Andrew Welsh of Daily Record wrote that "echoes of the Chameleons' distinctive sound can still be heard today in bands as diverse as the Killers (but without the penchant for angst), Editors and even Pigeon Detectives."[3]

...he had an adopted son named William Fish...

His father and grandfather were also named Preserved Fish.

As a youth, the younger Preserved Fish shipped to the Pacific on a whaler.

diminishing genre distinctions among artists

Disco music had by the end of the decade to a great deal arrived at its technical limits as growing anti-Disco sentiment eventually affected the US Music community. A new generation of musicians and fans, while idealizing ideas of authenticity and purity, rejected Disco as artificial, mindless, consumerist etc.[7] Hard hit by the media, industry and markets, tasked with re-invention, had already departed from the Disco phenomenon and begun to feverishly scout for new trends.[4]

Predominantly moderate interest in Stewart's Paradise Bird album, released in September 1979, came as no surprise. However, success and media feedback in Europe was unbroken. Europe's music industry and scene was the sum of many small and diverse outposts. New ideas would certainly be adopted as old ones preserved. Not declaring Disco dead, the UK, for example, was left with a somewhat controverse culture, that fed cynicism. "The rest was a mess", where Punk rock and Diana Ross co-existed. Paradise Bird yielded two European single releases, "Jealousy" (#58 UK, #4 Italy, #5 Switzerland) and the double A-side "The Letter/Paradise Bird" (#39 UK 1980).[8] Stewart, however, remained confident about her career. She told her production team and record label to be "changing styles slowly, so as not get caught in the shuffle". The source of inspiration would be her artistic background of theater, modern dance and melodic music.[4]

Butterfield wrote:I read Bob George as Boy George.