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    Crazy '80s

    Peter Gabriel challenges lyric lovers with music's great white whale

    Jim Beviglia
    May 13, 2010 | 12:57 pm

    This is the fourth in a series of stories celebrating the unforgettable songs (even if you thought you've forgotten them you haven't, trust us) from arguably the craziest music era of all time: The '80s. Whether this was the music of your youth or long before your time, a little bit of the '80s surely lives in you.

    I’m a lyric guy. What can I say? Some people will tell you that they’re meaningless to whether or not a song is ultimately successful. I would respectfully disagree. (And by respectfully, I mean that I’ll refrain from calling you a blazing ignoramus.)

    I’m not saying that the words to a song have to be poetry; very few even come close. They are an art form all their own. And what’s neat about is that you don’t have to be hyperliterate to be a great lyric-writer. Bob Dylan and ElvisCostello are great lyric-writers and have an astounding command of the language. But I could list you dozens of other great rock lyricists whose approach their songs in different ways and get the job done and then some.

    With my love for lyrics established at an early age by being immersed in the Lennon/McCartney songbook, I quickly made it my mission to learn as many lyrics as humanly possible. I don’t know if I’m the best around, but I feel like I can hold my own in my lyrical knowledge, both in terms of accuracy and breadth of music.

    Credit Song Hits magazine for helping me develop this pretty worthless skill. Without an Internet to fall back on every time a lyric was in question, I relied on Song Hits, essentially a grab-bag of lyrics from the hits of the day, to be my resource. I would scoop up the new issues each month from the local supermarket and immerse myself in the new batch of songs included.

    Song Hits was the reason that I knew all the words to ridiculous hits like “Der Komissar,” allowing me to bewilder my Mom by busting out those goofy lyrics every time it came on in the car. Song Hits also delved into soul and country songs, giving me the ability to segue seamlessly from Juice Newton to Kool and The Gang in the bathtub.

    But, alas, Song Hits failed me when it came to the great white whale of my lyric search, Peter Gabriel’s enigmatic, allegorical tale of kids playing war games, “Games Without Frontiers.” Yes, I knew all the exotic kids’ names and the parts about baboons in the jungle. I could even sorta half-whistle along with that memorable hook.

    But just what in tarnaton was the line that female voice, which I later found out belonged to Kate Bush, singing throughout the song? “She’s so funky, yeah?” No? How about “She’s so popular?” Maybe? It sounded like that a little, even if it doesn’t work in the context.

    I hadn’t discovered Song Hits at the time of the song’s release in 1980, so there was no help for my 8-year-old self. Again, no Internet with the lyrics of every song imaginable available at the click of a key. I had to do this the old-fashioned way. I set up a recordable tape in the 8-track, waited for the song to come on the radio, and magnetized that sucker.

    Over and over, I listened to that damn song 'til I began hallucinating that baboons that sounded like Peter Gabriel were invading my bedroom. But still the whale eluded me. “She’s sells fondue yeah?” “She’s on front delay?” “I buried Paul?” For the love of sanity, WHAT WAS IT??? (Dramatic pause.)

    The Lyrical Grail

    Eventually, I gave up my quest. Too many other songs to learn, too little time. I would hear “Games Without Frontiers” time and again, but my furious puzzlement died down to a warm nostalgia for a time when the biggest crisis in the world was a missing song lyric.

    It was in college, the bastion of bullshit know-it-alls everywhere, when the search ended unexpectedly. I was in a car with a buddy of mine, and the song came on. My pride long since shattered by my quest, I gave up and asked my pal, who was a music nut just like me. “What is she saying there?”

    “It’s ‘Games Without Frontiers’ in French,” he nonchalantly replied.

    To quote Charlie Brown, “AAAAARGH!!!” French? That’s not fair. The sad thing is that I took two years of French in high school, and got A’s without ever really learning to say my name in the language. I guess that’s karma for you. (Or, as they say in France, Le Karma. I think.)

    “Jeux Sans Frontieres” is the lyric to be exact, apparently coming from some European game show that had inspired Gabriel. I never would have guessed it in a million years.

    But, I must admit, now that I know the lyric, I sing it like it’s been rolling off my tongue for years. In fact, one time somebody asked me about it, and I acted all big shot and nonchalant myself, explaining what it was and the origin of it as if I knew it all along.

    Hey, when you finally capture the great white whale, nobody really needs to know how you did it.

    unspecified
    news/entertainment

    lizzo concert review

    Lizzo makes Houston feel 'Good as Hell' at sold-out Rodeo concert

    Craig Hlavaty
    Mar 7, 2026 | 12:24 am
    Lizzo RodeoHouston
    Courtesy of Houston Livestock Show and Rodeo
    Lizzo entered the rodeo in a tricked out SLAB.

    Much like Mayor of Trill Town Bun B’s past rodeo shows, Lizzo’s sold-out Friday night show, closing out Black Heritage Day, was a rapturous celebration of Houston pride with a live jukebox.

    The best rodeo shows are when no one sits down, even if their boots make their dogs holler, and when the show ends, everyone spills out of the stadium barefoot, or the menfolk carry the heels. No other city would allow you to eat chicken fried lobster, drink award-winning wine by the bottle, watch teenagers wrestle calves for cash, see kindergartens hold on to a sheep with a death grip, and stomp your Ariats to “Still Tippin’” with 70,000 other people within the span of six hours.

    Along with Go Tejano Day, Black Heritage Day (which became a part of the RodeoHouston DNA in 1993) showcases the diversity found on the concrete and the hay off Kirby Drive every year. It’s a whole day of celebration on the grounds, including field trips, art installations, traveling museum exhibits, and an unofficial HBCU reunion event. As cowpokes in cowboy hats battled various beasts before the show, the big screen highlighted roving bands of women dressed in their finest rodeo attire. The sidewalks around NRG Stadium were a Friday night fashion show. Friday was also the kickoff of spring break for most Houston-area school districts, meaning the grounds will be insanely busy over the next week.

    Proud Alief Elsik High School alum and University of Houston product Lizzo was supposed to have made her triumphant hometown rodeo debut back in 2020, but Covid-19 scuttled the second half of that season, including her appearance. Just a few weeks ago, she gushed on Late Night with Seth Meyers about how important the show would be to her, mentioning seeing John Mayer and Beyoncé during her teen years in town.

    At 9:15 pm, just next door to the 8th Wonder of the World the “9th Wonder of the World” — Texas Southern University’s Ocean of Soul Marching Band — made its way onto the show floor to massive applause as a hype video of Houston landmarks played on the show screens. If RodeoHouston needs a house band — founded in 1969 — this is it. In fact, it should be legally mandated that they appear every year.

    Before Lizzo even appeared, the show felt like a Super Bowl halftime show, with three SLABs driving out into the dirt, with the woman herself kicking off “About Damn Time” from the back seat of a fourth SLAB, clad in a black leather studded duster, surrounded by TSU dancers. This is the kind of big-budget spectacle that the rodeo salivates for. Backed by a mostly-female band onstage, the Ocean of Soul provided a constant brassy, bassy undercurrent.


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    “This is the city that raised me,” Lizzo said, taking in the 69,362 souls in her midst.

    She was met with a hurricane-force wall of screams as she launched into “Cuz I Love You,” ditching her black leather duster for a white tank top.

    Houston’s own gospel pop quartet The Walls Group appeared just then for the Black National Anthem, “Lift Every Voice And Sing.” Lizzo and the Walls siblings then wove “Special” into “Total Praise.” We’d all buy a Lizzo gospel album, and you know it.

    Her collaboration with Cardi B “Rumors” — flaunting rodeo lyrical standards — gave way to her own rendition 4 Non Blondes’ “What’s Up,” giving Linda Perry’s grunge pop classic a torch song glow-up.

    Lizzo got back into her custom SLAB for her own “Yitty On Yo Tittys” from last summer’s My Face Hurts From Smiling album, complete with a human-sized dancing Labubu. The Ocean of Soul got its own interlude while keen eyes could see Lizzo side stage, tuning up her famous flute with a familiar line.

    Wait, is that? Yes, by God, that’s Houston’s national anthem.

    Soon Slim Thug, Mike Jones, and Paul Wall sauntered out for “Still Tippin’” as city pride began to sweat from the stadium walls, all while the Ocean of Soul kept strutting along. The professor emeritus’ of Houston's 2000s rap explosion, you look up from your phone and realize all these Houston rap standards are all over 20 years old now. Paul is a silver fox, Slim is a real estate magnate, and even people in Japan know Jones’ personal phone number.

    “At the end of the day, I just want Houston to feel good as hell,” Lizzo said, tapping directly into “Good As Hell.” Was that a pregnant lady in a cowboy hat dancing on the big screen? How much more Houston can a fetus be?

    The only truly Houston things left to do tonight were to sweat through your Wranglers in the parking lot, gaze at the Astrodome, sit in standstill traffic, and join the drive-thru parade at the closest Whataburger.

    Setlist

    With Texas Southern University’s Ocean Of Soul

    About Damn Time
    Juice
    2 Be Loved (Am I Ready)
    Soulmate
    Cuz I Love You

    With The Walls Group

    Lift Every Voice And Sing
    Special > Total Praise
    Rumors > What’s Up

    Tempo > Wobble
    Boys (with Ocean Of Soul)
    Mo City Don (Z-Ro Cover)
    Yitty On Yo Tittys
    Screwed (with Ocean Of Soul)
    Still Tippin’ (with Slim Thug, Mike Jones, and Paul Wall)
    Truth Hurts
    Good As Hell (with Ocean Of Soul)

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