resolved, | 0:58:35 | 0:58:36 | |
or at least people know roughly where they are. | 0:58:36 | 0:58:40 | |
PHONE DIALLING | 0:58:40 | 0:58:41 | |
Hello, Mikey. | 0:58:41 | 0:58:43 | |
Do you want to meet up for a coffee on Saturday morning? | 0:58:43 | 0:58:46 | |
All right, darling, I'll see you then. | 0:58:46 | 0:58:49 | |
PHONE DIALLING | 0:58:49 | 0:58:50 | |
Jon. | 0:58:50 | 0:58:51 | |
I just said to Mikey I'll have coffee with him | 0:58:51 | 0:58:53 | |
on Saturday morning if you want to join us. | 0:58:53 | 0:58:56 | |
That's two down. One to go! | 0:58:56 | 0:58:58 |