1
00:00:00,640 --> 00:00:03,760
Speaker 1: Hey, everyone, do you live in Washington, DC? Are you

2
00:00:03,920 --> 00:00:07,400
Speaker 1: sitting around fretting about this upcoming election? Maybe you're even

3
00:00:07,400 --> 00:00:09,840
Speaker 1: working on one of these campaigns. Well, we've got a

4
00:00:09,840 --> 00:00:12,360
Speaker 1: great stress reliever for you, and that's coming out to

5
00:00:12,360 --> 00:00:15,240
Speaker 1: see us on May thirtieth at the Warner Theater for

6
00:00:15,280 --> 00:00:16,360
Speaker 1: Stuff you Should Know Live.

7
00:00:17,040 --> 00:00:21,320
Speaker 2: Yeah, we guarantee zero political jokes, one hundred percent zero

8
00:00:21,440 --> 00:00:23,960
Speaker 2: political jokes if you come out and see us. We're

9
00:00:24,000 --> 00:00:26,799
Speaker 2: gonna be in Medford, mass on May twenty ninth. The

10
00:00:26,840 --> 00:00:29,760
Speaker 2: next night, we'll be in DC on May thirtieth, and

11
00:00:29,800 --> 00:00:31,680
Speaker 2: then the night after that we'll be at our old friend,

12
00:00:31,680 --> 00:00:34,080
Speaker 2: the Town Hall in Manhattan Town, NYC.

13
00:00:34,520 --> 00:00:36,440
Speaker 1: That's right, So check out tickets. You can go to

14
00:00:36,440 --> 00:00:38,519
Speaker 1: stuff youshould Know dot com, you can go to the

15
00:00:38,520 --> 00:00:42,919
Speaker 1: theater websites themselves, avoid those secondary ticket brokers, or check

16
00:00:42,960 --> 00:00:44,800
Speaker 1: out our link tree, right, Josh.

17
00:00:44,520 --> 00:00:47,600
Speaker 2: Yeah, link tree sysk Live.

18
00:00:50,440 --> 00:00:58,160
Speaker 1: Welcome to Stuff you Should Know, a production of iHeartRadio.

19
00:01:00,240 --> 00:01:02,480
Speaker 2: Hey, and welcome to the podcast. I'm Josh, and there's

20
00:01:02,600 --> 00:01:04,959
Speaker 2: Chuck and Jerry's here too. And when you put us

21
00:01:05,000 --> 00:01:11,600
Speaker 2: all together, well things get pretty great. How's it going, man.

22
00:01:11,720 --> 00:01:12,520
Speaker 3: It's going great.

23
00:01:13,240 --> 00:01:15,480
Speaker 1: I've been listening to The Village People off and on

24
00:01:15,600 --> 00:01:16,040
Speaker 1: all day.

25
00:01:16,800 --> 00:01:32,240
Speaker 2: Yeah, same here and what We're supposed to both come in. Sorry, Chuck,

26
00:01:32,319 --> 00:01:36,520
Speaker 2: did you pick this because I cannot imagine that you

27
00:01:36,560 --> 00:01:42,800
Speaker 2: weren't a cute little seven year old Village People fan. True,

28
00:01:43,319 --> 00:01:45,520
Speaker 2: So which one did you identify with the most?

29
00:01:46,160 --> 00:01:46,520
Speaker 3: Well?

30
00:01:47,120 --> 00:01:51,280
Speaker 1: I've told this story before because I posted it on

31
00:01:51,400 --> 00:01:55,840
Speaker 1: Instagram way back when I talked about it. But I

32
00:01:55,880 --> 00:02:03,000
Speaker 1: still have a crayon drawing of the Village People because

33
00:02:03,040 --> 00:02:08,640
Speaker 1: I would sit around and play Cruising the record Cruising okay,

34
00:02:08,800 --> 00:02:10,840
Speaker 1: their third album, their third album, but the one with

35
00:02:11,000 --> 00:02:15,120
Speaker 1: YMCA and I Believe in the Navy and like most

36
00:02:15,160 --> 00:02:18,200
Speaker 1: of their big hits outside of my favorite Village People song,

37
00:02:18,360 --> 00:02:22,680
Speaker 1: which is of course Macho Man Sure such a good song,

38
00:02:24,000 --> 00:02:26,120
Speaker 1: And I would just sit around and listen to Cruising

39
00:02:26,880 --> 00:02:31,720
Speaker 1: and stare at that record cover of those guys you

40
00:02:31,720 --> 00:02:34,480
Speaker 1: know on the Horse and the most Cycle, the motorcycle

41
00:02:34,480 --> 00:02:37,480
Speaker 1: and the Bulldozer, and like I would see them on

42
00:02:37,800 --> 00:02:42,359
Speaker 1: American Bandstand and Solid Gold and the early music videos,

43
00:02:42,480 --> 00:02:44,919
Speaker 1: and I would just I thought they were the coolest,

44
00:02:45,600 --> 00:02:50,440
Speaker 1: most awesome dudes ever in the world. And I would

45
00:02:50,440 --> 00:02:52,359
Speaker 1: sit around and draw crayon pictures of them, and I

46
00:02:52,400 --> 00:02:53,480
Speaker 1: still have one of them.

47
00:02:53,960 --> 00:02:55,480
Speaker 3: Maybe I'll pint it on Instagram.

48
00:02:56,000 --> 00:02:59,239
Speaker 1: I'm sort of always laughed years later that like, who

49
00:02:59,280 --> 00:03:02,639
Speaker 1: knows what my peer parents were thinking. And we'll get

50
00:03:02,639 --> 00:03:06,720
Speaker 1: into the you know, whether or not village people count

51
00:03:06,880 --> 00:03:11,120
Speaker 1: or were in fact a gay band. But I imagine at

52
00:03:11,160 --> 00:03:14,240
Speaker 1: the time, in the early to mid seventies, with Southern

53
00:03:14,280 --> 00:03:18,520
Speaker 1: Baptist parents, they either weren't aware of that or were

54
00:03:18,639 --> 00:03:24,120
Speaker 1: probably pretty like worried about their son when they needn't be,

55
00:03:24,120 --> 00:03:26,959
Speaker 1: because either way it would have been fine.

56
00:03:27,240 --> 00:03:28,919
Speaker 2: Yeah, well put man, you know what I'm saying.

57
00:03:28,960 --> 00:03:30,919
Speaker 1: But back in the seventies, in the in the rural,

58
00:03:31,040 --> 00:03:35,440
Speaker 1: not rural, but in a suburban, conservative South, I'm I'm

59
00:03:35,480 --> 00:03:37,200
Speaker 1: sure if they didn't, if they did know what was

60
00:03:37,240 --> 00:03:40,080
Speaker 1: going on, they're probably like, have you seen these Crown pictures?

61
00:03:41,760 --> 00:03:43,920
Speaker 2: Like he drew Little counselor got in Touch.

62
00:03:44,040 --> 00:03:47,880
Speaker 1: I drew literal like pancake boobies on the biker Guy

63
00:03:49,360 --> 00:03:51,200
Speaker 1: because I didn't know how to draw like a bear

64
00:03:51,320 --> 00:03:52,240
Speaker 1: chest correctly.

65
00:03:53,200 --> 00:03:54,240
Speaker 2: Yeah hey that worked.

66
00:03:54,280 --> 00:03:57,320
Speaker 1: Yeah, So anyway, I'll either scroll through my Insta or

67
00:03:57,360 --> 00:03:58,960
Speaker 1: maybe I'll figure out how to pin stuff.

68
00:03:59,000 --> 00:03:59,800
Speaker 2: But definitely.

69
00:04:00,160 --> 00:04:04,360
Speaker 1: We're talking about village people technically not the village people.

70
00:04:05,080 --> 00:04:07,840
Speaker 1: It's just sort of one of those things like Eagles

71
00:04:08,480 --> 00:04:10,520
Speaker 1: or hall of Oates, where you just you come to

72
00:04:10,560 --> 00:04:12,400
Speaker 1: be known by that name even though that's not your

73
00:04:12,400 --> 00:04:12,839
Speaker 1: real name.

74
00:04:13,560 --> 00:04:17,400
Speaker 2: Yes, like Edith Burkell and New Bohemians.

75
00:04:17,680 --> 00:04:19,720
Speaker 3: Oh, is that what it is? It's not the New Bohemians.

76
00:04:20,080 --> 00:04:22,359
Speaker 2: Yeah. For some reason, I've always had this memory of

77
00:04:22,400 --> 00:04:25,919
Speaker 2: her correcting David Letterman on Letterman. It's funny in like

78
00:04:26,040 --> 00:04:28,280
Speaker 2: nineteen ninety or something like that. I don't know why

79
00:04:28,320 --> 00:04:31,359
Speaker 2: it stuck with me, but I always she got the

80
00:04:31,360 --> 00:04:32,599
Speaker 2: point across.

81
00:04:32,240 --> 00:04:34,039
Speaker 3: Sure, And Indigo Girls is the other one. They're not

82
00:04:34,080 --> 00:04:35,080
Speaker 3: the Indigo Girls.

83
00:04:36,040 --> 00:04:37,839
Speaker 2: Yeah. I don't even say that to their face. They

84
00:04:37,880 --> 00:04:38,960
Speaker 2: will they will beat you up.

85
00:04:39,000 --> 00:04:41,240
Speaker 3: Well, if you say Hall of Notes to Daryl Hall,

86
00:04:41,279 --> 00:04:43,599
Speaker 3: he gets pretty salty. He's like, we were.

87
00:04:43,440 --> 00:04:44,200
Speaker 2: Not hall of Oates.

88
00:04:44,240 --> 00:04:44,920
Speaker 3: We never were.

89
00:04:45,839 --> 00:04:46,960
Speaker 2: Oh really what were they?

90
00:04:47,320 --> 00:04:50,040
Speaker 1: Look at the the Hall and now every single album

91
00:04:50,120 --> 00:04:51,720
Speaker 1: it's Darryl holland John Oates.

92
00:04:52,160 --> 00:04:53,360
Speaker 3: They were never Hollan Oates.

93
00:04:53,360 --> 00:04:55,240
Speaker 2: And it just does he really get salty about that

94
00:04:55,279 --> 00:04:59,119
Speaker 2: because they are much much greater things to be upset

95
00:04:59,120 --> 00:04:59,400
Speaker 2: about that.

96
00:04:59,520 --> 00:05:01,560
Speaker 1: I've seen him a little salty, but I think it's

97
00:05:01,640 --> 00:05:03,640
Speaker 1: largely because they don't like each other.

98
00:05:05,279 --> 00:05:06,800
Speaker 2: Man, why are you telling me all that?

99
00:05:09,240 --> 00:05:09,680
Speaker 3: Sorry?

100
00:05:10,120 --> 00:05:12,680
Speaker 2: I want Daryl hall and and John Notes to be

101
00:05:12,760 --> 00:05:14,040
Speaker 2: like just the best guys ever.

102
00:05:14,000 --> 00:05:18,480
Speaker 3: You want to be like, it's like wow or dare

103
00:05:18,520 --> 00:05:19,960
Speaker 3: I say, Josh?

104
00:05:19,040 --> 00:05:22,279
Speaker 2: And I'm not participating for the rest of this episode,

105
00:05:22,279 --> 00:05:23,760
Speaker 2: but I have to chew on some stuff.

106
00:05:24,040 --> 00:05:25,599
Speaker 3: All right, let's talk Village People.

107
00:05:27,160 --> 00:05:29,200
Speaker 2: Yeah. Actually, one of the things that stood out to

108
00:05:29,240 --> 00:05:31,920
Speaker 2: me is this is like the improved version of our

109
00:05:31,960 --> 00:05:35,080
Speaker 2: Milli Vanilli episode, because one thing I didn't realize is

110
00:05:35,080 --> 00:05:39,720
Speaker 2: that the Village People were like a manufactured band and

111
00:05:39,760 --> 00:05:44,440
Speaker 2: they were the brain child I guess collectively yea of

112
00:05:44,680 --> 00:05:51,279
Speaker 2: Jacques morale In Henrie Belolo, who are both Moroccan born

113
00:05:51,440 --> 00:05:56,040
Speaker 2: French Minten Yeah, who I guess separately kind of got

114
00:05:56,080 --> 00:05:59,760
Speaker 2: into the music industry by their own grit and determination

115
00:06:00,720 --> 00:06:02,480
Speaker 2: and didn't really know each other at first. They had

116
00:06:02,520 --> 00:06:05,520
Speaker 2: their own I think, starting in the fifties and sixties,

117
00:06:05,560 --> 00:06:08,159
Speaker 2: had their own careers that they were trying to build,

118
00:06:08,600 --> 00:06:12,960
Speaker 2: and eventually in the seventies they came together. Henri Bololo

119
00:06:13,160 --> 00:06:17,040
Speaker 2: was kind of like the brains the producer that kind

120
00:06:17,040 --> 00:06:19,919
Speaker 2: of type. Jacques Moraley was more he was a producer

121
00:06:19,920 --> 00:06:22,680
Speaker 2: as well, but more the hands on, creative type of producer.

122
00:06:23,000 --> 00:06:26,400
Speaker 2: And when they came together, some sparks flew even before

123
00:06:26,839 --> 00:06:28,560
Speaker 2: the village people were ever around.

124
00:06:28,680 --> 00:06:31,719
Speaker 1: Yeah, there's no way to say this without sounding completely

125
00:06:32,360 --> 00:06:34,440
Speaker 1: like kind of stuck up.

126
00:06:34,680 --> 00:06:36,960
Speaker 3: But I've been listening to a lot of French music lately.

127
00:06:37,800 --> 00:06:40,520
Speaker 1: Oh yeah, yeah, there's I mean, if you're in the

128
00:06:40,600 --> 00:06:43,320
Speaker 1: right mood there, if you look up like eighties sort

129
00:06:43,320 --> 00:06:47,080
Speaker 1: of new wave, but French music, their version, it is

130
00:06:47,200 --> 00:06:48,560
Speaker 1: really really awesome stuff.

131
00:06:49,160 --> 00:06:50,600
Speaker 2: Nice. I will check that out.

132
00:06:50,720 --> 00:06:54,160
Speaker 1: Highly recommended. So yeah, they were, like you said they were,

133
00:06:54,279 --> 00:06:57,760
Speaker 1: had made a name for themselves independently, I believe in

134
00:06:57,880 --> 00:07:04,039
Speaker 1: nineteen seventy three, Belolo set up Can't Stop Productions a

135
00:07:04,080 --> 00:07:05,119
Speaker 1: couple of years later.

136
00:07:05,600 --> 00:07:07,520
Speaker 2: That's a great name, by the way. Oh yeah, it's

137
00:07:07,560 --> 00:07:08,719
Speaker 2: just stuck out to me all day.

138
00:07:08,800 --> 00:07:13,280
Speaker 1: Oh yeah, and I remember seeing that little logo like

139
00:07:13,480 --> 00:07:15,200
Speaker 1: Can't Stop the Music. I think that was the name

140
00:07:15,240 --> 00:07:15,880
Speaker 1: of the movie, right.

141
00:07:16,920 --> 00:07:20,800
Speaker 2: Yeah. I didn't put those two together, actually, don't just know.

142
00:07:21,640 --> 00:07:24,920
Speaker 1: But they eventually met up in the United States and

143
00:07:24,960 --> 00:07:29,680
Speaker 1: their first project and release was a real banger. You know,

144
00:07:29,760 --> 00:07:32,440
Speaker 1: the song Brazil from the nineteen thirties, the one from

145
00:07:32,480 --> 00:07:36,240
Speaker 1: the movie Brazil. They took that and updated it with

146
00:07:36,800 --> 00:07:41,680
Speaker 1: a female trio called the Richie Family as a disco song,

147
00:07:42,320 --> 00:07:44,200
Speaker 1: and it is, like I said, it's a real banger,

148
00:07:44,360 --> 00:07:45,920
Speaker 1: kind of a classic disco song.

149
00:07:46,680 --> 00:07:49,560
Speaker 2: Yes, but it was disco before disco actually existed. So

150
00:07:49,680 --> 00:07:51,560
Speaker 2: a lot of people kind of credit these two is

151
00:07:51,600 --> 00:07:57,040
Speaker 2: really helping lay the foundation for disco. It was that

152
00:07:57,040 --> 00:08:00,640
Speaker 2: that period, right before disco became a thing. So it

153
00:08:00,680 --> 00:08:08,480
Speaker 2: was a weird transition between like, what's the guy's name, Percy.

154
00:08:10,040 --> 00:08:10,440
Speaker 3: Fledge?

155
00:08:10,520 --> 00:08:14,240
Speaker 2: Is it Percy Faith in his orchestra? Okay, the transition

156
00:08:14,240 --> 00:08:19,040
Speaker 2: between Percy Faith and and John Travolta. This is like

157
00:08:19,120 --> 00:08:23,240
Speaker 2: that that slice of music, lots of strings, kind of

158
00:08:23,320 --> 00:08:27,560
Speaker 2: salsa based, lots of like chorus and vocals. It was.

159
00:08:27,600 --> 00:08:30,000
Speaker 2: It actually was up for the nineteen seventy six Grammy

160
00:08:30,000 --> 00:08:33,000
Speaker 2: for Best Pop Instrumental Performance and lost to The Hustle

161
00:08:33,320 --> 00:08:35,320
Speaker 2: if that gets it a cross, So like the Hustle

162
00:08:35,400 --> 00:08:38,520
Speaker 2: is like proto disco. Yeah, so was this version of Brazil.

163
00:08:38,800 --> 00:08:41,080
Speaker 2: And it's right before disco became a thing.

164
00:08:41,200 --> 00:08:43,840
Speaker 3: Yeah, Like on the matter of months though probably.

165
00:08:43,600 --> 00:08:46,240
Speaker 2: Right, Yeah, I would say that, yeah, okay, I.

166
00:08:46,200 --> 00:08:48,440
Speaker 3: Mean losing to the hustle. There's no there's no shame.

167
00:08:48,240 --> 00:08:50,000
Speaker 2: There, no, not at all.

168
00:08:50,240 --> 00:08:53,400
Speaker 1: So they had this pretty good hit with Brazil again.

169
00:08:53,480 --> 00:08:55,719
Speaker 1: I recommend you check it out. It's and listen to

170
00:08:55,720 --> 00:08:58,959
Speaker 1: all these songs are all great. Can't Stop Productions was like,

171
00:08:59,000 --> 00:09:01,880
Speaker 1: all right, listen, we need we you know, back then

172
00:09:01,920 --> 00:09:04,920
Speaker 1: they would just go from thing to thing because it's

173
00:09:04,920 --> 00:09:06,760
Speaker 1: not like you can ride out something like the Richie

174
00:09:06,800 --> 00:09:10,120
Speaker 1: Family forever, so they're always looking for the next new thing.

175
00:09:10,640 --> 00:09:12,920
Speaker 1: In seventy seven, they were hanging out in Greenwich Village,

176
00:09:13,000 --> 00:09:16,319
Speaker 1: New York, which then, as it is now, is a

177
00:09:16,440 --> 00:09:21,840
Speaker 1: very friendly community for especially gay men. Moraley was gay,

178
00:09:21,880 --> 00:09:24,640
Speaker 1: but Belolo was not. But they were hanging out there.

179
00:09:24,679 --> 00:09:26,920
Speaker 1: They were going to disco's, they were going to bars

180
00:09:26,920 --> 00:09:30,880
Speaker 1: and stuff, and they started to see these guys in

181
00:09:30,960 --> 00:09:34,880
Speaker 1: these clubs that were dressed up as these these sort

182
00:09:34,920 --> 00:09:38,120
Speaker 1: of macho American stereo types that they grew up watching

183
00:09:38,280 --> 00:09:42,800
Speaker 1: on you know, American TV and American movies. And this

184
00:09:42,880 --> 00:09:47,680
Speaker 1: is a direct quote from Blolo. Dave is encouraging me

185
00:09:47,720 --> 00:09:49,560
Speaker 1: to read it with a French accent. I'm not sure

186
00:09:49,679 --> 00:09:54,560
Speaker 1: about that, but I'll try this from Billboard magazine. We

187
00:09:54,600 --> 00:09:57,920
Speaker 1: saw different types of characters and bars. That's how we

188
00:09:58,000 --> 00:10:01,599
Speaker 1: decided to cleate a group that's will represent different characters

189
00:10:02,080 --> 00:10:05,480
Speaker 1: of the American male. As we had the idea in

190
00:10:05,520 --> 00:10:09,480
Speaker 1: the village, we decided to call the group the Village People.

191
00:10:09,960 --> 00:10:10,400
Speaker 3: Simple.

192
00:10:12,080 --> 00:10:13,520
Speaker 2: That was a great pepulo peza.

193
00:10:15,240 --> 00:10:17,800
Speaker 1: Yeah, that was like they saw these guys in bars

194
00:10:18,520 --> 00:10:22,160
Speaker 1: fitting these sort of archetypes or stereotypes of what they

195
00:10:22,200 --> 00:10:25,760
Speaker 1: thought like a macho American man was, and they're like, hey,

196
00:10:25,840 --> 00:10:28,240
Speaker 1: this is like a concept right here, right in front

197
00:10:28,240 --> 00:10:28,520
Speaker 1: of us.

198
00:10:29,400 --> 00:10:34,480
Speaker 2: Yeah, And actually it's possible that it was one specific guy.

199
00:10:34,559 --> 00:10:38,240
Speaker 2: They saw, Philippe Rose, Felipe Rose, who was known as

200
00:10:38,320 --> 00:10:41,880
Speaker 2: the Indian, who dressed up as a Native American Indian

201
00:10:42,120 --> 00:10:47,080
Speaker 2: around Greenwich Village very flamboyantly because he was a Native

202
00:10:47,080 --> 00:10:51,760
Speaker 2: American his father on his father's side, he was Mescalero, Apache, Lakota,

203
00:10:51,840 --> 00:10:56,000
Speaker 2: and Cherokee, which is like that's the trifecta, and he

204
00:10:56,120 --> 00:10:57,960
Speaker 2: was very proud of it. So he dressed up in

205
00:10:58,000 --> 00:11:01,480
Speaker 2: like moccasins and fringe leather vests and all that kind

206
00:11:01,559 --> 00:11:05,400
Speaker 2: of thing, and they saw him and that in addition

207
00:11:05,480 --> 00:11:08,640
Speaker 2: to going to bars like the mind Shaft, which was

208
00:11:08,679 --> 00:11:13,040
Speaker 2: a BDSM gay club, and then seeing other people kind

209
00:11:13,040 --> 00:11:15,240
Speaker 2: of dress up. That's where they put the whole thing together.

210
00:11:15,640 --> 00:11:18,199
Speaker 2: And Dave made a really good point here that that

211
00:11:18,679 --> 00:11:25,360
Speaker 2: whole concept of dressing people up as like stereotypical American male,

212
00:11:25,600 --> 00:11:32,040
Speaker 2: macho like image images essentially that an American producer probably

213
00:11:32,080 --> 00:11:34,280
Speaker 2: would have been like, that's not a great idea, it's

214
00:11:34,360 --> 00:11:36,880
Speaker 2: kind of lame. But these guys were like looking at

215
00:11:36,920 --> 00:11:41,040
Speaker 2: America from the outside in, and I think, like you

216
00:11:41,120 --> 00:11:43,200
Speaker 2: kind of alluded to, they were exposed to this like

217
00:11:43,240 --> 00:11:45,199
Speaker 2: their whole lives. This is like what they were fed

218
00:11:45,480 --> 00:11:48,480
Speaker 2: through American movies and TV. So to them, they were like,

219
00:11:48,559 --> 00:11:51,120
Speaker 2: this is amazing, what a great idea, Like we want

220
00:11:51,160 --> 00:11:55,199
Speaker 2: to celebrate this American macho male and that's where the

221
00:11:55,280 --> 00:11:56,400
Speaker 2: village people came from.

222
00:11:56,600 --> 00:11:58,440
Speaker 3: Yeah, I'm not so sure about that part, but I

223
00:11:58,520 --> 00:12:00,800
Speaker 3: respect Dave's opinion. If you agree with.

224
00:12:00,760 --> 00:12:02,720
Speaker 2: Him, I do agree with him on that.

225
00:12:02,760 --> 00:12:03,280
Speaker 3: I respect you.

226
00:12:03,559 --> 00:12:04,400
Speaker 2: I'm going with Dave on this.

227
00:12:04,640 --> 00:12:06,720
Speaker 1: I bet they're American producers that are like, oh God,

228
00:12:06,880 --> 00:12:08,520
Speaker 1: that's right there in front of my face, can't believe it,

229
00:12:08,559 --> 00:12:08,920
Speaker 1: and think.

230
00:12:08,840 --> 00:12:11,400
Speaker 2: Of Hey, yeah, in hindsight.

231
00:12:12,640 --> 00:12:17,520
Speaker 1: So Moroley started writing songs. You know, like you said,

232
00:12:17,559 --> 00:12:19,680
Speaker 1: they were inspired by Felipe Rose. I don't think you said.

233
00:12:19,679 --> 00:12:22,240
Speaker 1: He was basically kicked out of his house because he

234
00:12:22,280 --> 00:12:24,880
Speaker 1: came out as gay. So he was hanging out in

235
00:12:24,880 --> 00:12:29,000
Speaker 1: the village, working in bars and stuff. The Richie family was,

236
00:12:29,160 --> 00:12:30,760
Speaker 1: you know, they were trying to eke a little, trying

237
00:12:30,800 --> 00:12:33,719
Speaker 1: to ring that thing dry from the Richie family. And

238
00:12:33,720 --> 00:12:35,840
Speaker 1: they were getting a new album together. They needed some

239
00:12:35,880 --> 00:12:39,520
Speaker 1: backup singers, and someone said, hey, there's this guy. He's

240
00:12:40,559 --> 00:12:42,599
Speaker 1: on Broadway right now in the Whiz. His name is

241
00:12:42,679 --> 00:12:45,079
Speaker 1: Victor Willis. The guy can really sing, It's got a

242
00:12:45,120 --> 00:12:48,000
Speaker 1: lot of personality, can dance a little bit. You should

243
00:12:48,040 --> 00:12:50,360
Speaker 1: bring him in here as a backup singer. Roley brought

244
00:12:50,400 --> 00:12:52,960
Speaker 1: him into the studio and it was like, dude, you

245
00:12:53,080 --> 00:12:56,760
Speaker 1: are a star, so we need to get you to

246
00:12:56,840 --> 00:13:00,400
Speaker 1: record these other songs we've written that. There were no

247
00:13:00,480 --> 00:13:03,800
Speaker 1: Village people yet, but in nineteen seventy seven he cut

248
00:13:04,440 --> 00:13:07,280
Speaker 1: their very first disco hit. And you'll see a lot

249
00:13:07,280 --> 00:13:09,640
Speaker 1: of parentheticals because that was the time. But this is

250
00:13:09,679 --> 00:13:11,439
Speaker 1: called San Francisco parentheses.

251
00:13:11,679 --> 00:13:14,760
Speaker 3: You got me another good song.

252
00:13:15,559 --> 00:13:18,440
Speaker 2: So, yeah, Victor Willis was the first. This is long

253
00:13:18,480 --> 00:13:22,320
Speaker 2: before Felipe Rose came along, but after they had seen

254
00:13:22,360 --> 00:13:24,880
Speaker 2: Felipe Rose, right, so they were inspired to create the

255
00:13:24,960 --> 00:13:28,400
Speaker 2: village people. But Victor Willis was really the only village

256
00:13:28,440 --> 00:13:32,280
Speaker 2: person at the time. Everybody else was just studio session

257
00:13:32,600 --> 00:13:35,960
Speaker 2: musicians and singers and stuff like that, right, So that

258
00:13:36,040 --> 00:13:38,240
Speaker 2: worked fine when they cut that first album, which I

259
00:13:38,240 --> 00:13:42,200
Speaker 2: think was like four songs or something like that, and

260
00:13:42,240 --> 00:13:44,480
Speaker 2: they had that hit with San Francisco You Really Got Me.

261
00:13:44,800 --> 00:13:47,800
Speaker 2: And with that hit, they're like, okay, you got Me

262
00:13:47,840 --> 00:13:51,079
Speaker 2: San Francisco. Yeah, which is funny because, as we'll see

263
00:13:51,160 --> 00:13:54,520
Speaker 2: later on, Victor Willis would become a fugitive from the

264
00:13:54,600 --> 00:13:57,520
Speaker 2: law and he would finally be arrested in San Francisco.

265
00:13:58,800 --> 00:14:03,080
Speaker 2: So he was so but he was the village people.

266
00:14:03,120 --> 00:14:05,360
Speaker 2: And now that San Francisco Got Me was a hit,

267
00:14:05,440 --> 00:14:09,720
Speaker 2: like apparently an international club hit, they needed more people,

268
00:14:10,760 --> 00:14:14,200
Speaker 2: and so they started looking for other village people and

269
00:14:14,320 --> 00:14:18,200
Speaker 2: the first one they recruited was Felipe Rose, appropriately enough,

270
00:14:18,240 --> 00:14:22,040
Speaker 2: because apparently he was unknowingly the inspiration for the whole thing.

271
00:14:22,280 --> 00:14:25,960
Speaker 1: Right, Funny enough, they were San Francisco You Got Me

272
00:14:26,080 --> 00:14:28,920
Speaker 1: was big in Australia. As you'll see, that's become a

273
00:14:28,920 --> 00:14:32,440
Speaker 1: recurring thing. It seems like Australians love the Village People. Yeah,

274
00:14:32,480 --> 00:14:35,000
Speaker 1: so I'm curious to hear from them that if you

275
00:14:35,040 --> 00:14:37,760
Speaker 1: look at that first album cover, it is not the

276
00:14:37,840 --> 00:14:41,640
Speaker 1: Village People. And I don't even think Victor Willis is

277
00:14:41,720 --> 00:14:44,120
Speaker 1: on the cover. It's just it's a bunch of guys.

278
00:14:45,320 --> 00:14:49,360
Speaker 1: There is a guy wearing a Native American headdress, but

279
00:14:49,440 --> 00:14:52,880
Speaker 1: I don't think it's Felipe Rose, No, none of them.

280
00:14:53,200 --> 00:14:56,880
Speaker 1: There's a flannel shirt, hard hat guy, and there is

281
00:14:56,920 --> 00:15:00,520
Speaker 1: a biker. But that's it, just those three sort of

282
00:15:00,760 --> 00:15:02,880
Speaker 1: village people that we went on to know and love.

283
00:15:03,400 --> 00:15:06,160
Speaker 1: Everyone else is just a bunch of guys stand around

284
00:15:06,160 --> 00:15:10,840
Speaker 1: in T shirts looking tough with a motorcycle and frame.

285
00:15:11,600 --> 00:15:14,280
Speaker 2: Yeah. I mean, so they had the concept, they just

286
00:15:14,280 --> 00:15:16,680
Speaker 2: didn't have the people yet. So they're slowly starting to

287
00:15:16,720 --> 00:15:20,480
Speaker 2: assemble this. Now they have Victor Willis and Felipe Rose.

288
00:15:20,560 --> 00:15:24,560
Speaker 2: They've got the first two and they actually put an

289
00:15:24,600 --> 00:15:28,480
Speaker 2: ad in the paper, I would guess the Village Voice

290
00:15:29,560 --> 00:15:35,840
Speaker 2: looking for gay men, singers and dancers with mustaches to

291
00:15:35,920 --> 00:15:41,000
Speaker 2: basically audition for the roles in this band, not like

292
00:15:41,120 --> 00:15:44,840
Speaker 2: can you play the bass? Can you? Can you play

293
00:15:44,880 --> 00:15:47,000
Speaker 2: the drums? But do you have a mustache? And are

294
00:15:47,040 --> 00:15:50,240
Speaker 2: you good looking? And a singer and dancer? And they

295
00:15:50,240 --> 00:15:52,760
Speaker 2: got from what I saw like thousands of replies.

296
00:15:52,960 --> 00:15:54,920
Speaker 1: Yeah, this was They were never a band. It was

297
00:15:54,960 --> 00:15:58,440
Speaker 1: always just supposed to be a singing group, and they did.

298
00:15:59,200 --> 00:16:02,560
Speaker 1: I believe Felipe or I'm sorry. Glenn Hughes, who was

299
00:16:02,640 --> 00:16:06,600
Speaker 1: the biker. He worked at the Brooklyn Battery Tunnel collecting tolls,

300
00:16:07,560 --> 00:16:10,360
Speaker 1: saw the ad. By his memory, the ad said seeking

301
00:16:10,400 --> 00:16:14,160
Speaker 1: gay singers and dancers, very good looking and with mustaches.

302
00:16:16,280 --> 00:16:17,960
Speaker 2: Probably wasn't hard to find at that time.

303
00:16:18,080 --> 00:16:20,760
Speaker 1: Well, all his friends were like, Glenn, that's you, buddy,

304
00:16:20,920 --> 00:16:22,160
Speaker 1: Like you need to get in there.

305
00:16:22,840 --> 00:16:26,720
Speaker 2: Yeah, So Glenn Hughes became the village people's leather man,

306
00:16:26,920 --> 00:16:29,480
Speaker 2: which apparently was not a stretch for him. I think

307
00:16:29,520 --> 00:16:32,400
Speaker 2: he was already in the leather at the time, so

308
00:16:32,600 --> 00:16:35,120
Speaker 2: he became the leatherman slash biker, right.

309
00:16:35,080 --> 00:16:37,520
Speaker 3: That's right. He was the third. I think.

310
00:16:37,520 --> 00:16:40,360
Speaker 1: The second one to join up was Alex Briley, who

311
00:16:40,520 --> 00:16:45,240
Speaker 1: came at Victor Willis's recommendation. He was the original sort

312
00:16:45,280 --> 00:16:48,680
Speaker 1: of stereotype for him was he was the athlete, but

313
00:16:48,840 --> 00:16:52,040
Speaker 1: then they changed that pretty quickly to the army guy.

314
00:16:52,080 --> 00:16:54,920
Speaker 1: He was the gi and also the Navy sailor, so

315
00:16:55,320 --> 00:17:00,240
Speaker 1: he kind of crossed over the different arm services, I guess, yes.

316
00:17:00,960 --> 00:17:03,080
Speaker 2: And then another guy who responded to the ad was

317
00:17:03,160 --> 00:17:07,240
Speaker 2: David Hodo. He had just gotten done with the musical

318
00:17:07,240 --> 00:17:09,520
Speaker 2: about the Grand Old Opry and basically went out for

319
00:17:09,560 --> 00:17:12,400
Speaker 2: the cowboy. They're like, nope, you're a construction worker. Through

320
00:17:12,400 --> 00:17:15,240
Speaker 2: and through, a guy named Randy Jones became the cowboy,

321
00:17:15,640 --> 00:17:18,480
Speaker 2: and so you had Victor Willis, Felipe Rose, Alex Bridley,

322
00:17:18,680 --> 00:17:22,119
Speaker 2: Randy Jones, David Hodo, and Glenn Hughes, which, by the way,

323
00:17:22,200 --> 00:17:25,359
Speaker 2: I realized earlier today that I could rattle off the

324
00:17:25,480 --> 00:17:29,360
Speaker 2: names of the original village people now. But that's who

325
00:17:30,080 --> 00:17:32,399
Speaker 2: the village people were at first. And I say we

326
00:17:32,440 --> 00:17:35,320
Speaker 2: take a break, because now we've got this murderer's row

327
00:17:35,560 --> 00:17:40,199
Speaker 2: of mustachioed, generally gay guys ready to hit the disco

328
00:17:40,320 --> 00:17:42,639
Speaker 2: scene and they're about to blow up.

329
00:18:04,040 --> 00:18:07,480
Speaker 1: All right, so we're back. We have our village people assembled.

330
00:18:09,040 --> 00:18:11,280
Speaker 1: I think we failed to mention earlier that Dick Clark

331
00:18:11,280 --> 00:18:15,640
Speaker 1: and American Bandstan American Bandstand. The TV show had already

332
00:18:15,640 --> 00:18:18,600
Speaker 1: sort of reached out after they had San Francisco You

333
00:18:18,680 --> 00:18:20,560
Speaker 1: Got Me as a hit, but they were like, there

334
00:18:20,600 --> 00:18:22,800
Speaker 1: is no village people yet, we can't just you know,

335
00:18:22,840 --> 00:18:25,120
Speaker 1: send one guy out there. So they got these other

336
00:18:25,160 --> 00:18:29,360
Speaker 1: guys together. In December of nineteen seventy seven, they appeared

337
00:18:29,400 --> 00:18:32,879
Speaker 1: for the first time on American Bandstand. I could not,

338
00:18:32,960 --> 00:18:37,040
Speaker 1: for the life of me find this exact performance. Oh yeah, no,

339
00:18:37,160 --> 00:18:38,840
Speaker 1: I couldn't find it anywhere. I mean they were on

340
00:18:38,920 --> 00:18:41,000
Speaker 1: quite a few times, but I never saw the one

341
00:18:41,040 --> 00:18:45,840
Speaker 1: from seventy seven somehow. But that was their American you know,

342
00:18:45,960 --> 00:18:49,040
Speaker 1: TV debut and debut of the world when they sang

343
00:18:49,080 --> 00:18:52,760
Speaker 1: San Francisco or I guess lip SYNCD and and the

344
00:18:52,800 --> 00:18:57,480
Speaker 1: song in Hollywood parentheses everybody is a star.

345
00:18:58,600 --> 00:19:01,440
Speaker 2: Yep, And you're right, pentheses where a thing back then?

346
00:19:02,160 --> 00:19:04,240
Speaker 2: I just died in your arms tonight?

347
00:19:05,040 --> 00:19:05,720
Speaker 3: Is that a real one?

348
00:19:06,440 --> 00:19:06,640
Speaker 1: Yeah?

349
00:19:06,640 --> 00:19:08,440
Speaker 2: I remember we talked about it a few weeks ago,

350
00:19:09,000 --> 00:19:10,000
Speaker 2: that cutting crew song.

351
00:19:10,119 --> 00:19:12,280
Speaker 3: I just didn't know if you fooled me then or not.

352
00:19:12,880 --> 00:19:16,320
Speaker 2: No, no, no, it's it's legit. Have you been walking around

353
00:19:16,400 --> 00:19:16,919
Speaker 2: wondering that?

354
00:19:17,080 --> 00:19:18,600
Speaker 3: Yeah for three weeks.

355
00:19:19,240 --> 00:19:22,080
Speaker 2: So we're onto your favorite song, Chuck, which I agree.

356
00:19:22,119 --> 00:19:26,280
Speaker 2: I think it's the best Village People song. Macho Man. Yeah,

357
00:19:26,320 --> 00:19:29,439
Speaker 2: and that was in their second album. So their first album,

358
00:19:29,480 --> 00:19:31,320
Speaker 2: like you said, was called Village People. It came out

359
00:19:31,320 --> 00:19:33,879
Speaker 2: in nineteen seventy seven. Their second album came out in

360
00:19:33,960 --> 00:19:37,919
Speaker 2: nineteen seventy eight, and that was the one. It was.

361
00:19:38,000 --> 00:19:40,600
Speaker 2: The album was called Macho Man, and the big single

362
00:19:40,640 --> 00:19:42,400
Speaker 2: from it was called Macho Man as well.

363
00:19:42,680 --> 00:19:44,159
Speaker 3: Is it okay if we read some of the lyrics

364
00:19:44,160 --> 00:19:45,040
Speaker 3: to some of these songs?

365
00:19:45,400 --> 00:19:49,639
Speaker 2: Yes, I saved them too, Oh you did, Okay? I

366
00:19:49,720 --> 00:19:51,119
Speaker 2: think you should sing them.

367
00:19:51,160 --> 00:19:53,320
Speaker 3: Not going to sing them, okay, though it might be

368
00:19:53,320 --> 00:19:53,760
Speaker 3: hard not to.

369
00:19:53,840 --> 00:19:55,720
Speaker 1: And I'm not going to read them all because there's

370
00:19:55,760 --> 00:19:58,920
Speaker 1: that intro, that great intro to Macho Man, when they're going,

371
00:19:59,240 --> 00:20:02,000
Speaker 1: you know, body, body, and he's going to want to

372
00:20:02,000 --> 00:20:04,119
Speaker 1: feel my body, such a thrill, my body, want to

373
00:20:04,119 --> 00:20:08,160
Speaker 1: touch my body. That's all that long intro. And then

374
00:20:08,960 --> 00:20:11,760
Speaker 1: here here's some of the words to the verse. Every

375
00:20:11,800 --> 00:20:14,399
Speaker 1: man wants to be a macho Macho man, to have

376
00:20:14,520 --> 00:20:18,000
Speaker 1: the kind of body always in demand, jogging in the mornings,

377
00:20:18,040 --> 00:20:21,600
Speaker 1: go man, go, workouts in the health spa, muscles grow,

378
00:20:25,160 --> 00:20:27,560
Speaker 1: you can tell a macho man. He has a funky walk.

379
00:20:27,960 --> 00:20:30,959
Speaker 1: His Western shirts and leather always looks so boss punky

380
00:20:31,040 --> 00:20:33,720
Speaker 1: with his body. He's a king. Call him mister Ego.

381
00:20:34,080 --> 00:20:37,639
Speaker 1: Dig his chains. Every man ought to be a macho

382
00:20:37,720 --> 00:20:40,800
Speaker 1: macho man to live a life of freedom. MACHOs make

383
00:20:40,840 --> 00:20:44,840
Speaker 1: a stand, have your own lifestyle and ideals, possess the

384
00:20:44,880 --> 00:20:46,959
Speaker 1: strength of confidence. That's the skill.

385
00:20:48,560 --> 00:20:51,280
Speaker 2: But it's so if you dig into that last bit,

386
00:20:51,600 --> 00:20:56,720
Speaker 2: this song goes from essentially just total body worship and

387
00:20:56,800 --> 00:20:59,439
Speaker 2: like working out at the spa and all that stuff

388
00:20:59,480 --> 00:21:01,320
Speaker 2: and however, but he wants to be a macho man

389
00:21:01,680 --> 00:21:06,480
Speaker 2: to essentially like that. The last verse is about gay

390
00:21:06,520 --> 00:21:09,360
Speaker 2: liberation and basically coming out of the closet, it sounds.

391
00:21:09,320 --> 00:21:12,400
Speaker 3: Have your own lifestyles and ideals possessed the strength of confidence. Yeah,

392
00:21:12,960 --> 00:21:13,680
Speaker 3: say exactly.

393
00:21:13,880 --> 00:21:16,200
Speaker 2: Yeah. So it really takes like a sudden turn there

394
00:21:16,240 --> 00:21:20,240
Speaker 2: because it's like the most superficial vein song of all time,

395
00:21:20,920 --> 00:21:23,399
Speaker 2: and then it suddenly like kind of is a shout

396
00:21:23,400 --> 00:21:28,320
Speaker 2: out for gay liberation. Yeah, this was like it's kind

397
00:21:28,320 --> 00:21:30,600
Speaker 2: of tough to wrap your head around here in twenty

398
00:21:30,680 --> 00:21:33,800
Speaker 2: twenty four. Sadly, it's not as tough as it should be,

399
00:21:33,840 --> 00:21:36,800
Speaker 2: but it's still tough to wrap your head around just

400
00:21:37,040 --> 00:21:40,800
Speaker 2: how big of a deal it was for men to

401
00:21:40,920 --> 00:21:47,600
Speaker 2: be like on stage singing songs gay like I'm gay everybody,

402
00:21:48,280 --> 00:21:50,960
Speaker 2: There's just no question about it. I'm a gay person.

403
00:21:51,160 --> 00:21:51,400
Speaker 3: Yeah.

404
00:21:51,960 --> 00:21:54,919
Speaker 2: That was a big, big deal at the time. And

405
00:21:54,960 --> 00:21:57,400
Speaker 2: then to sing about it, yeah, and to sing about

406
00:21:57,440 --> 00:22:00,520
Speaker 2: how that was a good thing that was that was

407
00:22:00,880 --> 00:22:05,320
Speaker 2: really daring and it was really it's neat that they

408
00:22:05,359 --> 00:22:08,840
Speaker 2: did that. Likes it just should not go unnoticed or mentioned,

409
00:22:08,840 --> 00:22:12,159
Speaker 2: and it's hard to overstate what a big deal it was.

410
00:22:12,400 --> 00:22:16,119
Speaker 2: And then it's even harder to overstate how huge of

411
00:22:16,160 --> 00:22:19,040
Speaker 2: a hit Macho Man was for the village people.

412
00:22:19,240 --> 00:22:22,600
Speaker 1: Yeah, I mean little seven year old Chuck in Stone Mountain,

413
00:22:22,600 --> 00:22:27,480
Speaker 1: Georgia dancing around in the shower to that song. Yeah,

414
00:22:27,520 --> 00:22:30,080
Speaker 1: Like it truly reached every corner if that was what

415
00:22:30,160 --> 00:22:33,000
Speaker 1: was going on. They went out on the road, which

416
00:22:33,040 --> 00:22:35,159
Speaker 1: is not something that a lot of disco acts did that.

417
00:22:35,280 --> 00:22:37,840
Speaker 1: Disco wasn't known as a great like sort of live

418
00:22:37,920 --> 00:22:38,520
Speaker 1: touring thing.

419
00:22:39,080 --> 00:22:41,520
Speaker 2: Well, it was, like we talked about in our Disco episode,

420
00:22:41,560 --> 00:22:45,240
Speaker 2: it was a really anonymous type of music, like you

421
00:22:45,520 --> 00:22:48,159
Speaker 2: might have never see a picture of the person who

422
00:22:48,320 --> 00:22:50,479
Speaker 2: who is your favorite you know, who sang your favorite

423
00:22:50,480 --> 00:22:51,200
Speaker 2: song at the time.

424
00:22:51,359 --> 00:22:53,280
Speaker 1: Yeah, so, you know, there were some package things here

425
00:22:53,320 --> 00:22:55,639
Speaker 1: and there, but generally going on the road as a

426
00:22:55,680 --> 00:22:58,600
Speaker 1: disco act wasn't a very big thing to do, but

427
00:22:58,640 --> 00:23:00,560
Speaker 1: the Village People did it. From the store, Art and

428
00:23:00,680 --> 00:23:03,240
Speaker 1: Dave dug up the thing from the Washington Post in

429
00:23:03,320 --> 00:23:07,040
Speaker 1: seventy nine that said that their first tour had you know,

430
00:23:07,160 --> 00:23:10,320
Speaker 1: usual stage and equipment problems, but also the group was

431
00:23:10,359 --> 00:23:12,800
Speaker 1: forced to endure all manner of verbal and physical abuse

432
00:23:13,240 --> 00:23:18,240
Speaker 1: from the audience, which means that people were either dragged

433
00:23:18,240 --> 00:23:23,639
Speaker 1: there or went there to you know, to boo to

434
00:23:23,720 --> 00:23:25,280
Speaker 1: boo like a hate watch.

435
00:23:25,960 --> 00:23:29,080
Speaker 2: Yeah, which is crazy. It is crazy, But I mean

436
00:23:29,080 --> 00:23:30,920
Speaker 2: we're talking nineteen seventy nine, you know.

437
00:23:31,480 --> 00:23:33,920
Speaker 1: I guess so, but like to spend your six bucks

438
00:23:34,000 --> 00:23:37,040
Speaker 1: or whatever to like, Hey, We're going to go down

439
00:23:37,040 --> 00:23:40,359
Speaker 1: to Madison Square Garden and boo the Village people. I

440
00:23:40,359 --> 00:23:41,680
Speaker 1: don't know, I guess that was a thing.

441
00:23:42,200 --> 00:23:44,040
Speaker 2: Yeah, I'm sure that was a thing, but I think

442
00:23:44,440 --> 00:23:47,440
Speaker 2: more often than not they were just loved. I read

443
00:23:47,480 --> 00:23:52,400
Speaker 2: a quote from Glenn Hughes, the leather Man, who said

444
00:23:52,400 --> 00:23:55,440
Speaker 2: he basically had to beat back women, Yeah, who wanted

445
00:23:55,480 --> 00:23:56,359
Speaker 2: to sleep with him.

446
00:23:56,240 --> 00:23:58,160
Speaker 3: And he's like, he's like, I got a headache.

447
00:23:58,359 --> 00:24:02,080
Speaker 2: Yeah, he said, I have a headache. So apparently some

448
00:24:02,119 --> 00:24:04,480
Speaker 2: people just didn't get it, some people didn't care, other

449
00:24:04,520 --> 00:24:06,880
Speaker 2: people did get it. It cared one way or another.

450
00:24:07,320 --> 00:24:09,560
Speaker 2: But they were huge. I think for the most part,

451
00:24:09,640 --> 00:24:12,240
Speaker 2: people were either not reading into it or just look

452
00:24:12,640 --> 00:24:15,760
Speaker 2: like purposefully being obtuse and looking past it. I'm not sure,

453
00:24:16,080 --> 00:24:18,760
Speaker 2: but they were enormous. You mentioned Madison Square Garden. They

454
00:24:18,840 --> 00:24:22,000
Speaker 2: definitely played Madison Square Garden. They were in the Macy's

455
00:24:22,040 --> 00:24:26,200
Speaker 2: Thanksgiving Day Parade in nineteen seventy eight. They were huge.

456
00:24:26,640 --> 00:24:28,960
Speaker 2: But if you look back on when they were huge,

457
00:24:29,040 --> 00:24:33,000
Speaker 2: it apparently lasted twenty two months, less than two years,

458
00:24:33,240 --> 00:24:35,720
Speaker 2: but they were at the top of the heap during

459
00:24:35,760 --> 00:24:36,240
Speaker 2: that time.

460
00:24:36,400 --> 00:24:39,640
Speaker 1: Yeah, because you know disco and again, like Josh mentioned,

461
00:24:39,680 --> 00:24:41,840
Speaker 1: we had one of our favorite episodes is on Disco

462
00:24:41,880 --> 00:24:42,560
Speaker 1: many years ago.

463
00:24:42,920 --> 00:24:43,480
Speaker 2: Yeah, it was great.

464
00:24:43,560 --> 00:24:45,160
Speaker 3: It was you know, not a flash in the pan,

465
00:24:45,200 --> 00:24:48,160
Speaker 3: but it was a pretty brief stay. Yeah.

466
00:24:48,240 --> 00:24:49,760
Speaker 1: You know, I guess we should get into this whole

467
00:24:49,800 --> 00:24:52,520
Speaker 1: notion of whether or not village people were you know,

468
00:24:52,640 --> 00:24:57,480
Speaker 1: a quote gay group end quote. Because that's always been

469
00:24:57,520 --> 00:24:59,400
Speaker 1: a question, Like, you know, when I was a kid,

470
00:24:59,520 --> 00:25:03,080
Speaker 1: I believe, you know, people finally started telling me, like,

471
00:25:03,119 --> 00:25:06,480
Speaker 1: you know, those guys are all gay, and I don't

472
00:25:06,520 --> 00:25:10,320
Speaker 1: know if it was I'm not sure how common knowledge

473
00:25:10,320 --> 00:25:14,240
Speaker 1: because pre Internet, any of the real truth was. Back then,

474
00:25:15,080 --> 00:25:19,119
Speaker 1: Randy Jones, who was the Cowboy, said, we didn't start

475
00:25:19,119 --> 00:25:21,120
Speaker 1: as a gay group, and not everyone in the group

476
00:25:21,240 --> 00:25:24,080
Speaker 1: was gay. That's an incorrect notion. So much of our

477
00:25:24,160 --> 00:25:27,919
Speaker 1: music was played in black, Latin and gay underground clubs,

478
00:25:27,920 --> 00:25:30,920
Speaker 1: though that's where the first Village People album found its

479
00:25:30,960 --> 00:25:35,160
Speaker 1: initial audience. Victor Willis, who you know, to a lot

480
00:25:35,160 --> 00:25:37,679
Speaker 1: of people, kind of was and is the Village People

481
00:25:37,720 --> 00:25:42,159
Speaker 1: because he was the super, super talented Broadway guy. He

482
00:25:42,320 --> 00:25:44,520
Speaker 1: was the guy that co wrote a lot of their

483
00:25:44,520 --> 00:25:47,600
Speaker 1: big songs. Was not just sort of a backup singer.

484
00:25:47,960 --> 00:25:48,720
Speaker 2: He was the cop.

485
00:25:48,960 --> 00:25:51,520
Speaker 1: He was the cop as the front man, and he

486
00:25:51,640 --> 00:25:54,760
Speaker 1: was not gay. He was, in fact, for four years

487
00:25:54,760 --> 00:25:58,360
Speaker 1: married to Felicia at the time, Felicia airs Allen, who

488
00:25:58,359 --> 00:26:01,960
Speaker 1: would later become Felicia Rashad, the wife on The Cosby Show,

489
00:26:02,000 --> 00:26:04,480
Speaker 1: is what she's most well known for. But they were

490
00:26:04,480 --> 00:26:08,000
Speaker 1: in the Whiz together on Broadway and then eventually got

491
00:26:08,000 --> 00:26:11,880
Speaker 1: together to make music with Moraley. I think they got

492
00:26:11,920 --> 00:26:14,960
Speaker 1: together to write a concept album for her called Josephine

493
00:26:15,000 --> 00:26:18,520
Speaker 1: Superstar about the life of Josephine Baker, which I haven't heard,

494
00:26:18,560 --> 00:26:19,800
Speaker 1: but I'm going to try and find that.

495
00:26:20,720 --> 00:26:22,639
Speaker 2: If it's in French, it's really going to knock your

496
00:26:22,640 --> 00:26:23,080
Speaker 2: socks off.

497
00:26:23,760 --> 00:26:26,000
Speaker 1: Yeah, but so Victor Willis was not gay. He was

498
00:26:26,000 --> 00:26:30,119
Speaker 1: the frontman and lyricist, but like they had songs about

499
00:26:30,240 --> 00:26:34,320
Speaker 1: Fire Island and San Francisco and Key West, Greenwich Village

500
00:26:34,320 --> 00:26:37,080
Speaker 1: and Key West, and if you look at the lyrics,

501
00:26:37,119 --> 00:26:40,080
Speaker 1: like it's pretty clear that like this stuff was either

502
00:26:40,119 --> 00:26:43,240
Speaker 1: coded for gay or just basically like, if you don't

503
00:26:43,280 --> 00:26:45,000
Speaker 1: know what we're talking about, then you're pretty dense.

504
00:26:45,600 --> 00:26:48,200
Speaker 2: But if you were even remotely hip and you read

505
00:26:48,280 --> 00:26:53,760
Speaker 2: some of the contemporary or contemporaneous articles on them, like

506
00:26:54,800 --> 00:26:57,600
Speaker 2: all the journalists wanted to know, like are you gay? Right?

507
00:26:58,160 --> 00:27:00,600
Speaker 2: I read a New Music Express article from like, I

508
00:27:00,600 --> 00:27:04,040
Speaker 2: think nineteen seventy eight, and the guy's asking Randy Jones

509
00:27:04,080 --> 00:27:06,960
Speaker 2: the Cowboys, like are you a gay group? And apparently

510
00:27:07,000 --> 00:27:09,600
Speaker 2: Randy Jones was sick of hearing this at the time. Yeah,

511
00:27:09,640 --> 00:27:12,480
Speaker 2: it was barely containing his anger, and he's like, why

512
00:27:12,520 --> 00:27:14,600
Speaker 2: does it matter. He's like, we're not a gay group

513
00:27:14,680 --> 00:27:18,080
Speaker 2: or a disco group. Right. Over time, they definitely evolved

514
00:27:18,119 --> 00:27:22,520
Speaker 2: into a gay group. I think it. I think it

515
00:27:22,680 --> 00:27:25,320
Speaker 2: kind of occurred to them, like what a huge impact

516
00:27:25,359 --> 00:27:29,160
Speaker 2: they were having just by basically being ambassadors of gayness

517
00:27:29,160 --> 00:27:32,359
Speaker 2: to the rest of the world and showing everybody, like,

518
00:27:32,680 --> 00:27:36,840
Speaker 2: you like our music, you know, like us too. Yeah,

519
00:27:36,880 --> 00:27:39,000
Speaker 2: maybe like the gay dude that you work.

520
00:27:38,880 --> 00:27:41,200
Speaker 3: With exactly, And that's what I think.

521
00:27:41,280 --> 00:27:45,240
Speaker 1: Victor Willis says, as the straight lead singer, and this

522
00:27:45,400 --> 00:27:48,399
Speaker 1: is touching on YMCA, which we'll get into, but he said,

523
00:27:48,440 --> 00:27:51,679
Speaker 1: you know, I wrote those lyrics, so technically it's not

524
00:27:51,720 --> 00:27:54,000
Speaker 1: a gay song because I'm not gay and I wrote it,

525
00:27:54,040 --> 00:27:56,399
Speaker 1: but I never had any qualms that it was embraced

526
00:27:56,440 --> 00:27:57,399
Speaker 1: by the gay community.

527
00:27:58,280 --> 00:27:59,920
Speaker 2: Yeah, he's like, nothing, there's anything wrong with that.

528
00:28:00,280 --> 00:28:01,600
Speaker 3: Yeah, basically.

529
00:28:02,400 --> 00:28:06,200
Speaker 1: So on the other hand, the Hodo the construction worker says,

530
00:28:06,560 --> 00:28:08,760
Speaker 1: I mean, look at us, we were a gay group.

531
00:28:09,000 --> 00:28:10,760
Speaker 1: The song was written to celebrate gay men at the

532
00:28:10,800 --> 00:28:14,159
Speaker 1: YMCA was it, Yes, absolutely, and gay people loved it.

533
00:28:16,040 --> 00:28:19,320
Speaker 1: YMCA was you know, is the song I think Macho

534
00:28:19,359 --> 00:28:23,359
Speaker 1: Man is a much better song, but YMCA is became

535
00:28:23,400 --> 00:28:25,800
Speaker 1: part of the cultural zeitgeist, like forever.

536
00:28:26,520 --> 00:28:29,920
Speaker 2: Yeah, I saw somewhere I couldn't find it, but that's

537
00:28:30,240 --> 00:28:33,600
Speaker 2: it's in a time capsule in orbit around Earth right now.

538
00:28:33,640 --> 00:28:35,919
Speaker 2: It was included in like a bunch of songs that

539
00:28:36,040 --> 00:28:37,119
Speaker 2: was sent out into space.

540
00:28:37,240 --> 00:28:39,160
Speaker 3: Oh yeah, for sure it was.

541
00:28:39,320 --> 00:28:41,600
Speaker 2: Yeah, it was a huge hit. Like that's just yeah,

542
00:28:41,600 --> 00:28:45,080
Speaker 2: it's part of American culture, I guess international culture really.

543
00:28:45,640 --> 00:28:50,280
Speaker 2: But the idea behind it is that Randy Jones the Cowboy,

544
00:28:50,600 --> 00:28:52,760
Speaker 2: when he moved to New York in nineteen seventy five,

545
00:28:52,760 --> 00:28:54,960
Speaker 2: one of the first things he did was join the

546
00:28:55,080 --> 00:28:58,800
Speaker 2: YMCA on West twenty third Street in Manhattan, which became

547
00:28:58,840 --> 00:29:03,840
Speaker 2: the inspiration for song YMCA because he took Jacques Morale

548
00:29:04,640 --> 00:29:07,360
Speaker 2: to the YMCA with him to work out with some

549
00:29:07,440 --> 00:29:10,080
Speaker 2: of his buddies, who apparently were gay adult film stars,

550
00:29:10,440 --> 00:29:13,040
Speaker 2: and Jacques Moraley was just blown away that there was

551
00:29:13,040 --> 00:29:18,680
Speaker 2: this place. Yeah, it's like this secret hidden gay oasis.

552
00:29:19,800 --> 00:29:23,360
Speaker 2: I'm the cheap right, Like it costs almost no money

553
00:29:23,560 --> 00:29:25,360
Speaker 2: to not only like work out there, but get a

554
00:29:25,400 --> 00:29:25,840
Speaker 2: room there.

555
00:29:26,080 --> 00:29:28,480
Speaker 3: You'd stay there at the time, So apparently he.

556
00:29:28,440 --> 00:29:31,440
Speaker 2: Was just starstruck at the whole idea and loved going

557
00:29:31,440 --> 00:29:33,920
Speaker 2: to the YMCA and decided to write a song about it.

558
00:29:34,040 --> 00:29:37,200
Speaker 2: So he wrote the Bones of YMCA, and then Victor

559
00:29:37,280 --> 00:29:39,760
Speaker 2: Willis came in and wrote kind of the rest of it.

560
00:29:40,240 --> 00:29:42,800
Speaker 2: But the whole idea behind YMCA is that it was

561
00:29:43,120 --> 00:29:49,120
Speaker 2: an ode to just the gay experience at YMCA. And

562
00:29:49,480 --> 00:29:51,840
Speaker 2: Victor Willis, though, he wrote a lyric that I hadn't

563
00:29:51,880 --> 00:29:56,240
Speaker 2: noticed until I was listening to it yesterday where he's

564
00:29:56,280 --> 00:30:00,360
Speaker 2: talking about how just he arrived in this new city

565
00:30:00,360 --> 00:30:03,600
Speaker 2: and he was very unhappy about being there. Huh, he said,

566
00:30:03,920 --> 00:30:09,560
Speaker 2: I thought the whole world was so jive. I noticed

567
00:30:09,840 --> 00:30:12,880
Speaker 2: so jive, Like he just didn't like anything. He thought

568
00:30:12,920 --> 00:30:15,280
Speaker 2: the whole world was drive until he discovered the YMCA

569
00:30:15,360 --> 00:30:18,239
Speaker 2: and realized that this place is awesome and amazing, and

570
00:30:18,480 --> 00:30:21,760
Speaker 2: the world in term was pretty amazing too. I had

571
00:30:21,800 --> 00:30:24,480
Speaker 2: never heard that lyric before noticed it, and when I did,

572
00:30:24,560 --> 00:30:26,600
Speaker 2: I was just I just thought that was so great.

573
00:30:26,640 --> 00:30:27,400
Speaker 3: That's a great lyric.

574
00:30:28,080 --> 00:30:31,600
Speaker 1: If you look at the original music video, it has

575
00:30:31,640 --> 00:30:34,400
Speaker 1: a close up shot of the McBurnie YMCA at the

576
00:30:34,480 --> 00:30:37,680
Speaker 1: very beginning there on what's twenty third, and it's basically

577
00:30:37,680 --> 00:30:39,360
Speaker 1: just a video of them dancing in the street outside

578
00:30:39,400 --> 00:30:39,600
Speaker 1: of it.

579
00:30:40,680 --> 00:30:41,760
Speaker 3: As far as.

580
00:30:41,640 --> 00:30:46,800
Speaker 1: The the YMCA hand gestures, they did not create that.

581
00:30:47,800 --> 00:30:50,400
Speaker 1: They if you if you look at that video and

582
00:30:50,680 --> 00:30:54,080
Speaker 1: basically any performance of them doing it on the Why,

583
00:30:54,880 --> 00:30:55,960
Speaker 1: like you know, it builds.

584
00:30:55,720 --> 00:31:00,040
Speaker 3: Up, it's funny and they go they.

585
00:31:00,080 --> 00:31:03,320
Speaker 1: Throw their arms up on why. Yeah, And what they're

586
00:31:03,400 --> 00:31:05,120
Speaker 1: doing is they were just kind of throwing their arms

587
00:31:05,200 --> 00:31:07,920
Speaker 1: up in unison as like a dance move, but it

588
00:31:08,000 --> 00:31:10,800
Speaker 1: sort of looked like a why. And as Randy Jones

589
00:31:10,840 --> 00:31:14,080
Speaker 1: tells it, that it was a live performance where some

590
00:31:14,120 --> 00:31:17,160
Speaker 1: of the audience like just started doing the you know,

591
00:31:17,240 --> 00:31:19,640
Speaker 1: the why, and then the MCA and they the audience

592
00:31:19,680 --> 00:31:20,440
Speaker 1: sort of started it.

593
00:31:21,160 --> 00:31:23,640
Speaker 2: Yeah. They so they when they threw their arms up,

594
00:31:23,800 --> 00:31:26,240
Speaker 2: the audience mistook that is like the beginning of them

595
00:31:26,280 --> 00:31:28,880
Speaker 2: spelling out why with their arms, and they took it

596
00:31:28,920 --> 00:31:32,040
Speaker 2: from there. And so some kids on American Bandstand are

597
00:31:32,080 --> 00:31:34,440
Speaker 2: the ones who actually came up with the YMCA dance.

598
00:31:34,920 --> 00:31:37,680
Speaker 1: Yeah, And Hodo said, here's the quote. When I saw

599
00:31:37,680 --> 00:31:41,160
Speaker 1: the movements, I thought, wow, this is so stupid. Then

600
00:31:41,160 --> 00:31:43,640
Speaker 1: everyone in America started doing it, and I thought, wow,

601
00:31:43,800 --> 00:31:44,920
Speaker 1: this is so brilliant.

602
00:31:45,720 --> 00:31:49,600
Speaker 2: Yeah, that's pretty awesome, and the YMCA itself apparently, remember

603
00:31:49,640 --> 00:31:51,600
Speaker 2: this is not a time where everybody's like, hey, kay

604
00:31:51,680 --> 00:31:54,240
Speaker 2: is great. The YMCA was like, you can't use our

605
00:31:54,480 --> 00:31:57,920
Speaker 2: name like that, right, it's trademarked, and I guess got

606
00:31:57,920 --> 00:32:01,240
Speaker 2: in touch with Cosablanco Records, which was producing The Village

607
00:32:01,240 --> 00:32:05,160
Speaker 2: People at the time, and it just petered out. It

608
00:32:05,280 --> 00:32:09,240
Speaker 2: just went nowhere. They ultimately decided not to I think

609
00:32:09,280 --> 00:32:12,440
Speaker 2: they kind of concluded it was actually way better press

610
00:32:12,480 --> 00:32:14,600
Speaker 2: to just leave it as is, and that they risk

611
00:32:14,640 --> 00:32:18,560
Speaker 2: getting terrible press for suing the Village People for singing

612
00:32:18,600 --> 00:32:21,440
Speaker 2: how great YMCA is. So yeah, they just left it.

613
00:32:21,520 --> 00:32:23,719
Speaker 1: I think in the movie version, it will be like

614
00:32:24,480 --> 00:32:26,920
Speaker 1: the head of the YMCA is on the phone to

615
00:32:27,000 --> 00:32:31,080
Speaker 1: the record company, and right before he goes to tell

616
00:32:31,120 --> 00:32:33,600
Speaker 1: them that he wants to cease and desist letter drawn up,

617
00:32:34,320 --> 00:32:37,640
Speaker 1: some kid, you know, some low level worker bust in

618
00:32:37,680 --> 00:32:40,120
Speaker 1: the room and goes boss and he comes up with

619
00:32:40,120 --> 00:32:43,880
Speaker 1: the phone memberships are through the roof, and then it

620
00:32:44,000 --> 00:32:46,120
Speaker 1: just you know, never mind, this is all good.

621
00:32:46,160 --> 00:32:47,520
Speaker 2: Yeah, he's a wrong number.

622
00:32:48,800 --> 00:32:52,400
Speaker 1: So before we break, we'll talk quickly about the fact

623
00:32:52,400 --> 00:32:56,360
Speaker 1: that you cannot go to a baseball game anymore. Without

624
00:32:56,400 --> 00:32:59,920
Speaker 1: hearing YMCA like a Major League Baseball game, especially the young,

625
00:33:00,400 --> 00:33:03,720
Speaker 1: especially the Yankees that all started at spring training in Tampa.

626
00:33:05,240 --> 00:33:06,680
Speaker 1: I'm not sure if the Yankees are still there, but

627
00:33:06,720 --> 00:33:09,080
Speaker 1: that was their home at least at the time, and

628
00:33:09,440 --> 00:33:12,760
Speaker 1: in nineteen ninety six. This did not happen in the seventies.

629
00:33:12,920 --> 00:33:15,120
Speaker 1: It was in the mid nineties. Top of the fifth inning,

630
00:33:15,560 --> 00:33:17,840
Speaker 1: the grounds crew came out to take care of the

631
00:33:17,880 --> 00:33:20,680
Speaker 1: infield like they always do midway through the game, and

632
00:33:20,960 --> 00:33:25,680
Speaker 1: they broke into the YMCA, you know, spelling out those

633
00:33:25,760 --> 00:33:29,920
Speaker 1: letters as the song played, and everybody thought it was

634
00:33:29,960 --> 00:33:32,640
Speaker 1: the best thing ever. And that's how it was born.

635
00:33:32,720 --> 00:33:35,920
Speaker 1: It was transferred to the new Yankee Stadium, and then

636
00:33:36,000 --> 00:33:36,920
Speaker 1: it just became a thing.

637
00:33:37,360 --> 00:33:40,280
Speaker 2: Yeah. You can hear Larry David as Steinbrenner ordering them

638
00:33:40,320 --> 00:33:44,600
Speaker 2: to take their YMCA dancers in the grounds crew. Yeah,

639
00:33:44,640 --> 00:33:46,560
Speaker 2: but yeah, I saw a video of it from a

640
00:33:46,640 --> 00:33:49,040
Speaker 2: Yankees game and they're just out there doing like the

641
00:33:49,440 --> 00:33:53,160
Speaker 2: raking like normal, and then YMCA's playing like it's just

642
00:33:53,200 --> 00:33:55,080
Speaker 2: playing as a song for the crowd, and then all

643
00:33:55,080 --> 00:33:57,680
Speaker 2: of a sudden, when it gets to the YMCA, they

644
00:33:57,760 --> 00:34:00,160
Speaker 2: just drop their rakes and start dancing and then when

645
00:34:00,200 --> 00:34:01,880
Speaker 2: that's done, they pick up their res and go back

646
00:34:01,880 --> 00:34:05,120
Speaker 2: to work. It's pretty great, did it You want to

647
00:34:05,160 --> 00:34:08,120
Speaker 2: take that break you promised, Let's do it. Okay, Well

648
00:34:08,120 --> 00:34:34,640
Speaker 2: we'll be right back, okay, Chuck. So we've hit Macho Man, Ymca,

649
00:34:35,719 --> 00:34:37,640
Speaker 2: I think it's time for in the Navy, which was

650
00:34:37,680 --> 00:34:40,960
Speaker 2: their last big hit, their last big single. It came

651
00:34:40,960 --> 00:34:44,400
Speaker 2: out in nineteen seventy nine. That was on the album Cruising,

652
00:34:44,680 --> 00:34:46,440
Speaker 2: which I guess YMCA.

653
00:34:45,960 --> 00:34:47,880
Speaker 3: Was as well, right, Yeah, that was the one that

654
00:34:47,920 --> 00:34:48,279
Speaker 3: I had.

655
00:34:48,600 --> 00:34:51,040
Speaker 2: So that was the third album, second album in nineteen

656
00:34:51,080 --> 00:34:54,040
Speaker 2: seventy eight. These guys released two albums in one year.

657
00:34:54,239 --> 00:34:57,040
Speaker 3: I thought it was all three? Was it just two two?

658
00:34:57,560 --> 00:35:01,120
Speaker 2: No, the first one was nineteen seventy seven Macho Man,

659
00:35:01,160 --> 00:35:04,719
Speaker 2: and Cruising came out in nineteen seventy eight, and then

660
00:35:04,960 --> 00:35:08,520
Speaker 2: there was whatever the third of Yeah, I guess it

661
00:35:08,600 --> 00:35:11,440
Speaker 2: was three. There was no there's three singles, four albums,

662
00:35:11,440 --> 00:35:15,200
Speaker 2: so I'm missing an album. But that album came out

663
00:35:15,239 --> 00:35:16,080
Speaker 2: in nineteen seventy nine.

664
00:35:16,160 --> 00:35:20,239
Speaker 3: The fourth one, Yeah, that last album was Go West.

665
00:35:20,080 --> 00:35:22,040
Speaker 2: Yes, which, by the way, I always thought that was

666
00:35:22,080 --> 00:35:24,319
Speaker 2: a pet Shop Boys song because it was on their

667
00:35:24,360 --> 00:35:28,960
Speaker 2: album Vary from the nineties, and I was listening to

668
00:35:29,040 --> 00:35:30,920
Speaker 2: Village People and came across that and was like, Oh,

669
00:35:30,960 --> 00:35:32,839
Speaker 2: I've never realized it was a Village People's song.

670
00:35:33,239 --> 00:35:35,279
Speaker 1: Okay, I actually had this album too, now that I'm

671
00:35:35,280 --> 00:35:38,919
Speaker 1: seeing the cover, because it's basically them on a well

672
00:35:38,960 --> 00:35:42,600
Speaker 1: clearly a green screen, but like a tropical island setting,

673
00:35:44,160 --> 00:35:45,920
Speaker 1: and that had In the Navy on it. So I

674
00:35:46,000 --> 00:35:49,560
Speaker 1: think I'm just getting those confused because I had both records.

675
00:35:49,880 --> 00:35:53,080
Speaker 3: Sure, but can we read a little bit of in

676
00:35:53,120 --> 00:35:53,600
Speaker 3: the Navy?

677
00:35:54,280 --> 00:35:58,800
Speaker 1: Yes, all right, here we go, Everybody in the Navy

678
00:35:58,880 --> 00:35:59,680
Speaker 1: by Village People.

679
00:36:00,239 --> 00:36:01,200
Speaker 3: Where you can find.

680
00:36:00,960 --> 00:36:05,040
Speaker 1: Pleasure, search the world for treasure, learn science technology where

681
00:36:05,080 --> 00:36:07,000
Speaker 1: you can begin to make your dreams all come true.

682
00:36:07,400 --> 00:36:09,080
Speaker 1: On the land or on the sea, where you can

683
00:36:09,160 --> 00:36:13,720
Speaker 1: learn to fly, play in sports and skin dive, study oceanography,

684
00:36:14,600 --> 00:36:16,640
Speaker 1: sign up for the big band, or sit in the

685
00:36:16,680 --> 00:36:20,880
Speaker 1: grandstand where your team and others meet. In the Navy

686
00:36:21,680 --> 00:36:24,080
Speaker 1: And that's when it starts that great chorus.

687
00:36:24,880 --> 00:36:28,759
Speaker 2: And then weirdly, at the end of the song, they're

688
00:36:28,800 --> 00:36:31,400
Speaker 2: singing like the in the Navy part over and over again,

689
00:36:31,719 --> 00:36:35,120
Speaker 2: and Victor Willis is, I guess, singing about how he

690
00:36:35,160 --> 00:36:37,400
Speaker 2: doesn't want to join the navy, and at one point

691
00:36:37,440 --> 00:36:40,480
Speaker 2: he goes, but I'm afraid of the water. Yeah, And

692
00:36:40,520 --> 00:36:45,239
Speaker 2: it's hilarious. It's like purposely funny. And that really kind

693
00:36:45,239 --> 00:36:47,640
Speaker 2: of to me captures like what the village people were doing,

694
00:36:47,680 --> 00:36:51,319
Speaker 2: Like they were balancing like really good disco music with

695
00:36:51,680 --> 00:36:54,160
Speaker 2: high camp, right. I mean, these guys were dressed up

696
00:36:54,160 --> 00:36:59,000
Speaker 2: as just macho stereotypes with like like genuinely funny lyrics sometimes,

697
00:37:00,080 --> 00:37:02,400
Speaker 2: and I think that really kind of captured it for me.

698
00:37:02,719 --> 00:37:05,960
Speaker 2: I saw that in that New Music Express article. The

699
00:37:06,040 --> 00:37:09,640
Speaker 2: author said that they were experts at balancing what is

700
00:37:09,920 --> 00:37:11,360
Speaker 2: deft and what is daft?

701
00:37:13,000 --> 00:37:13,879
Speaker 3: Can I read verse two?

702
00:37:14,320 --> 00:37:15,880
Speaker 2: Yeah? Oh yeah, sorry, I didn't know you were.

703
00:37:15,960 --> 00:37:16,600
Speaker 3: Oh no, that's right.

704
00:37:17,440 --> 00:37:18,920
Speaker 1: I think it works better to split it up to

705
00:37:19,040 --> 00:37:23,120
Speaker 1: people can just fully absorb if you'd like adventure. Don't

706
00:37:23,160 --> 00:37:27,280
Speaker 1: you wait to enter the recruiting office fast. Don't you hesitate.

707
00:37:27,360 --> 00:37:29,719
Speaker 1: There is no need to wait. They're signing up new

708
00:37:29,840 --> 00:37:33,720
Speaker 1: seamen fast. Maybe you're too young to join up today,

709
00:37:34,080 --> 00:37:35,839
Speaker 1: but don't you worry about a thing, for I'm sure

710
00:37:35,840 --> 00:37:39,080
Speaker 1: there will be always a good navy protecting the land

711
00:37:39,080 --> 00:37:42,880
Speaker 1: and sea. And there's another line in the chorus about

712
00:37:43,120 --> 00:37:46,360
Speaker 1: you know you can protect the motherland like it is

713
00:37:46,480 --> 00:37:50,319
Speaker 1: a legit Navy recruitment song. Yeah, so much so that

714
00:37:50,400 --> 00:37:53,480
Speaker 1: the Navy said, you know what, we'd like to actually

715
00:37:53,560 --> 00:37:57,040
Speaker 1: use this for recruitment, and in exchange, we will let

716
00:37:57,080 --> 00:38:01,720
Speaker 1: you film your music video aboard word like, we'll completely

717
00:38:01,719 --> 00:38:03,439
Speaker 1: help you out and not charge you money.

718
00:38:03,440 --> 00:38:04,239
Speaker 3: We'll give you all the.

719
00:38:05,760 --> 00:38:10,200
Speaker 1: Navy semen that you want as background actors and stuff,

720
00:38:10,360 --> 00:38:13,560
Speaker 1: and you can shoot it above aboard our active ship,

721
00:38:13,640 --> 00:38:16,960
Speaker 1: the USS Reasoner. And that's what they did. They said,

722
00:38:16,960 --> 00:38:18,719
Speaker 1: all right, great, we got a lot of production value here.

723
00:38:18,760 --> 00:38:21,080
Speaker 1: You can use it as an official recruitment song.

724
00:38:21,600 --> 00:38:27,080
Speaker 2: Yeah. I mean that's just amazing that, Like, that's just crazy,

725
00:38:27,160 --> 00:38:30,799
Speaker 2: but that's what happened. Apparently the Navy, any ship that

726
00:38:30,840 --> 00:38:34,160
Speaker 2: had a closed circuit TV system got that video and

727
00:38:34,280 --> 00:38:36,720
Speaker 2: I guess would play it over and over again, which

728
00:38:37,239 --> 00:38:39,239
Speaker 2: I mean, luckily, it's a good song and it's an

729
00:38:39,280 --> 00:38:40,040
Speaker 2: interesting video.

730
00:38:40,719 --> 00:38:40,959
Speaker 3: Yeah.

731
00:38:41,000 --> 00:38:44,640
Speaker 2: I was at a Dunkin Donuts the other day and

732
00:38:44,760 --> 00:38:48,440
Speaker 2: they had the Super Bowl Ben Affleck Jennifer Lopez commercial

733
00:38:49,239 --> 00:38:54,080
Speaker 2: on loop. Oh boy, and everyone inside we're completely out

734
00:38:54,080 --> 00:38:57,640
Speaker 2: of their minds. It was an awful, awful scene, terrible

735
00:38:57,680 --> 00:38:58,160
Speaker 2: place to.

736
00:38:58,120 --> 00:39:00,160
Speaker 3: Be Yeah, oh man.

737
00:39:00,480 --> 00:39:02,359
Speaker 2: So what I'm saying is I don't think that would

738
00:39:02,360 --> 00:39:04,320
Speaker 2: have happened on board those Navy ships because it was

739
00:39:04,360 --> 00:39:05,040
Speaker 2: a pretty good song.

740
00:39:05,480 --> 00:39:09,000
Speaker 1: Yeah, and I think their they're actual recruitment did like increase,

741
00:39:09,000 --> 00:39:13,279
Speaker 1: supposedly while the song was out and being used. I

742
00:39:13,320 --> 00:39:17,480
Speaker 1: think the American military was maybe like my parents. They

743
00:39:17,520 --> 00:39:20,600
Speaker 1: weren't like, wait a minute, what we what song are

744
00:39:20,600 --> 00:39:23,120
Speaker 1: we using and by what band as active recruitment for

745
00:39:23,160 --> 00:39:24,160
Speaker 1: our US military?

746
00:39:24,640 --> 00:39:24,920
Speaker 2: Right?

747
00:39:24,960 --> 00:39:28,120
Speaker 3: But you know, I'm glad they were daft enough to

748
00:39:28,160 --> 00:39:28,920
Speaker 3: not recognize that.

749
00:39:29,000 --> 00:39:31,480
Speaker 2: I guess they're right. Well, the other thing about it

750
00:39:31,520 --> 00:39:34,480
Speaker 2: is I didn't see a single kind of gay innuendo

751
00:39:34,600 --> 00:39:38,360
Speaker 2: lyric in that song. It was more just a gay

752
00:39:38,440 --> 00:39:41,839
Speaker 2: group singing about being in the navy, which you know,

753
00:39:42,200 --> 00:39:44,880
Speaker 2: coded for There are plenty of like gay dudes in

754
00:39:44,920 --> 00:39:47,560
Speaker 2: the Navy secretly at the time, and I'm sure still are,

755
00:39:47,640 --> 00:39:49,879
Speaker 2: but I'm sure it's much less secret. So I think

756
00:39:49,920 --> 00:39:52,719
Speaker 2: that's more what it was than it being like a

757
00:39:52,920 --> 00:39:56,200
Speaker 2: gay song. Sure, it was, like you said, a straight up,

758
00:39:56,840 --> 00:39:59,600
Speaker 2: like like promotional song for the Navy.

759
00:39:59,760 --> 00:40:02,920
Speaker 1: Yeah, it doesn't say in the Navy you can maybe

760
00:40:02,920 --> 00:40:04,160
Speaker 1: meet your next husband.

761
00:40:04,320 --> 00:40:06,480
Speaker 2: Right right, exactly? That got cut.

762
00:40:06,920 --> 00:40:08,320
Speaker 3: Yeah, got cut.

763
00:40:08,560 --> 00:40:10,480
Speaker 2: So that was, like we said, the last big hit.

764
00:40:12,120 --> 00:40:14,960
Speaker 2: It was in nineteen seventy nine. And I alluded earlier.

765
00:40:14,960 --> 00:40:16,880
Speaker 2: I think I just said out right, didn't even allude

766
00:40:16,880 --> 00:40:19,440
Speaker 2: to it. They had a twenty two month run just

767
00:40:19,560 --> 00:40:23,239
Speaker 2: Burned White Phosphorus Hot. During those twenty two months, I

768
00:40:23,280 --> 00:40:26,759
Speaker 2: saw that both Madonna and Michael Jackson opened for them

769
00:40:26,960 --> 00:40:29,439
Speaker 2: while they were on tour during this time. My guess

770
00:40:29,440 --> 00:40:30,759
Speaker 2: would be nineteen seventy eight.

771
00:40:31,280 --> 00:40:33,000
Speaker 3: Wow, Michael Jackson surprises me.

772
00:40:33,680 --> 00:40:36,200
Speaker 2: Yeah, because he was already like famous from the Jackson Five.

773
00:40:36,360 --> 00:40:39,080
Speaker 2: But I mean that goes to show you just how

774
00:40:39,440 --> 00:40:41,879
Speaker 2: crazy huge the Village people were for a time.

775
00:40:42,040 --> 00:40:43,560
Speaker 3: Yeah, and this is.

776
00:40:43,840 --> 00:40:49,040
Speaker 2: Before Michael Jackson himself was like just the world's biggest star. Yeah,

777
00:40:49,320 --> 00:40:53,160
Speaker 2: but yeah, it still says quite a bit. And they

778
00:40:53,880 --> 00:40:56,239
Speaker 2: kept it going, they kept trying to go with it,

779
00:40:56,600 --> 00:41:00,600
Speaker 2: and they released a movie, as you do said earlier,

780
00:41:00,600 --> 00:41:03,640
Speaker 2: it's called Can't Stop the Music, Very bad. I can't

781
00:41:03,680 --> 00:41:07,560
Speaker 2: even make it through the trailer. No, it's it's well

782
00:41:07,600 --> 00:41:09,799
Speaker 2: known as like one of the worst movies of all time,

783
00:41:10,080 --> 00:41:13,040
Speaker 2: just a disco fluffball that keeps hitting you in the

784
00:41:13,080 --> 00:41:18,960
Speaker 2: head over and over again. Steve Gutenberg is the star. Yeah.

785
00:41:19,160 --> 00:41:21,480
Speaker 2: The whole thing is kind of like a fictitious or

786
00:41:21,520 --> 00:41:26,000
Speaker 2: fictionalized version of the story of how the Village People

787
00:41:26,560 --> 00:41:31,040
Speaker 2: came to be. So he plays an americanized, fictionalized version

788
00:41:31,080 --> 00:41:35,719
Speaker 2: of Jacques Morelli. His name is Jack Morrell in it,

789
00:41:35,840 --> 00:41:38,800
Speaker 2: and again he roller skates everywhere and finally puts together

790
00:41:39,120 --> 00:41:43,440
Speaker 2: this group that became the Village People. And it was

791
00:41:43,520 --> 00:41:46,280
Speaker 2: so bad that apparently it inspired the Razzie Awards.

792
00:41:46,360 --> 00:41:50,880
Speaker 1: Right as the story goes, it was helped create the Razzies,

793
00:41:51,600 --> 00:41:57,440
Speaker 1: and the inaugural Worst Picture and Worst Screenplay winner in

794
00:41:57,520 --> 00:42:03,960
Speaker 1: nineteen eighty was a modest hit, though I do Australia.

795
00:42:04,440 --> 00:42:07,080
Speaker 2: I think that's where they made just the tiny amount

796
00:42:07,120 --> 00:42:09,200
Speaker 2: of money that they made back, that's where they made it.

797
00:42:09,200 --> 00:42:09,680
Speaker 3: Back, I guess.

798
00:42:09,680 --> 00:42:12,239
Speaker 1: So I would love to hear from some Aussies of

799
00:42:12,280 --> 00:42:15,520
Speaker 1: a certain age that could testify as to whether or not.

800
00:42:15,520 --> 00:42:16,120
Speaker 3: This is true.

801
00:42:16,520 --> 00:42:17,959
Speaker 2: I would love to hear that as well.

802
00:42:18,040 --> 00:42:19,279
Speaker 3: Yeah, so we'll find out.

803
00:42:19,600 --> 00:42:21,560
Speaker 2: Yeah, I think the guy, one of the guys who

804
00:42:21,560 --> 00:42:24,839
Speaker 2: created the Razzies the Golden Raspberry Awards, which for those

805
00:42:24,840 --> 00:42:26,600
Speaker 2: of you who don't know, it's like for the worst

806
00:42:26,600 --> 00:42:31,520
Speaker 2: movies of the year. They hand these out. He went

807
00:42:31,560 --> 00:42:34,919
Speaker 2: and saw a ninety nine cent double feature of Can't

808
00:42:34,920 --> 00:42:38,040
Speaker 2: Stop the Music in Xana Do and wanted his money back.

809
00:42:38,680 --> 00:42:41,240
Speaker 2: That's how bad he thought that movie with Xanadu was great.

810
00:42:41,360 --> 00:42:44,239
Speaker 2: He clearly was not talking about Xana Do. He must

811
00:42:44,239 --> 00:42:47,040
Speaker 2: have just completely been focused on Can't Stop the Music.

812
00:42:47,560 --> 00:42:48,880
Speaker 3: When was the last time he saw Xana Do?

813
00:42:49,680 --> 00:42:52,239
Speaker 2: Not that long ago? Okay, I love it. It's also

814
00:42:52,280 --> 00:42:53,760
Speaker 2: got a great soundtrack too.

815
00:42:54,000 --> 00:42:54,319
Speaker 3: It does.

816
00:42:54,360 --> 00:42:55,880
Speaker 1: I mean, this was the time when they were making

817
00:42:55,920 --> 00:43:00,880
Speaker 1: these big sort of movie musical like pop pop movie

818
00:43:01,239 --> 00:43:02,240
Speaker 1: pop music movies.

819
00:43:03,080 --> 00:43:04,799
Speaker 3: Yeah, it was a strange.

820
00:43:04,480 --> 00:43:06,760
Speaker 2: Time, and everyone was on roller skates.

821
00:43:06,840 --> 00:43:09,480
Speaker 1: Yeah, you know, none of them had like were the best,

822
00:43:09,520 --> 00:43:12,279
Speaker 1: like plotted, you know, and they were just were what

823
00:43:12,320 --> 00:43:14,279
Speaker 1: they were, which was can we get someone into the

824
00:43:14,280 --> 00:43:16,120
Speaker 1: movie theater that likes this music?

825
00:43:16,520 --> 00:43:18,960
Speaker 2: Yeah, and roller skates.

826
00:43:19,680 --> 00:43:25,000
Speaker 1: After Disco Village, people did try their hand at new Wave,

827
00:43:25,040 --> 00:43:25,600
Speaker 1: because that's.

828
00:43:25,480 --> 00:43:28,880
Speaker 3: What came next. It did not work out.

829
00:43:30,360 --> 00:43:33,919
Speaker 1: Victor Willis left the band in nineteen seventy nine, and

830
00:43:34,120 --> 00:43:36,759
Speaker 1: this is where the story gets you know, sad. I

831
00:43:36,760 --> 00:43:39,880
Speaker 1: guess sad in one way or just a little confusing

832
00:43:39,920 --> 00:43:41,799
Speaker 1: because Victor Willis, who a lot of people say, like,

833
00:43:41,880 --> 00:43:44,800
Speaker 1: Victor Willis was Village People as the leader, as the

834
00:43:44,800 --> 00:43:49,200
Speaker 1: original singer and songwriter, but he left had many many

835
00:43:49,239 --> 00:43:54,760
Speaker 1: run ins with the law, awful drug problems, many warrants

836
00:43:54,800 --> 00:43:59,120
Speaker 1: out and you know for like illegal firearms and cocaine

837
00:43:59,160 --> 00:44:01,120
Speaker 1: possession and stuff like this kind of over and over

838
00:44:01,160 --> 00:44:05,040
Speaker 1: and over, kept getting second chances from sympathetic judges that

839
00:44:05,040 --> 00:44:06,480
Speaker 1: were like, hey, listen, you know you got a lot

840
00:44:06,520 --> 00:44:08,400
Speaker 1: to offer the world, like can you get yourself clean?

841
00:44:09,200 --> 00:44:12,879
Speaker 1: In the meantime, Ray Simpson Sugar Ray Simpson took over

842
00:44:12,920 --> 00:44:17,200
Speaker 1: his lead singer and like for thirty years and all

843
00:44:17,320 --> 00:44:22,480
Speaker 1: new Village People save Phelipe Rose and Alex Briley as

844
00:44:22,600 --> 00:44:27,480
Speaker 1: the Indian and Gi toured and played sold out cruise

845
00:44:27,480 --> 00:44:30,840
Speaker 1: ships and county fairs like all over the country in

846
00:44:30,920 --> 00:44:34,000
Speaker 1: world for like thirty years without Victor Willis, they would do.

847
00:44:34,160 --> 00:44:36,200
Speaker 2: Two hundred and eighty shows a year.

848
00:44:36,480 --> 00:44:40,520
Speaker 3: Yeah, I mean very successful touring like nostalgia touring group,

849
00:44:40,600 --> 00:44:42,360
Speaker 3: but without Victor Willis.

850
00:44:42,560 --> 00:44:44,560
Speaker 2: Yeah, And Victor Willis was not very happy about that.

851
00:44:44,640 --> 00:44:47,840
Speaker 2: So he'd been again. You said, he had huge, huge

852
00:44:47,880 --> 00:44:51,360
Speaker 2: self inflicted problems and run ins with the law. He

853
00:44:51,440 --> 00:44:54,000
Speaker 2: was on an episode of America's Most Wanted once because

854
00:44:54,040 --> 00:44:58,560
Speaker 2: he kept skipping bail. I know he At the same time,

855
00:44:58,600 --> 00:45:01,839
Speaker 2: he definitely had and taken advantage of I can't stop

856
00:45:01,880 --> 00:45:05,520
Speaker 2: the music productions. Early on, he'd only gotten less than

857
00:45:05,520 --> 00:45:08,759
Speaker 2: two grand in album even back in nineteen seventy eight.

858
00:45:08,800 --> 00:45:11,200
Speaker 2: That wasn't that much money for something that was just

859
00:45:11,360 --> 00:45:14,680
Speaker 2: super megahits. He got one and a half percent of

860
00:45:14,800 --> 00:45:17,520
Speaker 2: Village People royalties for the songs that he co wrote,

861
00:45:17,800 --> 00:45:21,200
Speaker 2: co wrote, like he wrote significant portions of these songs,

862
00:45:21,280 --> 00:45:23,279
Speaker 2: and like you said, to a lot of people, he

863
00:45:23,560 --> 00:45:26,719
Speaker 2: was the village People. So there was a point in

864
00:45:26,760 --> 00:45:29,840
Speaker 2: time where the Village People were playing the San Mateo

865
00:45:29,960 --> 00:45:33,959
Speaker 2: County Fair and a mile away, Victor Willis was in

866
00:45:34,000 --> 00:45:38,200
Speaker 2: the San Mateo County Jail. Probably could hear at least

867
00:45:38,239 --> 00:45:40,680
Speaker 2: a little bit of it from miss Jail's cell, right,

868
00:45:41,000 --> 00:45:43,759
Speaker 2: So it was pretty bad. And apparently the lowest point

869
00:45:43,760 --> 00:45:45,279
Speaker 2: came in two thousand and eight when they got a

870
00:45:45,320 --> 00:45:47,960
Speaker 2: star on the Hollywood Walk of Fame.

871
00:45:48,880 --> 00:45:52,640
Speaker 1: Yeah, I look this up and apparently they've edited out anything,

872
00:45:53,560 --> 00:45:56,080
Speaker 1: because I watched sort of the whole ceremony. But apparently

873
00:45:56,080 --> 00:46:00,080
Speaker 1: Willis was in the crowd in that copy uniform, like

874
00:46:00,440 --> 00:46:02,680
Speaker 1: yelling and screaming and talking about how it was fake

875
00:46:03,160 --> 00:46:05,200
Speaker 1: and caused a disruption. So I don't know if they

876
00:46:05,760 --> 00:46:07,560
Speaker 1: just got him out of there and did the ceremony,

877
00:46:07,640 --> 00:46:10,239
Speaker 1: or if they edited the thing out. But it is

878
00:46:10,280 --> 00:46:14,640
Speaker 1: not in the YouTube video. But what is evident when

879
00:46:14,640 --> 00:46:18,360
Speaker 1: you're watching that YouTube video, no disrespect to these guys,

880
00:46:19,160 --> 00:46:21,839
Speaker 1: but those aren't the village people. No, when you watch

881
00:46:21,880 --> 00:46:24,320
Speaker 1: those guys are like, that's not those aren't the guys.

882
00:46:24,760 --> 00:46:26,960
Speaker 1: You know, there's not the guys I drew in crayon.

883
00:46:27,600 --> 00:46:29,280
Speaker 2: It's kind of like if you see a guy dressed

884
00:46:29,280 --> 00:46:31,280
Speaker 2: like the Incredible Hulk, you're like, that's not the Hulk.

885
00:46:31,360 --> 00:46:34,239
Speaker 2: He represents the spirit of the Hulk, and in the

886
00:46:34,280 --> 00:46:37,920
Speaker 2: same way, these people represented the spirit of the village people.

887
00:46:38,000 --> 00:46:42,080
Speaker 2: They were there to accept the award in honor of

888
00:46:42,160 --> 00:46:44,120
Speaker 2: the village people. I hope they realized that that's what

889
00:46:44,120 --> 00:46:44,640
Speaker 2: they were doing.

890
00:46:44,680 --> 00:46:46,920
Speaker 1: They didn't even mention Willis, so like they were listing

891
00:46:46,960 --> 00:46:48,960
Speaker 1: off names and no one said Victor Willis's name.

892
00:46:49,200 --> 00:46:51,239
Speaker 2: Yeah, there were a lot of sour grapes. Yeah, I think,

893
00:46:51,840 --> 00:46:55,520
Speaker 2: and so Willis actually took can't stop productions to court,

894
00:46:56,480 --> 00:47:00,160
Speaker 2: and in a really rare and usual turn, he he

895
00:47:00,239 --> 00:47:03,960
Speaker 2: won big time. As a matter of fact, they went

896
00:47:04,000 --> 00:47:06,440
Speaker 2: from giving him one point five percent of royalties to

897
00:47:06,560 --> 00:47:10,200
Speaker 2: fifty percent totally. I didn't see did he get back royalties.

898
00:47:10,239 --> 00:47:12,080
Speaker 3: I don't know that. I was really curious about.

899
00:47:11,880 --> 00:47:15,600
Speaker 2: That because he just became probably something close to a

900
00:47:15,600 --> 00:47:19,440
Speaker 2: billionaire overnight if they did, and then he this, this

901
00:47:19,560 --> 00:47:21,319
Speaker 2: is this to me where I was like, I wish

902
00:47:21,400 --> 00:47:25,640
Speaker 2: this hadn't happened. They also gave him full control over

903
00:47:25,680 --> 00:47:29,400
Speaker 2: the Village People like name and likeness, the name of

904
00:47:29,440 --> 00:47:33,160
Speaker 2: the band, the whole intellectual property that was the Village People.

905
00:47:33,320 --> 00:47:36,640
Speaker 3: You feel bad for the other guys, Yes, yeah.

906
00:47:36,160 --> 00:47:39,080
Speaker 2: That's so wrong. They kept the thing going for decades.

907
00:47:39,520 --> 00:47:40,439
Speaker 2: And what did he do.

908
00:47:42,040 --> 00:47:42,360
Speaker 3: Well?

909
00:47:42,400 --> 00:47:45,480
Speaker 1: I mean, he started playing shows as Village People with

910
00:47:46,200 --> 00:47:48,640
Speaker 1: you know, an entirely set of new guys behind him.

911
00:47:49,040 --> 00:47:52,240
Speaker 2: He fired them. He fired some of the original Village People,

912
00:47:52,280 --> 00:47:55,840
Speaker 2: like you said, I think it was Alex Bridley and

913
00:47:56,080 --> 00:47:59,319
Speaker 2: Llebe Rose and Ray. He was not the original, but

914
00:47:59,360 --> 00:48:03,080
Speaker 2: he came in so closely after Victor Willis did. He was,

915
00:48:03,600 --> 00:48:06,440
Speaker 2: for all intents and purposes, an original, but he was the.

916
00:48:06,400 --> 00:48:07,880
Speaker 1: Cop what are you gonna just say, all right now,

917
00:48:07,920 --> 00:48:10,720
Speaker 1: put on the some the GI uniform.

918
00:48:10,880 --> 00:48:12,920
Speaker 2: Sure, and now Alex probably would be like, I'm the GI.

919
00:48:13,680 --> 00:48:15,160
Speaker 2: It probably would have gone back and forth for a

920
00:48:15,200 --> 00:48:17,799
Speaker 2: little while. He could have accommodated them. Instead, he was like,

921
00:48:17,840 --> 00:48:20,600
Speaker 2: you guys are out, and I don't know that they

922
00:48:20,640 --> 00:48:24,319
Speaker 2: had anything to do with the decision to, you know,

923
00:48:24,719 --> 00:48:28,000
Speaker 2: mess over Victor Willis, and yet he took his angst

924
00:48:28,040 --> 00:48:29,600
Speaker 2: and anger out on them, and I thought that that

925
00:48:29,760 --> 00:48:30,280
Speaker 2: was wrong.

926
00:48:31,160 --> 00:48:32,799
Speaker 1: Yeah, I don't know enough of the story to judge

927
00:48:32,800 --> 00:48:34,640
Speaker 1: it because I don't know how they treated him when

928
00:48:34,640 --> 00:48:36,000
Speaker 1: he was down and out, So.

929
00:48:36,360 --> 00:48:38,000
Speaker 2: Well, that's the best way to judge his story.

930
00:48:38,080 --> 00:48:42,080
Speaker 1: I'm gonna just reserve my judgment on this one. I

931
00:48:42,120 --> 00:48:44,040
Speaker 1: do think it's a shame that they couldn't get the

932
00:48:44,520 --> 00:48:47,720
Speaker 1: original group back together for at least a show, because

933
00:48:48,360 --> 00:48:51,160
Speaker 1: when I saw the the what I considered the not

934
00:48:51,200 --> 00:48:55,080
Speaker 1: real village people performing online, was like, this isn't right.

935
00:48:55,480 --> 00:48:57,760
Speaker 1: And then when I saw Victor Willis and those guys

936
00:48:57,800 --> 00:49:01,799
Speaker 1: he got together, I was like, well this isn't right either, right.

937
00:49:02,160 --> 00:49:04,640
Speaker 1: You know, Yes, I wanted I wanted all I wanted

938
00:49:04,640 --> 00:49:07,480
Speaker 1: a gang back together. I wanted all my gay friends

939
00:49:07,480 --> 00:49:11,240
Speaker 1: that I gazed upon and drew and crayon. I wanted

940
00:49:11,239 --> 00:49:12,040
Speaker 1: them to reunite.

941
00:49:12,400 --> 00:49:15,640
Speaker 2: I'm with you, you you wouldn't be able to. Unfortunately,

942
00:49:15,680 --> 00:49:19,439
Speaker 2: Glenn Hughes died of lung cancer and I think two

943
00:49:19,480 --> 00:49:20,839
Speaker 2: thousand or something like that.

944
00:49:21,800 --> 00:49:23,719
Speaker 3: Yeah, is he the I believe he's the only one

945
00:49:23,760 --> 00:49:24,440
Speaker 3: that passed.

946
00:49:24,160 --> 00:49:28,040
Speaker 2: Right, I believe so. But both I think on Reebololo

947
00:49:28,760 --> 00:49:33,000
Speaker 2: and Jacques Morelli are both dead. I think Jacques died

948
00:49:33,040 --> 00:49:37,919
Speaker 2: of AIDS sadly, and on Riebololo died in like the

949
00:49:38,000 --> 00:49:41,239
Speaker 2: late two thousand and tens. I think, I'm not sure what,

950
00:49:42,239 --> 00:49:45,759
Speaker 2: but yeah, So there are some village people out there still.

951
00:49:45,800 --> 00:49:47,440
Speaker 2: You can go see him touring. You can see the

952
00:49:47,520 --> 00:49:52,279
Speaker 2: Victor Willis version at the San Diego County Fair on

953
00:49:52,360 --> 00:49:55,920
Speaker 2: July fourth, and if you happen to be in Santiago,

954
00:49:56,040 --> 00:49:58,560
Speaker 2: Chile or Bogatah, Columbia, you can see them in May.

955
00:49:59,560 --> 00:50:03,399
Speaker 2: All right, Okay, so that's your assignment stuff. You should know, Army.

956
00:50:03,480 --> 00:50:05,279
Speaker 2: Go out and see the village people and let us

957
00:50:05,320 --> 00:50:09,359
Speaker 2: know what you think. In the meantime, you can sit

958
00:50:09,440 --> 00:50:10,759
Speaker 2: there and listen to listener mail.

959
00:50:11,480 --> 00:50:14,160
Speaker 1: Oh interesting, I was just making I was trying to

960
00:50:14,239 --> 00:50:17,560
Speaker 1: verify really quickly if they were all alive, because that's important.

961
00:50:17,920 --> 00:50:18,280
Speaker 2: Yeah.

962
00:50:18,360 --> 00:50:20,880
Speaker 1: Sure, and I just saw here that and this is

963
00:50:21,000 --> 00:50:28,040
Speaker 1: real time fact, everybody. Alex Briley supposedly that his brother

964
00:50:28,400 --> 00:50:31,239
Speaker 1: was thought to be the falling man from the nine

965
00:50:31,239 --> 00:50:32,040
Speaker 1: to eleven building.

966
00:50:32,280 --> 00:50:37,280
Speaker 2: No way, wow, nos man, that took a very strange

967
00:50:37,280 --> 00:50:38,120
Speaker 2: turn here, that.

968
00:50:38,160 --> 00:50:41,759
Speaker 3: Did take And I believe that you're right. I believe that.

969
00:50:42,280 --> 00:50:44,880
Speaker 1: I believe that Glenn Hughes is the only one who's

970
00:50:44,960 --> 00:50:46,919
Speaker 1: passed away. So the rest of the guys are still

971
00:50:46,920 --> 00:50:49,720
Speaker 1: trying to trying to do stuff, is it. Randy Jones,

972
00:50:49,719 --> 00:50:53,279
Speaker 1: He's He released a song in twenty seventeen that reached

973
00:50:53,320 --> 00:50:56,520
Speaker 1: number forty two on the Billboard Dance Club Song Charts,

974
00:50:56,520 --> 00:51:00,560
Speaker 1: So that's not too bad. Randy Jones was the cowboy, Yeah, cowboy.

975
00:51:00,920 --> 00:51:04,000
Speaker 2: So you never answered which one did you identify with

976
00:51:04,040 --> 00:51:06,000
Speaker 2: the most, or did you identify with them as a group.

977
00:51:08,400 --> 00:51:10,960
Speaker 1: I don't know, Like identify as a is a weird

978
00:51:11,000 --> 00:51:14,240
Speaker 1: word because I didn't like identify as and like I wanted,

979
00:51:14,400 --> 00:51:17,520
Speaker 1: I think I'm one of those guys. But I think

980
00:51:17,560 --> 00:51:21,400
Speaker 1: I thought that the biker was the coolest because like

981
00:51:21,719 --> 00:51:25,120
Speaker 1: that leather man that mustache and that chopper, Like, I

982
00:51:25,120 --> 00:51:26,040
Speaker 1: thought that was just the.

983
00:51:25,920 --> 00:51:27,040
Speaker 3: Coolest thing ever.

984
00:51:27,400 --> 00:51:28,280
Speaker 2: Dig those chains.

985
00:51:28,520 --> 00:51:31,319
Speaker 1: Yeah, so I think definitely the biker, you know. I

986
00:51:31,320 --> 00:51:33,279
Speaker 1: mean that's the one who I drew with a little

987
00:51:33,360 --> 00:51:33,960
Speaker 1: round boobies.

988
00:51:35,000 --> 00:51:37,879
Speaker 2: I always saw them pretty much collectively, but if any

989
00:51:37,920 --> 00:51:39,520
Speaker 2: of them stood out to me, it was probably the

990
00:51:39,560 --> 00:51:40,480
Speaker 2: construction worker.

991
00:51:41,440 --> 00:51:43,840
Speaker 3: Yeah, you're always a blue collar kind of guy.

992
00:51:44,200 --> 00:51:46,560
Speaker 2: I think it was this sirp a line jean jacket

993
00:51:46,600 --> 00:51:51,319
Speaker 2: that always stood out to me. And then the mirror aviators.

994
00:51:50,320 --> 00:51:52,480
Speaker 3: Those Toledo roots. Oh yeah, the aviators.

995
00:51:52,520 --> 00:51:56,479
Speaker 2: Right, Okay, now everybody, it's time for listener mail.

996
00:51:56,520 --> 00:52:00,719
Speaker 1: I think, well, I don't have a listener because I

997
00:52:00,719 --> 00:52:02,719
Speaker 1: thought we could just talk a little bit about our

998
00:52:02,840 --> 00:52:05,719
Speaker 1: upcoming live shows. Oh yeah, let's do that as just

999
00:52:05,719 --> 00:52:09,839
Speaker 1: sort of an in show announcement because we are hitting

1000
00:52:09,920 --> 00:52:13,000
Speaker 1: the road. This is a very fun show that you

1001
00:52:13,120 --> 00:52:16,680
Speaker 1: put together, and we've been getting emails from parents like, hey,

1002
00:52:16,719 --> 00:52:20,240
Speaker 1: can my kids come? Kids are always welcome at our shows. Sure,

1003
00:52:20,560 --> 00:52:24,520
Speaker 1: it's kind of a well it's a kid friendly topic

1004
00:52:24,560 --> 00:52:26,680
Speaker 1: in that it's not, you know, not kid friendly. But

1005
00:52:26,719 --> 00:52:29,080
Speaker 1: it's not about Barney the Dinosaur, you know.

1006
00:52:29,320 --> 00:52:32,560
Speaker 2: It's not terrifying, though, it's pretty funny. If you're cool

1007
00:52:32,560 --> 00:52:35,360
Speaker 2: with your kids. Here in the S word occasionally you're fine.

1008
00:52:35,520 --> 00:52:37,560
Speaker 1: Yeah, yeah, we have a cussword or two here and there,

1009
00:52:37,560 --> 00:52:39,440
Speaker 1: but it's not too bad. But we were going to

1010
00:52:39,480 --> 00:52:43,120
Speaker 1: be We're going to be in Medford, mass On May

1011
00:52:43,160 --> 00:52:45,640
Speaker 1: twenty ninth, then d C on the thirtieth, and New

1012
00:52:45,719 --> 00:52:48,640
Speaker 1: York on the thirty first. Then this summer we're going

1013
00:52:48,719 --> 00:52:52,520
Speaker 1: to hit the road in August on the seventh, eighth,

1014
00:52:52,520 --> 00:52:56,560
Speaker 1: the ninth to Chicago, Minneapolis, and Indianapolis for the first time.

1015
00:52:56,800 --> 00:52:58,439
Speaker 1: Very nice, and then we're going to wind it out

1016
00:52:58,480 --> 00:53:01,240
Speaker 1: in September on the fifth and seventh than Durham, North Carolina,

1017
00:53:01,719 --> 00:53:04,440
Speaker 1: and here in Atlanta. Tickets are moving pretty good in

1018
00:53:04,480 --> 00:53:07,440
Speaker 1: most cities, but we really want to make sure this

1019
00:53:07,880 --> 00:53:10,120
Speaker 1: first leg gets close to sold out.

1020
00:53:10,480 --> 00:53:13,440
Speaker 2: Yeah, for sure, we would love that. If you would

1021
00:53:13,480 --> 00:53:15,319
Speaker 2: like to come see us, we would love that too.

1022
00:53:15,960 --> 00:53:17,880
Speaker 2: And you can get all the info you need. You

1023
00:53:17,880 --> 00:53:20,120
Speaker 2: can get links to ticket sites and all that kind

1024
00:53:20,160 --> 00:53:23,000
Speaker 2: of stuff by going to our website stuff you should

1025
00:53:23,000 --> 00:53:25,880
Speaker 2: know dot Com, clicking on the tour button, or you

1026
00:53:25,880 --> 00:53:28,800
Speaker 2: can also go to our link tree, link Tree slash

1027
00:53:28,960 --> 00:53:32,200
Speaker 2: sysk Live and it'll give you all the stuff you

1028
00:53:32,239 --> 00:53:35,959
Speaker 2: need to come see us, because again, we would love that, right, Chuck.

1029
00:53:36,000 --> 00:53:36,560
Speaker 3: It's a good time.

1030
00:53:36,640 --> 00:53:38,800
Speaker 2: Yeah yeah. And in the meantime, if you want to

1031
00:53:38,840 --> 00:53:40,719
Speaker 2: get in touch with this v email, you can send

1032
00:53:40,760 --> 00:53:47,880
Speaker 2: it off to Stuff Podcasts at iHeartRadio dot com. Stuff

1033
00:53:47,880 --> 00:53:49,879
Speaker 2: you Should Know is a production of iHeartRadio.

1034
00:53:50,360 --> 00:53:53,560
Speaker 1: For more podcasts, my heart Radio, visit the iHeartRadio app,

1035
00:53:53,760 --> 00:54:02,280
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.