IN: Culture Club are an English band that was formed in 1981. The band comprised Boy George (lead vocals), Roy Hay (guitar and keyboards), Mikey Craig (bass guitar) and Jon Moss (drums and percussion). They are considered one of the most representative and influential groups of the 1980s. Culture Club sold more than 50 million albums and 100 million singles (including Boy George solo) records worldwide, including 7 million-records awards RIAA certificate in the United States.

In 1981, Blitz Club regular Boy George occasionally sang with the group Bow Wow Wow under the stage name Lieutenant Lush. After his tenure with the group ended, George decided to start his own band and enlisted bassist Mikey Craig, drummer Jon Moss, and finally guitarist Roy Hay.  Realising they had an Irish gay man as the lead singer, a black Briton on bass, a blond Englishman on guitar and keyboards, and a Jewish drummer, they eventually decided to call themselves Culture Club. The group recorded demos, which were paid for by EMI Records, but the label was unimpressed and decided not to sign the group. Virgin Records heard the demos and signed the group in the UK, releasing their albums in Europe, while Epic Records released their albums in the United States and much of the rest of the world since Virgin did not have a US presence at the time. George began sporting a look inspired by Siouxsie Sioux with "heavy make-up and swaggy hair".  The band released two singles in May and June 1982, "White Boy" and "I'm Afraid of Me", though both failed to chart. In August the single "Mystery Boy" was released in Japan. In September of that year, the group released their third single, "Do You Really Want to Hurt Me", a reggae-influenced number, which became one of their biggest hits. The song went to No. 1 in the UK in late 1982 and became an international smash, peaking at No. 1 in over a dozen countries (No. 2 in the US), this track sold up to 6.5 million copies worldwide.  The band's 1982 debut on Top of the Pops created tabloid headlines, which focused on George's androgynous style of dress and sexual ambiguity. Magazines began to feature George prominently on their covers. Pete Burns, lead singer of the new wave band Dead or Alive, would later claim he was the first to wear braids, big hats, and colourful costumes, but George would cut back with a sharp-tongued remark, "It's not who did it first, it's who did it better."  The band's debut album, Kissing to Be Clever (UK No. 5, US No. 14) was released in October 1982, and the follow-up single, "Time (Clock of the Heart)", became another Top 10 hit in the US (Number 2) and UK (Number 3). "I'll Tumble 4 Ya" also became a Top Ten hit in the US (Number 9) and in Canada. This gave Culture Club the distinction of being the first group since The Beatles to have three Top Ten hits in America from a debut album. Kissing to Be Clever sold over 1.5 million copies in the US, being certified platinum, and sold another 3 million worldwide at the time of its release.
QUESTION: What label did then end up signing with?
IN: Sir Edward William Elgar, 1st Baronet  (2 June 1857 - 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.

During the 1890s, Elgar gradually built up a reputation as a composer, chiefly of works for the great choral festivals of the English Midlands. The Black Knight (1892) and King Olaf (1896), both inspired by Longfellow, The Light of Life (1896) and Caractacus (1898) were all modestly successful, and he obtained a long-standing publisher in Novello and Co. Other works of this decade included the Serenade for Strings (1892) and Three Bavarian Dances (1897). Elgar was of enough consequence locally to recommend the young composer Samuel Coleridge-Taylor to the Three Choirs Festival for a concert piece, which helped establish the younger man's career. Elgar was catching the attention of prominent critics, but their reviews were polite rather than enthusiastic. Although he was in demand as a festival composer, he was only just getting by financially and felt unappreciated. In 1898, he said he was "very sick at heart over music" and hoped to find a way to succeed with a larger work. His friend August Jaeger tried to lift his spirits: "A day's attack of the blues ... will not drive away your desire, your necessity, which is to exercise those creative faculties which a kind providence has given you. Your time of universal recognition will come."  In 1899, that prediction suddenly came true. At the age of forty-two, Elgar produced the Enigma Variations, which were premiered in London under the baton of the eminent German conductor Hans Richter. In Elgar's own words, "I have sketched a set of Variations on an original theme. The Variations have amused me because I've labelled them with the nicknames of my particular friends ... that is to say I've written the variations each one to represent the mood of the 'party' (the person) ... and have written what I think they would have written - if they were asses enough to compose". He dedicated the work "To my friends pictured within". Probably the best known variation is "Nimrod", depicting Jaeger. Purely musical considerations led Elgar to omit variations depicting Arthur Sullivan and Hubert Parry, whose styles he tried but failed to incorporate in the variations. The large-scale work was received with general acclaim for its originality, charm and craftsmanship, and it established Elgar as the pre-eminent British composer of his generation.  The work is formally titled Variations on an Original Theme; the word "Enigma" appears over the first six bars of music, which led to the familiar version of the title. The enigma is that, although there are fourteen variations on the "original theme", there is another overarching theme, never identified by Elgar, which he said "runs through and over the whole set" but is never heard. Later commentators have observed that although Elgar is today regarded as a characteristically English composer, his orchestral music and this work in particular share much with the Central European tradition typified at the time by the work of Richard Strauss. The Enigma Variations were well received in Germany and Italy, and remain to the present day a worldwide concert staple.
QUESTION:
How did he feel about his work?