1
00:00:00,200 --> 00:00:10,520
Speaker 1: Stone's Touring Party is a production of iHeartRadio. Welcome to

2
00:00:10,640 --> 00:00:15,360
Speaker 1: New Orleans. It's late June nineteen seventy two. The Rolling

3
00:00:15,400 --> 00:00:18,840
Speaker 1: Stones and their coterie converge on a warehouse blocks from

4
00:00:18,880 --> 00:00:22,000
Speaker 1: the banks of the Mississippi. They're here to attend a

5
00:00:22,040 --> 00:00:26,200
Speaker 1: party hosted by Ahmet Ertigan, the president of Atlantic Records

6
00:00:26,200 --> 00:00:30,760
Speaker 1: and distributor of the Rolling Stones musical output. Resplendent in

7
00:00:30,800 --> 00:00:34,599
Speaker 1: a crisp white suit, pressed blazer, and neatly trimmed goateee,

8
00:00:35,200 --> 00:00:38,240
Speaker 1: He's the only one who remains cool amid the stifling heat.

9
00:00:39,240 --> 00:00:50,519
Speaker 1: But then again, I'm at Ertigan's always cool. As the

10
00:00:50,560 --> 00:00:53,000
Speaker 1: founder and leader of one of the most successful R

11
00:00:53,040 --> 00:00:56,360
Speaker 1: and B record companies in America, Ahmet steeped in the

12
00:00:56,400 --> 00:01:01,120
Speaker 1: sound of The Stones, Sonic DNA, Ray, Charles, the Coasters,

13
00:01:01,200 --> 00:01:06,160
Speaker 1: Otis Redding, Wilson Pickett, Aretha take your pick. He signed

14
00:01:06,200 --> 00:01:10,280
Speaker 1: the mall tonight. Ahmed has a special surprise for his

15
00:01:10,360 --> 00:01:14,080
Speaker 1: favorite British boys. He knows that for the Stones, New

16
00:01:14,160 --> 00:01:19,759
Speaker 1: Orleans means music, soul, funk, jazz, and especially the blues.

17
00:01:20,400 --> 00:01:24,039
Speaker 1: They're scholars of the blues. If the Stones go wandering

18
00:01:24,080 --> 00:01:26,760
Speaker 1: down the French Quarter, they may get lucky and catch

19
00:01:26,800 --> 00:01:29,959
Speaker 1: some old character playing a local honky talk. But the

20
00:01:30,040 --> 00:01:34,400
Speaker 1: true legends could be way out in Lafayette, Baton Rouge, Algiers,

21
00:01:34,800 --> 00:01:38,200
Speaker 1: or any one of one hundred Bayou bars. To get

22
00:01:38,200 --> 00:01:41,560
Speaker 1: the goods, you gotta go to the source. So Ahmet's

23
00:01:41,560 --> 00:01:49,520
Speaker 1: bringing the source to the stones. With the ease of

24
00:01:49,560 --> 00:01:52,440
Speaker 1: a wealthy man who has become even wealthier by pursuing

25
00:01:52,440 --> 00:01:55,840
Speaker 1: a business he loves, Ahmett makes some phone calls and

26
00:01:56,000 --> 00:02:01,080
Speaker 1: rounds up a murderer's row of proper legends. Roosevelt Sykes,

27
00:02:01,360 --> 00:02:04,920
Speaker 1: a balding blues man from Chicago known as the honey Dripper.

28
00:02:05,480 --> 00:02:08,639
Speaker 1: There's Snooks Egland, a blind guitarist and singer who many

29
00:02:08,639 --> 00:02:12,880
Speaker 1: people thought was long dead. And of course this Professor Longhair,

30
00:02:13,440 --> 00:02:17,480
Speaker 1: a man of indeterminate age and indeterminate birth name. His

31
00:02:17,600 --> 00:02:21,519
Speaker 1: face is compressed and narrow, and his skin resembles fine

32
00:02:21,600 --> 00:02:25,959
Speaker 1: parchment paper left for too long in the sun. When

33
00:02:26,000 --> 00:02:35,120
Speaker 1: these old blues men die, their music goes with them.

34
00:02:35,240 --> 00:02:39,400
Speaker 1: As America changes into one big city, joined by television

35
00:02:39,520 --> 00:02:44,040
Speaker 1: signals and super highways, it's native artists, the black blues

36
00:02:44,080 --> 00:02:47,959
Speaker 1: men are going to vanish. This party is a flashback

37
00:02:48,000 --> 00:02:52,280
Speaker 1: to a bygone age. These old men can still boogie,

38
00:02:53,280 --> 00:02:56,800
Speaker 1: and by midnight people are sweating and dancing, laughing and

39
00:02:56,840 --> 00:03:00,400
Speaker 1: slapping five and occasionally sniffing coke off the backs of

40
00:03:00,440 --> 00:03:03,840
Speaker 1: their hands. These old cats have been making music all

41
00:03:03,880 --> 00:03:08,000
Speaker 1: their lives without much reward, without ever becoming pop heroes

42
00:03:08,120 --> 00:03:11,600
Speaker 1: or cultural symbols. Now they sit playing for friends of

43
00:03:11,639 --> 00:03:14,839
Speaker 1: the Rolling Stones. They don't even know who the Stones are.

44
00:03:15,639 --> 00:03:18,840
Speaker 1: Mick Jagger, which one's he? One asks, ah me At

45
00:03:18,960 --> 00:03:21,360
Speaker 1: just smiles as he writes him a check in the corner.

46
00:03:24,960 --> 00:03:29,120
Speaker 1: That description comes courtesy of Robert Greenfield, the legendary rock

47
00:03:29,240 --> 00:03:33,600
Speaker 1: journalist who is Rolling Stone Magazine's dedicated Stones correspondent. As

48
00:03:33,639 --> 00:03:36,560
Speaker 1: a twenty something in the early seventies, he was there

49
00:03:36,560 --> 00:03:39,440
Speaker 1: on that long, hot night in New Orleans to witness

50
00:03:39,440 --> 00:03:42,800
Speaker 1: the meeting between the Rolling Stones and their musical forebears.

51
00:03:43,160 --> 00:03:46,080
Speaker 1: For the Stones, it was an evening they'll never forget.

52
00:03:46,680 --> 00:03:50,960
Speaker 1: For the musicians, it was just another gig. It's a

53
00:03:51,000 --> 00:03:54,360
Speaker 1: full circle moment, for sure, But the meeting depends where

54
00:03:54,360 --> 00:03:57,240
Speaker 1: on the circle you happen to be sitting. You could

55
00:03:57,320 --> 00:04:00,040
Speaker 1: say the Stones are on a pilgrimage, schlepping out to

56
00:04:00,120 --> 00:04:02,680
Speaker 1: pay their respects to these old timers on their turf,

57
00:04:03,160 --> 00:04:05,760
Speaker 1: but the transactional nature of the visit makes it all

58
00:04:05,760 --> 00:04:09,360
Speaker 1: a little muddy. The Stones took this Delta music and

59
00:04:09,400 --> 00:04:12,400
Speaker 1: sold it to the world. Now they've bought entry to

60
00:04:12,440 --> 00:04:15,600
Speaker 1: the juke joint of their fantasies for one night only.

61
00:04:17,040 --> 00:04:19,680
Speaker 1: Then they go back to their hotel suites in private jet,

62
00:04:20,240 --> 00:04:23,080
Speaker 1: and these guys, nearly twice their age, go back to

63
00:04:23,160 --> 00:04:27,120
Speaker 1: grinding it out in another dive bar. The inequity is

64
00:04:27,120 --> 00:04:31,800
Speaker 1: impossible to ignore. Then again, Welcome to the American South

65
00:04:31,880 --> 00:04:39,200
Speaker 1: circa nineteen seventy two. The Stones will pass through Texas,

66
00:04:39,279 --> 00:04:43,359
Speaker 1: Louisiana and Alabama and just under a week. What happens

67
00:04:43,360 --> 00:04:46,440
Speaker 1: when a band of white British drug taking long hairs

68
00:04:46,480 --> 00:04:49,040
Speaker 1: who made their name playing black music tours through the

69
00:04:49,080 --> 00:04:53,520
Speaker 1: heart of Dixie, Well, they don't go unnoticed, that's for sure.

70
00:05:00,400 --> 00:05:03,599
Speaker 1: In addition to Greenfield and his archive have never before

71
00:05:03,720 --> 00:05:06,920
Speaker 1: heard interviews with The Stones and their exile on Main Street,

72
00:05:07,000 --> 00:05:09,920
Speaker 1: Eric Glory will also be joined by his friend and

73
00:05:10,040 --> 00:05:14,120
Speaker 1: tour mate Gary Stromberg, a pr supremo who's represented a

74
00:05:14,120 --> 00:05:18,440
Speaker 1: whole jukebox of the twentieth century's greatest artists. My name

75
00:05:18,520 --> 00:05:25,400
Speaker 1: is Jordan Runtogg, and this is the Stones touring party.

76
00:05:30,080 --> 00:05:32,599
Speaker 1: The STP crew is a little ragged by the time

77
00:05:32,640 --> 00:05:37,920
Speaker 1: they touched down in Dallas on June twenty second. It's

78
00:05:38,000 --> 00:05:42,120
Speaker 1: understandable considering this is their third state that day. They

79
00:05:42,160 --> 00:05:46,039
Speaker 1: had awoken that morning in Chicago at Hugh Hefner's Playboy Mansion,

80
00:05:46,520 --> 00:05:49,679
Speaker 1: a locale not exactly conducive to a good night's sleep.

81
00:05:50,560 --> 00:05:53,360
Speaker 1: From there, they flew to Kansas City, where the principal

82
00:05:53,400 --> 00:05:56,640
Speaker 1: players delivered ninety minutes of premium rock and roll on

83
00:05:56,680 --> 00:06:01,560
Speaker 1: the sauna like stage. Still glistening with that, reboarded their

84
00:06:01,600 --> 00:06:05,200
Speaker 1: private jet, the one emblazoned with the cartoon character of

85
00:06:05,240 --> 00:06:09,160
Speaker 1: Mick Jagger's lapping tongue. Then they flew on the Texas,

86
00:06:09,440 --> 00:06:12,360
Speaker 1: where they're scheduled to perform back to back double headers,

87
00:06:12,600 --> 00:06:15,880
Speaker 1: two in Dallas Fort Worth and two in Houston. All

88
00:06:15,920 --> 00:06:18,359
Speaker 1: of these will be filmed by a full sized Hollywood

89
00:06:18,400 --> 00:06:22,920
Speaker 1: crew and recorded for a proposed live album. This intensifies

90
00:06:22,960 --> 00:06:27,159
Speaker 1: the pressure on all concerns, and it shows the summer

91
00:06:27,160 --> 00:06:31,560
Speaker 1: camp spirit of joyous madness and innocence is evaporated, only

92
00:06:31,600 --> 00:06:35,279
Speaker 1: to be replaced by fatigue and frustration. This is all

93
00:06:35,320 --> 00:06:38,719
Speaker 1: made worse by the strangers in their midst. These Texas

94
00:06:38,839 --> 00:06:42,520
Speaker 1: dates have attracted a flock of so called VIP visitors,

95
00:06:43,000 --> 00:06:46,520
Speaker 1: presumably drawn to the aforementioned film crew like moths to

96
00:06:46,560 --> 00:06:50,800
Speaker 1: a flame. They're around for various reasons, some valid and

97
00:06:50,839 --> 00:06:54,920
Speaker 1: some not. Most are interlopers with no firsthand knowledge of

98
00:06:54,920 --> 00:06:59,680
Speaker 1: the rock world. Their presence is an unwonted distraction. Overall,

99
00:06:59,720 --> 00:07:03,120
Speaker 1: there's self centered and self important people and capable of

100
00:07:03,120 --> 00:07:08,000
Speaker 1: deferring to others. They demand recognition and equal treatment. Many

101
00:07:08,080 --> 00:07:11,880
Speaker 1: of these are that most loathsome of creatures I'm referring to,

102
00:07:12,000 --> 00:07:18,120
Speaker 1: of course professional writers. Robert Greenfield the sole exception of

103
00:07:18,120 --> 00:07:21,200
Speaker 1: that role. And Gary Stromberg explained.

104
00:07:21,360 --> 00:07:25,080
Speaker 2: Probably more writers on that tour than in the history

105
00:07:25,080 --> 00:07:25,960
Speaker 2: of rock and roll.

106
00:07:25,880 --> 00:07:30,000
Speaker 3: Name writers, big extraordinary journalists.

107
00:07:29,440 --> 00:07:31,400
Speaker 4: And appear well terry Southern.

108
00:07:31,160 --> 00:07:33,240
Speaker 3: Terry southern. Truman Capodi, Well.

109
00:07:33,160 --> 00:07:35,200
Speaker 4: Yeah, I don't count him as a writer, but that's okay,

110
00:07:35,720 --> 00:07:36,800
Speaker 4: Well not on that tour.

111
00:07:36,960 --> 00:07:39,679
Speaker 3: Oh well, that's what he was there for. He didn't

112
00:07:39,720 --> 00:07:40,280
Speaker 3: turn out.

113
00:07:40,120 --> 00:07:42,040
Speaker 2: To be that didn't write anything, No, he did' and

114
00:07:42,080 --> 00:07:45,840
Speaker 2: Yon Winner you know, had brought Truman into you know,

115
00:07:46,000 --> 00:07:49,840
Speaker 2: star thing more Public City for Rolling Stone Magazine, and

116
00:07:50,280 --> 00:07:52,920
Speaker 2: you know he wasn't in real good shape at that point.

117
00:07:56,280 --> 00:07:59,720
Speaker 1: It had been six years since Capodi's lurid masterpiece in

118
00:08:00,040 --> 00:08:03,720
Speaker 1: Old Blood, and the follow up was indefinitely delayed by

119
00:08:03,720 --> 00:08:08,160
Speaker 1: a vicious cycle of writer's block and substance abuse. By

120
00:08:08,160 --> 00:08:12,480
Speaker 1: the early seventies, Truman was coasting on his past literary success.

121
00:08:13,120 --> 00:08:16,280
Speaker 1: He spent his time gossiping on talk shows and dining

122
00:08:16,280 --> 00:08:19,040
Speaker 1: out with high society ladies who made a parlor game

123
00:08:19,080 --> 00:08:22,160
Speaker 1: of guessing which of their flighty friends had provided the

124
00:08:22,160 --> 00:08:26,000
Speaker 1: inspiration for his most famous creation, Holly go Lightly, the

125
00:08:26,120 --> 00:08:31,760
Speaker 1: heroine of Breakfast at Tiffany's. Despite his follow period, Capoti

126
00:08:31,840 --> 00:08:35,920
Speaker 1: was still the flamboyant figurehead of American letters, his razor

127
00:08:35,960 --> 00:08:39,480
Speaker 1: wit examining the raw funk of the Stones. It was

128
00:08:39,520 --> 00:08:44,160
Speaker 1: just crazy enough to work or fail spectacularly. There was

129
00:08:44,200 --> 00:08:47,520
Speaker 1: really no middle ground, but the summit with Hugh Hefner

130
00:08:47,520 --> 00:08:50,680
Speaker 1: had gone well enough. Maybe the generational gap will be

131
00:08:50,679 --> 00:08:54,120
Speaker 1: bridged yet again. Some on the STP crew were at

132
00:08:54,200 --> 00:08:56,960
Speaker 1: least curious to see what he'd make of the tour craziness.

133
00:08:57,360 --> 00:09:00,679
Speaker 1: Stone's guitarist Mick Taylor was among them. Here he is

134
00:09:00,720 --> 00:09:04,720
Speaker 1: talking to Robert Greenfield back in nineteen seventy two, courtesy

135
00:09:04,760 --> 00:09:07,559
Speaker 1: of our friends at the Northwestern University Archives.

136
00:09:09,280 --> 00:09:11,800
Speaker 5: It was very interesting to me to meet him because

137
00:09:11,840 --> 00:09:14,720
Speaker 5: I'd read his books and admired them, because in literature

138
00:09:14,720 --> 00:09:15,240
Speaker 5: is something.

139
00:09:15,080 --> 00:09:15,880
Speaker 6: I'm interested in.

140
00:09:16,000 --> 00:09:18,240
Speaker 5: It had never occurred to me before he went on

141
00:09:18,240 --> 00:09:20,640
Speaker 5: that to that Truman proposed he would be there, and

142
00:09:20,679 --> 00:09:23,360
Speaker 5: it didn't seem to be any logical connection. Well, I

143
00:09:23,400 --> 00:09:27,360
Speaker 5: think he's interested in spectacles, grand spectac Riston Lawrence.

144
00:09:27,880 --> 00:09:29,000
Speaker 6: You know, whatever they may be.

145
00:09:29,200 --> 00:09:31,880
Speaker 5: I mean, he is reputed as saying that he was

146
00:09:31,920 --> 00:09:34,880
Speaker 5: primarily interested in being on the Rolling Stones tim because

147
00:09:34,920 --> 00:09:38,000
Speaker 5: of its social significance and because of the.

148
00:09:38,000 --> 00:09:42,840
Speaker 6: Vast boards of people that the Rolling Stones attracted throughout America.

149
00:09:43,160 --> 00:09:45,760
Speaker 6: That in itself is a very interesting thing to write about.

150
00:09:46,960 --> 00:09:51,440
Speaker 1: Capodi's reputation as a self promoter par excellence certainly pursued him,

151
00:09:51,760 --> 00:09:54,280
Speaker 1: and many in the Stones camp resented what seemed like

152
00:09:54,280 --> 00:09:57,920
Speaker 1: a fading star's transparent attempt to bask and the band's

153
00:09:57,920 --> 00:10:03,040
Speaker 1: reflected glory. Richards questioned his motivations from the start. He

154
00:10:03,080 --> 00:10:06,600
Speaker 1: didn't take kindly to Capodi, appropriating their lifestyle for his

155
00:10:06,679 --> 00:10:07,840
Speaker 1: own personal gain.

156
00:10:08,559 --> 00:10:10,839
Speaker 4: I don't know why somebody like Capodi is the You know.

157
00:10:10,880 --> 00:10:15,040
Speaker 7: Somebody must have wanted him that totally meet who is

158
00:10:15,080 --> 00:10:20,200
Speaker 7: always enamored with us as society seems in a strange

159
00:10:20,280 --> 00:10:22,200
Speaker 7: kind of like Gardner's.

160
00:10:21,720 --> 00:10:25,920
Speaker 8: Boy, he is much wants to see Capodi around as Capo.

161
00:10:26,000 --> 00:10:29,560
Speaker 8: He wants to hang around with Nick Janga. I think

162
00:10:30,120 --> 00:10:31,560
Speaker 8: and just say it of jus.

163
00:10:31,600 --> 00:10:37,160
Speaker 1: Maybe Truman planned to meet the Stones with his own

164
00:10:37,200 --> 00:10:41,080
Speaker 1: personal cadre of New York socialites. It's either a symptom

165
00:10:41,120 --> 00:10:44,080
Speaker 1: of his addiction to celebrity or a craven bid to

166
00:10:44,200 --> 00:10:47,720
Speaker 1: upstage the band on their own home court. In either case,

167
00:10:48,000 --> 00:10:51,120
Speaker 1: a pervasive rumor sweeps through the STP ranks that he'll

168
00:10:51,160 --> 00:10:54,880
Speaker 1: be joined by one time Queen of America Jackie Kennedy

169
00:10:54,880 --> 00:10:59,200
Speaker 1: O Nassas. After four space days in Hugh Hefner's house.

170
00:10:59,600 --> 00:11:02,400
Speaker 1: It seems it's entirely possible that the former First Lady

171
00:11:02,760 --> 00:11:04,760
Speaker 1: and current wife of one of the richest men in

172
00:11:04,800 --> 00:11:07,560
Speaker 1: the world has nothing better to do than travel with

173
00:11:07,600 --> 00:11:13,840
Speaker 1: the Rolling Stones to Dallas, of all places. Tenanted preparations

174
00:11:13,880 --> 00:11:16,360
Speaker 1: for a welcome bank, what are made and the STP

175
00:11:16,520 --> 00:11:19,559
Speaker 1: support crew Quiz one another on the exact etiquette of

176
00:11:19,559 --> 00:11:24,120
Speaker 1: addressing an ex first lady. One of Robert Frank's documentary

177
00:11:24,120 --> 00:11:27,640
Speaker 1: film crew takes the opposite approach. Here, just Keith Richards

178
00:11:27,720 --> 00:11:30,600
Speaker 1: to press a joint into Jackie O's hand right in

179
00:11:30,600 --> 00:11:32,640
Speaker 1: the middle of her paulm He tells Keith, and I'll

180
00:11:32,720 --> 00:11:35,520
Speaker 1: zoom right in. Oh, and if you can sleep with her,

181
00:11:35,679 --> 00:11:39,480
Speaker 1: that's out of sight too. Sadly, the woman who did

182
00:11:39,520 --> 00:11:43,079
Speaker 1: end up accompanying Truman Capoti wasn't Jackie Kennedy, but her

183
00:11:43,120 --> 00:11:49,400
Speaker 1: sister Lee aka the Princess Lee Razawill. Despite having literal

184
00:11:49,480 --> 00:11:53,160
Speaker 1: royalty in their midst the disappointment among the STP squad

185
00:11:53,320 --> 00:11:53,960
Speaker 1: was palpable.

186
00:11:57,080 --> 00:12:00,000
Speaker 2: Truman came on to tour with his own little entourage.

187
00:12:00,160 --> 00:12:04,960
Speaker 2: She was traveling with Princess Leigh Radswell, Jacqueline Kennedy's sister,

188
00:12:05,440 --> 00:12:09,319
Speaker 2: and Peter Beard, a very famous photographer and an artist

189
00:12:09,400 --> 00:12:13,800
Speaker 2: and part of the Montauk Circle, which is where Truman

190
00:12:13,920 --> 00:12:16,000
Speaker 2: had the house right at the end of the point

191
00:12:16,080 --> 00:12:19,040
Speaker 2: and Mix stayed there during the tour before they worked

192
00:12:19,120 --> 00:12:23,079
Speaker 2: New York and everybody, well not everybody, Some people fond

193
00:12:23,360 --> 00:12:27,920
Speaker 2: over them and cater to them, and of course Smith did,

194
00:12:28,520 --> 00:12:30,959
Speaker 2: and anything that micked it, Keith of course would take

195
00:12:31,000 --> 00:12:34,680
Speaker 2: the opposite course, right, So this immediately.

196
00:12:34,080 --> 00:12:35,040
Speaker 4: Set Keith off.

197
00:12:35,080 --> 00:12:39,559
Speaker 2: And I just remember Princess Lee Radswell, very beautiful, very cultured,

198
00:12:39,840 --> 00:12:44,040
Speaker 2: very you know, high society. I just remember screaming calling

199
00:12:44,040 --> 00:12:45,040
Speaker 2: her Princess.

200
00:12:44,640 --> 00:12:46,800
Speaker 3: Radish, right, that was her name.

201
00:12:49,200 --> 00:12:51,120
Speaker 4: I mean, this is funny when you're on the road

202
00:12:51,120 --> 00:12:52,920
Speaker 4: with I don't know about it now.

203
00:12:53,679 --> 00:12:55,680
Speaker 3: They were just used to being dealt with in a

204
00:12:55,679 --> 00:12:57,880
Speaker 3: different way than they were being dealt with on this tour,

205
00:12:58,080 --> 00:13:00,000
Speaker 3: a very different way than they were being dealt with.

206
00:13:00,440 --> 00:13:02,680
Speaker 3: When you're on a Stone's tour, there's no room for

207
00:13:02,840 --> 00:13:06,720
Speaker 3: any other personality other than the Stone, correct. And Capodi

208
00:13:06,880 --> 00:13:09,240
Speaker 3: was used to being catered to, and he wasn't being

209
00:13:09,280 --> 00:13:11,880
Speaker 3: catered to on this tour at all. He just had

210
00:13:11,920 --> 00:13:15,000
Speaker 3: to follow direction, which he's not it wasn't accustomed to

211
00:13:15,040 --> 00:13:18,400
Speaker 3: and complained constantly. I mean I was the source of

212
00:13:18,400 --> 00:13:21,560
Speaker 3: his complaining. So he was complaining all the time. And

213
00:13:21,600 --> 00:13:24,480
Speaker 3: nobody liked the guy. He took instant dislike for me,

214
00:13:24,600 --> 00:13:27,320
Speaker 3: What did he call you the New York Jew? He

215
00:13:27,400 --> 00:13:29,040
Speaker 3: got that wrong. I'm not from New York.

216
00:13:31,400 --> 00:13:35,000
Speaker 1: He got half of it right, Truman elaborated on Gary

217
00:13:35,040 --> 00:13:37,520
Speaker 1: and the copious notes he takes for an article he

218
00:13:37,600 --> 00:13:41,360
Speaker 1: later decides not to write. Gary listens to this podcast.

219
00:13:41,600 --> 00:13:44,960
Speaker 1: We'll give him a few moments to skip ahead. Capodi

220
00:13:45,040 --> 00:13:49,520
Speaker 1: describes his quote glassy eyes shifting behind aviator shades, his

221
00:13:49,600 --> 00:13:53,920
Speaker 1: hair framed lips so painfully, producing the supplicant boot looking smile,

222
00:13:54,120 --> 00:13:59,280
Speaker 1: so indigenous to his image charming. Keith Richers wasn't exactly

223
00:13:59,360 --> 00:14:02,760
Speaker 1: pleased to Truman and Co. More than anyone else in

224
00:14:02,800 --> 00:14:05,880
Speaker 1: the band and perhaps anyone else on the tour. This

225
00:14:06,040 --> 00:14:08,000
Speaker 1: was emphatically not his scene.

226
00:14:08,240 --> 00:14:11,880
Speaker 8: And that was the first time any Rioters, etc. Come

227
00:14:11,920 --> 00:14:13,960
Speaker 8: out on the roads, or any of those New York

228
00:14:14,040 --> 00:14:17,640
Speaker 8: society people that sort of put themselves out enough to

229
00:14:17,760 --> 00:14:22,200
Speaker 8: turn up in Houston and New Orleans and get sweaty

230
00:14:22,240 --> 00:14:26,600
Speaker 8: and uncomfortable and be treated like the Asian queens they

231
00:14:26,640 --> 00:14:30,200
Speaker 8: were instead of the center of attraction, which I guess

232
00:14:30,240 --> 00:14:33,480
Speaker 8: disturbs those kind of people because seems to me that

233
00:14:33,560 --> 00:14:37,080
Speaker 8: they stay in their own little world of which they're

234
00:14:37,120 --> 00:14:37,640
Speaker 8: the center.

235
00:14:41,240 --> 00:14:43,440
Speaker 1: Things got off to a rocky start from the moment

236
00:14:43,480 --> 00:14:46,720
Speaker 1: they met up at the Kansas City Gig, sipping a

237
00:14:46,760 --> 00:14:49,360
Speaker 1: Gin and tonic and his wide brimmed hat and sear

238
00:14:49,480 --> 00:14:52,480
Speaker 1: sucker jacket. Truman looked less like a rock and roll

239
00:14:52,600 --> 00:14:56,320
Speaker 1: road warrior and more like a very dignified, very small

240
00:14:56,520 --> 00:15:01,240
Speaker 1: US Senator. Mick the Stones resident diplomat, strolls up to

241
00:15:01,240 --> 00:15:03,920
Speaker 1: greet him. What are you doing in a dump like this?

242
00:15:04,160 --> 00:15:07,920
Speaker 1: He draws with his best little boy grin make his joking,

243
00:15:08,000 --> 00:15:11,080
Speaker 1: but Capodi doesn't see it like that. In fact, he

244
00:15:11,120 --> 00:15:14,200
Speaker 1: takes offense. The southern born author has spent quite a

245
00:15:14,200 --> 00:15:17,040
Speaker 1: lot of time in Kansas City. It's not a dump,

246
00:15:17,240 --> 00:15:21,080
Speaker 1: it's a swinging place. He doesn't appreciate the Stone's attitude,

247
00:15:21,360 --> 00:15:23,800
Speaker 1: this lack of respect they have for a country they

248
00:15:23,880 --> 00:15:27,640
Speaker 1: obviously know nothing about. It was clear from the start

249
00:15:27,720 --> 00:15:31,160
Speaker 1: that this connection was doomed. If even Mick Jagger can't

250
00:15:31,240 --> 00:15:34,680
Speaker 1: make contact this man who prides himself on getting along

251
00:15:34,720 --> 00:15:37,760
Speaker 1: with everyone from Princess Margaret to the Grateful Dead to

252
00:15:37,840 --> 00:15:41,640
Speaker 1: New York cabbies, then it was a lost cause. He

253
00:15:41,680 --> 00:15:44,640
Speaker 1: and Truman had met before in New York, and neither

254
00:15:44,720 --> 00:15:49,520
Speaker 1: came away impressed. Capote described Jagger as a scared little boy,

255
00:15:49,840 --> 00:15:55,000
Speaker 1: very much off his turf, and Jagger recalled Capode as shamelessly, desperately,

256
00:15:55,080 --> 00:16:03,520
Speaker 1: even trying to make everyone laugh at a cocktail party.

257
00:16:03,880 --> 00:16:07,200
Speaker 1: From the start, this relationship couldn't be salvaged, and Mick

258
00:16:07,320 --> 00:16:07,640
Speaker 1: knew it.

259
00:16:08,200 --> 00:16:10,600
Speaker 6: Well, I didn't want to you on the two from

260
00:16:10,640 --> 00:16:13,160
Speaker 6: the beginning. And you only do it for money anyway,

261
00:16:13,360 --> 00:16:14,840
Speaker 6: is that what he says? Well, first of all, he

262
00:16:14,920 --> 00:16:18,000
Speaker 6: said they offered him one thousand dollars and it wasn't enoughing.

263
00:16:18,040 --> 00:16:19,920
Speaker 6: I said to our show, it wasn't enoughing anyway.

264
00:16:19,960 --> 00:16:22,120
Speaker 1: We didn't want you on the tour anyway. You know,

265
00:16:22,160 --> 00:16:23,360
Speaker 1: he's not rock and roll tour.

266
00:16:23,520 --> 00:16:25,360
Speaker 6: You know, he should de stick to what he does

267
00:16:26,240 --> 00:16:29,040
Speaker 6: or what he doesn't do anymore, which is nothing. But

268
00:16:29,120 --> 00:16:32,000
Speaker 6: he hasn't done anything for ageous is actually all he.

269
00:16:32,040 --> 00:16:36,000
Speaker 9: Does is appear on talk shows that liberache and he

270
00:16:36,040 --> 00:16:36,680
Speaker 9: hasn't written a.

271
00:16:36,640 --> 00:16:38,560
Speaker 6: Good book for years, but all he does is talk

272
00:16:38,600 --> 00:16:39,080
Speaker 6: about it.

273
00:16:39,120 --> 00:16:40,720
Speaker 1: And he's been on all these.

274
00:16:40,520 --> 00:16:41,600
Speaker 6: Different talk shows.

275
00:16:41,720 --> 00:16:43,640
Speaker 10: I mean, even while I was doing in America on

276
00:16:43,640 --> 00:16:45,400
Speaker 10: the tour, right drive and everyone.

277
00:16:45,120 --> 00:16:46,720
Speaker 1: About how he's on the wrong ste.

278
00:16:46,720 --> 00:16:49,160
Speaker 6: Like some sort of middle aged groupie.

279
00:16:50,280 --> 00:16:53,520
Speaker 1: Mick may have detested Truman personally, but at least he

280
00:16:53,520 --> 00:16:57,040
Speaker 1: brought a certain class to the proceedings. The same can't

281
00:16:57,040 --> 00:17:00,000
Speaker 1: really be said of Terry Southern, the kind of class

282
00:17:00,120 --> 00:17:04,000
Speaker 1: writer behind the darkly comic novels Candy and The Magic Christian,

283
00:17:04,560 --> 00:17:07,520
Speaker 1: both of which had recently been made into controversial movies

284
00:17:07,600 --> 00:17:11,600
Speaker 1: featuring Ringo Starr. He also panned the screenplay for Stanley

285
00:17:11,680 --> 00:17:16,600
Speaker 1: Kubrick's absurdist nuclear farst Doctor Strangelove and an early draft

286
00:17:16,640 --> 00:17:21,240
Speaker 1: of the quintessential hippie road movie Easy Rider. Invited along

287
00:17:21,320 --> 00:17:24,520
Speaker 1: to cover the tour for the Saturday Review, Terry Southern's

288
00:17:24,600 --> 00:17:27,919
Speaker 1: pension for drugs made him something of a liability, but

289
00:17:28,000 --> 00:17:30,280
Speaker 1: unsurprisingly Keith got along with him.

290
00:17:30,320 --> 00:17:34,199
Speaker 3: Famously, Capodi pretty much was looking at Jagger all the

291
00:17:34,240 --> 00:17:38,119
Speaker 3: time because Jagger is the guy the focus. But Keith

292
00:17:38,160 --> 00:17:41,639
Speaker 3: had Terry Southern on the tour, who, as you may know,

293
00:17:41,840 --> 00:17:45,359
Speaker 3: was a wild man. Yeah, totally wild man. And that

294
00:17:45,520 --> 00:17:47,960
Speaker 3: was Keith's guy. So they were drug buddies.

295
00:17:48,040 --> 00:17:52,240
Speaker 2: Terry had written Candy, a very riotous novel. He'd written movies,

296
00:17:52,800 --> 00:17:55,359
Speaker 2: very well respected. I was awed to meet him.

297
00:17:55,560 --> 00:17:58,560
Speaker 3: Yes, and it's big a drug addict, probably more than

298
00:17:58,680 --> 00:18:01,800
Speaker 3: even Keith. There was a one show I think it

299
00:18:01,840 --> 00:18:04,679
Speaker 3: was in Mobile. That my part of my job was

300
00:18:04,720 --> 00:18:07,840
Speaker 3: to be responsible for the journalists, to keep them in

301
00:18:08,359 --> 00:18:11,400
Speaker 3: line and keep them happy and give them access. So,

302
00:18:11,880 --> 00:18:15,000
Speaker 3: according to Keith, Terry could go anywhere he wanted. He

303
00:18:15,080 --> 00:18:18,400
Speaker 3: had Keith's approval, so Terry would stand on the side

304
00:18:18,400 --> 00:18:21,480
Speaker 3: of the stage and watch the show. At the show,

305
00:18:21,520 --> 00:18:24,320
Speaker 3: I think it was Mobile, Alabama, Terry was so loaded

306
00:18:24,720 --> 00:18:27,560
Speaker 3: that hetted I was watching him and he starts swaying

307
00:18:28,320 --> 00:18:30,560
Speaker 3: and he's like having a hard time just staying up,

308
00:18:30,600 --> 00:18:32,560
Speaker 3: and all of a sudden he leans over and out

309
00:18:32,560 --> 00:18:37,040
Speaker 3: of his shirt pocket rolls a bunch of kills and

310
00:18:37,119 --> 00:18:39,200
Speaker 3: I think was an amal nitrate was an hand It's

311
00:18:39,320 --> 00:18:43,280
Speaker 3: rolling across the stage as they're performing, and Terry is

312
00:18:43,320 --> 00:18:46,120
Speaker 3: now on his hands and knees going to it. Picked

313
00:18:46,160 --> 00:18:49,440
Speaker 3: up this thing, and Keith thinks this is hysterical. And

314
00:18:50,600 --> 00:18:54,119
Speaker 3: in addition, the chief of police of Mobile, Alabama is

315
00:18:54,160 --> 00:18:57,480
Speaker 3: standing right next to where Terry had originally been standing.

316
00:18:57,760 --> 00:18:59,199
Speaker 3: And I'm trying to figure out how to I can

317
00:18:59,280 --> 00:19:02,040
Speaker 3: smooth over this and make this all work, and somehow

318
00:19:02,320 --> 00:19:05,000
Speaker 3: got through it. Terry he picked up these drugs, and

319
00:19:05,680 --> 00:19:07,159
Speaker 3: Keith was just having a great old time.

320
00:19:07,200 --> 00:19:11,960
Speaker 2: Whither writers. Gary was managing a stable of unhinged human beings.

321
00:19:12,040 --> 00:19:21,560
Speaker 1: Yes, when he wasn't busy sniffing out substances. The rumpled,

322
00:19:21,600 --> 00:19:24,679
Speaker 1: bearded and permanently stoned. Terry Southern spent much of his

323
00:19:24,720 --> 00:19:27,080
Speaker 1: one on one time with the Stones trying to sell

324
00:19:27,119 --> 00:19:30,119
Speaker 1: them on a movie idea he was developing. Mick and

325
00:19:30,200 --> 00:19:33,320
Speaker 1: Keith would play two musicians from Kansas City trying to

326
00:19:33,320 --> 00:19:36,160
Speaker 1: make it in the Big Apple. Keith would often reply

327
00:19:36,320 --> 00:19:40,080
Speaker 1: with a good natured but mostly serious are you joking?

328
00:19:41,280 --> 00:19:44,360
Speaker 1: Mixed response is lost to history, but it was certainly

329
00:19:44,480 --> 00:19:48,400
Speaker 1: less jovial. You'd be forgiven for thinking that something isn't

330
00:19:48,400 --> 00:19:51,840
Speaker 1: adding up. Mick Jagger is a lawn to himself, the

331
00:19:51,880 --> 00:19:55,000
Speaker 1: head of the Imperial Court, a sort of hyper sexualized

332
00:19:55,040 --> 00:19:58,240
Speaker 1: sun King of the stp Tour. Should anyone dare to

333
00:19:58,240 --> 00:20:00,760
Speaker 1: displease him, he could have them remove from his presence

334
00:20:00,760 --> 00:20:04,000
Speaker 1: with a mere look, probably even ejected from the plane

335
00:20:04,040 --> 00:20:07,359
Speaker 1: at thirteen thousand feet. Terry Southern might have been a

336
00:20:07,400 --> 00:20:10,520
Speaker 1: little trickier because of his relationship with Keith, but if

337
00:20:10,560 --> 00:20:14,000
Speaker 1: Mick truly didn't want, say Truman Capodi there, then he

338
00:20:14,040 --> 00:20:17,760
Speaker 1: wouldn't be simple as that. None of the Stones suffered

339
00:20:17,760 --> 00:20:21,160
Speaker 1: fools gladly Why was Mick putting up with these high

340
00:20:21,160 --> 00:20:25,280
Speaker 1: maintenance journalists who only make him miserable. It was all

341
00:20:25,320 --> 00:20:28,439
Speaker 1: part of the long game when he played intuitively and

342
00:20:28,480 --> 00:20:32,119
Speaker 1: perhaps unconsciously, to elevate the Stones to a new level

343
00:20:32,160 --> 00:20:35,760
Speaker 1: of cultural importance. By attracting the attention of a figure

344
00:20:35,800 --> 00:20:39,359
Speaker 1: like Capodi, they attracted the attention of every intellectual in

345
00:20:39,400 --> 00:20:43,200
Speaker 1: the nation. This was new. It was obvious that Capodi

346
00:20:43,240 --> 00:20:46,000
Speaker 1: didn't give a damn about the music, but Mick recognized

347
00:20:46,000 --> 00:20:49,159
Speaker 1: his compulsive need to cling to younger stars like a

348
00:20:49,160 --> 00:20:53,159
Speaker 1: social vampire. Though neither man could stand one another, it

349
00:20:53,200 --> 00:20:58,359
Speaker 1: was a mutually beneficial relationship, parasitic even, and Nick understood it.

350
00:20:58,920 --> 00:21:01,520
Speaker 1: He was a genius being perceived.

351
00:21:06,119 --> 00:21:10,239
Speaker 3: Well in terms of media, Jagger was something extraordinary. There

352
00:21:10,320 --> 00:21:12,760
Speaker 3: was I've never been with anybody like and who had

353
00:21:12,760 --> 00:21:15,280
Speaker 3: the sense of how to do this stuff and how

354
00:21:15,280 --> 00:21:21,040
Speaker 3: to create the interest and exclusivity that he created. It

355
00:21:21,080 --> 00:21:23,480
Speaker 3: looked like he was there for everybody, but he wasn't.

356
00:21:23,520 --> 00:21:26,639
Speaker 3: You know. He was very withholding. He knew how to withhold,

357
00:21:27,040 --> 00:21:29,560
Speaker 3: he knew how to create that demand for himself, and

358
00:21:29,600 --> 00:21:32,400
Speaker 3: he just He's a star. There's just no two ways

359
00:21:32,400 --> 00:21:34,200
Speaker 3: about it. A star he said, you don't give them

360
00:21:34,240 --> 00:21:36,160
Speaker 3: what they want. He said, you give them what they want.

361
00:21:36,200 --> 00:21:37,879
Speaker 3: He said, they'll cheot you up, spit you out, and

362
00:21:37,880 --> 00:21:40,080
Speaker 3: they'll move on to the next guy. He said, leave

363
00:21:40,119 --> 00:21:42,520
Speaker 3: them wanting you. He says, more important for that they

364
00:21:42,600 --> 00:21:44,880
Speaker 3: want you. I thought that was pure genius. I'd never

365
00:21:44,920 --> 00:21:48,320
Speaker 3: heard that before, you know, like Bob was suggesting, this

366
00:21:48,359 --> 00:21:52,400
Speaker 3: is an educated man who's very bright and just intuitively

367
00:21:52,480 --> 00:21:55,560
Speaker 3: knew how to control. Nobody I've ever worked with before

368
00:21:55,720 --> 00:21:58,479
Speaker 3: or after had the innate sense of how to do

369
00:21:58,560 --> 00:22:02,280
Speaker 3: this that Jagger had. It was far exceeded my understanding

370
00:22:02,320 --> 00:22:05,119
Speaker 3: of how media stuff worked. I thought I was pretty

371
00:22:05,119 --> 00:22:08,280
Speaker 3: good at doing my job, but Jagger was much better

372
00:22:08,320 --> 00:22:09,080
Speaker 3: at it than I was.

373
00:22:09,160 --> 00:22:11,760
Speaker 2: And you're Gary, you're not doing any publicity for Keith.

374
00:22:11,760 --> 00:22:12,800
Speaker 2: Does he do anything?

375
00:22:13,440 --> 00:22:17,880
Speaker 3: No, because it's Jagger's show. It's amazing Keith gets some

376
00:22:17,920 --> 00:22:19,680
Speaker 3: of the residual effects of that.

377
00:22:19,840 --> 00:22:20,520
Speaker 1: That he cares.

378
00:22:20,560 --> 00:22:23,000
Speaker 3: No, he doesn't care. He doesn't care, and that's pretty

379
00:22:23,040 --> 00:22:26,320
Speaker 3: much all cares about. That's not fair, but he cares

380
00:22:26,320 --> 00:22:29,120
Speaker 3: about it a lot. The way it's perceived, the way

381
00:22:29,160 --> 00:22:31,480
Speaker 3: the tour is being perceived. He's the one who hired me.

382
00:22:32,160 --> 00:22:34,679
Speaker 3: I was partial to Keith because I loved the watching

383
00:22:35,040 --> 00:22:38,520
Speaker 3: Keith and his lifestyle was more appealing to me than Jaggers.

384
00:22:39,520 --> 00:22:42,000
Speaker 3: But yeah, it was Jagger's show.

385
00:22:42,960 --> 00:22:46,640
Speaker 1: As much as Keith despise the pr game, he understood why,

386
00:22:46,680 --> 00:22:49,840
Speaker 1: as fellow glimmer Twin put up with these bores, and

387
00:22:49,880 --> 00:22:52,760
Speaker 1: there was a certain level he appreciated it, even if

388
00:22:52,800 --> 00:22:54,720
Speaker 1: it wasn't especially important to him.

389
00:22:55,080 --> 00:22:59,200
Speaker 8: You've probably thought it was a good new area of publicize.

390
00:22:59,240 --> 00:23:01,720
Speaker 6: I think, just out of the usual sort of under.

391
00:23:01,640 --> 00:23:04,719
Speaker 8: Round magazines, which is where you tend to end up

392
00:23:04,760 --> 00:23:07,680
Speaker 8: these days. Any Rock and roll Stones not on this tour,

393
00:23:07,720 --> 00:23:09,800
Speaker 8: I mean, not the cover of Life and Time and

394
00:23:09,880 --> 00:23:13,280
Speaker 8: news Week and every major public oation in America. Yeah,

395
00:23:13,400 --> 00:23:16,520
Speaker 8: maybe because we invited those kind of people along, you know.

396
00:23:16,680 --> 00:23:18,480
Speaker 9: I mean, you only get the kind of coverage when

397
00:23:18,480 --> 00:23:19,840
Speaker 9: you make it possible for those kind.

398
00:23:19,720 --> 00:23:20,680
Speaker 6: Of people to coll act.

399
00:23:21,080 --> 00:23:22,840
Speaker 8: Yeah, I want us to do a certain and none

400
00:23:22,840 --> 00:23:25,520
Speaker 8: of that. If you're going to do a big buster

401
00:23:25,640 --> 00:23:28,600
Speaker 8: of a tour across America, you know you I mean,

402
00:23:28,640 --> 00:23:32,359
Speaker 8: why playing those huge auditoriums and not talk to Time

403
00:23:32,400 --> 00:23:34,600
Speaker 8: and Newsweek if they want you to, you know, because

404
00:23:34,760 --> 00:23:37,080
Speaker 8: it's all part of the same thing. They just put

405
00:23:37,119 --> 00:23:40,280
Speaker 8: a name in front of people that probably wouldn't read

406
00:23:40,320 --> 00:23:40,720
Speaker 8: about it.

407
00:23:40,680 --> 00:23:44,400
Speaker 1: Animis you know, So it was a means to an end.

408
00:23:44,840 --> 00:23:48,160
Speaker 1: The Stones resented the intrusion from these upper class snobs

409
00:23:48,480 --> 00:23:51,520
Speaker 1: who had no idea what they were all about, so

410
00:23:51,640 --> 00:23:54,200
Speaker 1: the blow off steam they began to act out.

411
00:23:54,760 --> 00:23:58,200
Speaker 2: There was no tolerance. If you didn't pass the smell tests,

412
00:23:58,480 --> 00:24:01,720
Speaker 2: you were dead, and would insists yeah, I mean like

413
00:24:01,920 --> 00:24:04,840
Speaker 2: you just feel badly for her now, like honey, what

414
00:24:04,880 --> 00:24:05,520
Speaker 2: are you doing?

415
00:24:06,200 --> 00:24:07,280
Speaker 3: She was so out of her loo.

416
00:24:07,480 --> 00:24:09,720
Speaker 2: Well that's right, Like you know, you thought, oh, this

417
00:24:09,800 --> 00:24:14,880
Speaker 2: is gonna be fun. No, not when Keith is calling

418
00:24:14,920 --> 00:24:18,040
Speaker 2: you Princess Radish in the middle of the night like

419
00:24:18,200 --> 00:24:20,359
Speaker 2: you know, god lover or she didn't do anything wrong.

420
00:24:20,960 --> 00:24:22,760
Speaker 4: Nobody ever talked to her like that.

421
00:24:22,800 --> 00:24:25,359
Speaker 3: But he wasn't going to bow for anybody.

422
00:24:25,400 --> 00:24:29,120
Speaker 4: This is back to, you know, working class anchorman.

423
00:24:32,440 --> 00:24:36,040
Speaker 1: Most crucially, these guests inhibited the Stone's ability to do

424
00:24:36,119 --> 00:24:39,600
Speaker 1: their job. Their show in Kansas City was to put

425
00:24:39,680 --> 00:24:43,720
Speaker 1: up mildly subdued. Everyone agreed it was the worst gig

426
00:24:43,760 --> 00:24:47,399
Speaker 1: of the tour. Instead of considering the NonStop partying in

427
00:24:47,480 --> 00:24:50,760
Speaker 1: Chicago the days before, they directed their ire, at the

428
00:24:50,760 --> 00:24:54,959
Speaker 1: celebrity entourage miling around their dressing room, and especially at

429
00:24:54,960 --> 00:24:59,280
Speaker 1: the diminutive writer watching from alongside the amps. They're all

430
00:24:59,280 --> 00:25:03,280
Speaker 1: aware of Trueman's reputation for being positively lethal with his pen,

431
00:25:03,960 --> 00:25:06,320
Speaker 1: and they fear that he's looking for the slightest flaw

432
00:25:06,400 --> 00:25:10,160
Speaker 1: to exploit. You can't be self conscious while playing rock

433
00:25:10,200 --> 00:25:14,439
Speaker 1: and roll. Worse still, the next four gigs are going

434
00:25:14,480 --> 00:25:17,639
Speaker 1: to be filmed for a concert doc. No one wants

435
00:25:17,640 --> 00:25:20,720
Speaker 1: to suck on the big screen. They have to figure

436
00:25:20,720 --> 00:25:28,960
Speaker 1: it out and fast, but Truman continues to cramp their style.

437
00:25:29,440 --> 00:25:33,480
Speaker 1: He's everywhere inside their plane, inside their limos, and watching

438
00:25:33,560 --> 00:25:37,160
Speaker 1: their concerts from his privileged perch in the wings. He's

439
00:25:37,160 --> 00:25:39,119
Speaker 1: the kind of person who can find out all about

440
00:25:39,160 --> 00:25:43,480
Speaker 1: you merely by looking at you. To Mick Taylor, the

441
00:25:43,560 --> 00:25:44,760
Speaker 1: effect is unnerving.

442
00:25:45,720 --> 00:25:48,919
Speaker 6: He was an observer, really, you know.

443
00:25:49,000 --> 00:25:50,320
Speaker 1: He's the kind of.

444
00:25:50,240 --> 00:25:51,760
Speaker 6: Person that doesn't really miss a thing.

445
00:25:53,440 --> 00:25:54,920
Speaker 5: Even though he may not appear to.

446
00:25:54,880 --> 00:25:57,960
Speaker 6: Be involving himself too much and saying very much.

447
00:26:02,320 --> 00:26:05,439
Speaker 1: Truman can be so absolutely polite and well mannered that

448
00:26:05,520 --> 00:26:08,240
Speaker 1: it's impossible to tell whether he likes you or hates you.

449
00:26:09,080 --> 00:26:12,399
Speaker 1: And many stp crew are very concerned about which it is.

450
00:26:15,680 --> 00:26:18,640
Speaker 1: Truman doesn't help matters by throwing a dinner party during

451
00:26:18,640 --> 00:26:22,160
Speaker 1: his tour tenure, inviting only those he deems the most

452
00:26:22,160 --> 00:26:25,800
Speaker 1: important and professional of us, setting off a bomb of

453
00:26:25,840 --> 00:26:31,320
Speaker 1: paranoia and bad feelings throughout the organization. This didn't endear

454
00:26:31,400 --> 00:26:33,760
Speaker 1: him the Keith, how much contact.

455
00:26:33,320 --> 00:26:36,400
Speaker 4: A germ with proposed as you having conversations with him?

456
00:26:36,800 --> 00:26:37,280
Speaker 3: Not really?

457
00:26:37,359 --> 00:26:40,080
Speaker 8: No, I did him a very good turn painting him

458
00:26:40,119 --> 00:26:43,560
Speaker 8: back his credit cards which he dropped at the Cosmos

459
00:26:43,640 --> 00:26:46,640
Speaker 8: Factory New Orleans, I which I should have fucking kept,

460
00:26:46,640 --> 00:26:49,439
Speaker 8: a use to which I received no thanks, let alone

461
00:26:49,440 --> 00:26:50,280
Speaker 8: and renumeration.

462
00:26:56,840 --> 00:27:01,480
Speaker 1: All in all, the culture clash made the atmosphere tense. Ordinarily,

463
00:27:01,840 --> 00:27:05,120
Speaker 1: Mick knows how to play these situations perfectly, but he's

464
00:27:05,119 --> 00:27:08,760
Speaker 1: in the midst of a grueling tour and consequently very vulnerable.

465
00:27:09,560 --> 00:27:12,239
Speaker 1: Society's games are hard to play on the road, and

466
00:27:12,280 --> 00:27:14,520
Speaker 1: the mask can slip at any time. In a high

467
00:27:14,520 --> 00:27:17,879
Speaker 1: pressure situation like this, the best they can hope for

468
00:27:18,040 --> 00:27:20,480
Speaker 1: is in an easy dayton where they don't speak much

469
00:27:20,480 --> 00:27:23,879
Speaker 1: to one another. But Keith Richards decides to take a

470
00:27:23,880 --> 00:27:27,320
Speaker 1: more direct approach for this. He enlists the help of

471
00:27:27,359 --> 00:27:28,280
Speaker 1: Gary Stromberg.

472
00:27:31,119 --> 00:27:33,359
Speaker 3: It was late at night and I was in my

473
00:27:33,520 --> 00:27:35,960
Speaker 3: room getting ready for bed, and Keith comes to my

474
00:27:36,119 --> 00:27:38,840
Speaker 3: room and says, come on, we're going to go get him.

475
00:27:39,440 --> 00:27:41,560
Speaker 3: And when he said him, I knew exactly what we meant.

476
00:27:42,760 --> 00:27:44,800
Speaker 3: We went down the hall and it was like probably

477
00:27:44,840 --> 00:27:47,000
Speaker 3: three in the morning, and we walked down the hall

478
00:27:47,040 --> 00:27:49,680
Speaker 3: and we got to Capoti's room. We knew what the

479
00:27:49,760 --> 00:27:52,320
Speaker 3: room was, and sitting on the in the hallway is

480
00:27:52,359 --> 00:27:55,520
Speaker 3: a tray, a room service tray with the food that

481
00:27:55,560 --> 00:27:59,000
Speaker 3: he had eaten previously, and there was a bottle of ketchup.

482
00:27:59,200 --> 00:27:59,720
Speaker 4: There we go.

483
00:28:00,400 --> 00:28:02,880
Speaker 3: Keith picks up the ketchup and he splatters it all

484
00:28:02,880 --> 00:28:06,520
Speaker 3: over there, and I'm laughing hysterically, and then he starts

485
00:28:06,520 --> 00:28:08,919
Speaker 3: banging on the door and he'll start come out you

486
00:28:09,080 --> 00:28:12,560
Speaker 3: queen for screaming at him, and Capodia in a very

487
00:28:12,600 --> 00:28:13,760
Speaker 3: shaky voice, going.

488
00:28:13,640 --> 00:28:15,080
Speaker 1: Go away, go away.

489
00:28:16,600 --> 00:28:19,639
Speaker 3: He's like terrified, and Keith is screaming at him and laughing,

490
00:28:20,320 --> 00:28:21,760
Speaker 3: and it went on for a mote.

491
00:28:21,920 --> 00:28:24,520
Speaker 2: So again more context, I didn't know you were a

492
00:28:24,520 --> 00:28:25,200
Speaker 2: henchman in that.

493
00:28:25,320 --> 00:28:28,480
Speaker 3: Oh yeah, that was nicky. So I think I gave

494
00:28:28,560 --> 00:28:31,280
Speaker 3: him the ketchup. But if I can remember correctly.

495
00:28:30,920 --> 00:28:32,920
Speaker 4: They won't bust you man. You got away with it.

496
00:28:36,480 --> 00:28:39,080
Speaker 1: Keith would later defend what would become known as the

497
00:28:39,120 --> 00:28:42,360
Speaker 1: in cold ketchup incident by insisting that he just wanted

498
00:28:42,360 --> 00:28:44,920
Speaker 1: Truman to come to the party, you know, so we'd

499
00:28:44,920 --> 00:28:46,520
Speaker 1: finally get a sense of what this whole rock and

500
00:28:46,640 --> 00:28:50,200
Speaker 1: roll thing was all about. Speaking to Robert Greenfield back

501
00:28:50,200 --> 00:28:53,160
Speaker 1: in nineteen seventy two, he would take the opportunity to

502
00:28:53,160 --> 00:28:55,000
Speaker 1: throw Gary Stromberg under the bus.

503
00:28:55,280 --> 00:28:56,760
Speaker 4: He told me that he knew it was you who

504
00:28:56,800 --> 00:28:59,480
Speaker 4: was banging on the door, see, but that he wasn't

505
00:28:59,520 --> 00:28:59,960
Speaker 4: going to come out.

506
00:29:00,960 --> 00:29:03,320
Speaker 8: Sure, well he could just quote as a loose but

507
00:29:03,400 --> 00:29:05,760
Speaker 8: I mean it was really strong Berg scene. He wanted

508
00:29:05,800 --> 00:29:06,200
Speaker 8: me to do it.

509
00:29:07,520 --> 00:29:09,880
Speaker 1: Truman would later opt out of writing a piece on

510
00:29:09,920 --> 00:29:14,360
Speaker 1: the tour. It didn't excite him creatively. He said, what

511
00:29:14,480 --> 00:29:17,600
Speaker 1: I like is something beyond my imagination that sets me off.

512
00:29:17,680 --> 00:29:21,240
Speaker 1: He said, a vision. Nothing on the tour was remotely

513
00:29:21,320 --> 00:29:25,120
Speaker 1: like that, and I had no insight into it. Nick Taylor,

514
00:29:25,240 --> 00:29:26,840
Speaker 1: for one, was disappointed.

515
00:29:27,320 --> 00:29:30,520
Speaker 5: I looked forward to seeing a piece that he rose

516
00:29:30,600 --> 00:29:32,280
Speaker 5: to be right or is I've heard that he's not

517
00:29:32,280 --> 00:29:32,800
Speaker 5: writing it?

518
00:29:32,880 --> 00:29:35,320
Speaker 4: Says he has no special insight into this topic whature,

519
00:29:36,040 --> 00:29:37,400
Speaker 4: which I think is.

520
00:29:37,120 --> 00:29:39,840
Speaker 6: Exactly right myself.

521
00:29:45,920 --> 00:29:49,520
Speaker 2: Truman, as we find out later, he was taking various

522
00:29:49,560 --> 00:29:53,280
Speaker 2: you know, pills and talking about a book Answer Prayers,

523
00:29:53,560 --> 00:29:57,240
Speaker 2: a novel that never appeared, but he never wrote anything.

524
00:29:57,320 --> 00:30:00,440
Speaker 2: And then you know, the ending to this little movie

525
00:30:00,520 --> 00:30:03,440
Speaker 2: is he goes on the Tonight Show and he calls

526
00:30:03,520 --> 00:30:04,400
Speaker 2: them the Beatles.

527
00:30:04,880 --> 00:30:06,480
Speaker 3: Okay, he dashes the.

528
00:30:08,640 --> 00:30:10,840
Speaker 1: Capodi doesn't seem to have a kind word to say

529
00:30:10,880 --> 00:30:15,440
Speaker 1: about any of the Stones. They're complete idiots. Intuition tells

530
00:30:15,440 --> 00:30:18,080
Speaker 1: me they'll never tour this country again, and in fact

531
00:30:18,120 --> 00:30:20,920
Speaker 1: will not exist in three years. He said in nineteen

532
00:30:21,000 --> 00:30:25,680
Speaker 1: seventy two. They're effervescent people who are not important. Jagger

533
00:30:25,720 --> 00:30:28,600
Speaker 1: can't sing, his voice isn't the least bit charming, and

534
00:30:28,640 --> 00:30:31,960
Speaker 1: he can't dance. He moves in the most awkward kind

535
00:30:32,040 --> 00:30:35,240
Speaker 1: of curious parody between an American major ette girl and

536
00:30:35,320 --> 00:30:38,360
Speaker 1: Fred Astaire. But what I think is amazing about him

537
00:30:38,400 --> 00:30:40,560
Speaker 1: is that there's no single thing of all the things

538
00:30:40,600 --> 00:30:43,120
Speaker 1: he does that he's really good at. He has no

539
00:30:43,280 --> 00:30:46,840
Speaker 1: talent save for a kind of fly eyed wonder. He'll

540
00:30:46,880 --> 00:30:49,760
Speaker 1: never be a star. That unisex thing is a no

541
00:30:49,920 --> 00:30:53,280
Speaker 1: sex thing. Believe me, he's about as sexy as a

542
00:30:53,360 --> 00:30:59,200
Speaker 1: pissing toad. Say what you will about Trueman Cappodi. The

543
00:30:59,240 --> 00:31:19,959
Speaker 1: guy has away words. The vibes had gotten worse. By

544
00:31:20,000 --> 00:31:22,880
Speaker 1: the time the STP crew touched down in New Orleans.

545
00:31:23,480 --> 00:31:26,760
Speaker 1: The horde of entitled outsiders had become even more egregious

546
00:31:26,760 --> 00:31:30,920
Speaker 1: and aggressive, and the inner circles on edge. After three

547
00:31:30,960 --> 00:31:33,680
Speaker 1: weeks on the road, cracks have begun to appear in

548
00:31:33,720 --> 00:31:38,240
Speaker 1: the shiny black STP wetsuit that's kept everyone dry. Small

549
00:31:38,360 --> 00:31:42,320
Speaker 1: arguments become major incidents and feuds. Mushroom and the sticky

550
00:31:42,360 --> 00:31:46,360
Speaker 1: wet heat like orchids bursting into bloom and a tropical rainforest.

551
00:31:47,400 --> 00:31:50,760
Speaker 2: The New Orleans is where it really started going south

552
00:31:50,960 --> 00:31:55,160
Speaker 2: on some level in terms of the intercession of strangers.

553
00:31:55,360 --> 00:31:58,200
Speaker 2: There were people who had no business being there and

554
00:31:58,360 --> 00:32:02,840
Speaker 2: didn't belong and might have been allowed on a plane.

555
00:32:02,880 --> 00:32:04,880
Speaker 2: This is the insanity of that time.

556
00:32:06,600 --> 00:32:09,160
Speaker 1: The band are frustrated, in part by the previous day's

557
00:32:09,200 --> 00:32:12,760
Speaker 1: concerts and Texas, which were filmed for the documentary Ladies

558
00:32:12,800 --> 00:32:17,240
Speaker 1: and Gentlemen the Rolling Stones. The gigs weren't complete disasters,

559
00:32:17,320 --> 00:32:19,680
Speaker 1: but that's about the best that could be said about them.

560
00:32:20,080 --> 00:32:22,800
Speaker 1: They were slightly stilted due to the presence of cameras,

561
00:32:23,280 --> 00:32:26,600
Speaker 1: though that's to be expected. But the greater disruption was

562
00:32:26,640 --> 00:32:30,640
Speaker 1: the contingent of writers, photographers, and record biz people who

563
00:32:30,680 --> 00:32:33,200
Speaker 1: descended on their narrow dressing room like a swarm of

564
00:32:33,240 --> 00:32:43,160
Speaker 1: locusts and a bell jar. New faces and strange bodies

565
00:32:43,200 --> 00:32:46,520
Speaker 1: angle for drinks at the buffet table and desperately try

566
00:32:46,560 --> 00:32:49,160
Speaker 1: to make conversation with a Stone or at least someone

567
00:32:49,200 --> 00:32:52,080
Speaker 1: close to them. The crush in the dressing room is

568
00:32:52,120 --> 00:32:54,880
Speaker 1: so bad that the Stones retreat to a smaller, top

569
00:32:54,920 --> 00:32:58,560
Speaker 1: secret room down the hall, popping in only occasionally for

570
00:32:58,640 --> 00:33:02,040
Speaker 1: a bird like swoop towards the food and drink. They

571
00:33:02,080 --> 00:33:05,080
Speaker 1: feel like guests at their own gig, and they don't

572
00:33:05,160 --> 00:33:09,880
Speaker 1: like it. Adding insult to injury. Most of these trespassers

573
00:33:09,920 --> 00:33:12,320
Speaker 1: can't be bothered to tear themselves away from the free

574
00:33:12,320 --> 00:33:15,720
Speaker 1: buffet to catch the concert. To them, the music is

575
00:33:15,760 --> 00:33:19,520
Speaker 1: a byproduct, hardly worth discussing, really, unless you're trying to

576
00:33:19,560 --> 00:33:21,720
Speaker 1: impress one of the musicians by telling him what you

577
00:33:21,720 --> 00:33:26,760
Speaker 1: thought of his individual performance. But that's just overkill. The

578
00:33:26,840 --> 00:33:29,360
Speaker 1: stage may have provided the Stones with a moment of

579
00:33:29,400 --> 00:33:32,080
Speaker 1: relief from the busy bodies, but it had its own

580
00:33:32,200 --> 00:33:36,600
Speaker 1: unique discomforts. The Texas sun combined with the band's steady

581
00:33:36,640 --> 00:33:40,400
Speaker 1: the art lighting rig, which included six fifteen hundred watts

582
00:33:40,400 --> 00:33:44,320
Speaker 1: Super Trooper spotlights, The result transformed the area in there

583
00:33:44,360 --> 00:33:48,200
Speaker 1: was sweltering hellscape. For Bill Wyman. It was a low

584
00:33:48,280 --> 00:33:51,760
Speaker 1: light of the tour, I.

585
00:33:51,720 --> 00:33:54,520
Speaker 9: Think, whereas well as the hate, you know, we moved

586
00:33:54,560 --> 00:33:57,800
Speaker 9: playing in that tremendous face in some places. You heard

587
00:33:57,800 --> 00:34:01,000
Speaker 9: about the lottery we took on stage one night, chipmun

588
00:34:01,080 --> 00:34:04,160
Speaker 9: Tricks and Nightcap on the stage, see what the temperature

589
00:34:04,320 --> 00:34:06,360
Speaker 9: was on stage, And then when we were going back

590
00:34:06,400 --> 00:34:08,759
Speaker 9: from the show, we were having a luxury what the

591
00:34:08,800 --> 00:34:11,600
Speaker 9: temperature was? You know, I need you know, five dollars

592
00:34:11,680 --> 00:34:13,520
Speaker 9: each or something, and we well guessing.

593
00:34:13,640 --> 00:34:15,040
Speaker 8: I think I said ninety.

594
00:34:14,840 --> 00:34:17,440
Speaker 9: Eight and Mick Taylor at one hundred and five and.

595
00:34:18,080 --> 00:34:21,400
Speaker 6: It was one hundred and forty seven. Wasn't really remendous head.

596
00:34:21,239 --> 00:34:24,160
Speaker 9: Planned you came up at that stage, you know, like me,

597
00:34:24,320 --> 00:34:27,239
Speaker 9: I don't do imagine stage. I don't leap about too

598
00:34:27,320 --> 00:34:30,320
Speaker 9: much to us and I was completely worked out and

599
00:34:30,719 --> 00:34:31,160
Speaker 9: washed out.

600
00:34:34,080 --> 00:34:37,160
Speaker 1: It was in this delicate moment As the band staggers

601
00:34:37,200 --> 00:34:40,960
Speaker 1: off stage, having deposited their requisite pound of flesh, pints

602
00:34:40,960 --> 00:34:44,520
Speaker 1: of blood, and gallon of sweat, that writer Terry Southern

603
00:34:44,600 --> 00:34:48,440
Speaker 1: decides to approach an exhausted and dope sick Keith. He

604
00:34:48,520 --> 00:34:51,480
Speaker 1: ambles over, puts his arm around his shoulder, and goes

605
00:34:51,600 --> 00:34:55,080
Speaker 1: right back in the pitching Keith this movie idea. Keith

606
00:34:55,200 --> 00:34:58,600
Speaker 1: finally explodes. Can't you see I'm sick? What do you

607
00:34:58,680 --> 00:35:02,680
Speaker 1: want from me? Just leave it? He says, or words

608
00:35:02,800 --> 00:35:03,440
Speaker 1: to that effect.

609
00:35:04,000 --> 00:35:06,000
Speaker 8: I just wanted to fuck up and stop bugging me

610
00:35:06,120 --> 00:35:08,400
Speaker 8: because he kept going on the hustling. When you've just

611
00:35:08,520 --> 00:35:13,440
Speaker 8: come off stage, there's selfish. People are incredibly self censored.

612
00:35:13,520 --> 00:35:17,800
Speaker 8: You know, they have blue other thought, their own advancement moons.

613
00:35:17,920 --> 00:35:20,640
Speaker 8: I came off stage with stomach crimps and everything, you know,

614
00:35:20,840 --> 00:35:24,080
Speaker 8: just being like shit. He started games this movie thing

615
00:35:24,200 --> 00:35:27,000
Speaker 8: against I just had to fuck up, you know it

616
00:35:27,320 --> 00:35:28,000
Speaker 8: is fair enough.

617
00:35:29,080 --> 00:35:31,640
Speaker 1: The incident is a crucial turning point in the STP

618
00:35:31,880 --> 00:35:36,120
Speaker 1: social dynamic. It falls the tour manager, Peter Rudge to

619
00:35:36,200 --> 00:35:39,440
Speaker 1: bring the hammer down on the freeloaders, joy riders and

620
00:35:39,520 --> 00:35:42,160
Speaker 1: anyone who wasn't serving a function or pulling their weight

621
00:35:42,719 --> 00:35:45,160
Speaker 1: too many people have been hopping into limos like they

622
00:35:45,239 --> 00:35:48,879
Speaker 1: owned them, and now action must be taken, Changes must

623
00:35:48,880 --> 00:35:52,960
Speaker 1: be made, heads must roll. Some folks are going home.

624
00:35:53,960 --> 00:35:58,560
Speaker 1: A line forms outside Rudgie's hotel room. Writers and photographers

625
00:35:58,680 --> 00:36:01,440
Speaker 1: and other non essentials are called upon to justify their

626
00:36:01,520 --> 00:36:04,799
Speaker 1: place on the gravy trend and explain exactly why they

627
00:36:04,840 --> 00:36:08,120
Speaker 1: shouldn't be sent back to wherever they'd come from. Terry

628
00:36:08,160 --> 00:36:11,560
Speaker 1: Southern's the most obvious scapegoat. It's he who committed the

629
00:36:11,640 --> 00:36:14,640
Speaker 1: unpartable sin of irritating one of the principles by getting

630
00:36:14,680 --> 00:36:17,960
Speaker 1: too close, and now he must pay the ultimate price,

631
00:36:18,640 --> 00:36:22,640
Speaker 1: the revocation of his stp tour a laminate in this circle,

632
00:36:23,080 --> 00:36:28,120
Speaker 1: it's a fate worse than death. Terry's Southern chief.

633
00:36:28,200 --> 00:36:29,560
Speaker 4: And you know his arguments and.

634
00:36:30,400 --> 00:36:34,320
Speaker 9: Me, sorry, Souther, mcfin's systems are really silly, and his

635
00:36:34,480 --> 00:36:35,760
Speaker 9: attitude is great tolls.

636
00:36:35,840 --> 00:36:36,719
Speaker 7: And then it does.

637
00:36:36,760 --> 00:36:38,960
Speaker 9: You can be silly funny, and you can be silly boring,

638
00:36:39,040 --> 00:36:41,839
Speaker 9: you know, And he was silly boring most of the time.

639
00:36:41,880 --> 00:36:43,960
Speaker 9: And it just never took the hint, you know, when

640
00:36:44,000 --> 00:36:45,960
Speaker 9: it was time to say good night and let you

641
00:36:46,000 --> 00:36:47,840
Speaker 9: go to bed, he would sit there and go on

642
00:36:48,000 --> 00:36:49,759
Speaker 9: and knock on your door and go down the court

643
00:36:49,800 --> 00:36:52,200
Speaker 9: and knocking somebody else. It does come to a head,

644
00:36:52,960 --> 00:36:55,239
Speaker 9: especially as Cleith isn't as quicker to flare up than

645
00:36:55,320 --> 00:36:56,359
Speaker 9: anybody else in the band.

646
00:36:56,440 --> 00:37:00,200
Speaker 1: Really, it's a bad scene. As Rudge dismissed, this is

647
00:37:00,239 --> 00:37:04,240
Speaker 1: a number of the ancillary stp crew, those who remain

648
00:37:04,280 --> 00:37:07,319
Speaker 1: in the fear that their days are numbered. But even

649
00:37:07,360 --> 00:37:11,640
Speaker 1: after all that noise, no one actually leaves. No they

650
00:37:11,719 --> 00:37:15,440
Speaker 1: stick around exploring New Orleans, hoping that Keith and Rudge

651
00:37:15,480 --> 00:37:19,120
Speaker 1: and everybody chills out and prior transgressions will be forgiven

652
00:37:19,239 --> 00:37:24,400
Speaker 1: and forgotten. Shockingly, that's exactly what happens. New Orleans was

653
00:37:24,520 --> 00:37:25,719
Speaker 1: just too much fun to fight.

654
00:37:27,120 --> 00:37:29,760
Speaker 2: We stayed in this really cool hotel in the French Quarter,

655
00:37:30,560 --> 00:37:34,120
Speaker 2: right We all bought these ridiculous hats that I have

656
00:37:34,239 --> 00:37:37,239
Speaker 2: a picture of myself looking like a fool sitting in

657
00:37:37,320 --> 00:37:39,160
Speaker 2: front of a large gilt mirror, and we went to

658
00:37:39,239 --> 00:37:40,480
Speaker 2: the Voodoo Cemetery.

659
00:37:41,120 --> 00:37:44,000
Speaker 3: I went with Truman Capodi to the house that he

660
00:37:44,200 --> 00:37:47,279
Speaker 3: was lived in when as a boy in a French.

661
00:37:47,080 --> 00:37:50,000
Speaker 2: Quarter saw a street car named Desire. Because there was

662
00:37:50,080 --> 00:37:52,800
Speaker 2: a streetcar with the name Desire, you know Desire is

663
00:37:52,840 --> 00:37:55,840
Speaker 2: a street or you know that was a trip Tennessee.

664
00:37:55,880 --> 00:37:59,400
Speaker 2: Williams was at the final show. There's another small unity

665
00:37:59,440 --> 00:38:00,680
Speaker 2: and the food insane.

666
00:38:03,000 --> 00:38:05,279
Speaker 1: But the highlight of their stay in New Orleans, if

667
00:38:05,360 --> 00:38:07,920
Speaker 1: not the highlight of the whole tour, was the party

668
00:38:08,000 --> 00:38:12,279
Speaker 1: thrown by Ahmed Urtigen, president of Atlantic Records, which distributes

669
00:38:12,280 --> 00:38:17,000
Speaker 1: the Rolling Stones Records label. The suave and sophisticated son

670
00:38:17,040 --> 00:38:20,000
Speaker 1: of a Turkish diplomat, Ahmed always makes a point to

671
00:38:20,080 --> 00:38:22,120
Speaker 1: come out on the road to see his artists perform.

672
00:38:22,760 --> 00:38:25,239
Speaker 1: An Unlike Capodi and the rest of the crew, he's

673
00:38:25,280 --> 00:38:29,000
Speaker 1: a welcome to presence. See Omitt knows what the Stones

674
00:38:29,239 --> 00:38:32,000
Speaker 1: like and he's determined to give it to them. This

675
00:38:32,200 --> 00:38:43,600
Speaker 1: means pure, unadulterated Delta blues. It's the best gift anyone

676
00:38:43,680 --> 00:38:44,840
Speaker 1: could ever give the Stones.

677
00:38:46,920 --> 00:38:49,680
Speaker 2: The greatest party I ever went to was in New Orleans.

678
00:38:50,480 --> 00:38:54,920
Speaker 2: At the Warehouse was one hundred degrees or close. And Ahmed,

679
00:38:55,080 --> 00:38:57,839
Speaker 2: who was in heaven because New Orleans was the sight

680
00:38:57,920 --> 00:39:00,959
Speaker 2: of so many of these great music He brought into

681
00:39:01,040 --> 00:39:05,800
Speaker 2: play that night Snooks Eaglin, Professor Longhair.

682
00:39:05,480 --> 00:39:08,560
Speaker 4: And Roosevelt Sykes. Okay, and we got to see them.

683
00:39:08,600 --> 00:39:13,040
Speaker 2: And people were walking the second line on the floor

684
00:39:13,239 --> 00:39:15,840
Speaker 2: and snorting cocaine off the back of their hands and

685
00:39:16,000 --> 00:39:21,160
Speaker 2: waving handkerchiefs in this cauldron of heat. And Ahmit was

686
00:39:21,239 --> 00:39:25,360
Speaker 2: sitting at the back, beaming in a suit without a

687
00:39:25,480 --> 00:39:27,240
Speaker 2: drop of sweat anywhere.

688
00:39:27,320 --> 00:39:27,960
Speaker 4: Impeccable.

689
00:39:28,440 --> 00:39:31,800
Speaker 2: And as each great Black musician finished, he wrote the

690
00:39:31,920 --> 00:39:34,000
Speaker 2: check and he handed to him. It was so from

691
00:39:34,080 --> 00:39:37,239
Speaker 2: another era. It was the greatest. But to see these guys,

692
00:39:37,640 --> 00:39:40,520
Speaker 2: they don't really relate to one another. Roosevelt Sykes is Chicago,

693
00:39:40,960 --> 00:39:44,600
Speaker 2: and Ahmitt knew who they wanted to see, the Stones,

694
00:39:44,800 --> 00:39:46,680
Speaker 2: the guys that and just get to see long hair

695
00:39:46,719 --> 00:39:48,040
Speaker 2: in New Orleans was incredible.

696
00:39:51,760 --> 00:39:54,719
Speaker 1: Greenfield talked to Ahmet about this musical summit just a

697
00:39:54,760 --> 00:39:58,239
Speaker 1: few months later in nineteen seventy two. Here he is

698
00:39:58,480 --> 00:40:01,640
Speaker 1: courtesy of our friends at the north Western University Archives.

699
00:40:02,120 --> 00:40:04,239
Speaker 6: I knew that wanted to hear some New Orleans music.

700
00:40:04,960 --> 00:40:07,400
Speaker 10: Now, you know, it's one thing. I mean, I've been

701
00:40:07,440 --> 00:40:09,239
Speaker 10: to New Orleans there. It's one of you arrive in

702
00:40:09,360 --> 00:40:11,160
Speaker 10: New orleanss like a tourist, you know what I mean,

703
00:40:11,640 --> 00:40:14,440
Speaker 10: And you start walking around the streets and you look

704
00:40:14,560 --> 00:40:15,799
Speaker 10: up in some music you know what I mean.

705
00:40:15,880 --> 00:40:18,600
Speaker 6: On Bourbon Street, there'll be some band playing in a bar.

706
00:40:18,840 --> 00:40:21,200
Speaker 6: You know, some of the old guys, you know, terrific, right,

707
00:40:21,320 --> 00:40:22,000
Speaker 6: but I hadn't read.

708
00:40:22,080 --> 00:40:26,920
Speaker 10: What they did is like black blues music, and it's

709
00:40:27,040 --> 00:40:28,680
Speaker 10: not easy to you know.

710
00:40:28,880 --> 00:40:31,080
Speaker 6: In one evening, especially that we're driving in.

711
00:40:31,200 --> 00:40:34,399
Speaker 10: They arrived at eleven o'clock at night, well after eleven weather,

712
00:40:34,440 --> 00:40:35,759
Speaker 10: hell was could we go?

713
00:40:36,440 --> 00:40:38,600
Speaker 6: So I figured, well, I'm trying to do. I got

714
00:40:38,680 --> 00:40:39,800
Speaker 6: in touch with some friends.

715
00:40:40,400 --> 00:40:43,160
Speaker 10: I said, hey, man, heyway, I come play right Rolling Stone?

716
00:40:43,960 --> 00:40:44,560
Speaker 6: Rolling Stones?

717
00:40:44,640 --> 00:40:44,960
Speaker 1: What is that?

718
00:40:45,120 --> 00:40:45,680
Speaker 11: You know what I mean?

719
00:40:46,560 --> 00:40:49,000
Speaker 6: Well they knew a little bit, you know, but uh,

720
00:40:49,440 --> 00:40:49,800
Speaker 6: I tell you.

721
00:40:49,920 --> 00:40:51,440
Speaker 11: One of the this friends of my brothers.

722
00:40:51,239 --> 00:40:53,920
Speaker 10: Who runs the preservation hall, you know, asked one of

723
00:40:53,960 --> 00:40:56,080
Speaker 10: the guys a brass band, you know, say she said,

724
00:40:56,080 --> 00:40:57,320
Speaker 10: what'd you think of Mick Jagger?

725
00:40:57,840 --> 00:40:59,360
Speaker 6: He says, well, man, I didn't know which one he

726
00:40:59,560 --> 00:41:05,160
Speaker 6: was all which one was?

727
00:41:06,280 --> 00:41:06,440
Speaker 4: You know?

728
00:41:06,600 --> 00:41:08,360
Speaker 10: Those all the guys are terrific, but they don't, you know,

729
00:41:08,440 --> 00:41:09,840
Speaker 10: they don't keep up with what's going on.

730
00:41:10,040 --> 00:41:10,239
Speaker 6: You know.

731
00:41:10,480 --> 00:41:14,080
Speaker 9: That's why they're able to play out music so authentically enough.

732
00:41:15,840 --> 00:41:17,719
Speaker 1: The presence of a man in a suit with a

733
00:41:17,880 --> 00:41:22,040
Speaker 1: checkbook left some in the STP contingent, including Gary Stromberg,

734
00:41:22,560 --> 00:41:24,759
Speaker 1: feeling a bit uneasy about the proceedings.

735
00:41:25,160 --> 00:41:29,040
Speaker 3: It was also secondarily the feeling that Ahmed had bought

736
00:41:29,120 --> 00:41:31,839
Speaker 3: these black guys to play for the entertainment of these

737
00:41:31,920 --> 00:41:35,160
Speaker 3: white guys, which didn't feel right to me. I was

738
00:41:35,600 --> 00:41:39,200
Speaker 3: there was a sensitivity in the room that right. I mean,

739
00:41:39,320 --> 00:41:41,880
Speaker 3: these guys were purchased for the amusement of the Stones.

740
00:41:42,040 --> 00:41:44,440
Speaker 2: You know, this is such a great conversation. That's that's

741
00:41:44,480 --> 00:41:47,080
Speaker 2: on another level because they also probably got paid more

742
00:41:47,120 --> 00:41:50,160
Speaker 2: than they made, correct, you get it right, cuts both ways.

743
00:41:50,200 --> 00:41:52,880
Speaker 2: You're a musician, hey man, I need to check, you know.

744
00:41:53,400 --> 00:41:55,560
Speaker 2: And I would say for them, they didn't care who

745
00:41:55,560 --> 00:41:56,200
Speaker 2: they were playing for.

746
00:41:56,440 --> 00:41:59,400
Speaker 3: No, true the gig. It's just the perception of it.

747
00:42:00,200 --> 00:42:02,719
Speaker 3: You know this, this wealthy white guy was buying black

748
00:42:02,760 --> 00:42:04,400
Speaker 3: guys for the entertainment of the Stones.

749
00:42:04,680 --> 00:42:08,200
Speaker 1: Well yeah, yeah, whether that's been kind of the history

750
00:42:08,200 --> 00:42:09,399
Speaker 1: of the music business.

751
00:42:09,120 --> 00:42:10,839
Speaker 4: All along, well yeah, yeah.

752
00:42:11,719 --> 00:42:14,719
Speaker 1: The Stones were certainly a much more appreciative audience than

753
00:42:14,760 --> 00:42:17,160
Speaker 1: the average white boys who paid them a visit. For

754
00:42:17,239 --> 00:42:20,080
Speaker 1: guitarist Mick Taylor, this was the stuff that made him

755
00:42:20,080 --> 00:42:22,760
Speaker 1: want to make music in the first place. In effect,

756
00:42:23,200 --> 00:42:24,759
Speaker 1: it made the Stones who they were.

757
00:42:25,280 --> 00:42:27,319
Speaker 6: I mean, it was quite a revelation to see those

758
00:42:27,680 --> 00:42:31,319
Speaker 6: guys out play. He's only really well that well known

759
00:42:31,640 --> 00:42:35,880
Speaker 6: in the South and in England.

760
00:42:35,960 --> 00:42:37,400
Speaker 5: Yes, well, I used to listen to the kind of

761
00:42:37,480 --> 00:42:40,200
Speaker 5: music that the Stones disn'cing, which was American music.

762
00:42:40,280 --> 00:42:42,839
Speaker 6: A blues artists, in particular that they were influenced by

763
00:42:44,080 --> 00:42:49,239
Speaker 6: Chuckberry Boy, Deadly Muddy Water's Whole String, I sort of

764
00:42:50,160 --> 00:42:51,000
Speaker 6: blues artists.

765
00:42:51,960 --> 00:42:55,880
Speaker 2: It's really strange how it took white English people to

766
00:42:55,960 --> 00:42:59,520
Speaker 2: get black for American people pot with white Americans.

767
00:43:00,080 --> 00:43:02,680
Speaker 6: It seems to be that way. Yes, I didn't know why.

768
00:43:03,360 --> 00:43:09,880
Speaker 1: True British kids had long been reverent followers of American

769
00:43:10,000 --> 00:43:13,240
Speaker 1: R and B, even as these artists were largely shunned

770
00:43:13,280 --> 00:43:17,319
Speaker 1: by the mainstream and their homeland. Their influence was whitewashed

771
00:43:17,320 --> 00:43:19,960
Speaker 1: in the fifties when so called race records were re

772
00:43:20,080 --> 00:43:24,520
Speaker 1: recorded by milk toast white singers. Kruner Pat Boone famously

773
00:43:24,640 --> 00:43:27,839
Speaker 1: turned in an embarrassingly tame version of Little Richard's two

774
00:43:27,880 --> 00:43:31,920
Speaker 1: Dy Fruity. The Chord's early do wop classic Shaboom was

775
00:43:32,000 --> 00:43:34,440
Speaker 1: turned into an even bigger hit by the crew cuts,

776
00:43:34,960 --> 00:43:38,600
Speaker 1: their name not so subtly shaded with racial coding, and

777
00:43:38,719 --> 00:43:41,400
Speaker 1: el was presley initially broke through with a whitened up

778
00:43:41,480 --> 00:43:45,600
Speaker 1: cover of Big Mama Thornton's blues belter Hound Dog. English

779
00:43:45,640 --> 00:43:49,080
Speaker 1: Ears were a little more open as the Beatles exploded

780
00:43:49,160 --> 00:43:51,680
Speaker 1: onto the global stage. They were quick to point out

781
00:43:51,760 --> 00:43:54,200
Speaker 1: that they were part of a continuum and sung the

782
00:43:54,280 --> 00:43:56,840
Speaker 1: praises of the soul acts whose songs they delighted in,

783
00:43:56,960 --> 00:44:01,600
Speaker 1: covering the Miracles, the Charelles and the Ice Bros. On

784
00:44:01,680 --> 00:44:03,879
Speaker 1: their first trip to the States in nineteen sixty four,

785
00:44:04,440 --> 00:44:06,920
Speaker 1: the Fabs phoned in the radio networks not to request

786
00:44:06,960 --> 00:44:10,080
Speaker 1: their own songs, but the latest records by the Ronettes

787
00:44:10,160 --> 00:44:15,120
Speaker 1: or Marvin Gay for white American teens. This endorsement went

788
00:44:15,160 --> 00:44:17,840
Speaker 1: a long way and raising awareness of these black artists.

789
00:44:18,800 --> 00:44:21,600
Speaker 1: So did the early singles from the Stones, which were

790
00:44:21,640 --> 00:44:24,120
Speaker 1: covers of tunes by Chuck Berry and Willie Dixon.

791
00:44:27,960 --> 00:44:31,160
Speaker 2: Here's the point about cultural appropriation. Having lived through all this,

792
00:44:32,200 --> 00:44:35,480
Speaker 2: there was no connection between white and black music. You

793
00:44:35,600 --> 00:44:41,799
Speaker 2: listen to the soul stations wwrlwwvj WNJR and New York,

794
00:44:42,120 --> 00:44:44,680
Speaker 2: so most white people never even heard the music. The

795
00:44:44,760 --> 00:44:49,640
Speaker 2: separation was so big, and the Stones, among others, they

796
00:44:49,800 --> 00:44:53,040
Speaker 2: broke more black acts to white audiences than any Bill

797
00:44:53,080 --> 00:44:55,560
Speaker 2: Graham did it too, BB King and Albert King and

798
00:44:55,920 --> 00:44:58,840
Speaker 2: all the great blues guys. But we don't remember this,

799
00:44:59,520 --> 00:45:02,120
Speaker 2: you know. It's assumed that this is all one music,

800
00:45:02,239 --> 00:45:02,880
Speaker 2: one culture.

801
00:45:03,280 --> 00:45:03,800
Speaker 4: It wasn't.

802
00:45:13,120 --> 00:45:15,400
Speaker 1: The Stones came of age in the thriving R and

803
00:45:15,520 --> 00:45:19,000
Speaker 1: B scene of early sixties London. The big names where

804
00:45:19,040 --> 00:45:23,600
Speaker 1: Alexis Corners, Blues Incorporated, Cyril Davies, All Stars, Long, John

805
00:45:23,680 --> 00:45:27,280
Speaker 1: Baldry and the Hucci Coucie Men, and John Mayle's Blues Breakers.

806
00:45:28,320 --> 00:45:30,840
Speaker 1: These groups may not have notched major hits, but they

807
00:45:30,960 --> 00:45:33,800
Speaker 1: proved a crucial training ground for the inaugural class of

808
00:45:33,840 --> 00:45:38,600
Speaker 1: English rock gods, including Eric Clapton, Jimmy Page, Rod Stewart

809
00:45:38,800 --> 00:45:42,280
Speaker 1: and Elton John not to mention the Stones own Charlie

810
00:45:42,320 --> 00:45:46,680
Speaker 1: Watts and Mick Taylor. To them, the Blues was the truth.

811
00:45:47,440 --> 00:45:50,759
Speaker 1: Rock and roll in its most pure form. The deceptively

812
00:45:50,880 --> 00:45:54,239
Speaker 1: simple riffs proved an easy access point. It didn't take

813
00:45:54,320 --> 00:45:56,440
Speaker 1: much to strum ale one four or five pattern or

814
00:45:56,480 --> 00:46:00,919
Speaker 1: Honker harmonica, but capturing the emotional complexities the blues proved

815
00:46:00,960 --> 00:46:04,200
Speaker 1: a little more elusive to these British white boys, as

816
00:46:04,280 --> 00:46:08,520
Speaker 1: Scenester and future Yardbirds manager Simon Napier Bell later observed,

817
00:46:09,000 --> 00:46:11,600
Speaker 1: when a down trodden black Southerner saying I'm a man,

818
00:46:12,160 --> 00:46:15,319
Speaker 1: he meant I'm a human being. When Mick Jagger saying

819
00:46:15,360 --> 00:46:19,239
Speaker 1: I'm a man, he meant I've got a heart on soo,

820
00:46:19,360 --> 00:46:22,040
Speaker 1: the point's well taken. The Stones were among the most

821
00:46:22,200 --> 00:46:25,239
Speaker 1: ardent R and B adherents on the scene. As Bill

822
00:46:25,280 --> 00:46:28,839
Speaker 1: Wyman attested to Robert Greenfield, their early set lists were

823
00:46:28,920 --> 00:46:30,200
Speaker 1: stacked with deep cuts.

824
00:46:32,320 --> 00:46:39,040
Speaker 9: Honey, what's wrong do you know that road Runner did?

825
00:46:41,640 --> 00:46:43,120
Speaker 9: The one that was on the B side of Come

826
00:46:43,200 --> 00:46:45,279
Speaker 9: On which I Want to be Loved? Two more of

827
00:46:45,400 --> 00:46:49,399
Speaker 9: Bright Lights, Big City to Me Red so very nice,

828
00:46:50,000 --> 00:46:51,560
Speaker 9: and all the record company said, no, thank you.

829
00:46:52,800 --> 00:46:54,120
Speaker 6: The singer sounds too colored.

830
00:46:55,400 --> 00:46:57,759
Speaker 9: Yeah, that's what the BBC said when we first went

831
00:46:57,800 --> 00:46:58,560
Speaker 9: for an audition.

832
00:46:58,400 --> 00:46:59,719
Speaker 6: To go on radio show.

833
00:47:01,640 --> 00:47:03,200
Speaker 9: The band will Ryan, but we don't know the single.

834
00:47:03,280 --> 00:47:05,440
Speaker 9: He sounds too much like a Negro. We could use

835
00:47:05,480 --> 00:47:07,000
Speaker 9: the band for back and other artists.

836
00:47:07,120 --> 00:47:10,439
Speaker 6: I could visit an artists from American but don't number

837
00:47:10,440 --> 00:47:11,000
Speaker 6: of that scene.

838
00:47:11,680 --> 00:47:19,720
Speaker 3: So what the record company said, just a cursory.

839
00:47:19,840 --> 00:47:23,560
Speaker 1: Listen to early and even later Rolling Stones music raises

840
00:47:23,760 --> 00:47:28,000
Speaker 1: very valid issues of cultural appropriation. It's a concept that

841
00:47:28,080 --> 00:47:31,839
Speaker 1: didn't exist in nineteen sixty four. The band were never

842
00:47:32,000 --> 00:47:35,880
Speaker 1: shy about acknowledging their influences. Hell their name is a

843
00:47:36,000 --> 00:47:39,080
Speaker 1: nod to Muddy Waters. They went out of their way

844
00:47:39,160 --> 00:47:42,560
Speaker 1: to credit the original artists they covered and even collaborated

845
00:47:42,600 --> 00:47:47,040
Speaker 1: with a few. After Satisfaction went to number one in

846
00:47:47,160 --> 00:47:50,520
Speaker 1: nineteen sixty five, they refused to appear on the American

847
00:47:50,640 --> 00:47:55,640
Speaker 1: music TV show Shindig unless producers also booked bluesman Holan Wolfe.

848
00:47:56,120 --> 00:47:58,240
Speaker 1: That was a big stand for a group of English

849
00:47:58,320 --> 00:48:01,840
Speaker 1: kids new to show biz. On tours of America, the

850
00:48:01,960 --> 00:48:05,919
Speaker 1: Stones specifically hired black artists as their opening acts, most

851
00:48:05,960 --> 00:48:09,440
Speaker 1: recently with Stevie Wonder. The Stones wanted to help them

852
00:48:09,480 --> 00:48:12,200
Speaker 1: cross over to a new audience, just as they were

853
00:48:12,239 --> 00:48:15,640
Speaker 1: trying to do with Truman Capote. At the time, this

854
00:48:15,800 --> 00:48:19,239
Speaker 1: marked them as progressives, but it reads very differently now.

855
00:48:20,280 --> 00:48:24,840
Speaker 1: The line between appreciation and appropriation or even exploitation is

856
00:48:24,880 --> 00:48:29,240
Speaker 1: a blurry one. Truth be told, The Stones became richer

857
00:48:29,360 --> 00:48:33,120
Speaker 1: and wildly more successful than the African American artists whose

858
00:48:33,239 --> 00:48:44,719
Speaker 1: music formed the foundation of their sound. Totaling the good

859
00:48:44,760 --> 00:48:47,640
Speaker 1: the Stones did for racial quality versus how much they

860
00:48:47,719 --> 00:48:52,840
Speaker 1: personally profited is an impossible task, but, according to Gary Stromberg,

861
00:48:53,320 --> 00:48:57,839
Speaker 1: for the band, the music transcended taste, style, fads or money.

862
00:48:58,560 --> 00:49:00,680
Speaker 3: I think the Mick felt that that's who he was.

863
00:49:01,239 --> 00:49:04,399
Speaker 3: He was a creation from that music. That wasn't something

864
00:49:04,480 --> 00:49:08,439
Speaker 3: he just capitalized on. That's who he was in his soul. Yeah.

865
00:49:08,480 --> 00:49:10,440
Speaker 3: I think more than a responsibility, there was just a

866
00:49:10,560 --> 00:49:14,040
Speaker 3: genuine love. Yeah, he loved that music. That's who he was.

867
00:49:16,200 --> 00:49:19,480
Speaker 1: While The Stones, the Beatles and other British invasion groups

868
00:49:19,520 --> 00:49:22,880
Speaker 1: may have drawn attention to black artists, the seism mixonic

869
00:49:22,960 --> 00:49:26,960
Speaker 1: shift they inadvertently began changed the American musical landscape forever,

870
00:49:27,880 --> 00:49:30,360
Speaker 1: and many of the figures they admired were left behind

871
00:49:31,400 --> 00:49:34,160
Speaker 1: by the mid sixties. American R and B X like

872
00:49:34,239 --> 00:49:39,319
Speaker 1: Geno Washington, Gloria Jones, Doris Troy, Major Lance and PP

873
00:49:39,560 --> 00:49:44,239
Speaker 1: Arnold relocated to the UK after bookings dried up. Once there,

874
00:49:44,600 --> 00:49:48,080
Speaker 1: they enjoyed a vibrant second or in some cases, first career,

875
00:49:48,880 --> 00:49:51,919
Speaker 1: savoring the success and respect they'd been denied at home.

876
00:49:55,280 --> 00:49:58,120
Speaker 1: Among these ex Pats was a guitarist named Jimmy Hendrix

877
00:49:58,440 --> 00:50:02,480
Speaker 1: who shot to fame after arriving in England following years

878
00:50:02,520 --> 00:50:05,280
Speaker 1: of toiling and obscurity as a sideman in the States.

879
00:50:06,160 --> 00:50:09,279
Speaker 1: Jimmy Aside, most of these artists became stars of the

880
00:50:09,360 --> 00:50:14,640
Speaker 1: Northern Soul movement, a musical subculture populated by unusually dedicated

881
00:50:14,680 --> 00:50:18,760
Speaker 1: obsessives who held all night raves fueled by breakneck American

882
00:50:18,880 --> 00:50:23,680
Speaker 1: R and B forty fives. I'm at Urdigan, a man

883
00:50:23,719 --> 00:50:25,959
Speaker 1: who'd done more than his fair share to bring black

884
00:50:26,040 --> 00:50:29,000
Speaker 1: music to white audiences, had his own theory as to

885
00:50:29,080 --> 00:50:31,560
Speaker 1: why soul on R and B seemed to resonate so

886
00:50:31,800 --> 00:50:35,400
Speaker 1: deeply with English kids who otherwise had little in common

887
00:50:35,520 --> 00:50:40,399
Speaker 1: the people who made it socially, culturally or otherwise, well,

888
00:50:40,600 --> 00:50:44,040
Speaker 1: very few American kids, you know, more reverence.

889
00:50:44,680 --> 00:50:46,920
Speaker 10: But there's more reverence because it's not part of their

890
00:50:47,000 --> 00:50:52,359
Speaker 10: heritage immediately, I mean as one step removed for Europeans,

891
00:50:53,080 --> 00:50:56,880
Speaker 10: even one further step removed, right, But the English speaking

892
00:50:57,000 --> 00:51:01,360
Speaker 10: countries who are not an American country music and blues

893
00:51:01,480 --> 00:51:05,480
Speaker 10: music and so forth is an acquired taste almost.

894
00:51:05,680 --> 00:51:08,320
Speaker 6: It's also they recognize it as an art form a well.

895
00:51:08,160 --> 00:51:12,520
Speaker 11: They're recognizing an art form in the same sense analogically

896
00:51:13,040 --> 00:51:18,960
Speaker 11: that an American who loves Flamenco music would think of

897
00:51:19,040 --> 00:51:20,719
Speaker 11: it as an art form more.

898
00:51:21,160 --> 00:51:24,440
Speaker 3: Than some cat you know in Seville.

899
00:51:24,120 --> 00:51:26,720
Speaker 10: You know what I mean, who has been playing guitar

900
00:51:26,960 --> 00:51:30,239
Speaker 10: down there, you know, five years, you know, and he's

901
00:51:30,239 --> 00:51:32,319
Speaker 10: a white shit man. We're just playing what we play,

902
00:51:32,440 --> 00:51:36,080
Speaker 10: you know, and so on, you know, So to that extent,

903
00:51:36,719 --> 00:51:37,600
Speaker 10: it's a funny thing.

904
00:51:45,960 --> 00:51:48,440
Speaker 2: You know what I always say about these guys, and

905
00:51:48,560 --> 00:51:50,279
Speaker 2: it applies to make But I'm going to tell you

906
00:51:50,320 --> 00:51:55,640
Speaker 2: a key story. They are encyclopedias of music. Their knowledge there,

907
00:51:55,719 --> 00:51:58,440
Speaker 2: and it wasn't easy back then. You couldn't go up

908
00:51:58,480 --> 00:52:01,880
Speaker 2: on the net and just brow great blues artists, you know,

909
00:52:02,719 --> 00:52:06,880
Speaker 2: you had to really find these, especially in England. You know,

910
00:52:07,280 --> 00:52:09,400
Speaker 2: there was more respect for the blues in England. They

911
00:52:09,440 --> 00:52:11,040
Speaker 2: were playing it. But that's not the point.

912
00:52:11,120 --> 00:52:11,359
Speaker 4: I mean.

913
00:52:11,719 --> 00:52:14,200
Speaker 2: When I was at nell Cut with Keith Okay doing

914
00:52:14,280 --> 00:52:16,880
Speaker 2: the Rolling Stone interview, it wasn't hanging out and what

915
00:52:17,000 --> 00:52:20,359
Speaker 2: he was completely obsessed with them was a song called

916
00:52:20,560 --> 00:52:24,560
Speaker 2: Jerk by the Larks. Okay, Jerk, I want to see

917
00:52:24,560 --> 00:52:28,880
Speaker 2: you were Okay, fine, play it an hour at dinner

918
00:52:29,480 --> 00:52:31,759
Speaker 2: and people were coming to pitch the tour. Now we're

919
00:52:31,800 --> 00:52:34,600
Speaker 2: back in John Taplin, who managed the band. They were

920
00:52:34,680 --> 00:52:37,920
Speaker 2: coming to audition for The Stones in this villa in

921
00:52:38,040 --> 00:52:41,520
Speaker 2: the south of France, and Keith more than not was

922
00:52:41,600 --> 00:52:45,160
Speaker 2: ignoring them like you and may be talking. And it

923
00:52:45,239 --> 00:52:47,759
Speaker 2: was heartbreaking, you know what I mean, Like these guys

924
00:52:47,800 --> 00:52:52,680
Speaker 2: are powerful. Keith, you know, couldn't be bothered man anyway.

925
00:52:52,760 --> 00:52:56,120
Speaker 2: Point being, probably when I went to interview him for

926
00:52:56,280 --> 00:52:58,680
Speaker 2: the book I did with Bill Graham in New York,

927
00:52:58,880 --> 00:53:00,800
Speaker 2: I wanted to give him some I'm saying, you always

928
00:53:00,840 --> 00:53:03,759
Speaker 2: want to give Keith something, and I got him a

929
00:53:03,880 --> 00:53:07,600
Speaker 2: forty five of Jerk by the Larks, you know, okay, fine,

930
00:53:07,680 --> 00:53:09,919
Speaker 2: so you know it's like behay bro I said, Keith,

931
00:53:10,040 --> 00:53:13,000
Speaker 2: this for you. He looked at me and said, oh man,

932
00:53:13,200 --> 00:53:17,080
Speaker 2: the original label. I mean, that's insane to me. But

933
00:53:17,280 --> 00:53:19,320
Speaker 2: both he and Mick were scholars.

934
00:53:20,120 --> 00:53:22,480
Speaker 1: Even Ahmet, a man who'd spent a portion of his

935
00:53:22,560 --> 00:53:26,719
Speaker 1: life traveling great distances and as significant personal risk to

936
00:53:26,800 --> 00:53:28,680
Speaker 1: seek out these blues men and out of the way

937
00:53:28,800 --> 00:53:32,120
Speaker 1: juke joints, admired the Stones devotion to this music.

938
00:53:32,680 --> 00:53:33,319
Speaker 6: The thing about the.

939
00:53:33,360 --> 00:53:37,439
Speaker 10: Rolling Stones is that they're really, really are knowledgeable.

940
00:53:36,920 --> 00:53:38,600
Speaker 1: About where they come from.

941
00:53:39,560 --> 00:53:41,839
Speaker 6: I mean, they know where their roots are.

942
00:53:42,440 --> 00:53:47,360
Speaker 10: They know the whole library of jazz, blues.

943
00:53:47,440 --> 00:53:48,279
Speaker 1: Robert rolland us.

944
00:53:48,360 --> 00:53:51,160
Speaker 10: And it's not just said that they like Chuck Berry

945
00:53:51,239 --> 00:53:53,000
Speaker 10: and Ray Charles, you know what I mean.

946
00:53:53,480 --> 00:53:55,000
Speaker 6: I mean they know who Johnny Dodds is.

947
00:53:55,760 --> 00:53:57,880
Speaker 9: Charlie Away.

948
00:53:57,920 --> 00:53:59,680
Speaker 11: Yeah, well, I mean, but you know, like make Jaggon.

949
00:54:00,080 --> 00:54:02,279
Speaker 10: You know that Louis Armstrong has five records, you know

950
00:54:02,320 --> 00:54:04,840
Speaker 10: what I mean, And he knows who General Mortin was.

951
00:54:04,920 --> 00:54:08,080
Speaker 10: And they know the early blues, and they know Bessie

952
00:54:08,120 --> 00:54:12,400
Speaker 10: Smith and Lucille Bogan right and Ida Cox, you know,

953
00:54:12,480 --> 00:54:15,279
Speaker 10: and even much more obscure people, you know, not just

954
00:54:15,400 --> 00:54:17,879
Speaker 10: the highlights, do you know what I mean, the blind

955
00:54:17,960 --> 00:54:20,800
Speaker 10: Willie Johnson, so everybody know, they also know that.

956
00:54:21,040 --> 00:54:22,120
Speaker 6: I mean, they're really into that.

957
00:54:22,320 --> 00:54:25,360
Speaker 10: And Keith Richard Man, he knows more blues than anybody

958
00:54:25,440 --> 00:54:27,520
Speaker 10: I know, you know what I mean, really understands it

959
00:54:27,960 --> 00:54:30,320
Speaker 10: and loves it. You know, they know all of Bassi's

960
00:54:30,360 --> 00:54:33,480
Speaker 10: early records and Lunsford and you know that whole world

961
00:54:33,640 --> 00:54:36,680
Speaker 10: is not in any way alien to the not only

962
00:54:36,760 --> 00:54:39,480
Speaker 10: not alien, it's very very much part of what they did.

963
00:54:45,600 --> 00:54:47,319
Speaker 2: The first place they went when they came to New

964
00:54:47,360 --> 00:54:51,239
Speaker 2: York was the Apollo, Okay, and Keith was having an

965
00:54:51,280 --> 00:54:53,760
Speaker 2: affair with Ronnie of the Rowetts, which is my favorite

966
00:54:53,800 --> 00:54:54,160
Speaker 2: thing ever.

967
00:54:54,560 --> 00:54:56,920
Speaker 4: You know, in the apartment in Spanish Harlem.

968
00:54:57,280 --> 00:54:59,920
Speaker 2: I mean Keith comes out to breakfast with missus Ronnie,

969
00:55:00,440 --> 00:55:02,000
Speaker 2: your mom is making breakfast.

970
00:55:02,680 --> 00:55:02,880
Speaker 4: I mean.

971
00:55:02,920 --> 00:55:06,640
Speaker 2: The thing is, it's easy to look at everything now

972
00:55:06,719 --> 00:55:08,840
Speaker 2: and say, oh, you know, it's all show business.

973
00:55:11,600 --> 00:55:13,959
Speaker 4: It kind of wasn't. Does that make sense?

974
00:55:45,120 --> 00:55:47,840
Speaker 1: The Deep South wasn't exactly hospitable to a bunch of

975
00:55:47,920 --> 00:55:50,960
Speaker 1: English rockers and long haired dope takers in the summer

976
00:55:51,000 --> 00:55:55,840
Speaker 1: of seventy two. Too many reasons for unwanted comments, derision, abuse,

977
00:55:55,960 --> 00:56:01,600
Speaker 1: and possibly arrest are worse they'd all seen. Eader, New

978
00:56:01,719 --> 00:56:05,280
Speaker 1: Orleans was an oasis of reasonably friendly, freakiness and otherwise

979
00:56:05,360 --> 00:56:09,399
Speaker 1: hostile territory, so the STP crew wisely decided to stay

980
00:56:09,480 --> 00:56:12,400
Speaker 1: there and use it as a home base for nearby gigs.

981
00:56:14,080 --> 00:56:17,440
Speaker 2: We spent three or four days in New Orleans. We

982
00:56:17,840 --> 00:56:21,200
Speaker 2: centered in New Orleans and we worked. We was ion

983
00:56:21,280 --> 00:56:27,320
Speaker 2: stage working, No, they worked mobile from New Orleans and

984
00:56:27,760 --> 00:56:31,840
Speaker 2: somewhere else. Tuscaloosa I keep saying mobile and we were

985
00:56:31,880 --> 00:56:34,719
Speaker 2: in Tuscogo both we were in two gigs in Alabama.

986
00:56:34,920 --> 00:56:35,640
Speaker 4: That's insane.

987
00:56:39,200 --> 00:56:42,160
Speaker 1: Last time the Stones had worked there in nineteen sixty nine,

988
00:56:42,840 --> 00:56:46,040
Speaker 1: the biggest cheer of the evening resulted not from satisfaction,

989
00:56:46,600 --> 00:56:49,719
Speaker 1: but an announcement that curfews for women had been suspended.

990
00:56:50,320 --> 00:56:53,040
Speaker 1: Perhaps Alabama is a hard place for an outsider to know.

991
00:56:54,200 --> 00:56:55,960
Speaker 1: You come in with all these myths in your head,

992
00:56:56,320 --> 00:56:59,400
Speaker 1: and then you see them outside the hall with stomachs

993
00:56:59,440 --> 00:57:03,320
Speaker 1: bulging over their mo belts, thirty eight magnums hanging obscenely

994
00:57:03,360 --> 00:57:06,520
Speaker 1: off their hips, and billy clubs in their hands, whipping

995
00:57:06,600 --> 00:57:09,560
Speaker 1: lamp posts and sometimes each other just to keep loose.

996
00:57:10,520 --> 00:57:13,640
Speaker 1: Four cops refuse to work inside the concert hall after

997
00:57:13,719 --> 00:57:16,680
Speaker 1: being told they'll have to remove their guns. Even more

998
00:57:16,800 --> 00:57:21,560
Speaker 1: show up in riot gear just in case I hear

999
00:57:21,600 --> 00:57:25,640
Speaker 1: they even causing hail everywhere. The go one says they

1000
00:57:25,760 --> 00:57:31,480
Speaker 1: better know we mean business here. The assistant mayor on

1001
00:57:31,680 --> 00:57:34,000
Speaker 1: hand to present the Stones with an honorary key to

1002
00:57:34,080 --> 00:57:37,280
Speaker 1: the city, for some perverse reason, has a tie tax

1003
00:57:37,360 --> 00:57:42,360
Speaker 1: shaped like a gun. The concert promoter is a colonel

1004
00:57:42,440 --> 00:57:45,040
Speaker 1: in the state militia and has a signed picture of

1005
00:57:45,120 --> 00:57:50,959
Speaker 1: segregationist governor George Wallace hanging in his office. The local

1006
00:57:51,040 --> 00:57:53,800
Speaker 1: police captain does a double take when the Stone's chief

1007
00:57:53,800 --> 00:57:57,920
Speaker 1: of security, Stand, the man more reveals himself to be black.

1008
00:57:58,920 --> 00:58:01,600
Speaker 1: The interaction goes It's about as well as one could hope,

1009
00:58:02,040 --> 00:58:05,680
Speaker 1: though the captain can't resist referring to Stand, a linebacker

1010
00:58:05,800 --> 00:58:08,720
Speaker 1: sized man who towers over him as boy.

1011
00:58:15,600 --> 00:58:18,360
Speaker 3: I was always aware that we had black security guys

1012
00:58:18,400 --> 00:58:20,960
Speaker 3: when we were in the South who were armed. Yeah,

1013
00:58:21,920 --> 00:58:24,720
Speaker 3: just knew that these guys wouldn't tolerate any So we

1014
00:58:24,840 --> 00:58:27,200
Speaker 3: didn't feel threatened at all because these guys are really good.

1015
00:58:27,520 --> 00:58:30,320
Speaker 3: But it was kind of ironic that our security was

1016
00:58:30,440 --> 00:58:31,360
Speaker 3: black in the South.

1017
00:58:32,320 --> 00:58:34,600
Speaker 1: Over at the motel with a stage crew is staying,

1018
00:58:35,160 --> 00:58:38,840
Speaker 1: managements decided that this bunch looks untrustworthy and demands they

1019
00:58:38,880 --> 00:58:42,480
Speaker 1: pay in advance for lodging and any potential phone calls

1020
00:58:42,520 --> 00:58:45,400
Speaker 1: they might make. They even drained the pool so that

1021
00:58:45,520 --> 00:58:49,360
Speaker 1: the long hairs don't foul up the filtration system. Indeed,

1022
00:58:49,520 --> 00:58:52,440
Speaker 1: the hair and mobile, A breezy little city across the

1023
00:58:52,520 --> 00:58:55,919
Speaker 1: border from Mississippi, is shorter than anywhere else on the tour.

1024
00:58:57,040 --> 00:59:03,040
Speaker 1: Kids have come from the entire Southern Tier estates Louisiana, Mississippi, Alabama, Georgia,

1025
00:59:03,120 --> 00:59:07,080
Speaker 1: and Kentucky. They file respectfully down the street and obediently

1026
00:59:07,200 --> 00:59:10,640
Speaker 1: formed lines in the soft, honeyed twilight outside the venue.

1027
00:59:11,480 --> 00:59:13,640
Speaker 1: On their way they passed Robert Greenfield.

1028
00:59:14,240 --> 00:59:17,920
Speaker 2: So we played mobile and my deal was, you know,

1029
00:59:18,880 --> 00:59:22,919
Speaker 2: young reporter, always be outside before the show. I didn't

1030
00:59:22,920 --> 00:59:24,400
Speaker 2: want to be I didn't want to be backstage. I

1031
00:59:24,480 --> 00:59:27,680
Speaker 2: was outside, and so I was on the street. And

1032
00:59:27,800 --> 00:59:30,240
Speaker 2: also there was also violence on the street and people

1033
00:59:30,320 --> 00:59:32,600
Speaker 2: trying to break into concerts, and I was always on

1034
00:59:32,720 --> 00:59:37,480
Speaker 2: the street before the show. To my recollection, the venue

1035
00:59:37,840 --> 00:59:41,200
Speaker 2: was in a black neighborhood and I was there what

1036
00:59:41,480 --> 00:59:44,080
Speaker 2: And I hope I'm not casting racist suspersions of what

1037
00:59:44,160 --> 00:59:48,560
Speaker 2: I would have called shotgun shocks really old. They were fine,

1038
00:59:48,600 --> 00:59:50,760
Speaker 2: but they were old. And there were a lot of

1039
00:59:51,280 --> 00:59:53,520
Speaker 2: older black people sitting.

1040
00:59:53,280 --> 00:59:53,840
Speaker 1: On the porch.

1041
00:59:53,880 --> 00:59:57,120
Speaker 2: It was summer, it was hot, and I was trying

1042
00:59:57,160 --> 01:00:00,200
Speaker 2: to be respectful as always, and many of them had

1043
01:00:00,280 --> 01:00:02,760
Speaker 2: never heard of the Rolling Stones. I was actuallying, Hey,

1044
01:00:02,800 --> 01:00:05,040
Speaker 2: do you know he's playing here tonight? No, we don't know,

1045
01:00:05,360 --> 01:00:06,960
Speaker 2: you know, I said, we're Rolling Stones?

1046
01:00:07,160 --> 01:00:08,040
Speaker 1: Yeah? Who are they?

1047
01:00:08,320 --> 01:00:11,000
Speaker 4: You know? They were all very southern.

1048
01:00:11,360 --> 01:00:11,600
Speaker 1: True.

1049
01:00:11,640 --> 01:00:12,520
Speaker 4: It's really interesting.

1050
01:00:13,480 --> 01:00:16,160
Speaker 1: When the locals do hazard a guess, the response is

1051
01:00:16,280 --> 01:00:21,640
Speaker 1: usually oh yeah, Stevie Wonder. Stevie and his band have

1052
01:00:21,720 --> 01:00:23,520
Speaker 1: been on the road for the better part of a year,

1053
01:00:24,000 --> 01:00:26,960
Speaker 1: having done across country Joe Cocker tour just before going

1054
01:00:27,000 --> 01:00:30,439
Speaker 1: out with the Stones, and they are tight, but they're

1055
01:00:30,480 --> 01:00:35,440
Speaker 1: still openers their accommodations. There are always roadside motels with Stevie,

1056
01:00:35,600 --> 01:00:39,520
Speaker 1: who's apontified star, staying right with the band. As one

1057
01:00:39,640 --> 01:00:43,120
Speaker 1: SDP wit suggests, maybe it's a good thing Stevie's blind,

1058
01:00:43,600 --> 01:00:45,480
Speaker 1: then he can't see some of the places they got

1059
01:00:45,560 --> 01:00:50,320
Speaker 1: him in. Some less than enlightened industry minds felt that

1060
01:00:50,440 --> 01:00:52,880
Speaker 1: having Stevie is the opening act was a bad call

1061
01:00:53,000 --> 01:00:56,360
Speaker 1: for the Stones. After all, they reasoned, he wasn't going

1062
01:00:56,440 --> 01:00:59,320
Speaker 1: to bring more white kids to the show. But taste,

1063
01:00:59,560 --> 01:01:02,000
Speaker 1: tallerant and common decency prevailed.

1064
01:01:06,720 --> 01:01:10,480
Speaker 2: Stevie Wonder killed it every night on that tour, and

1065
01:01:10,640 --> 01:01:13,560
Speaker 2: by the time the show had started, you'd be backstage,

1066
01:01:14,120 --> 01:01:16,280
Speaker 2: and you never went on stage until the Stones went

1067
01:01:16,320 --> 01:01:17,280
Speaker 2: on stage because you're two.

1068
01:01:17,560 --> 01:01:18,720
Speaker 4: You can't be bothered men.

1069
01:01:19,520 --> 01:01:22,120
Speaker 2: But everybody would go out to see him do My

1070
01:01:22,280 --> 01:01:25,600
Speaker 2: Baby Superwoman, Superstition killed it.

1071
01:01:25,760 --> 01:01:27,000
Speaker 4: What a band, you know?

1072
01:01:27,240 --> 01:01:29,520
Speaker 2: And so I saw and I'm going to say eighteen thousand,

1073
01:01:29,720 --> 01:01:32,200
Speaker 2: I don't know how many the audience was completely white.

1074
01:01:32,960 --> 01:01:37,720
Speaker 2: I saw them get up, dance, scream, go crazy, and

1075
01:01:37,880 --> 01:01:42,160
Speaker 2: I can't help but think that's some form of cultural transformation.

1076
01:01:42,680 --> 01:01:44,160
Speaker 2: You could say, Oh, they go back home and they

1077
01:01:44,200 --> 01:01:46,160
Speaker 2: still feel the same way about black people. I don't

1078
01:01:46,200 --> 01:01:48,920
Speaker 2: know how they felt about black people coming in, but

1079
01:01:49,840 --> 01:01:53,600
Speaker 2: it was astonishing. That was the whitest audience I've ever seen,

1080
01:01:54,280 --> 01:01:58,280
Speaker 2: and Stevie killed them. So to me, whether that's for

1081
01:01:58,400 --> 01:02:00,520
Speaker 2: Stevie or for the culture, that's moment.

1082
01:02:00,800 --> 01:02:03,000
Speaker 3: It's also why Stevie did the tour for the He

1083
01:02:03,640 --> 01:02:05,200
Speaker 3: probably made nothing on that tour.

1084
01:02:05,920 --> 01:02:09,280
Speaker 2: But established himself as Summers to play venues that size

1085
01:02:09,320 --> 01:02:10,120
Speaker 2: to white order.

1086
01:02:10,040 --> 01:02:13,000
Speaker 3: And that the Stones acknowledged him amazingly. They had the

1087
01:02:13,200 --> 01:02:15,920
Speaker 3: Nose endorsement of Mick, which meant a lot for the

1088
01:02:16,000 --> 01:02:16,840
Speaker 3: crossover the.

1089
01:02:16,880 --> 01:02:20,960
Speaker 4: Kiss of the Spider Woman. Huh you been endorsed man.

1090
01:02:21,000 --> 01:02:24,800
Speaker 1: Yeah, But as Robert Greenfield discovered while pounding the pavement

1091
01:02:24,880 --> 01:02:28,240
Speaker 1: before the gig, this crossover didn't seem to go both ways,

1092
01:02:28,960 --> 01:02:31,919
Speaker 1: at least back on the summer of seventy two. Gary

1093
01:02:32,000 --> 01:02:33,400
Speaker 1: Stromberg noticed it as well.

1094
01:02:34,080 --> 01:02:35,840
Speaker 3: One thing that I was sort of surprised at. Like

1095
01:02:35,840 --> 01:02:37,640
Speaker 3: I said, I thought with the addition of Stevie to

1096
01:02:37,760 --> 01:02:40,040
Speaker 3: that tour that there would be more of a black

1097
01:02:40,680 --> 01:02:43,640
Speaker 3: awareness than there wasn't. There just wasn't a black awareness

1098
01:02:43,680 --> 01:02:45,560
Speaker 3: at all of the Stones.

1099
01:02:46,240 --> 01:02:48,720
Speaker 1: It was a reputation that dogged the band for years.

1100
01:02:49,240 --> 01:02:52,080
Speaker 1: The Rolling Stones made knock off rhythm and blues music

1101
01:02:52,160 --> 01:02:56,080
Speaker 1: for white people. Some of their more inflammatory lyrical content

1102
01:02:56,320 --> 01:02:59,760
Speaker 1: almost seemed like an intentional dare, a desperate bid for

1103
01:02:59,800 --> 01:03:03,960
Speaker 1: acknowledgement from the black community, even if the acknowledgment was negative.

1104
01:03:04,840 --> 01:03:08,080
Speaker 1: Just check the lyrics to Brown Sugar or, as Greenfield

1105
01:03:08,200 --> 01:03:10,919
Speaker 1: notes nineteen seventy eight, some Girls.

1106
01:03:11,240 --> 01:03:14,280
Speaker 2: The line in it, I didn't write this rince black

1107
01:03:14,320 --> 01:03:17,760
Speaker 2: girls just like to fuck all night. So there was

1108
01:03:17,800 --> 01:03:21,360
Speaker 2: some concern about this. The album came out, nothing happened

1109
01:03:21,360 --> 01:03:25,200
Speaker 2: for eight months, and I'm a toold Mick. See I

1110
01:03:25,360 --> 01:03:27,720
Speaker 2: was right. No black people have ever listened to any

1111
01:03:27,760 --> 01:03:31,280
Speaker 2: of your albums. And then of course they got into

1112
01:03:31,360 --> 01:03:34,080
Speaker 2: it and they had to change write. They blanked the lyric,

1113
01:03:34,160 --> 01:03:37,200
Speaker 2: they paid money, they apologized, they did all they have

1114
01:03:37,280 --> 01:03:39,760
Speaker 2: brown Sugar though that well my favorite and God loved

1115
01:03:39,800 --> 01:03:44,240
Speaker 2: Keith Richards. Just recently they stopped playing it, and Keith said,

1116
01:03:44,400 --> 01:03:47,000
Speaker 2: and nobody can make up to Stylight said, yeah, the

1117
01:03:47,080 --> 01:03:48,160
Speaker 2: sisters didn't like it.

1118
01:03:48,800 --> 01:03:51,960
Speaker 3: Excuse me, like they adopted on this last tour.

1119
01:03:52,200 --> 01:03:54,720
Speaker 4: Yeah, he said, yeah, I don't know why. The sisters

1120
01:03:54,760 --> 01:03:57,520
Speaker 4: said we shouldn't play it anymore, Like do you know them?

1121
01:03:57,880 --> 01:03:58,360
Speaker 4: You know what I mean.

1122
01:03:59,160 --> 01:04:00,360
Speaker 1: It's a big group of people.

1123
01:04:00,480 --> 01:04:04,200
Speaker 4: You just nailed there, But that's case. Yeah, but he

1124
01:04:04,320 --> 01:04:04,920
Speaker 4: respected that.

1125
01:04:05,320 --> 01:04:05,480
Speaker 10: You know.

1126
01:04:09,640 --> 01:04:14,280
Speaker 1: Crossover both social and racial was painful in nineteen seventy two,

1127
01:04:15,040 --> 01:04:18,360
Speaker 1: but at least it was becoming possible. From Truman in

1128
01:04:18,480 --> 01:04:23,000
Speaker 1: Texas to racial tensions and Tuscaloosa. The STP crew is straining.

1129
01:04:23,480 --> 01:04:26,040
Speaker 1: They have a badly needed four day break on the horizon.

1130
01:04:26,920 --> 01:04:29,160
Speaker 1: The goal is to get out of Alabama without anything

1131
01:04:29,240 --> 01:04:33,240
Speaker 1: untour it happening. Then, as if on que, the bus

1132
01:04:33,320 --> 01:04:38,760
Speaker 1: heading to the airport blows a tire. This can't be happening,

1133
01:04:38,880 --> 01:04:42,560
Speaker 1: thinks tour manager Peter Rudge. He urges the driver to

1134
01:04:42,640 --> 01:04:48,200
Speaker 1: keep on going bad call tire starts smoking. Game over.

1135
01:04:49,160 --> 01:04:52,680
Speaker 1: They limp into a nearby gas station. Everyone piles out,

1136
01:04:52,720 --> 01:04:55,720
Speaker 1: and sure enough, one rear tire is crushed and mangled.

1137
01:04:56,280 --> 01:05:00,800
Speaker 1: They aren't going anywhere anytime. Soon the STP machine stop dead,

1138
01:05:01,280 --> 01:05:04,800
Speaker 1: a total breakdown and procedure. Stuck inside a mobile with

1139
01:05:04,880 --> 01:05:10,040
Speaker 1: the gas station blues again, the vast majority of the

1140
01:05:10,120 --> 01:05:14,840
Speaker 1: team are drugged out and deeply contemplating the vending machine. Correctly,

1141
01:05:14,960 --> 01:05:17,880
Speaker 1: sensing that he'll get no assistance from them, Peter Rudge

1142
01:05:17,960 --> 01:05:21,680
Speaker 1: runs off down the highway in search of help. Soon

1143
01:05:21,760 --> 01:05:24,760
Speaker 1: a collection of Alabama State Police cars pull into the station,

1144
01:05:25,320 --> 01:05:30,320
Speaker 1: tires screeching, red beams whirling with SDP immunity. Everyone hops

1145
01:05:30,400 --> 01:05:33,919
Speaker 1: in those other cabs outside the plaza, and once again

1146
01:05:33,960 --> 01:05:41,120
Speaker 1: they're en route to the airport. For Robert Greenfield and

1147
01:05:41,200 --> 01:05:45,800
Speaker 1: Gary Stromberg, it's like their own personal limo. But then

1148
01:05:45,880 --> 01:05:49,320
Speaker 1: the scene takes a turn as their chauffeur gets nasty.

1149
01:05:53,400 --> 01:05:56,960
Speaker 2: Now tell me if you remember this, Do you remember

1150
01:05:57,120 --> 01:06:00,720
Speaker 2: being escorted in the back of the state trooper car?

1151
01:06:01,320 --> 01:06:01,760
Speaker 6: You and me?

1152
01:06:03,560 --> 01:06:04,960
Speaker 4: So we leave the show and I.

1153
01:06:05,120 --> 01:06:06,520
Speaker 3: Don't know listen in Alabama.

1154
01:06:06,840 --> 01:06:10,440
Speaker 2: Yes, it's just like speaks to how in the bubble

1155
01:06:10,480 --> 01:06:14,400
Speaker 2: we are Gary Stromberg and Bob Greenfield, two long haired

1156
01:06:14,520 --> 01:06:20,360
Speaker 2: juice in the heart of the South, big trooper, not

1157
01:06:20,560 --> 01:06:23,680
Speaker 2: looking at us, just driving. I remember this clear, and

1158
01:06:23,800 --> 01:06:26,919
Speaker 2: we're talking like and he turned around and he said

1159
01:06:27,040 --> 01:06:31,240
Speaker 2: something like something. Wasn't shut the f up. It was

1160
01:06:31,440 --> 01:06:36,120
Speaker 2: just something. And all of a sudden, you know, that cold, chill,

1161
01:06:36,320 --> 01:06:41,240
Speaker 2: primitive fear. I thought, Oh, this guy hates us. He

1162
01:06:41,480 --> 01:06:44,400
Speaker 2: wants to kill us, and he's just trying to get

1163
01:06:44,520 --> 01:06:49,080
Speaker 2: us out of Alabama as fast as he can. We're

1164
01:06:49,120 --> 01:06:51,040
Speaker 2: saying like, oh man, this is so great, thanks for

1165
01:06:51,160 --> 01:06:51,600
Speaker 2: the favor.

1166
01:06:52,400 --> 01:06:53,840
Speaker 4: And he hated us.

1167
01:06:54,120 --> 01:06:54,280
Speaker 3: Well.

1168
01:06:54,320 --> 01:06:59,400
Speaker 2: We represented everything that the certain.

1169
01:06:58,400 --> 01:06:59,840
Speaker 4: People in America still hate.

1170
01:07:00,360 --> 01:07:02,560
Speaker 2: We're back to that we were the enemy, we were

1171
01:07:02,640 --> 01:07:06,760
Speaker 2: the revolution, we were the communists, or whatever you want

1172
01:07:06,800 --> 01:07:07,080
Speaker 2: to say.

1173
01:07:08,960 --> 01:07:11,480
Speaker 1: The police cars storm into the airport and slam into

1174
01:07:11,520 --> 01:07:15,960
Speaker 1: a stop one behind another. Lightning cracks, thunder booms, and

1175
01:07:16,080 --> 01:07:19,480
Speaker 1: great drops of rain dot the landing strip, but it's

1176
01:07:19,480 --> 01:07:23,440
Speaker 1: always sunny above the clouds. Charlie Watts does a celebratory

1177
01:07:23,560 --> 01:07:26,360
Speaker 1: somersault down the aisle of the plane as it takes flight.

1178
01:07:27,040 --> 01:07:30,960
Speaker 1: All problems remain back down on Earth, the stones, and

1179
01:07:31,000 --> 01:07:33,440
Speaker 1: they're chosen. Few are above it all.

1180
01:07:52,960 --> 01:07:55,520
Speaker 12: The Stone's Touring Party is written and hosted by Jordan

1181
01:07:55,640 --> 01:07:59,000
Speaker 12: Rundog Co. Executive produced by Noel Brown and Jordan Rundalk.

1182
01:08:00,240 --> 01:08:03,640
Speaker 12: Designed by Noel Brown and Michael Alder June. Original music

1183
01:08:03,720 --> 01:08:06,640
Speaker 12: composed and performed by Michael Alder June and Noel Brown,

1184
01:08:06,880 --> 01:08:10,240
Speaker 12: with additional instruments performed by Chris Suarez, Nick Johns Cooper

1185
01:08:10,320 --> 01:08:13,760
Speaker 12: and Josh Thame. Vintage Rolling Stones audio courtesy of the

1186
01:08:13,840 --> 01:08:17,240
Speaker 12: Robert Greenfield Archive at the Charles Deering McCormick Library of

1187
01:08:17,280 --> 01:08:20,240
Speaker 12: Special Collections in Northwestern University Libraries.

1188
01:08:21,080 --> 01:08:23,840
Speaker 1: Stone's Touring Party is a production of iHeartRadio.

1189
01:08:32,560 --> 01:08:36,000
Speaker 12: For more podcasts from iHeart Radio, visit the iHeartRadio app,

1190
01:08:36,040 --> 01:08:38,599
Speaker 12: Apple Podcasts, or wherever you get your favorite shows.