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Speaker 1: Welcome, Welcome, welcome back to the Barbs podcast. My yesterday

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Speaker 1: is truly a legend of the live music war Concer promoter,

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Speaker 1: Events promoter, Harvey Goldsmith, Harvey, Hi, Bob, thank you very

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Speaker 1: much for having me. I'm kind of looking forward to

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Speaker 1: this discussion. Okay, let's start out with the type of

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Speaker 1: jure when our shows coming back. Well, yeah, that's been

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Speaker 1: quite interesting. Were suddenly in England in the UK seeing

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Speaker 1: some light at the end of the tunnel and we

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Speaker 1: had a whole discussion about it today. I had Minister

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Speaker 1: of Vaccines called me up yesterday to ask me what

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Speaker 1: the issues were with our industry because we were getting

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Speaker 1: nowhere with the government. It looks like country. So what

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Speaker 1: you may have read in the papers that life will

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Speaker 1: start probably end of August, beginning of September. We're hoping

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Speaker 1: that there maybe one or two smaller open air events,

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Speaker 1: but the notion of reading and leads fifty capacity plus

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Speaker 1: and all that, I'd be quite amazed if they happen

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Speaker 1: this year. But we are hoping that indoor events and

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Speaker 1: the smaller outdoor events that happened late summer and then

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Speaker 1: indoor events will kick off in September. That's what we're

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Speaker 1: hoping for. Okay, Glastonbury canceled, but reading and leads they

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Speaker 1: still see that they're going to go on, and that's

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Speaker 1: what I was just intervacing. Didn't actually say they were

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Speaker 1: going to go on. They said that they the headliners

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Speaker 1: are still booked. They didn't actually say yes, we're happening

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Speaker 1: because they can't. The earliest that any if everything goes

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Speaker 1: well and smoothly, the earliest we are going to know

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Speaker 1: whether we can have, you know, a back to normal

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Speaker 1: is June. That's the very earliest. What is the significance

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Speaker 1: of June because what's happening The government have announced four

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Speaker 1: different stages of activity to get back to normal. And

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Speaker 1: while that's going on, there is more rapid testing being developing,

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Speaker 1: the vaccines being rolled out, there's now three vaccines available, etcetera, etcetera.

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Speaker 1: But the government are thinking, should everything be good and

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Speaker 1: we don't find another variant that the infection rate is

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Speaker 1: going down, the death rate is going down, the hospitalization

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Speaker 1: rate is going down. So consequently, if various schools are

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Speaker 1: going back March the eight, the next move is that

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Speaker 1: people couldn't start mixing together up to six people. The

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Speaker 1: next movie is that retail will open, gym's were open.

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Speaker 1: You've got to actually get a haircut for the first time,

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Speaker 1: not that you and I need it, but nevertheless everybody

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Speaker 1: else does, um and sold and so forth. And then

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Speaker 1: they're going made they're going to allow socially distant shows,

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Speaker 1: which for us they work um and up to a

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Speaker 1: thousand people. And then in June, if all goes well

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Speaker 1: and there's no increase in infection rates, etcetera, then the

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Speaker 1: government is saying they're going to open the doors to

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Speaker 1: get back to normal. But we don't think that is

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Speaker 1: enough time from June to get everything together because they've

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Speaker 1: still got to work out the protocols for opening up shows,

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Speaker 1: which haven't been sorted out yet. They've got to test them,

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Speaker 1: they've got to evaluate them, they've got to cost them,

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Speaker 1: and then we've got to work out the balance between

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Speaker 1: vaccines are rapid testing, because the rapid testing by five

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Speaker 1: minute tests are not don't show a long enough results

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Speaker 1: as yet, so they're still developing those. They've got to

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Speaker 1: look at the results of the vaccine. So we think

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Speaker 1: that we may have some smaller up to maybe fifteen

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Speaker 1: thousand capacity towards the end of the summer August onwards.

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Speaker 1: But I can't personally see a reading and the leads

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Speaker 1: at fifty capacity, or even the Big Hide Park shows

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Speaker 1: happening this summer because I just don't think there's enough

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Speaker 1: time to get it all sorted out. Okay, let's just

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Speaker 1: assume we'll use September one, that you can put on

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Speaker 1: arena shows in September one if you're the promoter A.

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Speaker 1: What are the issues of insurance? Well, that's I was

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Speaker 1: going to come onto that. There are three key issues.

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Speaker 1: One is what are the protocols which we just talked

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Speaker 1: about vaccines cleanin US, dealing with ventilation if it's indoors

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Speaker 1: social distancing testing. The next thing isn't sure currants unless

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Speaker 1: the government can help either force the insurance industry or

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Speaker 1: do what we've asked them to do is to create

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Speaker 1: a bond which we will subscribe to UM. And there's

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Speaker 1: if there's no insurance, there's no shows, there's no festivals,

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Speaker 1: and there's no tours because it's too risky. At the moment,

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Speaker 1: you cannot get cover for COVID anywhere in the world.

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Speaker 1: The final thing is an issue of US leaving the

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Speaker 1: e C. And there are two issues there. One is visas. Currently,

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Speaker 1: you have to get a different visa for every country.

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Speaker 1: It's a walking nightmare. You're gonna have to have fifty

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Speaker 1: seven different passports because you have to send them in.

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Speaker 1: They're going to be stamped and blah blah blah. The

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Speaker 1: second thing is something which you've never heard of. It's

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Speaker 1: called cabotage. Cabotage was a system devised by geniuses at

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Speaker 1: the e C many years ago to stop Russian truck

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Speaker 1: drivers dumping in Europe. And what kabotage means is if

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Speaker 1: you take a truck, load it up with sound, light,

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Speaker 1: staging and backline in London, taking on a ferry to

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Speaker 1: Paris to do your first show, you can unload it,

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Speaker 1: you can load it back up, you can drive it

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Speaker 1: to the next gig, and then you have to stop,

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Speaker 1: send the trucks back with the driver, and then you've

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Speaker 1: got to find other trucks to start again, and then

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Speaker 1: every other go you've got to keep doing it because

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Speaker 1: you're only allowed one drop off, one load up. So

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Speaker 1: that's going to completely screw European tours. They are they

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Speaker 1: understand it now, the government they it was an omission apparently,

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Speaker 1: but they are starting to talk to the e C

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Speaker 1: about sorting that out. They've still got to deal with

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Speaker 1: the insurance, which is a major global issue, and they've

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Speaker 1: also got to deal with the protocols. That's why I

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Speaker 1: think Summer's end of summer is the earliest. Okay, based

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Speaker 1: on prior conversations with you, you were very pro Brexit. Yes,

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Speaker 1: how do you feel about Brexit? Now? They're still pro it.

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Speaker 1: It doesn't because you know they've discovered that there must

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Speaker 1: I'm told there were fourteen thousand statutes to go through,

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Speaker 1: and I am as much as I think it's staff

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Speaker 1: where we've got to, I accept that they're going to

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Speaker 1: be issues that just fall out of the trees that

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Speaker 1: haven't been dealt with, because that's the way the nature

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Speaker 1: of the beast. Anybody that's got any sense will know

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Speaker 1: that these things were not meant for our business. They

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Speaker 1: weren't there to to stop our business from taking place,

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Speaker 1: or to stop European artists coming to England or and

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Speaker 1: trucks and so on. So it'll get sorted out. It's

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Speaker 1: only if the will is there, the way will be found. Okay.

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Speaker 1: Just for those people who are not necessarily from the

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Speaker 1: UK or at verse can you please tell us why

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Speaker 1: you personally approa brexit um. It goes back to the

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Speaker 1: time when the EU was formed. There is a difference

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Speaker 1: between the EU, the European Union, and the e C.

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Speaker 1: The EU was principally formed after the war as a

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Speaker 1: way to stop another war and to get countries, all

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Speaker 1: of whom were in a complete disaster state, to come together,

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Speaker 1: to work together and to to start to redevelop their

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Speaker 1: countries and to trade with each other. The prime reason

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Speaker 1: was to sort out a trading relationship, which was fine

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Speaker 1: as it developed and more and more countries came on board.

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Speaker 1: A layer of bureaucracy C came about and the e

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Speaker 1: C Commissioners, who are unelected were then put into place.

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Speaker 1: They have one agenda and one agenda only, and that

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Speaker 1: is to have one federal state of Europe, and every

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Speaker 1: other member state and every person that lives in the

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Speaker 1: e C is paying for these people fortunes. All they

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Speaker 1: want is a one federal state. Whereas every citizen of

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Speaker 1: every country in Europe wants to be a citizen of

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Speaker 1: that country, whether it's the UK or whether it's Germany

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Speaker 1: or France or whatever. They don't want to be in

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Speaker 1: one federal state. They do want to trade with each other,

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Speaker 1: and there's this mix up and unfortunately, because they're not elected,

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Speaker 1: they're starting to become, if you like, semigods. So they

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Speaker 1: only eat at the best restaurants. Lunch goes on forever.

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Speaker 1: If you and have lunch, they will talk to you.

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Speaker 1: You can't get business done. They dictate the rules. They

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Speaker 1: suddenly decide, well, you can't have Yorkshire puddings, or you

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Speaker 1: can't have British sausages, or our cheddar cheese is no

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Speaker 1: good because they're bored, and so on. I spent a

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Speaker 1: year going out. There is a representative for the UK

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Speaker 1: to deal with an outfit called the EC is divided

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Speaker 1: up into divisions, and this was called DG ten, which

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Speaker 1: is a cultural division. It just to be clear for

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Speaker 1: those who don't know. For those who don't know, EC

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Speaker 1: is the European Commission, yeah, and d G ten is

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Speaker 1: the Cultural Office. They told us they had one billion

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Speaker 1: euros to spend on developing music across Europe and they

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Speaker 1: wanted to They have representatives from eight or nine countries coming.

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Speaker 1: I went over to represent England. I went there six times.

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Speaker 1: They told us they had a billion euros to unlock

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Speaker 1: the key of the cupboard that's got the money in

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Speaker 1: it is absolutely impossible. But they said, so you go there,

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Speaker 1: you have lunch, which is other waste of time. You

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Speaker 1: have dinner, you have a hotel, they run you around

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Speaker 1: in limousines, you have lunch again, dinner. Can't unlock the

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Speaker 1: keys to the money. And what happens at the end

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Speaker 1: of the days. Instead of this money going which is

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Speaker 1: what we all wanted, was to go to on the ground,

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Speaker 1: street level encouragement for people to get into music, new artists,

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Speaker 1: new bands, some form of competition, touring around Europe with

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Speaker 1: new artists and new cultural ideas. All that happened was

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Speaker 1: the money went to the b p I the money

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Speaker 1: which is the record industry. The money went to the

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Speaker 1: PRS which is the performing rights people. The money went,

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Speaker 1: money went to the TV associations and the film associations.

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Speaker 1: Are not one single penny went down the grassroots music.

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Speaker 1: And it's a joke, okay, just since you're so educated.

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Speaker 1: Shifting the focus a little bit, uh, in terms of

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Speaker 1: Brexit on banking, certainly the city in London was the

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Speaker 1: epicenter certainly for the continent. Uh. And now something for

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Speaker 1: the well one could argue in New York City, but

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Speaker 1: let's not argue that, Okay, but you know things are

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Speaker 1: moving uh. Universal is going to go public in Amsterdam.

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Speaker 1: In addition their issues of shipping, there's issues of getting

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Speaker 1: e uh like construction of cars, getting parts from other

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Speaker 1: countries and sometimes the parts have to go back and forth,

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Speaker 1: making the focus larger. You still think Brexit's gonna work

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Speaker 1: itself out, Um, yes, because Brexit because they you it's

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Speaker 1: got too big and you have the difficulty of propping

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Speaker 1: out most of the countries. There's economy. Um is difficult

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Speaker 1: to put it bluntly, where the central banks are proper

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Speaker 1: having a prop up. We're contributing and we unfortunately in

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Speaker 1: the UK or on its citizens. So when when there's

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Speaker 1: a rule that comes up which the French farmers don't like,

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Speaker 1: they don't do it. But when the rule comes up

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Speaker 1: to Britain, the British farmers government, god, and we hate this,

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Speaker 1: but we'll have to do it. So we've already always complied.

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Speaker 1: But the French do whatever they want to do, and

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Speaker 1: so on and so forth. So it just doesn't work

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Speaker 1: for us. There will be hiccups. We've only been out

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Speaker 1: of the EU and the EC since January the third

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Speaker 1: December thirty one. If we're in February, it's going to

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Speaker 1: take six months before it sorts itself out. We will

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Speaker 1: have a thriving trading relationship with Europe, but we will

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Speaker 1: be able to row our own boats, principally in on

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Speaker 1: the League Eagle system we'll have. We will be back

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Speaker 1: in control of our legal system. We will be back

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Speaker 1: in control of trade. We can decide if we want

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Speaker 1: to trade with Australia or America or New Zealand or Timbucto.

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Speaker 1: We can trade with it. We don't have to ask

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Speaker 1: the e C. We will forge a very good, workable

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Speaker 1: trading relationship with the EU, and they need us and

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Speaker 1: we need them. So it will happen, and it'll within

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Speaker 1: and by this time next year you're going, what was

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Speaker 1: all the row about? We'll just get on with it.

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Speaker 1: There will be a few things that clearly aren't the same.

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Speaker 1: There are issues of joint companies and joint ventures like

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Speaker 1: the European Space Agency, like Eurotunnel, like and so on

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Speaker 1: and so forth, um, but they'll get sorted out as well.

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Speaker 1: We need our own car industry. We need to be

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Speaker 1: able to build electric cars in the UK with our

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Speaker 1: own batteries and our own battery system. We can't be

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Speaker 1: just depend on and everything in Europe. We have to

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Speaker 1: forge our own independence. And maybe how farmers will get

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Speaker 1: better and we'll be on easing really good English lab

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Speaker 1: which gets exported around the world. Maybe our fish will

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Speaker 1: start to um to regrow and and all of the

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Speaker 1: fisheries will start to get bigger again because they're over fish.

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Speaker 1: We can control it. We will have our own car

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Speaker 1: industry because we have to, and we will control our

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Speaker 1: own clothing and all the rest of it. And we'll

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Speaker 1: have a great trading relationship with our friends in Europe

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Speaker 1: and they'll love it. But we don't want to be

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Speaker 1: part of that mess. Okay, let's go back to what's

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Speaker 1: going to happen in the four Speak to how much

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Speaker 1: pent up demand there will be and be will ticket

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Speaker 1: prices sustain or as a result of a year staying

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Speaker 1: at home, are people harbled and not able to pay

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Speaker 1: the prices they used to? Okay, here's the city squation.

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Speaker 1: There were hundreds, if not thousands, of concerts um Plan

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Speaker 1: for two thousand and twenty. Every single one of those

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Speaker 1: was postponed to two thousand and twenty one. All of

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Speaker 1: those concerts that were planned for the first half, quarter

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Speaker 1: one and quarter two of twenty one have now been

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Speaker 1: moved to quarter one and quarter two of twenty two.

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Speaker 1: Plus a lot of people who are like unsure about

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Speaker 1: um indoor shows coming back in quarter three have also

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Speaker 1: moved into twenty two. So we have a situation of gridlock.

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Speaker 1: The venues are suffering because they're having a whole dates

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Speaker 1: in twenty one and twenty two and they don't know

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Speaker 1: which ones are going to work. Currently. You cannot get

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Speaker 1: a date in a venue for love nor money. That's

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Speaker 1: point one. The interesting thing is that the ticket rebase

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Speaker 1: people getting there asking for their money back is probably

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Speaker 1: less than five percent across the board. I had a

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Speaker 1: whole discussion with with one of my fellow promoters this afternoon,

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Speaker 1: and um, we've got I've got a whole series of

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Speaker 1: shows with Andre Pacelli coming up. Um, we've moved it

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Speaker 1: from twenty to twenty one, and we may have to

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Speaker 1: move it to twenty two depending on what happens. We've

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Speaker 1: refunded out of twenty eight thousand tickets, we've refunded a

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Speaker 1: hundred and fifty eight and so on as you go

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Speaker 1: through this week and last week. As a result of

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Speaker 1: actually this week really as a result of the Mayor's

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Speaker 1: the gut the Prime Minister's an announcement, thousands of tickets

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Speaker 1: were sold. There's huge pent up demand for concerts. There

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Speaker 1: is a confidence issue, but there is no there is

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Speaker 1: no um let up of people wanting to go. So

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Speaker 1: there is an issue of confidence. Some factors are not

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Speaker 1: quite sure and they want to be dead sure before

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Speaker 1: they actually go. But nobody's giving up their tickets, which

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Speaker 1: is really quite fascinating. So for example, I start my

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Speaker 1: September off with Jimmy Buffett. My Jimmy Buffett shows sold

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Speaker 1: out in about four seconds, and when we moved them

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Speaker 1: from twenty to twenty one, nobody back an eyelid. Were

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Speaker 1: actually refunded twelve tickets. That was it. And if I

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Speaker 1: have to move into twenty two because they're early September,

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Speaker 1: it'll be the same. So what we've discovered is that

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Speaker 1: obviously the younger you get, the more pent up demand

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Speaker 1: there is. There is a little bit reticence of reticence.

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Speaker 1: I probably the forty five plus age group, but they

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Speaker 1: just want the confidence to know they've had a vaccine,

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Speaker 1: there's a proper testing environment. What's the issue we have.

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Speaker 1: Do you have to wear masks or not masks? And

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Speaker 1: how are the venues if they're indoors, going to be

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Speaker 1: sanitized with better ventilation and so on and so forth

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Speaker 1: once they know that they're going to come back in droves.

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Speaker 1: So ticket prices can't go up at the moment because

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Speaker 1: there's nowhere to go up to because all the concerts

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Speaker 1: of books are all twenties inventory that's the same globally,

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Speaker 1: same in America, same all over the world. All the

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Speaker 1: inventory for twenties now moved to twenty one. And that's

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Speaker 1: the situation it's going to be before probably to the

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Speaker 1: middle of twenty two, before a new life starts. Whether

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Speaker 1: ticket prices starts to increase a lot, I don't know um,

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Speaker 1: But at the moment they can't because they're fixed. So

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Speaker 1: you can't have a differential from ticket somebody that bought

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Speaker 1: a ticket in nineteen or early twenty for constant in

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Speaker 1: twenty that are now going to happen late twenty one,

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Speaker 1: and you've got to say a thousand tickets left because

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Speaker 1: you haven't sold them all. You can't suddenly put them

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Speaker 1: out and double the price. But the issue who pays

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Speaker 1: the course of the sanitization, the ventilation and the extra

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Speaker 1: insurance that's going to be gobbled up between the promoters

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Speaker 1: and the artists, And quite honestly, the artists gonna have

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Speaker 1: to come to the table the same as the promoters are.

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Speaker 1: So the old days of the agents hanging out so

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Speaker 1: they squeeze your nuts off and there's nothing left are over.

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Speaker 1: They're going to have to be more open to be

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Speaker 1: able to allow shows to happen. They have to be

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Speaker 1: aware that if there's an insurance issue, whatever it ends

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Speaker 1: up being, if shows a counsel at the last, very

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Speaker 1: last minute because of COVID and it's overcover for it, um,

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Speaker 1: everybody's gonna have to dip into their pockets to deal

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Speaker 1: with it. So it's shared risk and then life or work.

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Speaker 1: So I think there will be some shift changes for

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Speaker 1: the better, if I may add, but of course they

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Speaker 1: won't last very long because the grief factor then sticks

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Speaker 1: in them. We'll go back to the the rolling. Okay,

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Speaker 1: So the business has changed dramatically from when you got

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Speaker 1: in in the seventies. Are so if that time essentially

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Speaker 1: after it leads up when it was but the guarantees

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Speaker 1: were low. Now the guarantees are incredibly high. And do

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Speaker 1: you see that changing. No, the guarantees will still be

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Speaker 1: the same because there's too much demand. There's too much

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Speaker 1: competition between promoters in each marketplace who don't want to

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Speaker 1: give in, who have to have those acts that they're

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Speaker 1: going to pay through the nose for them. And all

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Speaker 1: the agents sit down, they're just playing tennis. They look

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Speaker 1: at this one and then they go what about you?

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Speaker 1: And they look at that one and he says this,

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Speaker 1: and then they go back this one and says he

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Speaker 1: says this. That's the nature of the animal. Okay, which

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Speaker 1: brings up the issue of consolidation, which is five years

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Speaker 1: old that year. What is your viewpoint because you're a

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Speaker 1: total independent, he mean, were you ever offered to join

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Speaker 1: either age or a live nation And what is your

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Speaker 1: viewpoint about them? And how do you compete with them today? Okay? Um,

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Speaker 1: I don't compete with them, is the answer. I do

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Speaker 1: different things. I work on events and shows all over

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Speaker 1: the world. I work with my own kind of level

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Speaker 1: of artists that I want to work with bit Hand Summer,

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Speaker 1: who I kind of created be it Um. But Celli

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Speaker 1: the artists that I want. You know that I do.

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Speaker 1: I do events all over the world, and I work

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Speaker 1: on more on a different side of the business than

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Speaker 1: I used to. So I'm not that there is no

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Speaker 1: way that I can compete with the ages or the

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Speaker 1: Live Nation, and I don't want to have fun enough.

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Speaker 1: I work with both of them as well when it

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Speaker 1: when necessary, so I concentrate. I do enough. I do

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Speaker 1: my events, which I get paid for. I work kin

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Speaker 1: in an immersive theater world. I work in other areas

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Speaker 1: of activity uh, and I work in on creating events

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Speaker 1: all over the world, which I do very nicely. Out

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Speaker 1: of when I started, it was different. Um. I got

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Speaker 1: to the point where I actually used to go in

357
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Speaker 1: the office to figure out who I was that day?

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Speaker 1: Was I Elton John? Was I Paul McCartney, Was I

359
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Speaker 1: led Zeppelin? Was I Queen? And if I went out

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Speaker 1: with Queen, Elton John would find me out and say,

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Speaker 1: where the hell are you? You're with that Freddie again.

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Speaker 1: So I went out with Elton John. He Freddie would

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Speaker 1: call up and say, I'm not working with you again

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Speaker 1: because you're out with Elton John. And that that was

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Speaker 1: my life. I used to go in and say who

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Speaker 1: am I today? It was nuts six seven shows a

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Speaker 1: day all over the world. Um, I've done that, had

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Speaker 1: the paint, I've had the most fantastic life, which I

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Speaker 1: thoroughly enjoyed. But it sence the consolidation. It doesn't matter

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Speaker 1: now interest just to let me tell you about the

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Speaker 1: consolidation is a very interesting situation. That's where I was going.

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Speaker 1: As you know, America. The whole promoter pattern in America

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Speaker 1: was created by Frank Barcelona. Frank Barcelona, for those that

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Speaker 1: don't know, run an agency called Premier Talent. Premier Talent

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Speaker 1: was had the best of the best of the British acts,

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Speaker 1: which is how I came to know Frank. He and

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Speaker 1: I became unbelievably close friends. I'm still friendly with his

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Speaker 1: wife and his daughter. Um. And Frank showed the way.

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Speaker 1: Frank really opened the doors to how music should work

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Speaker 1: in America. And what he did is he picked a

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Speaker 1: promoter in every main city and every main connurbation and

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Speaker 1: said that's your city. I'm going to work with you

383
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Speaker 1: and you're going to get every show I have, which

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Speaker 1: is great. That worked very nicely because there was some

385
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Speaker 1: competition in the middle, and then there was a come

386
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Speaker 1: nicolled Concerts West, which UM through Jerry Weintrobe had the

387
00:25:05,240 --> 00:25:09,040
Speaker 1: rights to deal with Elvis Presley, and then they started

388
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Speaker 1: to do national tours. And there was a hundred pound

389
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Speaker 1: gorilla called Bill Graham who lived in San Francisco who

390
00:25:15,600 --> 00:25:17,919
Speaker 1: kind of did what he liked up to a point.

391
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Speaker 1: So that was the marketplace and it all worked really well.

392
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Speaker 1: When uh Mitch Slazer and Ron Delsner came across UM,

393
00:25:30,760 --> 00:25:34,480
Speaker 1: this very interesting chap who started a company called sf

394
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Speaker 1: X and wanted to buy up promoters. He only wanted

395
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Speaker 1: to buy up promoters that had a solid base either

396
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Speaker 1: they had some value, which was a venue. So that's

397
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Speaker 1: how it started. He started buying up promoters that had venues,

398
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Speaker 1: mainly amphitheaters. Some had clubs, but most of them were amphitheaters,

399
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Speaker 1: and he started to build a network. When that started

400
00:25:58,920 --> 00:26:04,480
Speaker 1: to happen, you could see the consolidation of SFX turned

401
00:26:04,520 --> 00:26:07,439
Speaker 1: into Clear Channel. Clear Channel then became Live Nation, and

402
00:26:08,000 --> 00:26:10,520
Speaker 1: we know where it is. So we now have this

403
00:26:11,000 --> 00:26:15,680
Speaker 1: big brute called Live Nation that is across the whole

404
00:26:15,720 --> 00:26:19,600
Speaker 1: of the entertainment industry and is a global player. God

405
00:26:19,640 --> 00:26:24,359
Speaker 1: bless them they have God knows seven thousand employees and

406
00:26:24,359 --> 00:26:29,040
Speaker 1: blah blah blah blah, good luck to them. A g

407
00:26:29,359 --> 00:26:33,920
Speaker 1: came about because phil and Shoots wanted to build an

408
00:26:33,920 --> 00:26:39,760
Speaker 1: arena business and he came to me because he wanted

409
00:26:39,760 --> 00:26:42,080
Speaker 1: to buy Wembley Stadium and he wanted some help. But

410
00:26:42,160 --> 00:26:46,960
Speaker 1: he wanted wem To Stadium and Wembley Arena, and unbekownst

411
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Speaker 1: to him, I was sitting on a government committee um

412
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Speaker 1: looking at the future of Wembley Stadium and there was

413
00:26:53,600 --> 00:26:56,440
Speaker 1: a piece of land that had to be compulsory purchased,

414
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Speaker 1: which means you couldn't talk about it because it just

415
00:26:59,280 --> 00:27:02,160
Speaker 1: literally turned up with a Britain say I'm sorry, I'm

416
00:27:02,160 --> 00:27:04,600
Speaker 1: buying this piece of land and then there's a fair

417
00:27:04,640 --> 00:27:08,479
Speaker 1: market whatever. So he said to me, would would I

418
00:27:08,520 --> 00:27:13,040
Speaker 1: help him buy Wembley Stadium And I said absolutely, no

419
00:27:13,200 --> 00:27:16,640
Speaker 1: wirries at all, except unfalsely, you can't. He said, yes, okay,

420
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Speaker 1: and I've got to check in my pocket and I've

421
00:27:18,600 --> 00:27:22,240
Speaker 1: got a cupboard for you know, briefcase for the contracts.

422
00:27:22,240 --> 00:27:25,119
Speaker 1: It's not going to happen, and it didn't. I was

423
00:27:25,160 --> 00:27:29,280
Speaker 1: also working with the government trying to find the future

424
00:27:29,440 --> 00:27:31,560
Speaker 1: for this thing called the Dome, which was built for

425
00:27:31,560 --> 00:27:38,480
Speaker 1: the Millennium Exhibition and anyway, so I took a fill there.

426
00:27:38,520 --> 00:27:41,120
Speaker 1: He was fuling when he found out he couldn't buy Wembley,

427
00:27:41,119 --> 00:27:44,800
Speaker 1: which he couldn't, and he thought about it. He wanted

428
00:27:44,800 --> 00:27:49,600
Speaker 1: a base in London, and we talked it through and

429
00:27:49,840 --> 00:27:52,240
Speaker 1: I introduced into the government and blah blah, blah blah.

430
00:27:52,320 --> 00:27:54,359
Speaker 1: He ended up buying the Dome, which is now the

431
00:27:54,400 --> 00:27:57,200
Speaker 1: O two. And I said to him at the time,

432
00:27:57,240 --> 00:28:00,359
Speaker 1: when everybody said it's a disaster, I said, this is

433
00:28:00,400 --> 00:28:04,480
Speaker 1: turning a lemon into a melon. And if you can

434
00:28:04,680 --> 00:28:08,639
Speaker 1: create a venue that both the audience like front of

435
00:28:08,680 --> 00:28:12,520
Speaker 1: house and the artists like back of house, it could

436
00:28:12,520 --> 00:28:15,160
Speaker 1: be in the middle of a field, in the desert

437
00:28:15,240 --> 00:28:17,920
Speaker 1: or in the desert, people will go to it. If

438
00:28:18,000 --> 00:28:21,600
Speaker 1: Madonna's playing there or the Rolling Stones are playing there,

439
00:28:21,920 --> 00:28:26,120
Speaker 1: they will go. But you better makee damn sure that

440
00:28:26,160 --> 00:28:30,000
Speaker 1: you have satisfied both the audience and made it good

441
00:28:30,000 --> 00:28:33,399
Speaker 1: and convenient for them and the artists. So they like

442
00:28:33,560 --> 00:28:35,840
Speaker 1: going there because they'll tell everybody else to go there.

443
00:28:36,000 --> 00:28:40,560
Speaker 1: It's exactly what happened. Phil is a genius because he

444
00:28:40,600 --> 00:28:43,520
Speaker 1: gets the best of the best. He built the O two.

445
00:28:44,000 --> 00:28:46,600
Speaker 1: He opened it and for the day it opened it

446
00:28:46,720 --> 00:28:49,800
Speaker 1: became the number one venue in the world, and it's

447
00:28:49,800 --> 00:28:53,000
Speaker 1: never got off that perch ever, So there was a

448
00:28:53,040 --> 00:28:57,880
Speaker 1: business there. Phil's problem was that he was deeply concerned

449
00:28:58,440 --> 00:29:02,080
Speaker 1: that as clear channel will building up their business, they

450
00:29:02,120 --> 00:29:07,320
Speaker 1: were also controlling venues management, and they were and promoters,

451
00:29:07,760 --> 00:29:11,440
Speaker 1: and he was worried that if they build up sufficient venues,

452
00:29:11,560 --> 00:29:14,760
Speaker 1: they were just block going to the A G venues.

453
00:29:15,440 --> 00:29:19,160
Speaker 1: So alongside it, against his better judgment, I might add,

454
00:29:20,080 --> 00:29:23,760
Speaker 1: he built up a promoting side and suddenly with the

455
00:29:23,840 --> 00:29:25,960
Speaker 1: meet with Mr Irving as off in the middle of

456
00:29:25,960 --> 00:29:29,120
Speaker 1: it all. And it was Irving that introduced me to Field,

457
00:29:29,160 --> 00:29:32,360
Speaker 1: by the way, so I have no problems with Irving personally,

458
00:29:32,680 --> 00:29:36,280
Speaker 1: but right whatever, just to go into Irving from his

459
00:29:36,400 --> 00:29:39,959
Speaker 1: viewpoint on this or I'm speaking for Irving, he wanted

460
00:29:40,080 --> 00:29:43,680
Speaker 1: Fill to build a promotion business so he could play

461
00:29:43,720 --> 00:29:48,360
Speaker 1: the two off each other benefiting. That's that's that's his pocisition.

462
00:29:48,520 --> 00:29:52,880
Speaker 1: That's fair enough. But what happened was he did better

463
00:29:53,000 --> 00:29:55,240
Speaker 1: the acts. But what it's set up was a deep

464
00:29:55,600 --> 00:30:00,400
Speaker 1: competition between A G and Live Nation, and they were

465
00:30:00,440 --> 00:30:03,480
Speaker 1: each outbidding each other, which meant that if you were

466
00:30:04,280 --> 00:30:09,000
Speaker 1: a an independent promoter in America or indeed some of

467
00:30:09,040 --> 00:30:11,800
Speaker 1: the great cities of Europe, you just didn't have a

468
00:30:11,880 --> 00:30:15,400
Speaker 1: chance because they had unlimited pockets. They had lots of backing,

469
00:30:15,960 --> 00:30:19,960
Speaker 1: and they had unlimited pockets. So therefore you couldn't compete.

470
00:30:20,320 --> 00:30:24,280
Speaker 1: So that build up and what happened, what's happened is

471
00:30:25,120 --> 00:30:28,760
Speaker 1: that it's now like dealing with a country. You're dealing

472
00:30:28,800 --> 00:30:32,040
Speaker 1: with civil servants, because that's what they are. They're not

473
00:30:32,160 --> 00:30:36,040
Speaker 1: really creative people. They do a bloody good job. I

474
00:30:36,120 --> 00:30:40,440
Speaker 1: have no complaints about either company whatsoever, but they do

475
00:30:40,480 --> 00:30:44,840
Speaker 1: it to a level. And so the business, in my opinions,

476
00:30:44,880 --> 00:30:49,840
Speaker 1: has suffered very badly because you need that Mumma and Papa.

477
00:30:49,960 --> 00:30:54,040
Speaker 1: You need that independent guy. You need that man, the

478
00:30:54,080 --> 00:30:57,000
Speaker 1: Bill Grahams of the world. You need the Rondelsters who

479
00:30:57,200 --> 00:31:01,200
Speaker 1: got sucked into obviously into into five Nation and so on.

480
00:31:02,200 --> 00:31:05,240
Speaker 1: And you need the Larry maggie Is who had a

481
00:31:05,280 --> 00:31:08,240
Speaker 1: different way of doing things. And the only two that

482
00:31:08,360 --> 00:31:12,200
Speaker 1: stuck it out was An'tie and Jerry now Um Jerry

483
00:31:12,280 --> 00:31:15,920
Speaker 1: in Chicago in America, and they're the only I think

484
00:31:15,920 --> 00:31:21,000
Speaker 1: they're the only two independents left. And Um I never forget.

485
00:31:21,040 --> 00:31:24,520
Speaker 1: There was a time when Frank Barcelona phoned me up.

486
00:31:24,560 --> 00:31:26,640
Speaker 1: He was having problems for you too, and he asked

487
00:31:26,680 --> 00:31:29,120
Speaker 1: for some help. And then he says to me, listen,

488
00:31:29,360 --> 00:31:31,800
Speaker 1: you are going to stick with me on on this

489
00:31:31,800 --> 00:31:35,520
Speaker 1: whole Live Nation business or SFX business. At the time,

490
00:31:35,560 --> 00:31:37,720
Speaker 1: I said sure, and he said, I'm going to get

491
00:31:37,760 --> 00:31:40,640
Speaker 1: Don Law on the phone, and Don is going to

492
00:31:41,360 --> 00:31:43,800
Speaker 1: you know, he's really adamant. He's not going to work

493
00:31:43,800 --> 00:31:46,040
Speaker 1: with them or anything like that. I want you, really,

494
00:31:46,200 --> 00:31:49,240
Speaker 1: let's work together and make sure they don't pick off

495
00:31:49,280 --> 00:31:51,360
Speaker 1: the best of the best in other territories. I'm gonna

496
00:31:51,480 --> 00:31:56,920
Speaker 1: fine whether this conversation or great. Now. Less than three

497
00:31:56,960 --> 00:31:59,800
Speaker 1: months later I pick up. I can't remember. It was

498
00:32:00,000 --> 00:32:02,160
Speaker 1: all board and variety of one of the others, Like

499
00:32:03,200 --> 00:32:06,719
Speaker 1: I see that Larry's side that don't sold his business

500
00:32:06,840 --> 00:32:10,400
Speaker 1: to lot to SFX, and I phone Barcelona up. He

501
00:32:10,520 --> 00:32:13,600
Speaker 1: was in tears. So I don't understand it. And I

502
00:32:13,640 --> 00:32:15,720
Speaker 1: think what happened was it just got to the point

503
00:32:15,760 --> 00:32:18,400
Speaker 1: where everybody just started to roll over. There was a

504
00:32:18,480 --> 00:32:21,400
Speaker 1: check waiting for them. It was a bit of security.

505
00:32:21,880 --> 00:32:23,720
Speaker 1: Their view was I'm going to sign a three to

506
00:32:23,840 --> 00:32:25,880
Speaker 1: five year contract and I'm out of there, and so

507
00:32:26,000 --> 00:32:30,320
Speaker 1: on and so forth. But of course Live Nation grew

508
00:32:30,360 --> 00:32:33,280
Speaker 1: as a business and it is. It is an incredible

509
00:32:33,320 --> 00:32:35,480
Speaker 1: business when you think about it for what it does.

510
00:32:36,320 --> 00:32:40,520
Speaker 1: And a G became a slightly different business because they

511
00:32:40,640 --> 00:32:45,080
Speaker 1: really control more arenas than anybody else in the world,

512
00:32:45,080 --> 00:32:48,560
Speaker 1: and particularly with the latest deal with it with SMG,

513
00:32:49,000 --> 00:32:53,000
Speaker 1: they are the biggest arena operators in the world and

514
00:32:53,320 --> 00:32:57,000
Speaker 1: um between them they controlled the market. So how do

515
00:32:57,040 --> 00:32:59,320
Speaker 1: you want to compete with them on a tour? You can't.

516
00:33:00,200 --> 00:33:03,800
Speaker 1: Whereas before there were global tours, but most of them

517
00:33:03,800 --> 00:33:07,840
Speaker 1: were regional tours, so you would I would have my region,

518
00:33:08,640 --> 00:33:12,440
Speaker 1: and Bill Graham would have his region and the Australians,

519
00:33:12,480 --> 00:33:16,360
Speaker 1: Michael Goodinski would have his regions Australasia and he would

520
00:33:16,360 --> 00:33:20,200
Speaker 1: handle that and so on and so forth. Suddenly, um,

521
00:33:20,360 --> 00:33:23,040
Speaker 1: these big companies were pitching and say we're going to

522
00:33:23,120 --> 00:33:26,400
Speaker 1: buy you globally, We're going to buy a merchandizing So

523
00:33:26,640 --> 00:33:31,000
Speaker 1: I had my merchandizing company. Unfortunately I sold to Michael Cole,

524
00:33:31,120 --> 00:33:33,040
Speaker 1: but that was good, so I got there for that.

525
00:33:33,920 --> 00:33:38,320
Speaker 1: But um uh, suddenly they were in every facet of it,

526
00:33:38,720 --> 00:33:42,160
Speaker 1: and they were doing different deals in essence, they were

527
00:33:42,200 --> 00:33:46,360
Speaker 1: doing treasury deals because they were pitching advances and guarantees

528
00:33:46,400 --> 00:33:49,920
Speaker 1: to the artists based on forward ticket sales. And then

529
00:33:49,920 --> 00:33:53,480
Speaker 1: when they started, when they became the ticketing company as well,

530
00:33:53,720 --> 00:33:56,360
Speaker 1: they had all aspects of it. So the whole business changed,

531
00:33:56,880 --> 00:33:59,920
Speaker 1: but it lost, in my opinion, a lot of creator

532
00:34:00,000 --> 00:34:10,719
Speaker 1: of a t okay looking forward maybe beyond our lifetimes,

533
00:34:11,480 --> 00:34:14,439
Speaker 1: is this the end for the consolidation or is there

534
00:34:14,440 --> 00:34:16,960
Speaker 1: going to be a twist that changes. There's always a twist.

535
00:34:17,239 --> 00:34:22,840
Speaker 1: If you look through history of every major business, every industry,

536
00:34:23,000 --> 00:34:27,240
Speaker 1: there's always been consolidation and then suddenly a new raft

537
00:34:27,280 --> 00:34:30,920
Speaker 1: of independence come out of it with a slightly different

538
00:34:30,920 --> 00:34:35,440
Speaker 1: way of doing things and life starts again. It's constantly involving.

539
00:34:35,920 --> 00:34:39,920
Speaker 1: There is nothing new under the sun because it's just

540
00:34:40,280 --> 00:34:43,960
Speaker 1: keeps going around in cycles, and we're at one particular

541
00:34:44,040 --> 00:34:47,120
Speaker 1: facet of the of the cycle. I'm not saying that

542
00:34:47,160 --> 00:34:49,280
Speaker 1: the live nations or ages are going to go anywhere,

543
00:34:49,320 --> 00:34:52,319
Speaker 1: because they're not. But there will be new promoters who

544
00:34:52,360 --> 00:34:54,759
Speaker 1: come out want to do it differently, and there will

545
00:34:54,840 --> 00:34:58,239
Speaker 1: be a raft of new style of artists who will

546
00:34:58,320 --> 00:35:01,080
Speaker 1: stick with the new young promoters, which is what I hope,

547
00:35:01,280 --> 00:35:04,000
Speaker 1: because that's what it should be. Okay. I don't want

548
00:35:04,000 --> 00:35:07,000
Speaker 1: to go too deeply into ticketing, but we have to

549
00:35:07,080 --> 00:35:11,680
Speaker 1: mention it conventionally. If you don't own the building, all

550
00:35:11,760 --> 00:35:15,440
Speaker 1: the money is in the ticketing. Okay. Then there's the

551
00:35:15,560 --> 00:35:19,760
Speaker 1: issue of the stones flex price. What is the future

552
00:35:19,800 --> 00:35:24,600
Speaker 1: of this? My views are known everywhere. Um. One, I

553
00:35:24,680 --> 00:35:29,080
Speaker 1: hate with a passion the secondary ticket market. Two I

554
00:35:29,160 --> 00:35:32,319
Speaker 1: hate with a passion or the box office charges, the

555
00:35:32,480 --> 00:35:36,440
Speaker 1: over the tables, the under the tables, the premium deals, that, this,

556
00:35:36,719 --> 00:35:40,040
Speaker 1: that that the other. I think we've forgotten that we're

557
00:35:40,080 --> 00:35:44,560
Speaker 1: here to satisfy fans demand to go and see their heroes.

558
00:35:45,200 --> 00:35:47,640
Speaker 1: We melt them. We don't have a duty of care

559
00:35:48,160 --> 00:35:51,360
Speaker 1: to the fans at all. And it never ceases to

560
00:35:51,520 --> 00:35:54,759
Speaker 1: amaze me how much the Sands fans will suck up

561
00:35:54,800 --> 00:35:58,080
Speaker 1: to it. I I don't get it. Um I'm from

562
00:35:58,080 --> 00:36:00,920
Speaker 1: the different school and from the old school, where I

563
00:36:00,960 --> 00:36:05,240
Speaker 1: feel if the tickets twenty five quid, Okay, it costs

564
00:36:05,239 --> 00:36:07,880
Speaker 1: a bit for convenience of buying the ticket and whatever,

565
00:36:08,120 --> 00:36:10,200
Speaker 1: but it should be sold as close to twenty five

566
00:36:10,200 --> 00:36:13,960
Speaker 1: pounds as possible. I can't see any justification for a

567
00:36:14,000 --> 00:36:17,680
Speaker 1: twenty five or thirty five pounds ticket at the top

568
00:36:17,760 --> 00:36:20,120
Speaker 1: end being sold for two hundred and fifty pounds or

569
00:36:20,360 --> 00:36:23,640
Speaker 1: five dollars. It doesn't make any sense. There's no logic

570
00:36:23,680 --> 00:36:28,080
Speaker 1: to it at all. We've created a tool which I

571
00:36:28,120 --> 00:36:32,560
Speaker 1: think is unsavory. There are too many strange deals that

572
00:36:32,600 --> 00:36:36,680
Speaker 1: go on. Still, the secondary market has to stop. We've

573
00:36:36,800 --> 00:36:40,040
Speaker 1: managed to deal with that with vir Go Go through

574
00:36:40,040 --> 00:36:45,680
Speaker 1: the UK to stop that conglomerate deal coming to into fruition.

575
00:36:46,280 --> 00:36:51,320
Speaker 1: It's not right and I think to some extent um

576
00:36:51,360 --> 00:36:54,560
Speaker 1: all the bad side of ticketing will carry on, but

577
00:36:54,640 --> 00:36:58,000
Speaker 1: it shouldn't. It really is. It just doesn't work. And

578
00:36:58,040 --> 00:37:02,319
Speaker 1: what happens is every bad habit that we learned that

579
00:37:02,440 --> 00:37:05,919
Speaker 1: comes from our fellow brothers in America to the rest

580
00:37:05,960 --> 00:37:08,080
Speaker 1: of the world feeds through to the rest of the

581
00:37:08,120 --> 00:37:11,680
Speaker 1: world and it's not good. So that the same thing

582
00:37:11,719 --> 00:37:15,200
Speaker 1: is happening, as you know in theater with premium tickets

583
00:37:15,200 --> 00:37:18,719
Speaker 1: in theater where for the privilege if you'll arrive in

584
00:37:18,760 --> 00:37:20,319
Speaker 1: a city you want to go to the theater and

585
00:37:20,320 --> 00:37:23,120
Speaker 1: you want to get see a show, um and their

586
00:37:23,160 --> 00:37:26,560
Speaker 1: tickets available for the privilege of you going on that night.

587
00:37:26,600 --> 00:37:28,799
Speaker 1: They'll try at you five times as much as the

588
00:37:28,840 --> 00:37:32,919
Speaker 1: phase value, which is outrageous, and I think there will

589
00:37:32,960 --> 00:37:37,080
Speaker 1: be eventually a reaction towards it, and I think tickets

590
00:37:37,120 --> 00:37:40,880
Speaker 1: will to some extent stabilized. I think there will be

591
00:37:41,040 --> 00:37:45,440
Speaker 1: easier systems to control the reseller tickets so that we

592
00:37:45,480 --> 00:37:48,879
Speaker 1: can get the prices stabilized. And I think out of

593
00:37:49,680 --> 00:37:55,040
Speaker 1: um technology that will happen. And I hope that it

594
00:37:55,160 --> 00:37:58,000
Speaker 1: settles down to become a real market and not the

595
00:37:58,000 --> 00:38:03,400
Speaker 1: false market. It is, okay, what do we know? Demand

596
00:38:03,440 --> 00:38:07,480
Speaker 1: outstripped supply in many cases, certainly for all these hard acts.

597
00:38:07,920 --> 00:38:11,640
Speaker 1: Are you saying we should establish a system or hopefully

598
00:38:11,640 --> 00:38:15,040
Speaker 1: we get a system such that the act sets the

599
00:38:15,080 --> 00:38:19,120
Speaker 1: price and that is the price everybody pays, or do

600
00:38:19,200 --> 00:38:22,120
Speaker 1: we have to adjust it, adjust the price of tickets

601
00:38:22,120 --> 00:38:26,000
Speaker 1: to their true market value. Probably a bit of both,

602
00:38:27,360 --> 00:38:30,040
Speaker 1: because some acts will want to set the price. There

603
00:38:30,080 --> 00:38:32,759
Speaker 1: are a lot of acts. We have this thing called

604
00:38:32,760 --> 00:38:36,560
Speaker 1: the Fanfare Alliance, which is fighting the secondary market in England.

605
00:38:36,840 --> 00:38:39,120
Speaker 1: There's a lot of acts that signed up to it.

606
00:38:39,400 --> 00:38:43,120
Speaker 1: There's a lot of acts that haven't. So there is

607
00:38:43,120 --> 00:38:47,160
Speaker 1: a greed factor that's always there. At the end of

608
00:38:47,160 --> 00:38:50,600
Speaker 1: the day. What's changed of course, is the fact that

609
00:38:50,640 --> 00:38:53,200
Speaker 1: the old dinosaur acts that we all grow up with

610
00:38:54,000 --> 00:38:58,400
Speaker 1: um have they've reached their peak, and they are peaking,

611
00:38:58,440 --> 00:39:00,200
Speaker 1: and they're getting to the point where they're going to

612
00:39:00,280 --> 00:39:03,200
Speaker 1: start diminishing because they can't carry on for much longer,

613
00:39:03,680 --> 00:39:08,000
Speaker 1: So that marketplace will go. What happens thereafter is going

614
00:39:08,000 --> 00:39:11,920
Speaker 1: to be really interesting, because even though the new acts

615
00:39:12,440 --> 00:39:14,480
Speaker 1: and the dance acts and the hip acts and the

616
00:39:14,560 --> 00:39:19,120
Speaker 1: pop acts or whatever are charging humongous prices, it's only

617
00:39:19,160 --> 00:39:21,719
Speaker 1: off the back of what they're rolling Stones charge or

618
00:39:21,800 --> 00:39:26,600
Speaker 1: YouTube charges or Madonna charges or Fleetwi Mac charges is whatever.

619
00:39:27,000 --> 00:39:31,600
Speaker 1: When they're gone, I think we'll see a completely different horizon. Now,

620
00:39:31,640 --> 00:39:34,000
Speaker 1: obviously we're in a different era with the Internet, were

621
00:39:34,000 --> 00:39:39,359
Speaker 1: experiences or everything. Do you believe the sunset of the

622
00:39:39,440 --> 00:39:42,960
Speaker 1: dinosaurs will impact the business at all? Where there will

623
00:39:43,000 --> 00:39:45,479
Speaker 1: always be a new generation of acts that people hunger

624
00:39:45,560 --> 00:39:48,440
Speaker 1: to see. Yeah, why not? I don't see any reason

625
00:39:48,480 --> 00:39:50,960
Speaker 1: why not. When I first started, it was all the

626
00:39:51,040 --> 00:39:54,279
Speaker 1: cooness you know, it was Frank sin Archer and it

627
00:39:54,360 --> 00:39:58,600
Speaker 1: was Johnny Ray and all these kind of people. When

628
00:39:58,640 --> 00:40:03,759
Speaker 1: I first I went to see the Stones and the

629
00:40:03,800 --> 00:40:06,760
Speaker 1: who I thought it was the best thing since Slice

630
00:40:06,840 --> 00:40:11,160
Speaker 1: Bread I was weaned on jazz. We had to decide

631
00:40:12,000 --> 00:40:15,200
Speaker 1: notionally in the UK whether you're a Beatles fan and

632
00:40:15,239 --> 00:40:17,320
Speaker 1: that pop era or whether you were a Stones and

633
00:40:17,400 --> 00:40:21,439
Speaker 1: a Who fan. You didn't very few people were both.

634
00:40:21,520 --> 00:40:24,120
Speaker 1: You were one or the other. I kind of went

635
00:40:24,160 --> 00:40:26,920
Speaker 1: with the Stones and the Who. I didn't have any

636
00:40:26,960 --> 00:40:29,320
Speaker 1: problem with the Beatles, but that's that was my music.

637
00:40:29,480 --> 00:40:32,919
Speaker 1: It was that that heat, that intensity, and that grew

638
00:40:33,080 --> 00:40:35,720
Speaker 1: up and grew up and grew and grew, and every

639
00:40:35,719 --> 00:40:37,719
Speaker 1: week there was a new act coming out. It was

640
00:40:37,760 --> 00:40:42,480
Speaker 1: I've never seen anything like it. That middle sixties onwards

641
00:40:42,760 --> 00:40:49,000
Speaker 1: for ten years was the greatest upheaval of music we've

642
00:40:49,000 --> 00:40:53,319
Speaker 1: ever and culture really that we've ever seen, because for

643
00:40:53,440 --> 00:40:56,880
Speaker 1: the first time ever, young people demanded a say in

644
00:40:56,920 --> 00:41:01,200
Speaker 1: society was previous to that scene or not. They wanted

645
00:41:01,239 --> 00:41:04,279
Speaker 1: to do it their way, they wanted to do it differently.

646
00:41:04,400 --> 00:41:06,640
Speaker 1: They went out of their way to say, we don't

647
00:41:06,640 --> 00:41:08,759
Speaker 1: care what our parents did, this is what we want.

648
00:41:09,000 --> 00:41:11,360
Speaker 1: It was their revolution and so on and so forth.

649
00:41:11,640 --> 00:41:13,920
Speaker 1: So there were artists coming out. I didn't know what

650
00:41:13,960 --> 00:41:16,600
Speaker 1: to do. It was like picking cherries off the tree

651
00:41:16,920 --> 00:41:19,839
Speaker 1: every week as somebody else coming up and we get

652
00:41:19,880 --> 00:41:22,439
Speaker 1: a phone call. I've got this bank called jethro Toe.

653
00:41:22,560 --> 00:41:24,839
Speaker 1: I got this bank called ten years after, I got

654
00:41:24,840 --> 00:41:26,960
Speaker 1: this bank called the Move. I got this bank called

655
00:41:26,960 --> 00:41:31,080
Speaker 1: the Action, and so even what to do. So we

656
00:41:31,080 --> 00:41:34,759
Speaker 1: were really lucky. Um. I don't know if that will

657
00:41:34,800 --> 00:41:37,400
Speaker 1: ever happen again. But what I do know is as

658
00:41:37,680 --> 00:41:40,280
Speaker 1: you come to the end of an era, there's always

659
00:41:40,280 --> 00:41:44,319
Speaker 1: a fuzzy period and then suddenly something brand new comes out.

660
00:41:44,719 --> 00:41:49,040
Speaker 1: There's a whole new engagement, there's a new activity, there's

661
00:41:49,080 --> 00:41:52,600
Speaker 1: new people getting involved in it. They will bring the excitement,

662
00:41:52,760 --> 00:41:57,080
Speaker 1: they'll make it happen, and we're going forever. Music's inside us.

663
00:41:57,200 --> 00:41:59,920
Speaker 1: We love it. The biggest problem we've got with COVID

664
00:42:00,320 --> 00:42:03,640
Speaker 1: and why there's so much pent up demand is purely

665
00:42:03,640 --> 00:42:07,640
Speaker 1: and simply because as humans were tribal, we love being

666
00:42:07,719 --> 00:42:12,920
Speaker 1: together sharing experiences and there's nothing better. They're going to

667
00:42:12,960 --> 00:42:15,719
Speaker 1: see a concert at the time with Jimmy Hendrix or

668
00:42:15,760 --> 00:42:18,680
Speaker 1: someone like that. We're going to see a concert even

669
00:42:19,120 --> 00:42:22,360
Speaker 1: you know your favorite pop band, but it's Beyonce or

670
00:42:22,400 --> 00:42:25,200
Speaker 1: whatever it is you want to see. Being with thousands

671
00:42:25,239 --> 00:42:29,919
Speaker 1: of other people, just completely consumed by the entertainment that's

672
00:42:29,960 --> 00:42:33,080
Speaker 1: in front of you. You can't beat it. And that's

673
00:42:33,120 --> 00:42:36,680
Speaker 1: what's held up. Okay, So in the UK there's been

674
00:42:36,719 --> 00:42:38,759
Speaker 1: a lot of scuttle but about the death of the

675
00:42:38,840 --> 00:42:41,759
Speaker 1: club business. What is going on there and what can

676
00:42:41,800 --> 00:42:43,920
Speaker 1: he what can take place in the future city. It's

677
00:42:43,920 --> 00:42:48,520
Speaker 1: not really, it's just a physical situation that, um, there

678
00:42:48,520 --> 00:42:53,799
Speaker 1: hasn't been any any live entertainment since the beginning of

679
00:42:53,920 --> 00:42:57,680
Speaker 1: March two thousand and twenty. And but yet if you

680
00:42:57,719 --> 00:43:00,439
Speaker 1: own a club or indeed a venue, you that's still

681
00:43:00,480 --> 00:43:04,200
Speaker 1: paying rent to the landlord, you're still paying business rates,

682
00:43:04,200 --> 00:43:07,759
Speaker 1: you might get some alleviation which is city taxes, you're

683
00:43:07,760 --> 00:43:11,360
Speaker 1: still paying your overheads and so on. But you're empty,

684
00:43:11,640 --> 00:43:15,200
Speaker 1: so you can't any money. So that's that's what you

685
00:43:15,280 --> 00:43:18,080
Speaker 1: call scuttle. But it's not scuttle. But it's just a

686
00:43:18,160 --> 00:43:23,040
Speaker 1: fact of life. Now. I'm really referencing before COVID, okay,

687
00:43:23,080 --> 00:43:26,879
Speaker 1: in a lot of communities for noise restrictions or valuably

688
00:43:27,000 --> 00:43:30,400
Speaker 1: and the number of clubs was decreasing. I'm not talking

689
00:43:30,400 --> 00:43:34,120
Speaker 1: about whether it's the two. However, I helped formed an

690
00:43:34,200 --> 00:43:38,400
Speaker 1: organization called the Empty i A which is the Nighttime

691
00:43:38,920 --> 00:43:44,640
Speaker 1: Association of Venues and slowly but surely we've got around

692
00:43:44,760 --> 00:43:52,320
Speaker 1: all of the local authorities insistence on controlling noise, pollution,

693
00:43:52,480 --> 00:43:55,759
Speaker 1: controlling late hours, the police, the numbers, and all that

694
00:43:55,840 --> 00:43:58,719
Speaker 1: Harrison we're getting. We were getting round that and doing

695
00:43:58,800 --> 00:44:02,680
Speaker 1: really well, and actually clubs were reopening and new clubs

696
00:44:02,680 --> 00:44:09,120
Speaker 1: were opening up. It goes back many, many years. Two

697
00:44:09,719 --> 00:44:14,680
Speaker 1: local authorities suddenly trying to stop young people from enjoying themselves,

698
00:44:14,760 --> 00:44:19,600
Speaker 1: and they're realizing, as they do in every city, that

699
00:44:19,719 --> 00:44:24,040
Speaker 1: the nighttime economy, which is people going out and enjoying themselves,

700
00:44:24,280 --> 00:44:29,320
Speaker 1: whether it's restaurants, bars, clubs, music in bars, music in clubs,

701
00:44:29,600 --> 00:44:32,640
Speaker 1: that's what keeps is the soul and the heart of

702
00:44:32,640 --> 00:44:36,839
Speaker 1: the city. So they have to let that happen. So

703
00:44:36,960 --> 00:44:41,239
Speaker 1: it's just again it's an evolving situation. But you were right.

704
00:44:41,320 --> 00:44:43,880
Speaker 1: There was a period of time when clubs were closing

705
00:44:43,960 --> 00:44:47,279
Speaker 1: up because the licensing laws were so ridiculous. But they

706
00:44:47,280 --> 00:44:51,919
Speaker 1: were coming around and slowly but surely, counselors were realizing

707
00:44:51,960 --> 00:44:54,600
Speaker 1: the damage that was being done to their own cities.

708
00:44:54,800 --> 00:44:58,080
Speaker 1: So they were starting the wize up again. Okay, why

709
00:44:58,200 --> 00:45:04,120
Speaker 1: does britty music out punch its wheat and why does

710
00:45:04,160 --> 00:45:07,280
Speaker 1: all the innovation come Oh, there's not innovation in America

711
00:45:07,760 --> 00:45:10,760
Speaker 1: but consistently. I mean, and the forties you had people,

712
00:45:11,080 --> 00:45:14,640
Speaker 1: you know, with a little opportunity, fewer diversions. But even

713
00:45:14,680 --> 00:45:17,279
Speaker 1: at this late date there's a level of innovation in

714
00:45:17,320 --> 00:45:19,760
Speaker 1: the UK. You don't see another country except maybe Canada.

715
00:45:20,280 --> 00:45:28,520
Speaker 1: Why do you think that is? I don't know. Interestingly enough, Um,

716
00:45:28,560 --> 00:45:36,440
Speaker 1: in England we like quirky things. So when this um

717
00:45:36,680 --> 00:45:43,600
Speaker 1: revolution started in the early sixties and different forms of music. Liverpool,

718
00:45:43,880 --> 00:45:46,320
Speaker 1: which is now the home of the equivalent of the

719
00:45:46,400 --> 00:45:49,319
Speaker 1: Rock and Roll Museum called the British Music Experience, is

720
00:45:49,360 --> 00:45:53,600
Speaker 1: based in Liverpool, which is the UNESCO Home of Music.

721
00:45:53,719 --> 00:45:58,160
Speaker 1: By the way, um, this whole eruption of pop music

722
00:45:58,280 --> 00:46:01,520
Speaker 1: came about through a little club called Cabin, and out

723
00:46:01,520 --> 00:46:05,240
Speaker 1: of it came dozens of bands. Then Manchester got involved

724
00:46:05,440 --> 00:46:08,600
Speaker 1: and then it came down to London. London was going

725
00:46:08,640 --> 00:46:12,839
Speaker 1: in a different direction of music because in London we

726
00:46:12,960 --> 00:46:16,080
Speaker 1: had things called crystal sets with a little tiny boxes

727
00:46:16,120 --> 00:46:18,360
Speaker 1: with a crystal in it, with a long while that

728
00:46:18,440 --> 00:46:21,560
Speaker 1: hung out the window. We could listen to pop music

729
00:46:21,640 --> 00:46:24,680
Speaker 1: on a station called Radio Luxemburg. And then we had

730
00:46:24,800 --> 00:46:29,560
Speaker 1: Pirate Radio starting and that infused people to say, were

731
00:46:29,760 --> 00:46:32,640
Speaker 1: they were listening to jazz, they were listening to blues,

732
00:46:32,680 --> 00:46:35,520
Speaker 1: they were listening to early rock from American said we

733
00:46:35,560 --> 00:46:38,520
Speaker 1: could do this, and so they started to create and

734
00:46:38,560 --> 00:46:43,759
Speaker 1: do it. So we've always been innovative. But we love quirkiness,

735
00:46:43,840 --> 00:46:48,160
Speaker 1: and it's really interesting that we love quirkiness from somewhere else.

736
00:46:48,719 --> 00:46:52,280
Speaker 1: So Michael Jackson was a thousand times bigger in England

737
00:46:52,280 --> 00:46:54,239
Speaker 1: than he was in America for a period of time,

738
00:46:54,680 --> 00:46:59,040
Speaker 1: Madonna was Bruce Springsteen broke in England much bigger than

739
00:46:59,040 --> 00:47:02,279
Speaker 1: he did in America, faster and so on. So we

740
00:47:02,400 --> 00:47:07,200
Speaker 1: like the quirkiness. America is a huge it's a continent,

741
00:47:08,200 --> 00:47:12,719
Speaker 1: and what the Bridge didn't really understand was, with very

742
00:47:12,719 --> 00:47:15,360
Speaker 1: few exceptions, that if you want to break in America

743
00:47:15,400 --> 00:47:19,960
Speaker 1: and become big there, every state is another country. Whereas

744
00:47:19,960 --> 00:47:22,840
Speaker 1: where a tiny little country where you can go from

745
00:47:23,000 --> 00:47:26,120
Speaker 1: You can literally go from Manchester to London and do

746
00:47:26,239 --> 00:47:28,479
Speaker 1: two gigs. You know, you could do an early gig

747
00:47:28,480 --> 00:47:30,560
Speaker 1: in Manchester and a late gig in London. You can't

748
00:47:30,560 --> 00:47:33,319
Speaker 1: really do that in America because of the distance and

749
00:47:33,400 --> 00:47:37,959
Speaker 1: so on. So we have this I'm not sure really

750
00:47:38,200 --> 00:47:40,960
Speaker 1: maybe it maybe we have inside is some kind of

751
00:47:41,360 --> 00:47:44,560
Speaker 1: symptom that we are with the lost people, that we

752
00:47:44,600 --> 00:47:47,439
Speaker 1: have to prove a point. I don't know, but so

753
00:47:47,520 --> 00:47:50,600
Speaker 1: much creativity has come out of the UK. It is

754
00:47:50,840 --> 00:47:54,160
Speaker 1: mind blowing, going back to the British evasion right at

755
00:47:54,200 --> 00:47:57,279
Speaker 1: the beginning and all the way through to today, the

756
00:47:57,320 --> 00:48:03,120
Speaker 1: innovation of punk, the innovation of glam rock, the David Bones,

757
00:48:03,160 --> 00:48:07,120
Speaker 1: that Mark Boland's, all of those artists, all of Brits,

758
00:48:07,120 --> 00:48:10,640
Speaker 1: but they all made their made it out of it

759
00:48:11,080 --> 00:48:13,520
Speaker 1: in the main out of America. When they came back

760
00:48:13,560 --> 00:48:17,600
Speaker 1: to the UK, they were heroes. So it's quite interesting.

761
00:48:17,760 --> 00:48:20,560
Speaker 1: And what happened was at the beginning, a lot of

762
00:48:20,600 --> 00:48:24,480
Speaker 1: those early bands and even the progressive rock bands that

763
00:48:24,680 --> 00:48:27,440
Speaker 1: I grew up with, Yes and Emerson, Lake and Palmer

764
00:48:27,480 --> 00:48:31,480
Speaker 1: and even Genesis, they got to a point here where

765
00:48:31,480 --> 00:48:35,799
Speaker 1: they were doing okay. They then went to America, and

766
00:48:35,800 --> 00:48:38,600
Speaker 1: when we read about them in Melody Maker and Sounds

767
00:48:38,640 --> 00:48:41,680
Speaker 1: the music papers, because that was our bible of how

768
00:48:41,719 --> 00:48:44,279
Speaker 1: well they were doing in America, when they came back

769
00:48:44,320 --> 00:48:48,880
Speaker 1: to the UK they were ten times bigger, and the

770
00:48:49,000 --> 00:48:52,000
Speaker 1: vice versa happens. Okay, I want to talk about your

771
00:48:52,040 --> 00:48:55,840
Speaker 1: experience in management. You are me and Jeff back for

772
00:48:55,840 --> 00:48:59,800
Speaker 1: a while. You've got him a lot of high profile gigs,

773
00:49:00,040 --> 00:49:03,400
Speaker 1: Bill acknowledge and well, I believe he is the best

774
00:49:03,440 --> 00:49:06,719
Speaker 1: of all the rock guitars. Then it ended, So talk

775
00:49:06,719 --> 00:49:09,560
Speaker 1: a little bit about your management career, dealing with talent,

776
00:49:10,080 --> 00:49:14,560
Speaker 1: how you approached it, why it ended, etcetera. Huh, I've

777
00:49:14,600 --> 00:49:17,520
Speaker 1: managed a lot of people right now. I've just used

778
00:49:17,560 --> 00:49:20,560
Speaker 1: exact to tell us how you got into management. I mean,

779
00:49:20,600 --> 00:49:24,719
Speaker 1: because you're a promoter. Yeah, Well, I always wanted to

780
00:49:24,719 --> 00:49:27,600
Speaker 1: be a promoter. Um. It used to be joined the

781
00:49:27,680 --> 00:49:30,880
Speaker 1: Navy and see the world. That was the slogan, and

782
00:49:30,960 --> 00:49:33,080
Speaker 1: for me it was be a promoter and see the

783
00:49:33,080 --> 00:49:36,000
Speaker 1: world because I went around the world promoting right up

784
00:49:36,000 --> 00:49:38,799
Speaker 1: from the beginning. I started going to Australia in the

785
00:49:38,800 --> 00:49:41,520
Speaker 1: early seventies with people like Black Sabbath and so on.

786
00:49:42,280 --> 00:49:46,120
Speaker 1: I never ever dreamt or wanted to be in management.

787
00:49:47,239 --> 00:49:52,120
Speaker 1: It started as follows. Um, when I left college, um

788
00:49:52,239 --> 00:49:54,719
Speaker 1: or university, I wanted to be I wanted to be

789
00:49:54,760 --> 00:49:58,560
Speaker 1: a pharmacist for various reasons. The course I wanted to

790
00:49:58,640 --> 00:50:01,279
Speaker 1: do I couldn't do. I got very upset about it.

791
00:50:01,960 --> 00:50:04,880
Speaker 1: I went to a particular university in the south coast

792
00:50:04,680 --> 00:50:08,000
Speaker 1: of Brighton, and um, I thought it was gonna be

793
00:50:08,040 --> 00:50:11,480
Speaker 1: a great social life and there wasn't. And I persuaded

794
00:50:11,520 --> 00:50:14,440
Speaker 1: the student union to open a club called Club sixty six.

795
00:50:14,560 --> 00:50:17,600
Speaker 1: That was the start of my life. I then got

796
00:50:17,680 --> 00:50:20,120
Speaker 1: very upset because the course I wanted to do was

797
00:50:20,239 --> 00:50:23,160
Speaker 1: canceled and I ended up doing a course I didn't

798
00:50:23,200 --> 00:50:24,960
Speaker 1: want to do, and I got fed up with it

799
00:50:25,200 --> 00:50:28,279
Speaker 1: and I went to America. I went to America. I

800
00:50:28,360 --> 00:50:30,719
Speaker 1: saw what was going on in America. I got a

801
00:50:30,800 --> 00:50:33,640
Speaker 1: great hound bus ticket. I went from one side of

802
00:50:33,640 --> 00:50:36,480
Speaker 1: America to the other, ended up in hate Ashbury. Hang on,

803
00:50:36,680 --> 00:50:40,120
Speaker 1: I'll finish this and you'll I'll get it. No, no, no, no, no.

804
00:50:40,280 --> 00:50:43,719
Speaker 1: What year was sixty six? I started? My club was

805
00:50:43,800 --> 00:50:47,640
Speaker 1: called Club sixty six. I went to a student union meeting,

806
00:50:47,840 --> 00:50:51,239
Speaker 1: which is like your fraternities, and I listen to them

807
00:50:51,280 --> 00:50:54,720
Speaker 1: talking about the rugby club, the cricket club, the chess club,

808
00:50:54,760 --> 00:50:56,600
Speaker 1: the bridge club, blah blah blah blah, And I said,

809
00:50:56,600 --> 00:50:58,640
Speaker 1: where's the social life? And they said, what do you mean?

810
00:50:58,840 --> 00:51:01,839
Speaker 1: I see, where's the entertain This is a town known

811
00:51:01,880 --> 00:51:04,839
Speaker 1: for fun parties, entertainment. There isn't any. They said, well,

812
00:51:04,840 --> 00:51:07,520
Speaker 1: we've just talked about it all. I said, that's not entertainment,

813
00:51:07,560 --> 00:51:10,160
Speaker 1: it's hard work. So they said, what you didn't we

814
00:51:10,200 --> 00:51:11,839
Speaker 1: should do? I said that I think we should open

815
00:51:11,840 --> 00:51:16,200
Speaker 1: the club. So they kind of looked at me and said,

816
00:51:16,200 --> 00:51:18,960
Speaker 1: who are you. I said, I'm from pharmacy. That was

817
00:51:19,120 --> 00:51:21,520
Speaker 1: the course I was studying. They said, we've never seen

818
00:51:21,520 --> 00:51:25,240
Speaker 1: a pharmacy repped before because it's such a condense course.

819
00:51:25,280 --> 00:51:29,400
Speaker 1: It was hard work anyway, So the president Union said,

820
00:51:29,440 --> 00:51:32,280
Speaker 1: a right clever dick, open a club. So I said, okay,

821
00:51:32,400 --> 00:51:34,359
Speaker 1: screw you, I'm going to open the club. So open

822
00:51:34,400 --> 00:51:37,800
Speaker 1: the club called Club sixty six for students. It wasn't

823
00:51:38,239 --> 00:51:43,440
Speaker 1: literally an instant success, and it was at the point.

824
00:51:43,800 --> 00:51:46,440
Speaker 1: One of the earliest acts idea was the Moody Blues,

825
00:51:46,520 --> 00:51:49,200
Speaker 1: and next Fleet with Mac and then it went from

826
00:51:49,239 --> 00:51:54,000
Speaker 1: there onward Family Taste and someone. It just went on

827
00:51:54,040 --> 00:51:56,520
Speaker 1: and on. We I was so lucky to be at

828
00:51:56,560 --> 00:51:59,440
Speaker 1: the right place at the right time, so all of

829
00:51:59,440 --> 00:52:02,520
Speaker 1: this style it off. And then I decided I wanted

830
00:52:02,640 --> 00:52:05,719
Speaker 1: to learn a bit more. I got fed up with

831
00:52:05,760 --> 00:52:09,080
Speaker 1: this whole university thing of having to do this theoretical

832
00:52:09,600 --> 00:52:12,160
Speaker 1: degree that I didn't want to do. And I got

833
00:52:12,239 --> 00:52:15,240
Speaker 1: shipped on an exchange course to America. I went to America.

834
00:52:15,560 --> 00:52:17,920
Speaker 1: I stuck the course out for one semester. I've had

835
00:52:18,040 --> 00:52:20,960
Speaker 1: enough of this. My aunt lived in you. I'm interested.

836
00:52:21,040 --> 00:52:24,600
Speaker 1: Where was that course taught the University of Toledo in

837
00:52:24,640 --> 00:52:30,040
Speaker 1: Ohio somewhere. Everybody goes to, Okay, you've got there for

838
00:52:30,120 --> 00:52:33,319
Speaker 1: one semester, and then I go back to It was

839
00:52:33,360 --> 00:52:36,480
Speaker 1: in the summer. It was the summer semester, got or

840
00:52:36,520 --> 00:52:39,799
Speaker 1: whatever however you call it. I go back to New York.

841
00:52:39,960 --> 00:52:43,440
Speaker 1: It's boiling hot. It's June or end of June, July

842
00:52:44,120 --> 00:52:48,240
Speaker 1: and um. I stayed with my aunt for a week,

843
00:52:48,320 --> 00:52:50,600
Speaker 1: and I saw an ad in the paper that said

844
00:52:51,040 --> 00:52:54,359
Speaker 1: greyhound bus tickets. If you're an international student, you get

845
00:52:54,440 --> 00:52:58,959
Speaker 1: nine nine days for which is just about what I had.

846
00:52:59,840 --> 00:53:02,359
Speaker 1: I had the greatest time in my life going from

847
00:53:02,440 --> 00:53:05,280
Speaker 1: one side of America to the other on a greyhound bus.

848
00:53:05,520 --> 00:53:08,200
Speaker 1: I saw more cities then than I've ever seen since.

849
00:53:08,680 --> 00:53:11,160
Speaker 1: I saw more that was going on than I've ever

850
00:53:11,160 --> 00:53:14,280
Speaker 1: seen since. I ended up going over Golden Gate Bridge

851
00:53:14,600 --> 00:53:17,960
Speaker 1: to go to the downtown wine in San Francisco, and

852
00:53:18,000 --> 00:53:22,080
Speaker 1: I heard this noise, saw this massive people and I thought,

853
00:53:22,120 --> 00:53:24,439
Speaker 1: what the hell is this? Go to the wide said

854
00:53:24,480 --> 00:53:27,640
Speaker 1: what's going on? Somewhere near the Golden Gate bridgeless so

855
00:53:27,680 --> 00:53:31,160
Speaker 1: as a concert. I shot down there and I saw

856
00:53:31,200 --> 00:53:34,960
Speaker 1: the Grateful Dead and quit Silver Messenger service. I thought,

857
00:53:35,000 --> 00:53:39,359
Speaker 1: this is fantastic. I went. I literally were my way backstage.

858
00:53:39,960 --> 00:53:43,120
Speaker 1: They loved my accent. I met the Grateful Dead. I

859
00:53:43,239 --> 00:53:47,759
Speaker 1: became friends with them for thirty five years thereafter, and

860
00:53:47,920 --> 00:53:51,120
Speaker 1: it's started my pathway to realize that music's where I

861
00:53:51,120 --> 00:53:54,719
Speaker 1: wanted to be. The thing that got me, very simply

862
00:53:55,080 --> 00:54:01,280
Speaker 1: was that all over San Francisco were the most unbelievable

863
00:54:01,360 --> 00:54:06,400
Speaker 1: looking posters advertising shows of artists I had never heard of.

864
00:54:06,840 --> 00:54:09,680
Speaker 1: But all I knew is those posters were so good

865
00:54:10,160 --> 00:54:13,000
Speaker 1: I had to go and see the show because they

866
00:54:13,000 --> 00:54:17,839
Speaker 1: sucked me in. So um, I did a deal with

867
00:54:18,320 --> 00:54:22,240
Speaker 1: Bill Graham and chat Helms. Chat Helms had Family Dog

868
00:54:22,280 --> 00:54:25,480
Speaker 1: and Rand the Avalon Ballroom. Bill Graham had the film

869
00:54:25,480 --> 00:54:28,839
Speaker 1: More and had his film More Posters to represent them.

870
00:54:29,160 --> 00:54:32,000
Speaker 1: I came back to England and I co started a

871
00:54:32,000 --> 00:54:35,160
Speaker 1: company called Big Old Posters. Let me start for us,

872
00:54:35,280 --> 00:54:36,719
Speaker 1: let me stop your hard you say you're not gonna

873
00:54:36,760 --> 00:54:39,680
Speaker 1: forget your what'd your father do for a living? My

874
00:54:39,800 --> 00:54:44,560
Speaker 1: father was a tailor. My mother was a millionaire, made hats. Okay,

875
00:54:44,640 --> 00:54:48,360
Speaker 1: they work for themselves. Yeah, so we're you know, what

876
00:54:48,560 --> 00:54:54,000
Speaker 1: made you such an entrepreneur? No idea, No idea? I mean,

877
00:54:54,000 --> 00:54:55,800
Speaker 1: were you the type of kid before you went to

878
00:54:56,160 --> 00:54:59,080
Speaker 1: when you were in secondary school? Did you deliver papers?

879
00:54:59,120 --> 00:55:02,040
Speaker 1: Were always hustle money or I'll tell you, you know,

880
00:55:02,080 --> 00:55:05,160
Speaker 1: you just fell into this. You might laugh. But my

881
00:55:05,280 --> 00:55:09,719
Speaker 1: training came from being in the Scouts. I became a

882
00:55:09,800 --> 00:55:13,320
Speaker 1: Scout because that's what everybody did. I then got into

883
00:55:13,360 --> 00:55:16,840
Speaker 1: it and became a Queen Scout, which was a big deal,

884
00:55:17,480 --> 00:55:21,120
Speaker 1: and I learned a huge amount of managing people from

885
00:55:21,160 --> 00:55:24,320
Speaker 1: the Scouts. That's the only place I ever got it from,

886
00:55:24,400 --> 00:55:28,040
Speaker 1: because it didn't come from my parents and didn't starting

887
00:55:28,040 --> 00:55:31,360
Speaker 1: a business. You started the club, you started the poster business.

888
00:55:31,760 --> 00:55:33,640
Speaker 1: Did you just look in the mirror and say, hey,

889
00:55:33,680 --> 00:55:35,840
Speaker 1: I think I can do this, or it was just instinctive,

890
00:55:35,880 --> 00:55:38,120
Speaker 1: I see an idea, I'm doing it. It was a challenge.

891
00:55:38,440 --> 00:55:41,440
Speaker 1: I love challenges. Anyway, I'm going to get into the

892
00:55:41,480 --> 00:55:44,320
Speaker 1: management because I don't want to drag out. This is

893
00:55:44,440 --> 00:55:47,920
Speaker 1: very very interesting digression as a space of life. So

894
00:55:48,400 --> 00:55:52,080
Speaker 1: we started with the big Oh was in existence, but

895
00:55:52,160 --> 00:55:56,319
Speaker 1: it was really very arty. I joined up with a

896
00:55:56,360 --> 00:55:59,799
Speaker 1: guy called Peter Ledibar. We started Big Old Posters. I

897
00:56:00,040 --> 00:56:02,960
Speaker 1: rolled in this contract and said, I've got this contract

898
00:56:03,280 --> 00:56:07,759
Speaker 1: to sell Avalon and Family dog posters from America. And

899
00:56:07,800 --> 00:56:10,200
Speaker 1: it was people like Stanley Mouse and all those great

900
00:56:10,320 --> 00:56:16,080
Speaker 1: artists um all over Europe and the this is this

901
00:56:16,120 --> 00:56:19,240
Speaker 1: is where you love. And this guy who had already

902
00:56:19,320 --> 00:56:22,080
Speaker 1: who was a printer, who started the business, said to me,

903
00:56:22,200 --> 00:56:24,920
Speaker 1: very funny, you're the fourth person that's come in this summer.

904
00:56:27,840 --> 00:56:31,359
Speaker 1: Bill big Bill as he was, had told everybody they

905
00:56:31,400 --> 00:56:34,520
Speaker 1: could have the exclusive because he didn't even think about

906
00:56:34,560 --> 00:56:37,600
Speaker 1: it anyway. We started this company, we built it up.

907
00:56:37,960 --> 00:56:41,360
Speaker 1: We were signing acts after acts, and the two things

908
00:56:41,480 --> 00:56:47,200
Speaker 1: we did was we supported two underground magazines. One was

909
00:56:47,239 --> 00:56:52,240
Speaker 1: called International Times and one was called Oz Magazine. Both

910
00:56:52,280 --> 00:56:58,319
Speaker 1: of them are the legendary papers they were. They were

911
00:56:58,520 --> 00:57:02,160
Speaker 1: They were being pubs at the same time as magazines

912
00:57:02,160 --> 00:57:06,600
Speaker 1: in America called Screw and Suck, you remember all that stuff.

913
00:57:06,640 --> 00:57:10,160
Speaker 1: They were always sure of money, they were always in trouble.

914
00:57:11,160 --> 00:57:15,640
Speaker 1: OZ Magazine were busted for obscenity and they were drug

915
00:57:15,680 --> 00:57:20,280
Speaker 1: bust or whatever. And because I had this, people knew

916
00:57:20,320 --> 00:57:22,760
Speaker 1: a little bit that I was in music doing something.

917
00:57:23,360 --> 00:57:26,400
Speaker 1: Every time I was busy trying to build this poster

918
00:57:26,400 --> 00:57:28,320
Speaker 1: of business up, this is to me, could you do

919
00:57:28,360 --> 00:57:30,200
Speaker 1: a concert because we've got to raise some money to

920
00:57:30,240 --> 00:57:33,000
Speaker 1: pay the lawyers. Next week, he put on a concert

921
00:57:33,240 --> 00:57:35,400
Speaker 1: and it works. We could have enough money. So I

922
00:57:35,480 --> 00:57:38,680
Speaker 1: was always being drawn back into doing concerts, and then

923
00:57:38,760 --> 00:57:42,040
Speaker 1: eventually I was asked do a big concert, a big

924
00:57:42,080 --> 00:57:45,320
Speaker 1: fundraiser for OZ to raise money to pay the barristers

925
00:57:45,680 --> 00:57:48,480
Speaker 1: to fight this obscenity case, which they would have gone

926
00:57:48,520 --> 00:57:51,120
Speaker 1: to prison if they'd lost. And I put on a

927
00:57:51,160 --> 00:57:56,720
Speaker 1: show called Christmas on Earth, which was with the animals,

928
00:57:57,080 --> 00:58:01,760
Speaker 1: Jimmy Hendrix, Pink Floyd and whatever a place called Olympia,

929
00:58:01,920 --> 00:58:05,160
Speaker 1: and it was a huge success. So I thought this

930
00:58:05,320 --> 00:58:10,520
Speaker 1: is good and um, eventually I decided I've not made

931
00:58:10,560 --> 00:58:13,480
Speaker 1: for the post of business, but music keeps drawing me in.

932
00:58:14,520 --> 00:58:16,880
Speaker 1: I then went to see my brother in law, who

933
00:58:16,920 --> 00:58:20,640
Speaker 1: was a lawyer, and I said to him, look, I

934
00:58:20,680 --> 00:58:24,440
Speaker 1: don't know anything about the music business. Really, I'd like

935
00:58:24,640 --> 00:58:28,560
Speaker 1: to learn. Do you know anybody who's in management or

936
00:58:28,600 --> 00:58:32,560
Speaker 1: in promoting and he said, actually I represent Man frew Man,

937
00:58:33,400 --> 00:58:35,960
Speaker 1: and um, why don't I introduce you to his manager,

938
00:58:36,120 --> 00:58:39,160
Speaker 1: which he did. I then went to work for Man

939
00:58:39,160 --> 00:58:41,800
Speaker 1: frew Man's manager, guy called David Joseph, who was an

940
00:58:41,800 --> 00:58:47,120
Speaker 1: Australian TV producer who produced the series and individuals. Yeah.

941
00:58:47,120 --> 00:58:51,400
Speaker 1: He produced the most successful Pops series ever called Hey Hey,

942
00:58:51,400 --> 00:58:55,840
Speaker 1: It's Saturday. He was managing Man frew Man. He was

943
00:58:55,880 --> 00:58:59,160
Speaker 1: living in Australia producing this series six seven months of

944
00:58:59,200 --> 00:59:02,000
Speaker 1: a year. I only met him four times in the

945
00:59:02,120 --> 00:59:06,040
Speaker 1: ten months I worked for him. During that period of time,

946
00:59:06,160 --> 00:59:09,200
Speaker 1: I was putting together all Man fIF Man's tours and

947
00:59:09,280 --> 00:59:13,720
Speaker 1: looking after him, and together with Keith Popka, who was

948
00:59:13,760 --> 00:59:16,840
Speaker 1: a Seeker who you may remember, the band called the Seekers.

949
00:59:17,040 --> 00:59:20,200
Speaker 1: Of course, of course we formed the New Seekers under

950
00:59:20,280 --> 00:59:23,360
Speaker 1: his direction, and then we did that Coca Cola song

951
00:59:23,400 --> 00:59:25,120
Speaker 1: and I'd like to teach the world to sing, which

952
00:59:25,240 --> 00:59:31,320
Speaker 1: was a originally a you know, a melodigue uh song

953
00:59:31,400 --> 00:59:34,919
Speaker 1: and so on. So I was learning about management and

954
00:59:35,000 --> 00:59:37,720
Speaker 1: to be honest with you, Man fIF Man used to

955
00:59:37,840 --> 00:59:41,040
Speaker 1: drive me nuts. He would find if I if I

956
00:59:41,080 --> 00:59:44,320
Speaker 1: was five minutes late in the office, he'd fun up

957
00:59:44,360 --> 00:59:46,520
Speaker 1: at ten o'clock at the dot and if I was

958
00:59:46,600 --> 00:59:49,000
Speaker 1: late the night before and came in at quarter past ten,

959
00:59:49,160 --> 00:59:51,920
Speaker 1: he starts screaming at me, where have you been? So

960
00:59:52,040 --> 00:59:54,440
Speaker 1: I thought, I don't want to do this. I hated it.

961
00:59:55,400 --> 00:59:59,320
Speaker 1: Time rolls on. I'm working with The Who. We're doing

962
00:59:59,360 --> 01:00:03,960
Speaker 1: a tour and we're in Glasgow. Glasgow had one venue

963
01:00:04,160 --> 01:00:10,160
Speaker 1: called Green's Playhouse. It's an infamous, unbelievable venue that then

964
01:00:10,200 --> 01:00:15,120
Speaker 1: became the Apollo. It was the best venue on the planet.

965
01:00:15,440 --> 01:00:18,640
Speaker 1: You've never seen audience reactions and so on that went

966
01:00:18,720 --> 01:00:21,960
Speaker 1: on in this place. I had The Who playing there

967
01:00:22,000 --> 01:00:27,640
Speaker 1: for two nights and the manager of Green's Playhouse got

968
01:00:27,720 --> 01:00:30,400
Speaker 1: hold of me and said, I want you to come

969
01:00:30,400 --> 01:00:34,160
Speaker 1: and see a comedian. And I said, well, I can't

970
01:00:34,240 --> 01:00:35,800
Speaker 1: leave the hoo because you never know what's going to

971
01:00:35,880 --> 01:00:38,000
Speaker 1: happen with them. You go out the door for five

972
01:00:38,040 --> 01:00:41,120
Speaker 1: minutes and they're killing each other, it will be fine.

973
01:00:42,040 --> 01:00:45,120
Speaker 1: So we stuck out and we went to up the road,

974
01:00:45,240 --> 01:00:47,480
Speaker 1: literally five minutes up to the road of the King's Theater,

975
01:00:48,000 --> 01:00:51,200
Speaker 1: and there was a comedian on stage called Billy Connolly,

976
01:00:52,000 --> 01:00:57,360
Speaker 1: and Billy Connolly spoke in this broad Glaswegian accent. The

977
01:00:57,520 --> 01:01:00,479
Speaker 1: place was they were hanging off the walls in there.

978
01:01:01,080 --> 01:01:04,960
Speaker 1: I have no idea what he was saying. It was

979
01:01:05,000 --> 01:01:07,960
Speaker 1: this is a foreign language. All I know is I

980
01:01:07,960 --> 01:01:14,160
Speaker 1: couldn't stop laughing because everybody was pissing themselves. So the

981
01:01:14,200 --> 01:01:18,840
Speaker 1: manager of the playhouse has come back and meet Billy

982
01:01:19,000 --> 01:01:21,640
Speaker 1: to who were on to eleven and this is ten o'clock.

983
01:01:22,040 --> 01:01:25,240
Speaker 1: I went backstage. I was introduced to Billy. Billy said,

984
01:01:25,400 --> 01:01:28,760
Speaker 1: I I've just been told that you you you've got

985
01:01:28,760 --> 01:01:31,040
Speaker 1: the WHO on. I said, yeah, yeah, I worked with

986
01:01:31,160 --> 01:01:34,200
Speaker 1: WHO all over the UK. He said, there my heroes.

987
01:01:34,280 --> 01:01:36,520
Speaker 1: Can I come and see them? I said, we'll get

988
01:01:36,600 --> 01:01:40,280
Speaker 1: dressed there on for another forty fifty minutes. I hope

989
01:01:41,360 --> 01:01:44,080
Speaker 1: come and see them. Staying, you know, come back staying

990
01:01:44,120 --> 01:01:46,240
Speaker 1: on the side of the stage. So I brought him back,

991
01:01:46,560 --> 01:01:49,640
Speaker 1: came on the side of the stage. We started talking.

992
01:01:50,040 --> 01:01:52,320
Speaker 1: He said to me, I want you to look after me.

993
01:01:52,560 --> 01:01:54,880
Speaker 1: I said, what do you mean? He said, I want

994
01:01:54,880 --> 01:01:57,640
Speaker 1: to come to England. I said, but nobody understands what

995
01:01:57,680 --> 01:02:00,360
Speaker 1: you're talking about in English. He said, I could speak

996
01:02:00,400 --> 01:02:09,480
Speaker 1: English anyway. We talked he um I then UM introduced

997
01:02:09,520 --> 01:02:13,360
Speaker 1: him to a TV host called Michael Parkinson. You may

998
01:02:13,360 --> 01:02:16,520
Speaker 1: have heard of and he had a TV show a

999
01:02:16,600 --> 01:02:19,919
Speaker 1: bit like you know your Tonight Show, and I got

1000
01:02:19,960 --> 01:02:22,760
Speaker 1: him on that show, and he went on that show

1001
01:02:22,880 --> 01:02:27,640
Speaker 1: once and suddenly became an instant. Here. Now I am

1002
01:02:27,680 --> 01:02:32,760
Speaker 1: managing Billy Connolly. I'm managing Billy Connolly Um, which I

1003
01:02:32,800 --> 01:02:36,520
Speaker 1: didn't want to do, but I'm managing him. As a

1004
01:02:36,600 --> 01:02:40,880
Speaker 1: result of that, there was a very good TV series

1005
01:02:40,920 --> 01:02:46,840
Speaker 1: called Not the Nine o'clock News, which was Rowan, Rowan, Atkinson, Griffreith, Jones,

1006
01:02:47,240 --> 01:02:52,640
Speaker 1: Mel Smith Um and a girl called Pamela Stevenson. They

1007
01:02:52,680 --> 01:02:56,080
Speaker 1: then came to me and said, look, we've seen what

1008
01:02:56,120 --> 01:02:58,000
Speaker 1: you've done with Billy. Billy was now a hit all

1009
01:02:58,040 --> 01:03:03,160
Speaker 1: over the UK and whatever. We all have the individual managements,

1010
01:03:03,240 --> 01:03:06,480
Speaker 1: but nobody's looking after the show. Can you manage the

1011
01:03:06,480 --> 01:03:10,360
Speaker 1: show for us? So I said, I'll do that on

1012
01:03:10,400 --> 01:03:12,480
Speaker 1: the basis that I don't want to manage any of you,

1013
01:03:12,680 --> 01:03:15,560
Speaker 1: because then I can't act for all of you. So

1014
01:03:15,640 --> 01:03:18,040
Speaker 1: I looked after the show called Not the nine o'clock News.

1015
01:03:19,280 --> 01:03:21,920
Speaker 1: The deal was they would do it as long as

1016
01:03:21,920 --> 01:03:24,240
Speaker 1: they're going to be funny. When they felt they weren't

1017
01:03:24,240 --> 01:03:27,560
Speaker 1: going to be any funny anymore themselves, they would not

1018
01:03:27,720 --> 01:03:30,800
Speaker 1: pick up an option to do another series. The only

1019
01:03:30,920 --> 01:03:33,800
Speaker 1: did three series. Came to the end of the series,

1020
01:03:34,440 --> 01:03:38,280
Speaker 1: to the penultimate show, they decided that was it. I said,

1021
01:03:38,320 --> 01:03:40,080
Speaker 1: you've never had a guest on the show. It was

1022
01:03:40,120 --> 01:03:43,919
Speaker 1: a number one rating show on TV for comedy. I said,

1023
01:03:43,920 --> 01:03:46,320
Speaker 1: you never had a guest on the shows the penultimate show,

1024
01:03:46,320 --> 01:03:49,760
Speaker 1: why didn't you put Billy on? This is great? I

1025
01:03:49,880 --> 01:03:54,280
Speaker 1: then made a terrible error. I introduced Billy Connolly to

1026
01:03:54,440 --> 01:04:01,240
Speaker 1: Pamela Stevenson, who was a very beautiful lady, and Billy,

1027
01:04:01,360 --> 01:04:05,360
Speaker 1: who was happily married to kids wife in Scotland and

1028
01:04:05,560 --> 01:04:11,000
Speaker 1: all good suddenly takes a liking at rehearsal to Pamela Stevenson.

1029
01:04:11,040 --> 01:04:16,720
Speaker 1: They recalled the show and Billy disappears for two days. Thereafter,

1030
01:04:16,960 --> 01:04:20,560
Speaker 1: for a year, Billy and Pamela are hiding in a

1031
01:04:20,680 --> 01:04:23,720
Speaker 1: news house that I had in the West End. His

1032
01:04:23,800 --> 01:04:26,760
Speaker 1: wife is Guy Loupy or whatever I'm going I don't

1033
01:04:26,760 --> 01:04:29,240
Speaker 1: want to do this. I love promoting, I don't want

1034
01:04:29,240 --> 01:04:34,640
Speaker 1: to do management. At the end of it, Pamela came over,

1035
01:04:34,760 --> 01:04:37,320
Speaker 1: sat on my lap flash Deraisles and said, you've got

1036
01:04:37,320 --> 01:04:38,960
Speaker 1: to manage me. I said, no, no, no no, I don't

1037
01:04:38,960 --> 01:04:42,160
Speaker 1: want to do that because it won't work. She said, yes, yes, yes.

1038
01:04:43,080 --> 01:04:46,760
Speaker 1: I ended up managing Pamela and Billy, and I said,

1039
01:04:46,800 --> 01:04:51,200
Speaker 1: this is the deal Monday to Friday. Asked me with

1040
01:04:51,280 --> 01:04:54,120
Speaker 1: you in London or whatever you need doing. But every

1041
01:04:54,160 --> 01:04:57,160
Speaker 1: weekend I'm going out on the road with Billy. Is

1042
01:04:57,160 --> 01:05:02,320
Speaker 1: that okay? So Friday I'm not here. Pamela Thursday night

1043
01:05:02,400 --> 01:05:05,040
Speaker 1: would call up week after weeks, I've got to see

1044
01:05:05,080 --> 01:05:10,160
Speaker 1: you tomorrow. I gotta see It was one of those. Anyway,

1045
01:05:10,360 --> 01:05:13,400
Speaker 1: I put Pamela into a show called The Pirates of

1046
01:05:13,480 --> 01:05:17,080
Speaker 1: Pen's Ants and it was a big hit of Theodore

1047
01:05:17,160 --> 01:05:20,360
Speaker 1: or Jury Lane. Billy was on the road. I'm going

1048
01:05:20,360 --> 01:05:24,080
Speaker 1: out to see Billy for the weekend, Pamela insisted. I

1049
01:05:24,120 --> 01:05:27,600
Speaker 1: stayed in London. It was driving me nuts. The next

1050
01:05:27,640 --> 01:05:31,880
Speaker 1: thing that happened is I get a phone call um

1051
01:05:32,080 --> 01:05:34,920
Speaker 1: from producers in America who wanted Pamela to do an

1052
01:05:34,920 --> 01:05:40,920
Speaker 1: American TV series. She ended up doing two movies and

1053
01:05:40,920 --> 01:05:45,680
Speaker 1: and she was going to do a series called Dynasty.

1054
01:05:45,840 --> 01:05:50,200
Speaker 1: You may remember that, of course, and we pronounced it

1055
01:05:50,280 --> 01:05:54,280
Speaker 1: dynasty here. She was going to be the female leading Dynasty.

1056
01:05:54,400 --> 01:05:57,960
Speaker 1: They wanted someone quirky, and had an English accident, even

1057
01:05:58,000 --> 01:06:01,560
Speaker 1: though she was she's actually from New zic Eland, but Australia. Whatever,

1058
01:06:02,400 --> 01:06:07,400
Speaker 1: she didn't want to do it, so eventually we uh

1059
01:06:08,000 --> 01:06:11,560
Speaker 1: and I suggested that I suggested as you talked to

1060
01:06:11,640 --> 01:06:18,080
Speaker 1: Joan Collins, which they didn't anyway, So I ended up

1061
01:06:18,120 --> 01:06:21,240
Speaker 1: managing Pamela and Billy, and I hated every minute of

1062
01:06:21,240 --> 01:06:24,080
Speaker 1: it because it was only a matter of time before

1063
01:06:24,120 --> 01:06:27,720
Speaker 1: it was going to break up, because Pamela decided that

1064
01:06:27,760 --> 01:06:31,080
Speaker 1: she wanted all my time and Billy decided he wanted

1065
01:06:31,120 --> 01:06:34,400
Speaker 1: all my time. I couldn't do it. And I remember

1066
01:06:34,400 --> 01:06:36,320
Speaker 1: going to see my lawyer and I wrote down on

1067
01:06:36,360 --> 01:06:37,880
Speaker 1: a piece of paper. I said, put it in your

1068
01:06:37,960 --> 01:06:40,760
Speaker 1: safe how long this is going to last? And I

1069
01:06:40,800 --> 01:06:43,320
Speaker 1: said under a year, I'm going to be out of here.

1070
01:06:43,920 --> 01:06:47,080
Speaker 1: And sure enough, under a year we broke up. And

1071
01:06:47,120 --> 01:06:50,840
Speaker 1: I didn't. I said, I'm not managing either. We roll

1072
01:06:50,960 --> 01:06:56,680
Speaker 1: on to seventy five. I'm minding my own business. I

1073
01:06:56,760 --> 01:06:59,960
Speaker 1: had split from my partnership with John and Tony Smith,

1074
01:07:00,640 --> 01:07:02,880
Speaker 1: which was that they were the real big Day, were

1075
01:07:02,920 --> 01:07:06,600
Speaker 1: the biggest rock promoters in England. I had a partnership

1076
01:07:06,680 --> 01:07:10,760
Speaker 1: with them called John Smith Entertainments, John and under chain

1077
01:07:10,840 --> 01:07:15,560
Speaker 1: of clubs. Um Tony was managing a bank called Genesis

1078
01:07:15,680 --> 01:07:19,000
Speaker 1: very young, trying to help them out. My other partner,

1079
01:07:19,000 --> 01:07:22,640
Speaker 1: there's another partner called Michael aldis managing a bank called Family,

1080
01:07:23,200 --> 01:07:25,840
Speaker 1: and all I wanted to do is promote very happily.

1081
01:07:27,680 --> 01:07:30,680
Speaker 1: At the end of seventy five, Tony came through and

1082
01:07:30,720 --> 01:07:33,880
Speaker 1: said that Genesis really wanted me to manage in full

1083
01:07:33,920 --> 01:07:36,840
Speaker 1: time and didn't want me doing anything else. We split

1084
01:07:36,880 --> 01:07:40,920
Speaker 1: the business up. I took the promoting, Michael took Family,

1085
01:07:41,040 --> 01:07:44,040
Speaker 1: Tony took Genesis. He won by the way, and John

1086
01:07:44,080 --> 01:07:47,440
Speaker 1: wanted his father wanted to keep the clubs. The fast

1087
01:07:47,480 --> 01:07:50,040
Speaker 1: thing that happened to me was a tool within the

1088
01:07:50,160 --> 01:07:53,000
Speaker 1: skinnerd And the next thing that happened to me was

1089
01:07:53,040 --> 01:07:56,800
Speaker 1: the Rolling Stones wanted to do a big show in London,

1090
01:07:56,960 --> 01:08:00,720
Speaker 1: and I said, let's play Earl's Cool. So we planned

1091
01:08:00,760 --> 01:08:04,000
Speaker 1: to do six nights in Ours Court, which turned out

1092
01:08:04,000 --> 01:08:09,480
Speaker 1: to be unbelievable in some respects and he's sound disaster

1093
01:08:09,800 --> 01:08:12,919
Speaker 1: in other respects because the sound was terrible in there.

1094
01:08:14,680 --> 01:08:17,560
Speaker 1: So I'm quite close with the Stones. I'd work with

1095
01:08:17,680 --> 01:08:20,160
Speaker 1: them quite a bit, done a lot of shows of them.

1096
01:08:20,280 --> 01:08:24,720
Speaker 1: So on Bill Wyman then funds me up getting a

1097
01:08:24,920 --> 01:08:30,080
Speaker 1: seventy six. He said to me, do you know Van Morrison? Said?

1098
01:08:30,120 --> 01:08:33,519
Speaker 1: I love Van Morrison. I said, you know them, we're

1099
01:08:33,760 --> 01:08:38,040
Speaker 1: just incredible. Where is he? He said, well, he's been rehabbing.

1100
01:08:38,080 --> 01:08:41,840
Speaker 1: He's just come out. He's looking for a manager. Would

1101
01:08:41,920 --> 01:08:44,000
Speaker 1: you go and meet with him? And by the way,

1102
01:08:44,080 --> 01:08:46,759
Speaker 1: don't talk about alcohol or anything like that. He doesn't

1103
01:08:46,760 --> 01:08:49,960
Speaker 1: do coffee. He's come out of rehab. He's a bit nervous.

1104
01:08:50,280 --> 01:08:53,519
Speaker 1: Will you go and meet with Van Morrison and help

1105
01:08:53,600 --> 01:08:56,880
Speaker 1: him find a manager? I said sure, So I got

1106
01:08:56,920 --> 01:08:59,919
Speaker 1: he's my hero, so I gotn't beat meet Van Morrison.

1107
01:09:01,000 --> 01:09:03,960
Speaker 1: And we started talking. And I had prepared on a

1108
01:09:03,960 --> 01:09:07,840
Speaker 1: piece of paper a list of eighteen managers, everybody from

1109
01:09:08,000 --> 01:09:12,160
Speaker 1: Irving to build Curvishly to Peter Right to all the

1110
01:09:12,200 --> 01:09:15,800
Speaker 1: great managers of the day. Um even Steve o'rourkey was

1111
01:09:15,840 --> 01:09:19,799
Speaker 1: managing Pick Floyd. And he said, everybody keeps talking about

1112
01:09:19,840 --> 01:09:22,479
Speaker 1: all of them. He said, but I want someone different.

1113
01:09:23,720 --> 01:09:27,360
Speaker 1: We talked and talked. He was drinking orange juice. It

1114
01:09:27,439 --> 01:09:29,479
Speaker 1: was a bit awkward. It's not an easy bloke to

1115
01:09:29,520 --> 01:09:32,360
Speaker 1: talk to. But he said to me, look, I'm gonna

1116
01:09:32,400 --> 01:09:34,679
Speaker 1: go away and think about it. Could we meet again?

1117
01:09:34,840 --> 01:09:37,839
Speaker 1: I said, I'm here, I'm just waiting by the phone.

1118
01:09:38,560 --> 01:09:40,320
Speaker 1: I go and meet with him the following week because

1119
01:09:40,320 --> 01:09:41,960
Speaker 1: at the end of the day, all I wanted to

1120
01:09:42,040 --> 01:09:44,720
Speaker 1: do is once he got his band together, was tour him.

1121
01:09:44,840 --> 01:09:48,920
Speaker 1: That was my interest. He said to me, Um, I

1122
01:09:49,080 --> 01:09:52,080
Speaker 1: thought about it. I've made my mind up. I want

1123
01:09:52,120 --> 01:09:56,320
Speaker 1: you to be my manager and I went, no, manager

1124
01:09:56,320 --> 01:10:00,280
Speaker 1: of a promoter. He said, I've decided. Look what you

1125
01:10:00,360 --> 01:10:03,599
Speaker 1: need to do is you need to have And I said,

1126
01:10:03,720 --> 01:10:06,880
Speaker 1: you don't work enough. I mean, you know, even in

1127
01:10:06,920 --> 01:10:10,080
Speaker 1: your hey day, you'd never worked that much. He's and

1128
01:10:10,200 --> 01:10:12,920
Speaker 1: I said that, how do I do management of promoting

1129
01:10:13,040 --> 01:10:17,920
Speaker 1: on this level? Because this is another level? Um. She said, look,

1130
01:10:18,600 --> 01:10:21,000
Speaker 1: you work with Black Sabbath. Why didn't you manage Black

1131
01:10:21,040 --> 01:10:23,080
Speaker 1: Sabbath because they will be the work course and you

1132
01:10:23,120 --> 01:10:26,160
Speaker 1: can manage me and that would be it. And I said, no,

1133
01:10:26,200 --> 01:10:29,559
Speaker 1: I'm not giving up promoting anyway. I kind of deal

1134
01:10:29,600 --> 01:10:34,040
Speaker 1: with Van where we He insisted on having a contract,

1135
01:10:34,040 --> 01:10:38,240
Speaker 1: which I didn't really want, and all the contract was

1136
01:10:38,240 --> 01:10:42,240
Speaker 1: was what happened if it didn't work, which pervades to

1137
01:10:42,320 --> 01:10:45,519
Speaker 1: this day because I still get royalties from projects we did.

1138
01:10:46,360 --> 01:10:51,720
Speaker 1: Really yeah, and I um, Van and I go on

1139
01:10:51,880 --> 01:10:55,440
Speaker 1: like a house on fire. Van wanted to come to

1140
01:10:55,439 --> 01:10:58,120
Speaker 1: to England. The truth was, I think he was in

1141
01:10:58,160 --> 01:11:00,519
Speaker 1: love with my wife because he used to a phoner

1142
01:11:01,120 --> 01:11:08,160
Speaker 1: six thirty six o'clock l a time and um uh

1143
01:11:08,200 --> 01:11:10,200
Speaker 1: and it's two thirty in the morning here, which might

1144
01:11:10,240 --> 01:11:13,000
Speaker 1: even imagine my wife what she felt. Anyway, she got

1145
01:11:13,040 --> 01:11:15,360
Speaker 1: into it. They used to talk for hours there. I

1146
01:11:15,479 --> 01:11:19,679
Speaker 1: never got a word in edgeways. But anyway I looked

1147
01:11:19,720 --> 01:11:22,559
Speaker 1: after Van, I got in together and then we we

1148
01:11:22,560 --> 01:11:26,760
Speaker 1: He decided he wanted to do an album, so he go.

1149
01:11:26,880 --> 01:11:28,320
Speaker 1: We go to l A, we go to s I

1150
01:11:28,520 --> 01:11:33,559
Speaker 1: R and um. There's another lunatic in one studio called

1151
01:11:33,560 --> 01:11:37,400
Speaker 1: Catch Stevens, who I also worked with, and there's Van

1152
01:11:37,520 --> 01:11:40,760
Speaker 1: at the other end, and there are a stream of

1153
01:11:40,920 --> 01:11:44,200
Speaker 1: musicians because Catch Stevens is putting a band together to

1154
01:11:44,400 --> 01:11:47,120
Speaker 1: his last two of the Magic Cats are which fortunately

1155
01:11:47,120 --> 01:11:49,960
Speaker 1: I promoted, and Van Morris is trying to put a

1156
01:11:49,960 --> 01:11:52,960
Speaker 1: band together. And these musicians are going, they're going into

1157
01:11:53,000 --> 01:11:55,000
Speaker 1: the Van Guah's going. No, they're going to Catch Stevens.

1158
01:11:55,040 --> 01:11:57,320
Speaker 1: He's going. Now they're coming round again. They're coming back,

1159
01:11:57,560 --> 01:12:00,280
Speaker 1: and it's like it's loot am I going for God say,

1160
01:12:00,360 --> 01:12:02,719
Speaker 1: you've seen so many musicians, you've got to pick him out.

1161
01:12:04,360 --> 01:12:08,519
Speaker 1: Somewhere in the middle of all this, Matt rebanac Dr

1162
01:12:08,640 --> 01:12:14,280
Speaker 1: John pitches up and Van says, this is my man.

1163
01:12:15,360 --> 01:12:20,679
Speaker 1: So we've got a guy had a rehab and we've

1164
01:12:20,680 --> 01:12:25,559
Speaker 1: got a method home person together trying to make music.

1165
01:12:26,040 --> 01:12:29,960
Speaker 1: It was extraordinary and it just used to crap and

1166
01:12:30,040 --> 01:12:33,960
Speaker 1: made me laugh. So we started to get together. They

1167
01:12:34,040 --> 01:12:38,880
Speaker 1: started to create and they are the most beautiful people.

1168
01:12:39,320 --> 01:12:42,479
Speaker 1: And Mac is unfortunately he's not with us anymore. He

1169
01:12:42,600 --> 01:12:46,120
Speaker 1: was just divine and he actually kept he kind of

1170
01:12:46,200 --> 01:12:48,360
Speaker 1: kept Van on the straight of narrow, even though he

1171
01:12:48,400 --> 01:12:51,080
Speaker 1: was on a methodome program. You can figure that one out.

1172
01:12:52,120 --> 01:12:56,479
Speaker 1: And so he started to record and record a recording.

1173
01:12:56,640 --> 01:12:59,320
Speaker 1: He had this book. He has a book of songs

1174
01:13:00,000 --> 01:13:02,600
Speaker 1: and at any time of the day and night he

1175
01:13:02,640 --> 01:13:05,720
Speaker 1: could pull out twenty five new songs just sitting in

1176
01:13:05,760 --> 01:13:08,280
Speaker 1: this book. He pull him out, he recalled him he

1177
01:13:08,360 --> 01:13:10,559
Speaker 1: throw away. Didn't like it. He did like it. We

1178
01:13:10,680 --> 01:13:13,280
Speaker 1: ended up with an album. The first album was called

1179
01:13:13,280 --> 01:13:17,519
Speaker 1: a Period of Transition and Van said, I'm coming to England.

1180
01:13:17,600 --> 01:13:21,640
Speaker 1: I said, fantastic. He comes to England. I find him

1181
01:13:21,680 --> 01:13:25,240
Speaker 1: a house next door actually where Jimmy Page now lives,

1182
01:13:25,960 --> 01:13:30,280
Speaker 1: and um, he's rent a house for him. He's coming over.

1183
01:13:30,360 --> 01:13:35,120
Speaker 1: He's going to live in England. He's here literally a day,

1184
01:13:35,520 --> 01:13:37,880
Speaker 1: and he decided he didn't want to live in England.

1185
01:13:37,960 --> 01:13:40,960
Speaker 1: He's going back to America. So he goes back to America.

1186
01:13:41,240 --> 01:13:45,040
Speaker 1: Is now in Westchester, and I'm having a commute to

1187
01:13:45,680 --> 01:13:48,639
Speaker 1: l A every three weeks to spend time with him.

1188
01:13:48,920 --> 01:13:51,960
Speaker 1: We drove me nuts and then the end said. I said, Van,

1189
01:13:52,040 --> 01:13:55,240
Speaker 1: I love you dearly. I can't handle this. I signed

1190
01:13:55,320 --> 01:13:57,479
Speaker 1: up Bill Graham. I said, boo, you've got to help

1191
01:13:57,479 --> 01:14:01,080
Speaker 1: me out here. I got Van Morrison managing. Who can

1192
01:14:01,120 --> 01:14:03,799
Speaker 1: I get to manage? If we honed in on Bill Siddons,

1193
01:14:03,920 --> 01:14:09,200
Speaker 1: who had managed Fanning previously, and Bill said he'd help,

1194
01:14:09,800 --> 01:14:12,120
Speaker 1: but there's no way he could do it again. I said,

1195
01:14:12,360 --> 01:14:15,519
Speaker 1: I'll stay with it. I can't do this anymore. And

1196
01:14:15,560 --> 01:14:17,840
Speaker 1: we kind of passed the company, and funny enough, we

1197
01:14:17,880 --> 01:14:21,080
Speaker 1: didn't fall out. It wasn't bad. I think we had

1198
01:14:21,120 --> 01:14:23,360
Speaker 1: one fight the whole time we were together. I loved

1199
01:14:23,400 --> 01:14:26,360
Speaker 1: doing it, but I looked at upon it as a project.

1200
01:14:27,320 --> 01:14:29,840
Speaker 1: Off Fan went, He stayed in l A. He gone

1201
01:14:29,920 --> 01:14:34,040
Speaker 1: with his life slowly, but surely. We had some I

1202
01:14:34,080 --> 01:14:36,200
Speaker 1: can't even tell you some of the things that happened

1203
01:14:36,240 --> 01:14:39,519
Speaker 1: to us in and our experiences together that we used

1204
01:14:39,520 --> 01:14:44,400
Speaker 1: to laugh about. But he is a tough guard, a genius.

1205
01:14:45,240 --> 01:14:49,840
Speaker 1: Roll On, roll On. The Rolling Stones are going into hiasis.

1206
01:14:50,479 --> 01:14:54,080
Speaker 1: Mick Jagger decides he can't work with them anymore. He

1207
01:14:54,120 --> 01:14:57,240
Speaker 1: wants to time off, He wants to do a solo project.

1208
01:14:57,960 --> 01:15:01,400
Speaker 1: Who gets the call to manage Mick Jagger? Me and

1209
01:15:01,520 --> 01:15:04,240
Speaker 1: I go and here we go again, another lunacic I've

1210
01:15:04,240 --> 01:15:09,439
Speaker 1: got to deal with. So I helped Mick get his

1211
01:15:09,479 --> 01:15:11,920
Speaker 1: whole solo thing together. I knew it wasn't gonna be

1212
01:15:11,960 --> 01:15:16,400
Speaker 1: for long. It was a project, and he wanted to

1213
01:15:16,400 --> 01:15:20,280
Speaker 1: work with Jeff Beck, and I got in together with

1214
01:15:20,360 --> 01:15:23,920
Speaker 1: Jeff Beck. He put this great band together. We we

1215
01:15:24,240 --> 01:15:27,760
Speaker 1: I put a tour together, We created everything. It was

1216
01:15:27,800 --> 01:15:31,200
Speaker 1: a new album. It was. We had this amazing set,

1217
01:15:31,360 --> 01:15:35,160
Speaker 1: the show, everything that met wanted. The only problem was

1218
01:15:35,760 --> 01:15:40,439
Speaker 1: Jeff Beck refused point blank to play any of the

1219
01:15:40,520 --> 01:15:43,639
Speaker 1: Keith Richards parts and didn't want to do Rolling Stone's

1220
01:15:43,720 --> 01:15:47,120
Speaker 1: music and Mick knew that he couldn't tool without doing it.

1221
01:15:47,680 --> 01:15:52,080
Speaker 1: The night before the press conference to announce the whole thing,

1222
01:15:52,960 --> 01:15:55,280
Speaker 1: Jeff phoned up and said, I'm not doing this, I'm

1223
01:15:55,280 --> 01:16:00,519
Speaker 1: out and um that got really different cool and it

1224
01:16:00,600 --> 01:16:02,840
Speaker 1: kind of came to a sticky end. So that's the

1225
01:16:02,920 --> 01:16:10,520
Speaker 1: Mick Jagger management saga. Meantime, the Pink Floyd are doing brilliantly.

1226
01:16:10,680 --> 01:16:14,080
Speaker 1: Another one of my favorite bands to work with them.

1227
01:16:14,120 --> 01:16:16,439
Speaker 1: I went out to dinner one night with Roger Waters

1228
01:16:16,640 --> 01:16:20,280
Speaker 1: and he he told me this whole story had in

1229
01:16:20,320 --> 01:16:23,280
Speaker 1: his mind about a show with a wall in it,

1230
01:16:23,640 --> 01:16:25,360
Speaker 1: and what do you wanted to do was build up

1231
01:16:25,400 --> 01:16:28,840
Speaker 1: the wall during the show and then explode it at

1232
01:16:28,840 --> 01:16:30,920
Speaker 1: the end of the show. And they said, I'm in

1233
01:16:31,120 --> 01:16:34,400
Speaker 1: I love it, and we talked. He does the wall,

1234
01:16:34,960 --> 01:16:38,120
Speaker 1: he falls out with Dave gilmu and the rest of

1235
01:16:38,120 --> 01:16:40,320
Speaker 1: the band. He decided he doesn't want to work with

1236
01:16:40,360 --> 01:16:43,920
Speaker 1: them anymore. Who gets the call to look after him?

1237
01:16:43,920 --> 01:16:48,240
Speaker 1: Me side outcome from Billy connor Ley to Van Morrison

1238
01:16:48,360 --> 01:16:56,160
Speaker 1: to Mick Jagger. I'm now managing Roger Waters. This Roger

1239
01:16:56,200 --> 01:16:59,599
Speaker 1: Waters wants to do a solo album pros and cons

1240
01:16:59,640 --> 01:17:04,080
Speaker 1: of hit hiking. He we put this whole project together.

1241
01:17:04,280 --> 01:17:10,560
Speaker 1: He ends up through two solo albums and in um,

1242
01:17:10,600 --> 01:17:13,559
Speaker 1: it's all ready to go, and he wants to do

1243
01:17:14,200 --> 01:17:16,639
Speaker 1: something in London, but he wants to start in New York.

1244
01:17:16,840 --> 01:17:18,760
Speaker 1: I'm not sure why I wanted to do it, he did.

1245
01:17:19,479 --> 01:17:22,280
Speaker 1: We decided to do it at Radio City and get

1246
01:17:22,320 --> 01:17:25,680
Speaker 1: the deal done with Radio City because he was very complicated,

1247
01:17:26,120 --> 01:17:31,840
Speaker 1: because he insisted on having a holographic head um suspended

1248
01:17:31,880 --> 01:17:34,719
Speaker 1: from the ceiling of Radio City where all the sound

1249
01:17:34,840 --> 01:17:38,240
Speaker 1: was directed to to give out this three sixty sound,

1250
01:17:38,400 --> 01:17:42,720
Speaker 1: which is way ahead of its time. We notched up

1251
01:17:43,400 --> 01:17:47,840
Speaker 1: the biggest union bill at Radio City on Record two.

1252
01:17:48,000 --> 01:17:52,599
Speaker 1: This shows all planned ready to go. I then get

1253
01:17:52,600 --> 01:17:56,799
Speaker 1: a phone call from Wham's manager, another band, George Michael

1254
01:17:56,800 --> 01:18:00,479
Speaker 1: that I'm dealing with and Simon Napier Bell and says

1255
01:18:01,120 --> 01:18:05,320
Speaker 1: Harvey said, um, Um, I've got why. I'm a tour

1256
01:18:05,360 --> 01:18:09,640
Speaker 1: of China. I said what he said, Whe's going to

1257
01:18:09,720 --> 01:18:12,000
Speaker 1: go to Chinese So we're gonna do two shows is

1258
01:18:12,360 --> 01:18:15,120
Speaker 1: in Hong Kong and then we're going to China. I said.

1259
01:18:15,200 --> 01:18:18,240
Speaker 1: The only problem is I can't go to China, so

1260
01:18:18,320 --> 01:18:20,759
Speaker 1: you're gonna have to go and look after the band

1261
01:18:20,960 --> 01:18:24,599
Speaker 1: and take care of the tour. Plump. The phone goes dead.

1262
01:18:24,760 --> 01:18:27,479
Speaker 1: I'm going, Oh my god, I'm going to New York

1263
01:18:28,160 --> 01:18:33,160
Speaker 1: to launch Roger Walters first solo project with his mad

1264
01:18:33,200 --> 01:18:36,000
Speaker 1: holographic head. And now I'm going to go to China.

1265
01:18:36,120 --> 01:18:42,000
Speaker 1: So I go through New York via Tokyo to Hong Kong,

1266
01:18:42,720 --> 01:18:44,960
Speaker 1: where I meet with Simon has said, it's all good,

1267
01:18:45,000 --> 01:18:47,880
Speaker 1: don't worry about it. The all China youth asiancy are

1268
01:18:47,920 --> 01:18:52,960
Speaker 1: doing the tour and you're going to China, see you later. Bye.

1269
01:18:54,400 --> 01:18:58,679
Speaker 1: And then just before I left to go to New

1270
01:18:58,760 --> 01:19:01,320
Speaker 1: York to meat to a broad I get a phone

1271
01:19:01,320 --> 01:19:04,719
Speaker 1: call for Bob Geldof, who says, you've seen what's happened

1272
01:19:04,760 --> 01:19:07,920
Speaker 1: in Africa. You know about the record because you've been there,

1273
01:19:07,920 --> 01:19:09,599
Speaker 1: You've been aware of it. We've got to do a

1274
01:19:09,600 --> 01:19:12,280
Speaker 1: concert and you've got to do this shirt at Wembley.

1275
01:19:12,720 --> 01:19:15,439
Speaker 1: I said, no, no, no, I can't do that. I'm

1276
01:19:15,479 --> 01:19:19,320
Speaker 1: looking after Roger Waters and I'm now quasi managing Wham.

1277
01:19:19,360 --> 01:19:22,000
Speaker 1: I've got to get out to China from New York.

1278
01:19:22,240 --> 01:19:24,840
Speaker 1: I can't even think about A concert was called Live Aid.

1279
01:19:25,080 --> 01:19:29,599
Speaker 1: All happened between March and July when Live Aid happened.

1280
01:19:29,600 --> 01:19:33,800
Speaker 1: That same period, Roger did his Tory, came back, and

1281
01:19:33,840 --> 01:19:36,599
Speaker 1: then he had this mad idea of doing an opera,

1282
01:19:36,840 --> 01:19:41,000
Speaker 1: and he's not an easy guy to deal with. And

1283
01:19:41,160 --> 01:19:43,640
Speaker 1: I got less and less inclined to do it. And

1284
01:19:43,680 --> 01:19:49,120
Speaker 1: I thought, I enjoy promoting. They am I doing managing acts? Okay,

1285
01:19:49,160 --> 01:19:52,879
Speaker 1: I have to start you from one point here. Roger

1286
01:19:53,240 --> 01:19:59,160
Speaker 1: has made a number of Ian Ti Israel pro Palestinian comments. Correct,

1287
01:19:59,240 --> 01:20:01,479
Speaker 1: how do you feel the about that? Into what degree

1288
01:20:01,560 --> 01:20:05,720
Speaker 1: have you experienced ante semitism in your career? I have

1289
01:20:05,840 --> 01:20:10,760
Speaker 1: experienced anti semitism. Interestingly enough, I was taking Jeff back

1290
01:20:10,800 --> 01:20:14,360
Speaker 1: to Israel to play because he wanted to go. Roger

1291
01:20:14,400 --> 01:20:17,120
Speaker 1: got to him and did everything in his power to

1292
01:20:17,240 --> 01:20:23,040
Speaker 1: persuade him, not ago, including his funny furry friends in

1293
01:20:23,080 --> 01:20:30,360
Speaker 1: the Palestinian group who bombarded Van with emails and messages

1294
01:20:31,040 --> 01:20:35,000
Speaker 1: and sent death threats to me. And I got to

1295
01:20:35,040 --> 01:20:37,040
Speaker 1: the point with Jeff. I said, look, Jeff, if you

1296
01:20:37,080 --> 01:20:40,599
Speaker 1: don't want to go, I'm you know, please, I'll cancel it.

1297
01:20:40,680 --> 01:20:44,240
Speaker 1: But actually think about it. He said, do they like

1298
01:20:44,439 --> 01:20:47,519
Speaker 1: my music in Israel? I said, they love your music?

1299
01:20:47,560 --> 01:20:49,920
Speaker 1: He shows us sold out? He said, in that case,

1300
01:20:49,960 --> 01:20:53,200
Speaker 1: I'm going. He said, while I'm there, can I play

1301
01:20:53,240 --> 01:20:56,560
Speaker 1: in Palestine? I said, I'm fine with it. If you

1302
01:20:56,600 --> 01:20:59,679
Speaker 1: want to play. I've put the feelers out and we'll

1303
01:20:59,680 --> 01:21:02,080
Speaker 1: see what we could do. They didn't want to know.

1304
01:21:02,720 --> 01:21:05,920
Speaker 1: But Roger did everything in his power to try and

1305
01:21:06,040 --> 01:21:09,400
Speaker 1: stop Jeff going, and has done with many other acts.

1306
01:21:09,960 --> 01:21:14,799
Speaker 1: He was got at by a group of UM smart

1307
01:21:14,880 --> 01:21:18,679
Speaker 1: ask people, very clever pr people, and he's still got

1308
01:21:18,680 --> 01:21:22,880
Speaker 1: that and quite frankly, I find it's despicable because he

1309
01:21:23,000 --> 01:21:26,880
Speaker 1: actually doesn't know what he's talking about and he doesn't listen.

1310
01:21:27,640 --> 01:21:30,559
Speaker 1: And that's unfortunate because he won't hear the truth it

1311
01:21:30,600 --> 01:21:34,720
Speaker 1: doesn't exist. And he's still he is the leader of

1312
01:21:34,760 --> 01:21:37,360
Speaker 1: all leaders trying to stop every act going to play

1313
01:21:37,360 --> 01:21:41,720
Speaker 1: in Israel, which is really unfortunate. And as when all

1314
01:21:41,800 --> 01:21:45,240
Speaker 1: that happened, UM and David Gilmer wanted to go back

1315
01:21:45,240 --> 01:21:48,000
Speaker 1: on the road. I to make a decision. David said

1316
01:21:48,000 --> 01:21:50,639
Speaker 1: to me, if you're working with Roger, you can't work

1317
01:21:50,680 --> 01:21:52,880
Speaker 1: with me. If you want to work with me, you

1318
01:21:52,920 --> 01:21:55,839
Speaker 1: can't work with Roger. I said, it's not even a debate.

1319
01:21:55,960 --> 01:21:59,240
Speaker 1: I'm with you, David, and I'll still at so that's

1320
01:21:59,240 --> 01:22:10,880
Speaker 1: how that happened. So that was Roger Waters. Okay, so

1321
01:22:11,000 --> 01:22:15,800
Speaker 1: you you leave Waters and you know you do coming. Yeah.

1322
01:22:16,360 --> 01:22:20,320
Speaker 1: The WAB tool ended up being a massive success. George

1323
01:22:20,400 --> 01:22:24,360
Speaker 1: Michael hated every minute of it. Everybody else loved it.

1324
01:22:24,360 --> 01:22:26,920
Speaker 1: It was opened the doors of China. It was extra

1325
01:22:27,160 --> 01:22:30,120
Speaker 1: It was quite extraordinary. I'd already opened the doors with

1326
01:22:30,160 --> 01:22:32,360
Speaker 1: Elton John because I took in the Russia for the

1327
01:22:32,400 --> 01:22:34,519
Speaker 1: first time, went in the middle of the communist era,

1328
01:22:34,880 --> 01:22:37,680
Speaker 1: and this was a point in China where they were

1329
01:22:37,680 --> 01:22:42,360
Speaker 1: still wearing mouth suits and whatever. Anyway, we came back.

1330
01:22:42,479 --> 01:22:45,439
Speaker 1: I did Live Aid and the whole world change because

1331
01:22:45,479 --> 01:22:49,519
Speaker 1: suddenly out of Live Aid all the good things happened,

1332
01:22:49,520 --> 01:22:52,400
Speaker 1: all the money that we raised, the whole coming together,

1333
01:22:52,479 --> 01:22:56,200
Speaker 1: the fact that the rock music community with the first

1334
01:22:56,200 --> 01:22:58,800
Speaker 1: people to stand up and be counted, and all the

1335
01:22:58,840 --> 01:23:02,519
Speaker 1: rest of it. The bad side of it was it

1336
01:23:02,720 --> 01:23:07,040
Speaker 1: invented the cult of celebrity, particularly in the UK, which

1337
01:23:07,080 --> 01:23:11,040
Speaker 1: they went all over the world. Suddenly artists were famous

1338
01:23:11,200 --> 01:23:16,280
Speaker 1: for being famous for being celebrities, and the newspapers that

1339
01:23:16,360 --> 01:23:19,599
Speaker 1: would only ever print a story about a rock musician

1340
01:23:20,000 --> 01:23:23,160
Speaker 1: if they were either getting divorced or busted, that was

1341
01:23:23,240 --> 01:23:26,439
Speaker 1: the only time they'd ever write about them. Suddenly saw

1342
01:23:26,520 --> 01:23:29,680
Speaker 1: them as a result of live aid of selling papers,

1343
01:23:29,720 --> 01:23:33,320
Speaker 1: and they just grabbed it. And then this whole celebrity

1344
01:23:33,320 --> 01:23:36,720
Speaker 1: cult came out. It's kind of changed out all of

1345
01:23:36,760 --> 01:23:41,040
Speaker 1: our perception of music completely because we became entertainment and

1346
01:23:41,080 --> 01:23:44,760
Speaker 1: so on. And then, by the way, I forgot one

1347
01:23:44,800 --> 01:23:48,400
Speaker 1: other person that I got suddenly involved with, and that's

1348
01:23:48,400 --> 01:23:55,519
Speaker 1: a chap called Luciano Pavarossi, who um strangely enough, I

1349
01:23:55,600 --> 01:23:59,679
Speaker 1: was going to put Bruce Springsteen refused, point blank, ever

1350
01:24:00,160 --> 01:24:03,840
Speaker 1: to do open air shows. Ever, I didn't want to know.

1351
01:24:04,160 --> 01:24:07,759
Speaker 1: I didn't understand them, couldn't see the logic, and didn't

1352
01:24:07,760 --> 01:24:12,200
Speaker 1: want to know. A friend of mine who was a

1353
01:24:12,240 --> 01:24:17,320
Speaker 1: TV producer wanted to do a document a film and

1354
01:24:17,479 --> 01:24:23,680
Speaker 1: artist playing at Red Rocks Endeavor and he's British and

1355
01:24:23,800 --> 01:24:27,759
Speaker 1: somehow the other he got to Bruce Springsteen and said,

1356
01:24:27,880 --> 01:24:29,360
Speaker 1: I want you to do this TV show, but I

1357
01:24:29,360 --> 01:24:31,040
Speaker 1: want to do it in this place called Red Rock

1358
01:24:31,080 --> 01:24:35,679
Speaker 1: because it's spectacular. Will you do it? Bruce Springsteen agreed

1359
01:24:36,240 --> 01:24:41,000
Speaker 1: and suddenly loved playing open air. I had booked six

1360
01:24:41,120 --> 01:24:44,719
Speaker 1: lights at Earls Coot for Bruce Springsteen. I had already

1361
01:24:44,720 --> 01:24:47,080
Speaker 1: paid half a million pounds, which is quite a lot

1362
01:24:47,080 --> 01:24:51,400
Speaker 1: of money, which was a nonrefundable deposit. And I get

1363
01:24:51,439 --> 01:24:54,439
Speaker 1: a phone call for John Lando and says, Harvey, Bruce

1364
01:24:54,520 --> 01:24:57,479
Speaker 1: had such a great time at Red Rocks. He wants

1365
01:24:57,479 --> 01:25:00,320
Speaker 1: to play Wembley Stadium. And I'm going no, no, no, no.

1366
01:25:00,400 --> 01:25:03,559
Speaker 1: We booked well school, I paid for it. He says, no, no, no, no,

1367
01:25:03,680 --> 01:25:08,440
Speaker 1: Bruce wants to play Webb him. I had Bruce Springsteen

1368
01:25:08,479 --> 01:25:13,559
Speaker 1: playing Wembley Stadium for three nights, the night after UM,

1369
01:25:13,600 --> 01:25:17,240
Speaker 1: the week after Live Aid, and I got stuck with

1370
01:25:17,320 --> 01:25:20,400
Speaker 1: his half a million pounds deposit because I had a

1371
01:25:20,439 --> 01:25:22,720
Speaker 1: four wall ten nights that I was cooled so he

1372
01:25:22,720 --> 01:25:25,920
Speaker 1: could build the arena. It's a horrible place, but nevertheless

1373
01:25:25,960 --> 01:25:30,120
Speaker 1: the biggest place in England. I then got my office

1374
01:25:30,960 --> 01:25:33,639
Speaker 1: to sit about and say, I've got to find an

1375
01:25:33,640 --> 01:25:35,960
Speaker 1: act to fill it. We got to the point we're

1376
01:25:35,960 --> 01:25:38,599
Speaker 1: doing We're going to do a jumble sale, we're gonna

1377
01:25:38,600 --> 01:25:41,479
Speaker 1: do mass military bands, we're going to do a car

1378
01:25:41,560 --> 01:25:44,960
Speaker 1: boot sale, anything to get my money back. In the end,

1379
01:25:44,960 --> 01:25:48,080
Speaker 1: we couldn't find anything. But one of the guys in

1380
01:25:48,160 --> 01:25:51,280
Speaker 1: my office said, I've just read about this opera singer

1381
01:25:51,640 --> 01:25:55,360
Speaker 1: called Luciano Pavarossi, and I go, oh, yes, And they

1382
01:25:55,400 --> 01:25:58,960
Speaker 1: said he's about to do his first ever arena concert

1383
01:25:59,360 --> 01:26:02,519
Speaker 1: and apparent it sold out in seconds. I said, get him.

1384
01:26:04,000 --> 01:26:08,080
Speaker 1: They made the vocals, they couldn't get anywhere. Eventually, I'm

1385
01:26:08,120 --> 01:26:11,800
Speaker 1: now so desperate, and I didn't as much as I

1386
01:26:12,120 --> 01:26:15,080
Speaker 1: knew about classical music, because I knew a lot about it,

1387
01:26:15,120 --> 01:26:18,760
Speaker 1: but I didn't in the detail of how it really were.

1388
01:26:19,200 --> 01:26:21,959
Speaker 1: I got hold of his manager, Chap called Herbert Breslyn,

1389
01:26:22,640 --> 01:26:27,839
Speaker 1: and I said, I'd like um to bring the minestro

1390
01:26:28,000 --> 01:26:32,679
Speaker 1: Pavarossi to London to play Els Cool and he said

1391
01:26:32,920 --> 01:26:35,000
Speaker 1: who are you? And I told him who I was.

1392
01:26:35,040 --> 01:26:38,839
Speaker 1: He said, why am I talking to your rock promote?

1393
01:26:38,840 --> 01:26:42,600
Speaker 1: So we don't deal with people like that, and so anyway,

1394
01:26:42,960 --> 01:26:45,439
Speaker 1: this dragged on and dragged on and dragged on. I've

1395
01:26:45,479 --> 01:26:48,240
Speaker 1: now lost my dates and earls Cool. They won't give

1396
01:26:48,280 --> 01:26:50,960
Speaker 1: me my money back. I'm completely stuff and I'm fed up.

1397
01:26:51,640 --> 01:26:54,360
Speaker 1: But I suddenly get a phone call from Herbert Breslyn, who,

1398
01:26:54,439 --> 01:26:56,800
Speaker 1: unbeknowns to me, Pavarotti was having a row with the

1399
01:26:56,880 --> 01:27:00,479
Speaker 1: Royal Opera House. And he said I'm coming to London.

1400
01:27:00,560 --> 01:27:02,200
Speaker 1: He said, I don't know why, but I'm going to

1401
01:27:02,280 --> 01:27:05,200
Speaker 1: come and talk to you. Anyway, I ended up doing

1402
01:27:05,240 --> 01:27:09,679
Speaker 1: a deal with him and I brought Pavorossi over to London.

1403
01:27:10,600 --> 01:27:14,680
Speaker 1: It ended up the following year playing at Wembley Arena,

1404
01:27:14,920 --> 01:27:19,840
Speaker 1: and it was fantastic and we became lifelong friends. And

1405
01:27:20,040 --> 01:27:23,640
Speaker 1: eventually he worked with a chap called Tibor Rudas. He

1406
01:27:23,760 --> 01:27:27,519
Speaker 1: came after that, who threw Results International, which is a

1407
01:27:27,560 --> 01:27:32,280
Speaker 1: casino company, bought his rights for concerts year and year.

1408
01:27:32,600 --> 01:27:35,200
Speaker 1: When that ended, he came to me and I ended

1409
01:27:35,320 --> 01:27:40,320
Speaker 1: up managing Pavorossi said he died really so that was

1410
01:27:40,680 --> 01:27:44,920
Speaker 1: that was the most extraordinary experience. I mean, if ever

1411
01:27:45,479 --> 01:27:48,040
Speaker 1: somebody talks to you about a global rock star, they

1412
01:27:48,040 --> 01:27:50,880
Speaker 1: don't know what they're talking about. This is a man

1413
01:27:51,280 --> 01:27:54,479
Speaker 1: that could sell ten thousand tickets in tim Buck two

1414
01:27:54,560 --> 01:27:57,919
Speaker 1: on a Wednesday night, that could sell out a concert

1415
01:27:57,920 --> 01:28:01,960
Speaker 1: in Announce, that could play not of Mexico City, meeting

1416
01:28:02,080 --> 01:28:04,680
Speaker 1: somewhere in Mexico. Then it took us a day and

1417
01:28:04,680 --> 01:28:07,919
Speaker 1: a half to actually find where there was an arena

1418
01:28:07,960 --> 01:28:11,200
Speaker 1: that they kind of built. There were fifty thousand people

1419
01:28:11,280 --> 01:28:14,960
Speaker 1: there where we played in countries that were just you

1420
01:28:14,960 --> 01:28:19,719
Speaker 1: wouldn't even think about. That was a global rock star, extraordinary.

1421
01:28:19,760 --> 01:28:22,760
Speaker 1: I had the best time in my life with him.

1422
01:28:22,640 --> 01:28:26,400
Speaker 1: For what was motivating Parvarati to do all these gigs?

1423
01:28:27,080 --> 01:28:31,600
Speaker 1: He loved, He loved playing to audiences. He felt, he

1424
01:28:31,800 --> 01:28:34,679
Speaker 1: looked he was at the top of his game within

1425
01:28:34,720 --> 01:28:39,360
Speaker 1: the opera opera circle, which is very closeted. The opera

1426
01:28:39,439 --> 01:28:44,000
Speaker 1: cycle is very closeted. It's very carefully nurtured. You don't

1427
01:28:44,000 --> 01:28:47,160
Speaker 1: go outside it. And signed and so forth. He did

1428
01:28:47,160 --> 01:28:50,280
Speaker 1: all that he got the first one for money and

1429
01:28:50,439 --> 01:28:56,160
Speaker 1: two for big audiences. Um. He had read about his

1430
01:28:56,240 --> 01:29:00,840
Speaker 1: predecessors and how well they did, and some of them were,

1431
01:29:01,120 --> 01:29:04,840
Speaker 1: you know, some of the great opera stars could draw

1432
01:29:04,880 --> 01:29:07,960
Speaker 1: two hundred thousand people open air just to say hello.

1433
01:29:08,000 --> 01:29:11,479
Speaker 1: I mean, it was extraordinary. Caruso was his hero, and

1434
01:29:11,560 --> 01:29:16,599
Speaker 1: Caruso was the biggest rock star ever. And Pavarossi loved

1435
01:29:17,080 --> 01:29:21,200
Speaker 1: playing to thousands of thousands of people. And he and

1436
01:29:21,240 --> 01:29:25,439
Speaker 1: I just became best mates. We became buddies, we became button.

1437
01:29:25,479 --> 01:29:28,799
Speaker 1: I managed him and we went we went to places

1438
01:29:29,479 --> 01:29:31,120
Speaker 1: we have to go and see the doctor. Watched the

1439
01:29:31,160 --> 01:29:36,080
Speaker 1: documentary that Ron Howard produced You'll see it. It's extraordinary.

1440
01:29:36,560 --> 01:29:44,599
Speaker 1: Um So that was Pavarossi. He died unfortunately. I did

1441
01:29:44,640 --> 01:29:47,880
Speaker 1: this amazing memorial for him in the city of Petra,

1442
01:29:48,439 --> 01:29:51,200
Speaker 1: which is this five thousand year old city in the

1443
01:29:51,360 --> 01:29:56,320
Speaker 1: desert in Jordan. It was extraordinary and everybody came to

1444
01:29:56,320 --> 01:30:01,679
Speaker 1: perform with him. Roll on. I'm in New York, minding

1445
01:30:01,760 --> 01:30:04,760
Speaker 1: my own business. I literally ride in my hotel room.

1446
01:30:05,000 --> 01:30:07,000
Speaker 1: I get a phone call from a friend of mine.

1447
01:30:07,040 --> 01:30:10,120
Speaker 1: He said, um, I want to have you got a minute.

1448
01:30:10,160 --> 01:30:12,720
Speaker 1: I said, well, I've just checked in and he said, well,

1449
01:30:12,760 --> 01:30:17,920
Speaker 1: somebody wants to talk to you. Who is it? Jeff Beck? Oh? Hello, Jeff? Oh?

1450
01:30:18,080 --> 01:30:21,400
Speaker 1: You who? He said? Where are you? I said, New York?

1451
01:30:21,439 --> 01:30:23,320
Speaker 1: He said when are you coming back? I said, I

1452
01:30:23,439 --> 01:30:26,240
Speaker 1: just got here. He said, well, I'd like to talk

1453
01:30:26,280 --> 01:30:30,920
Speaker 1: to you. Said okay, anyway, he said, look, he said,

1454
01:30:31,040 --> 01:30:33,439
Speaker 1: I'm getting fed up. He said, I know what I'm

1455
01:30:33,439 --> 01:30:35,800
Speaker 1: good at, I know how good I am. Nobody knows

1456
01:30:35,840 --> 01:30:38,840
Speaker 1: who I am, and I can't think of anybody else

1457
01:30:38,880 --> 01:30:40,920
Speaker 1: that can help me get back going. And that's how

1458
01:30:40,920 --> 01:30:44,120
Speaker 1: I got involved with Jeff. Really well, he did a

1459
01:30:44,160 --> 01:30:46,760
Speaker 1: phenomenal job and I will ask since that's the most

1460
01:30:46,800 --> 01:30:51,280
Speaker 1: recent client, how did it end? Not good? Originally because

1461
01:30:51,560 --> 01:30:55,320
Speaker 1: he didn't like He doesn't like Tory, he doesn't like

1462
01:30:55,400 --> 01:31:01,160
Speaker 1: working that hard. He used to do early forty concerts

1463
01:31:01,160 --> 01:31:04,479
Speaker 1: a year. I remember finding up C A A and

1464
01:31:04,520 --> 01:31:06,320
Speaker 1: I said to Rob, like, can you send me a

1465
01:31:06,360 --> 01:31:10,240
Speaker 1: list of recent shows at Jeff Beck's done? Because I

1466
01:31:10,280 --> 01:31:12,400
Speaker 1: just want to get my handle on it, because he's

1467
01:31:12,439 --> 01:31:14,559
Speaker 1: asked me to manage him. He said, sure, something over

1468
01:31:14,720 --> 01:31:19,200
Speaker 1: one sheet of paper, right, I said, where's the rest?

1469
01:31:19,240 --> 01:31:22,080
Speaker 1: He said, that's it. So he used to play a

1470
01:31:22,120 --> 01:31:24,680
Speaker 1: short tour of America, one shine in London and a

1471
01:31:24,720 --> 01:31:27,599
Speaker 1: tour of Japan. That was it. He raised enough money

1472
01:31:27,840 --> 01:31:30,720
Speaker 1: buy another classic car, get it shipped to London and

1473
01:31:30,760 --> 01:31:33,360
Speaker 1: get it to Guildford and get it and rebuild it.

1474
01:31:33,520 --> 01:31:36,559
Speaker 1: That was his life. But then he realized, So I said, hi, Lot,

1475
01:31:36,600 --> 01:31:39,880
Speaker 1: if you're prepared to work, I'll help you. If you

1476
01:31:39,920 --> 01:31:42,880
Speaker 1: don't want to work, there's nothing I can do. So

1477
01:31:43,080 --> 01:31:47,639
Speaker 1: I started managing Jeff. I got him excited. We really,

1478
01:31:47,680 --> 01:31:50,840
Speaker 1: I mean we went from playing very small venues to

1479
01:31:51,000 --> 01:31:53,960
Speaker 1: doing two nights of the Garden, two nights and in

1480
01:31:54,280 --> 01:31:58,839
Speaker 1: in in Toronto and in Montreal. We went to Japan.

1481
01:31:59,040 --> 01:32:01,920
Speaker 1: We sold out shows. You know, it was huge. We

1482
01:32:01,920 --> 01:32:04,280
Speaker 1: were doing math two shows at the O two and

1483
01:32:04,320 --> 01:32:06,639
Speaker 1: It's that and the other with Eric Clapson, but the

1484
01:32:06,680 --> 01:32:09,000
Speaker 1: two of them together. He was just on the up

1485
01:32:09,400 --> 01:32:12,040
Speaker 1: and he suddenly kicked back and said, why am I

1486
01:32:12,120 --> 01:32:14,640
Speaker 1: doing all these touring? So I said, I want to

1487
01:32:14,640 --> 01:32:19,200
Speaker 1: make music. So he disbanded his band and a great band.

1488
01:32:19,240 --> 01:32:22,240
Speaker 1: He disbanded his band. He wanted to get new musicians.

1489
01:32:22,439 --> 01:32:26,320
Speaker 1: He found a drama that he liked off YouTube who

1490
01:32:26,479 --> 01:32:30,000
Speaker 1: was a a drama used to just hang around Central

1491
01:32:30,080 --> 01:32:32,559
Speaker 1: a young girl hang around Central Park and used to

1492
01:32:33,200 --> 01:32:36,200
Speaker 1: you know, whatever, busk we got it. I had a

1493
01:32:36,280 --> 01:32:40,120
Speaker 1: gone to New York literally find this girl, which I did,

1494
01:32:40,520 --> 01:32:42,639
Speaker 1: brought the back. He started to put a band together.

1495
01:32:42,680 --> 01:32:45,080
Speaker 1: He went in the studio. He didn't like what he

1496
01:32:45,200 --> 01:32:49,479
Speaker 1: was doing and he started kicking back, blaming me because

1497
01:32:49,520 --> 01:32:52,040
Speaker 1: it wasn't right. He wanted to do some new music

1498
01:32:52,320 --> 01:32:54,479
Speaker 1: and he couldn't get it together and he was kicking out.

1499
01:32:54,680 --> 01:32:58,360
Speaker 1: Then he said, why am I making him work so much? Meantime,

1500
01:32:59,080 --> 01:33:03,400
Speaker 1: I'd introduced in Josh Stone, who is the most beautiful

1501
01:33:03,400 --> 01:33:07,120
Speaker 1: girl in the planet, who has a great soul, but

1502
01:33:07,280 --> 01:33:10,840
Speaker 1: another one that doesn't want success, and I ended up.

1503
01:33:11,360 --> 01:33:15,960
Speaker 1: But it's really strange relationship. Josh Stone and Jeff recorded

1504
01:33:15,960 --> 01:33:18,360
Speaker 1: a lot together and get on like a house on fire.

1505
01:33:19,360 --> 01:33:24,760
Speaker 1: Josh goes to America. She's in Nashville, UM recording an album.

1506
01:33:24,880 --> 01:33:27,680
Speaker 1: I suddenly get a text message out of the blue

1507
01:33:28,200 --> 01:33:32,479
Speaker 1: which says I have told everybody you are my manager.

1508
01:33:33,120 --> 01:33:36,240
Speaker 1: Please get rid of everybody else. Please deal with it.

1509
01:33:36,479 --> 01:33:40,240
Speaker 1: You are my manager. I did. I tried to call

1510
01:33:40,320 --> 01:33:43,519
Speaker 1: the number that was on the text message, it wouldn't answer,

1511
01:33:44,000 --> 01:33:47,080
Speaker 1: and I'm going this is a joke. Of course, I

1512
01:33:47,280 --> 01:33:49,760
Speaker 1: don't think any more of it. A couple of days later,

1513
01:33:49,920 --> 01:33:51,640
Speaker 1: I get a phone call from Josh said, did you

1514
01:33:51,720 --> 01:33:54,840
Speaker 1: get my text message? I said, yeah, I've been trying

1515
01:33:54,880 --> 01:33:56,960
Speaker 1: to ring you. She said, I've been locked in the studio.

1516
01:33:57,160 --> 01:34:01,280
Speaker 1: I need you to manage me. So it then got

1517
01:34:01,320 --> 01:34:05,040
Speaker 1: to a point where I managed, I'm managing Jeff back

1518
01:34:05,160 --> 01:34:09,080
Speaker 1: Big Jeff, and I'm managing little Jeff. Who's Josh Stone?

1519
01:34:09,680 --> 01:34:14,360
Speaker 1: Because Josh Stone went into the studio, produced an album,

1520
01:34:14,600 --> 01:34:17,639
Speaker 1: put a band together, gotta we put this whole tour

1521
01:34:17,720 --> 01:34:21,439
Speaker 1: around her. Ready to go, She goes to America to

1522
01:34:21,560 --> 01:34:26,240
Speaker 1: start promoting. Everybody's thrilled and it's all happening. She goes

1523
01:34:26,280 --> 01:34:29,320
Speaker 1: on The Today Show, The Morning Show and says, I

1524
01:34:29,360 --> 01:34:31,080
Speaker 1: don't really like to say album. I don't think you

1525
01:34:31,080 --> 01:34:36,639
Speaker 1: should buy it bad. She then carries on the tour

1526
01:34:37,960 --> 01:34:41,320
Speaker 1: she managed. She hasn't lost any ticket sales ass all.

1527
01:34:41,439 --> 01:34:44,479
Speaker 1: By the way, We then book we're booking a tour

1528
01:34:44,520 --> 01:34:48,360
Speaker 1: of South America because she's huge there and the idea

1529
01:34:48,479 --> 01:34:51,200
Speaker 1: was to warm up this new band she's put together,

1530
01:34:51,320 --> 01:34:53,800
Speaker 1: playing the new music, do all of these dates in

1531
01:34:53,840 --> 01:34:57,960
Speaker 1: America and then go from there, from Florida straight to

1532
01:34:58,920 --> 01:35:02,679
Speaker 1: South America, then end up in Brazil where she's drawing

1533
01:35:02,760 --> 01:35:09,439
Speaker 1: fifty thousand people. A nine I think it's nine days

1534
01:35:10,439 --> 01:35:12,920
Speaker 1: before we do to start the tour. She phones me

1535
01:35:13,040 --> 01:35:16,000
Speaker 1: up and says, I'm in Florida. I thought about it.

1536
01:35:16,160 --> 01:35:18,200
Speaker 1: I'm going to dump the band and start a new

1537
01:35:18,280 --> 01:35:23,120
Speaker 1: band for South America. What are you talking about? She said,

1538
01:35:24,040 --> 01:35:26,519
Speaker 1: that's what I want to do. I've got all the

1539
01:35:26,600 --> 01:35:28,560
Speaker 1: musicians worked out. We're gonna have a day and a

1540
01:35:28,600 --> 01:35:30,680
Speaker 1: half rehearsals and then we go straight. I said, but

1541
01:35:30,800 --> 01:35:35,200
Speaker 1: your home down, You're it's a whole machine. It's on fire.

1542
01:35:35,400 --> 01:35:37,720
Speaker 1: It works. How can you take the risk of going

1543
01:35:37,720 --> 01:35:40,679
Speaker 1: to your biggest market in the world with a brand

1544
01:35:40,680 --> 01:35:42,600
Speaker 1: new band that you don't even know if it's going

1545
01:35:42,640 --> 01:35:47,000
Speaker 1: to work, if it's going to take off. Jos Star said,

1546
01:35:47,040 --> 01:35:49,640
Speaker 1: just I can't do this. So I then it was

1547
01:35:49,680 --> 01:35:56,440
Speaker 1: then goodbye Jeff, goodbye Josh, and that was it. Management Okay.

1548
01:35:56,640 --> 01:35:59,040
Speaker 1: How do you keep your marriage together being so busy

1549
01:35:59,080 --> 01:36:04,680
Speaker 1: and traveling? Some that's it six months an average a

1550
01:36:04,760 --> 01:36:07,880
Speaker 1: year out of home on the road. So we're not

1551
01:36:07,960 --> 01:36:11,160
Speaker 1: at a time, but you know, over over the course

1552
01:36:11,160 --> 01:36:14,280
Speaker 1: of the year, most of my working life six months.

1553
01:36:14,800 --> 01:36:18,439
Speaker 1: Great marriage. We love each other. I've actually since the

1554
01:36:18,520 --> 01:36:21,960
Speaker 1: COVID thing, I have spent more time with my wife

1555
01:36:22,240 --> 01:36:26,439
Speaker 1: than I have since we're now. Um, we're coming up

1556
01:36:26,479 --> 01:36:30,280
Speaker 1: for fifty years of marriage and more time than ever

1557
01:36:30,360 --> 01:36:34,600
Speaker 1: since we've been married. Doesn't working or not? Kind of?

1558
01:36:36,560 --> 01:36:40,680
Speaker 1: You still talk to each other with each other so

1559
01:36:40,840 --> 01:36:43,920
Speaker 1: you literally have or you want to say something now,

1560
01:36:43,960 --> 01:36:47,200
Speaker 1: I'm gonna say, it's, uh, you know, it's we respect

1561
01:36:47,280 --> 01:36:51,519
Speaker 1: each other. She's a smashing lady. She understands where I'm

1562
01:36:51,600 --> 01:36:56,000
Speaker 1: going and gives me the space and I think quietly

1563
01:36:56,120 --> 01:36:58,800
Speaker 1: she kin kind of enjoys me being out the way

1564
01:36:58,920 --> 01:37:01,160
Speaker 1: she's got on with her life. And then when we

1565
01:37:01,240 --> 01:37:03,120
Speaker 1: come back together again. You know, we talk all the

1566
01:37:03,200 --> 01:37:05,439
Speaker 1: time when we were away, but I've spent my whole

1567
01:37:05,520 --> 01:37:08,400
Speaker 1: life traveling, except for the last twelve months we've been

1568
01:37:08,400 --> 01:37:12,320
Speaker 1: at home. Okay, we're talking about being a promoter. You know,

1569
01:37:12,520 --> 01:37:16,960
Speaker 1: a manager is a license to starve. A promoter is

1570
01:37:17,000 --> 01:37:21,840
Speaker 1: a way to instantly go broke. So you know, I'm

1571
01:37:21,920 --> 01:37:24,120
Speaker 1: sure you know you've had some you know, was it

1572
01:37:24,320 --> 01:37:28,240
Speaker 1: in the early days the guarantees were so low? How

1573
01:37:28,320 --> 01:37:31,280
Speaker 1: did you stay in business? You must have guarantee. Excuse me,

1574
01:37:31,640 --> 01:37:35,920
Speaker 1: we didn't have guarantees. Okay, but still you can have

1575
01:37:36,000 --> 01:37:38,240
Speaker 1: a losing date. You could lose money. Whose money you're

1576
01:37:38,240 --> 01:37:42,080
Speaker 1: gonna lose? We never lost money, never, What was your

1577
01:37:42,120 --> 01:37:46,080
Speaker 1: first what was your first losing show? Then of course

1578
01:37:46,160 --> 01:37:48,680
Speaker 1: we lost money on some shows. But the way it

1579
01:37:48,800 --> 01:37:54,719
Speaker 1: was was that, um oh, my philosophy is very simple,

1580
01:37:55,680 --> 01:37:59,920
Speaker 1: and I decided it's very very early on. If I'm

1581
01:38:00,000 --> 01:38:02,639
Speaker 1: going to promote an act, I've got to like the music.

1582
01:38:02,880 --> 01:38:06,479
Speaker 1: That's number one. If I didn't like the music, it

1583
01:38:06,600 --> 01:38:08,840
Speaker 1: doesn't matter how big they were, I couldn't do it.

1584
01:38:10,240 --> 01:38:14,040
Speaker 1: Number two, I have to like the artist as much

1585
01:38:14,120 --> 01:38:16,320
Speaker 1: as I could deal with the agent, the tour manager,

1586
01:38:16,400 --> 01:38:20,919
Speaker 1: the production manager, the lawyer, the accountant, and the manager.

1587
01:38:21,479 --> 01:38:23,360
Speaker 1: If I can't have a one on one with the

1588
01:38:23,560 --> 01:38:26,320
Speaker 1: artists and understand what they're trying to do, where they

1589
01:38:26,360 --> 01:38:28,200
Speaker 1: want to go, what they want to do, I'm not

1590
01:38:28,360 --> 01:38:31,680
Speaker 1: doing it. So every act I've ever worked with in

1591
01:38:31,840 --> 01:38:35,639
Speaker 1: my life, i've worked with the artists, I don't I'm

1592
01:38:35,680 --> 01:38:38,120
Speaker 1: not decrying the role of the manager because I've been there.

1593
01:38:38,439 --> 01:38:40,200
Speaker 1: I'm not to tie in the role of the Asian.

1594
01:38:40,560 --> 01:38:42,800
Speaker 1: I have to have a relationship with the people I'm

1595
01:38:42,840 --> 01:38:46,800
Speaker 1: working with. So it goes way back from you know,

1596
01:38:47,040 --> 01:38:50,200
Speaker 1: with people like Emerson Laker, Palmer and Yes and so on.

1597
01:38:50,720 --> 01:38:54,920
Speaker 1: Right at the very early days. Um, I was there

1598
01:38:55,160 --> 01:38:58,040
Speaker 1: live manager, if you like, for all these acts. That's

1599
01:38:58,080 --> 01:39:02,040
Speaker 1: what I did. So we never lost money, and it

1600
01:39:02,160 --> 01:39:05,559
Speaker 1: was choosing the right acts because we always chose acts

1601
01:39:05,560 --> 01:39:08,840
Speaker 1: of work. Sometimes we didn't mate much. Occasionally we lost

1602
01:39:08,880 --> 01:39:11,360
Speaker 1: a bit, but it was we just managed it. It

1603
01:39:11,520 --> 01:39:15,679
Speaker 1: just rolled through until the days of when the agents

1604
01:39:15,760 --> 01:39:19,240
Speaker 1: started really pushing their acts in different directions and the

1605
01:39:19,320 --> 01:39:21,760
Speaker 1: big tours and all the rest of it. There was

1606
01:39:21,800 --> 01:39:24,519
Speaker 1: a band called Bread. Do you remember them? Of course

1607
01:39:25,800 --> 01:39:28,559
Speaker 1: they were the biggest loss I ever had. One year

1608
01:39:29,040 --> 01:39:33,200
Speaker 1: they sold out about fifteen shows, including three or four

1609
01:39:33,280 --> 01:39:36,639
Speaker 1: Albert Halls. They came back twelve months later they couldn't

1610
01:39:36,680 --> 01:39:39,280
Speaker 1: give the tickets away. I lost the fortune on that.

1611
01:39:39,720 --> 01:39:42,400
Speaker 1: Was it your money? It's always my money. I've never

1612
01:39:42,479 --> 01:39:46,160
Speaker 1: had anybody else's money. I did. I did a deal

1613
01:39:46,240 --> 01:39:50,560
Speaker 1: with Jerry Weintro to bring Bob Dylan over Um and

1614
01:39:50,760 --> 01:39:54,679
Speaker 1: then it's we did. It was cool. We did probably

1615
01:39:54,800 --> 01:39:58,679
Speaker 1: the best band he ever had ever. We did six

1616
01:39:58,840 --> 01:40:02,400
Speaker 1: nights Earls Cool sold out in heartbeat hundred and twenty

1617
01:40:02,479 --> 01:40:06,880
Speaker 1: thousand people. And then I persuaded him to do an

1618
01:40:06,920 --> 01:40:11,920
Speaker 1: open air show on an aerodrome called Black Bush. And

1619
01:40:12,400 --> 01:40:15,040
Speaker 1: what I did is I went up as to see

1620
01:40:15,160 --> 01:40:18,880
Speaker 1: Jerry Weintrobe, who I'm very lucky in my life. There

1621
01:40:18,920 --> 01:40:22,920
Speaker 1: are people that have guided me and befriended me. Frank

1622
01:40:23,000 --> 01:40:28,519
Speaker 1: Barcelona number one, Armorica number two, and Jerry Weintrobe number

1623
01:40:28,600 --> 01:40:31,000
Speaker 1: three in terms of that side of things. I got

1624
01:40:31,200 --> 01:40:34,800
Speaker 1: very friendly with Jerry. He really helped me out. I

1625
01:40:35,000 --> 01:40:40,679
Speaker 1: ended up guaranteeing Bob Dylan a million dollars to play

1626
01:40:40,760 --> 01:40:44,639
Speaker 1: this show. At Black Bush. No one at this is nine.

1627
01:40:48,200 --> 01:40:52,439
Speaker 1: No one had ever offered a million dollars surnact ever anyway, ever,

1628
01:40:53,600 --> 01:40:56,559
Speaker 1: And this is the strangest thing. I woke up one

1629
01:40:56,640 --> 01:41:00,439
Speaker 1: morning in London and I said, Bob Dylan. I read

1630
01:41:00,520 --> 01:41:03,240
Speaker 1: something about Bob Dylan. I said, he's gotta work, He's

1631
01:41:03,240 --> 01:41:07,040
Speaker 1: got to come over. How did Wine travel? And I

1632
01:41:07,080 --> 01:41:10,320
Speaker 1: went to go and see him here. I went to

1633
01:41:10,360 --> 01:41:14,000
Speaker 1: see him in a blah blah blah blah, and I

1634
01:41:14,120 --> 01:41:17,680
Speaker 1: went over with my German friend called Fritz Rao, who

1635
01:41:17,760 --> 01:41:21,240
Speaker 1: was the German promoter, quite a famous guy at the time.

1636
01:41:21,640 --> 01:41:23,639
Speaker 1: The pair of us went over there to persuade Bob

1637
01:41:23,720 --> 01:41:26,400
Speaker 1: Dylan do a tour, and we put Bob Dylan and

1638
01:41:26,600 --> 01:41:29,679
Speaker 1: Eric Clapton together. That was the tour that we did.

1639
01:41:30,439 --> 01:41:35,360
Speaker 1: And um, unbeknownst to us, Jerry and Bob had already

1640
01:41:35,400 --> 01:41:38,439
Speaker 1: decided they wanted to come. They were just sounding us

1641
01:41:38,479 --> 01:41:40,360
Speaker 1: out and see how far they could go with this.

1642
01:41:41,160 --> 01:41:45,280
Speaker 1: We're sitting him Jerry Wine Show's office on the Santa

1643
01:41:45,320 --> 01:41:49,920
Speaker 1: Monica and in the boardroom suddenly the door opens and

1644
01:41:50,000 --> 01:41:53,439
Speaker 1: then walks Bob Dylan. It was extraordinary. He sat down,

1645
01:41:53,520 --> 01:41:55,400
Speaker 1: We did the deal, shook hands, and off we went

1646
01:41:55,680 --> 01:41:58,160
Speaker 1: and I became quite friendly with Bob, if you could

1647
01:41:58,160 --> 01:42:02,080
Speaker 1: ever become friendly with him. But I offered after we

1648
01:42:02,160 --> 01:42:05,160
Speaker 1: did this run of shows, the and the Ards Court run,

1649
01:42:05,439 --> 01:42:07,960
Speaker 1: I offered him a million dollars to do this one

1650
01:42:08,040 --> 01:42:12,400
Speaker 1: show at Blackbush Aerodrome. If it had gone wrong, I

1651
01:42:12,400 --> 01:42:14,320
Speaker 1: wouldn't have been busted. They would have been all over.

1652
01:42:14,800 --> 01:42:17,479
Speaker 1: I mean there's no work and pay it. I managed

1653
01:42:17,520 --> 01:42:21,439
Speaker 1: to flam my way of paying the money over. But

1654
01:42:21,600 --> 01:42:24,720
Speaker 1: it sold out so quickly that it was in the bank.

1655
01:42:24,840 --> 01:42:28,040
Speaker 1: I mean it was just bullshit and bravado, That's what

1656
01:42:28,160 --> 01:42:31,479
Speaker 1: it was. Okay at this lead, d you have the

1657
01:42:31,560 --> 01:42:35,559
Speaker 1: best resume of any concert promoter. What keeps you going,

1658
01:42:35,720 --> 01:42:41,600
Speaker 1: what gets you excited? There's always a challenge. Um. In

1659
01:42:41,720 --> 01:42:46,080
Speaker 1: two thousand and fourteen, UM I got a I got

1660
01:42:46,160 --> 01:42:51,040
Speaker 1: a phone call to say that, UM, UM, would I

1661
01:42:51,160 --> 01:42:55,840
Speaker 1: look like to create an event for the premier of

1662
01:42:55,880 --> 01:43:00,600
Speaker 1: a film called Kung Fu Panda? And I thought this

1663
01:43:00,840 --> 01:43:08,040
Speaker 1: is a wind up, but nevertheless, um Kung Fu Panda

1664
01:43:08,160 --> 01:43:12,880
Speaker 1: was a big film and it was it was The

1665
01:43:13,040 --> 01:43:17,439
Speaker 1: music was by a chap called Hands Zimmer and I

1666
01:43:17,560 --> 01:43:21,880
Speaker 1: ended up putting an event together which really really worked

1667
01:43:22,080 --> 01:43:27,960
Speaker 1: in Princess Diana's brothers Stately Home. Quite extraordinary. I blew

1668
01:43:28,040 --> 01:43:32,040
Speaker 1: everybody away on that one. I met Hans Zimmer. We

1669
01:43:32,280 --> 01:43:37,320
Speaker 1: fell in love two thousand and fourteen. It then took

1670
01:43:37,360 --> 01:43:39,560
Speaker 1: me two years because I thought, I'm not going to

1671
01:43:39,680 --> 01:43:41,840
Speaker 1: let this one go. This guy's got to go on

1672
01:43:41,920 --> 01:43:45,200
Speaker 1: the road. And he's never done a concert of his

1673
01:43:45,280 --> 01:43:49,800
Speaker 1: own in his life ever, and um, you know, all

1674
01:43:49,880 --> 01:43:53,320
Speaker 1: he ever did. He was a keyboard player in Yes

1675
01:43:54,320 --> 01:43:57,000
Speaker 1: during video gires, the radio start, he's the keyboard player

1676
01:43:57,040 --> 01:44:01,160
Speaker 1: in it. And um, I just all these guys incredible.

1677
01:44:02,080 --> 01:44:04,280
Speaker 1: And I talked and talked at all and once I

1678
01:44:04,400 --> 01:44:06,640
Speaker 1: get the bit between my seat, I don't get up,

1679
01:44:06,880 --> 01:44:09,840
Speaker 1: give up till I get there. And eventually two thousand

1680
01:44:09,880 --> 01:44:13,439
Speaker 1: and sixteen I persuaded hands Zimmer to do a couple

1681
01:44:13,479 --> 01:44:16,639
Speaker 1: of concerts in London, which we did, but he wanted

1682
01:44:16,680 --> 01:44:19,160
Speaker 1: to do something really special, and he said, I want

1683
01:44:19,160 --> 01:44:21,960
Speaker 1: to do a concert where there is no There is

1684
01:44:22,280 --> 01:44:26,439
Speaker 1: a millimeter of film footage in the concert, but I

1685
01:44:26,560 --> 01:44:28,960
Speaker 1: want to allude to the music because that's what I do,

1686
01:44:29,640 --> 01:44:33,200
Speaker 1: and create a mood around each musical piece, which is

1687
01:44:33,280 --> 01:44:36,880
Speaker 1: what we did. Of course, the shows were incredible. It

1688
01:44:36,960 --> 01:44:40,120
Speaker 1: then took me another two years. I finally got it

1689
01:44:40,240 --> 01:44:43,040
Speaker 1: sorted out with him and we ended up doing a

1690
01:44:43,160 --> 01:44:47,439
Speaker 1: hundred concerts around the world, again based on thin Air.

1691
01:44:48,040 --> 01:44:50,400
Speaker 1: Most of the people I found up to talk about

1692
01:44:50,479 --> 01:44:53,360
Speaker 1: hands Zimmer didn't know what I was talking about at all.

1693
01:44:54,240 --> 01:44:56,400
Speaker 1: Most of the people when I created Lord of the

1694
01:44:56,560 --> 01:45:00,920
Speaker 1: Dance for Michael Flatley, I created it for when I

1695
01:45:01,040 --> 01:45:02,640
Speaker 1: phone people up and said, You're going to do an

1696
01:45:02,640 --> 01:45:05,960
Speaker 1: Irish dance show. They just about you about River Dance

1697
01:45:06,400 --> 01:45:08,439
Speaker 1: and they said, what are you talking about. I said,

1698
01:45:08,520 --> 01:45:10,360
Speaker 1: trust me, you've got to do it. So I had

1699
01:45:10,439 --> 01:45:14,360
Speaker 1: this reputation for doing the weird and the wonderful. And

1700
01:45:14,600 --> 01:45:16,599
Speaker 1: if I said it was good and it was great,

1701
01:45:17,000 --> 01:45:20,160
Speaker 1: most of the promoters that I work with bought into it.

1702
01:45:20,320 --> 01:45:23,800
Speaker 1: So everybody came in and got involved in it and

1703
01:45:23,960 --> 01:45:27,400
Speaker 1: it works. So that's my challenge. I loved the challenge.

1704
01:45:27,840 --> 01:45:32,439
Speaker 1: I love finding new ideas, new artists, new styles. I'm

1705
01:45:32,520 --> 01:45:36,960
Speaker 1: currently working with an immersive theater group and I'm on

1706
01:45:37,080 --> 01:45:40,040
Speaker 1: the board of a Dutch theater company that has a

1707
01:45:40,120 --> 01:45:43,400
Speaker 1: process called stage around which we have a theater in

1708
01:45:43,680 --> 01:45:47,160
Speaker 1: in in Um in Holland, and we have a Theater

1709
01:45:47,240 --> 01:45:52,439
Speaker 1: in Amsterdam in partnership with Tokyo Broadcasting. That just sold out,

1710
01:45:53,040 --> 01:45:55,439
Speaker 1: and we were in the middle of building four theaters

1711
01:45:55,479 --> 01:45:57,840
Speaker 1: re China at the moment, and we were going to

1712
01:45:57,880 --> 01:46:01,800
Speaker 1: build one in London in any Scene Bermingham and to

1713
01:46:01,920 --> 01:46:05,200
Speaker 1: do a new version of Starlight Express until COVID hit

1714
01:46:05,240 --> 01:46:09,400
Speaker 1: and everything stopped. But we'll get that done. So that's

1715
01:46:09,439 --> 01:46:13,240
Speaker 1: the fun through Pavarossi. Pavarossi phone me out one day

1716
01:46:13,280 --> 01:46:16,840
Speaker 1: and said, get on the plane. I need you here

1717
01:46:16,880 --> 01:46:20,719
Speaker 1: by lunchtime. It's eight o'clock in the morning fortunately in London.

1718
01:46:21,439 --> 01:46:23,920
Speaker 1: Get over to Modern Art and needs you here at lunchtime.

1719
01:46:24,360 --> 01:46:28,719
Speaker 1: I'm going why he said, just get here. I managed

1720
01:46:28,760 --> 01:46:30,280
Speaker 1: to get on a plane, I get some modern and

1721
01:46:30,320 --> 01:46:33,280
Speaker 1: I going to his house. We sit down and there's

1722
01:46:33,280 --> 01:46:35,880
Speaker 1: a chap sitting there with a very nice young lady.

1723
01:46:36,400 --> 01:46:42,720
Speaker 1: And he said, um, this is Andre Abricelli. This is

1724
01:46:42,760 --> 01:46:46,479
Speaker 1: Harvey Goldsmith. He's taking over doing looking after your shows.

1725
01:46:46,640 --> 01:46:48,800
Speaker 1: You've got to get rid of your management. Just buy

1726
01:46:48,920 --> 01:46:53,200
Speaker 1: them now. That's what my life was about. I don't know.

1727
01:46:53,680 --> 01:46:57,840
Speaker 1: I've worked with him ever since. So okay. In terms

1728
01:46:57,920 --> 01:47:01,000
Speaker 1: of concert you know, once we get early seventies once

1729
01:47:01,000 --> 01:47:04,160
Speaker 1: again Peter Grant and led Zeppelin. Things changed because you

1730
01:47:04,240 --> 01:47:07,519
Speaker 1: knew they were going to be guaranteed sellouts. So in

1731
01:47:07,720 --> 01:47:12,360
Speaker 1: terms of promoting shows today, what publicity is necessary on

1732
01:47:12,479 --> 01:47:16,840
Speaker 1: a guaranteed sell out? If any? But more interestingly, how

1733
01:47:16,920 --> 01:47:20,080
Speaker 1: do you promote an act that is not going to

1734
01:47:20,160 --> 01:47:26,120
Speaker 1: guarantee sell out? It's a nightmare. Look, it was very

1735
01:47:26,400 --> 01:47:32,360
Speaker 1: simple promoting. This is my marketing is my forte. That's

1736
01:47:32,479 --> 01:47:36,160
Speaker 1: my thing. I'm marketing a product. That's why I wanted

1737
01:47:36,400 --> 01:47:40,920
Speaker 1: my pharmacy days was I was interested in perfumery and

1738
01:47:41,040 --> 01:47:44,639
Speaker 1: cosmetics and how they were marketed. I knew about estate

1739
01:47:44,840 --> 01:47:49,559
Speaker 1: order because when you see people walking around with those

1740
01:47:49,600 --> 01:47:52,320
Speaker 1: packages and see the ads, you knew where they were winners.

1741
01:47:52,600 --> 01:47:56,040
Speaker 1: Didn't matter what was inside, it was irrelevant. So marketing

1742
01:47:56,160 --> 01:47:58,880
Speaker 1: acts and those days of seeing what Bill Graham did

1743
01:47:58,920 --> 01:48:01,799
Speaker 1: with those film will posts us was what it's about.

1744
01:48:02,600 --> 01:48:08,160
Speaker 1: So marketing is everything and um that's really the key

1745
01:48:08,240 --> 01:48:11,120
Speaker 1: thriddles how to market it? So we had a formula.

1746
01:48:11,880 --> 01:48:15,479
Speaker 1: We had a London evening paper called Evening Standard who

1747
01:48:15,600 --> 01:48:19,479
Speaker 1: over the years I nurtured into having a big entertainment section.

1748
01:48:20,040 --> 01:48:22,479
Speaker 1: So we would take if we wanted to launching app.

1749
01:48:22,520 --> 01:48:26,200
Speaker 1: We've take an ad in the Evening Standard. We would

1750
01:48:26,240 --> 01:48:29,920
Speaker 1: do a week of radio promotion. We take an ad

1751
01:48:30,080 --> 01:48:33,519
Speaker 1: in the Music paper either Melody Make or Enemy or

1752
01:48:33,560 --> 01:48:36,240
Speaker 1: one of the of those, and we would do a

1753
01:48:36,439 --> 01:48:40,360
Speaker 1: Sunday supplement the Color magazine, a half page in that

1754
01:48:40,880 --> 01:48:47,479
Speaker 1: that would sell on average sevent of my inventory. Goodnight today,

1755
01:48:47,880 --> 01:48:52,479
Speaker 1: it is a walking nightmare. Everybody talks about social media

1756
01:48:52,520 --> 01:48:56,759
Speaker 1: and all his bollocks is bollocks. We are so wide today,

1757
01:48:57,280 --> 01:49:01,160
Speaker 1: there is so much available, and it is so hard

1758
01:49:01,320 --> 01:49:04,439
Speaker 1: to do the same job. So they either sell out

1759
01:49:04,640 --> 01:49:07,720
Speaker 1: most that shows sell out viral e The ads are

1760
01:49:07,840 --> 01:49:11,080
Speaker 1: just information about where you know when they're going on sale,

1761
01:49:11,160 --> 01:49:14,960
Speaker 1: what the date is, and the venue. They're irrelevant. If

1762
01:49:15,040 --> 01:49:17,559
Speaker 1: you want to take an app from scratch and work

1763
01:49:17,680 --> 01:49:21,680
Speaker 1: it through. It is a hundred times harder today than

1764
01:49:21,760 --> 01:49:25,439
Speaker 1: it was when I first started, that's for sure. Okay,

1765
01:49:26,080 --> 01:49:28,439
Speaker 1: And wrapping up, I know you get this question all

1766
01:49:28,479 --> 01:49:31,519
Speaker 1: the time, but I'm gonna ask you anyway. The two peaks,

1767
01:49:31,880 --> 01:49:35,960
Speaker 1: the two peaks of your career, two best shows for you,

1768
01:49:36,439 --> 01:49:39,479
Speaker 1: the moment you've got this is just transcendent for you personally.

1769
01:49:39,800 --> 01:49:42,719
Speaker 1: The best concert I ever saw it in my life,

1770
01:49:43,640 --> 01:49:47,160
Speaker 1: which I actually didn't promote was Van Morrison playing the

1771
01:49:47,280 --> 01:49:52,000
Speaker 1: Rainbow Theater in London without doubt still lives on if

1772
01:49:52,040 --> 01:49:55,880
Speaker 1: you get a chance two you could find it on

1773
01:49:57,200 --> 01:50:01,800
Speaker 1: on YouTube somewhere. The most extraordinary con for ever the

1774
01:50:01,960 --> 01:50:06,160
Speaker 1: Bob Dylan, Eric Claps and Joan Armor Trading concert at

1775
01:50:06,240 --> 01:50:11,640
Speaker 1: Blackbush was probably the best open air music concert, and

1776
01:50:11,760 --> 01:50:19,240
Speaker 1: the led Zeppelin reunion, which um was extraordinary. Okay, this

1777
01:50:19,360 --> 01:50:22,520
Speaker 1: spects a couple of the questions. How important is production?

1778
01:50:23,479 --> 01:50:27,320
Speaker 1: It turns to the fiance expected, is it necessary? Is

1779
01:50:27,400 --> 01:50:29,720
Speaker 1: it a waste as a detract from the music or

1780
01:50:30,240 --> 01:50:38,040
Speaker 1: is it necessary? Um? The whole idea of production, I'm

1781
01:50:38,080 --> 01:50:41,200
Speaker 1: pretty sure came out of England, those progressive acts like

1782
01:50:41,400 --> 01:50:44,280
Speaker 1: Yes and Emerson Lake and Palm and whatever. They were

1783
01:50:44,320 --> 01:50:47,960
Speaker 1: the forerunners and their genesis to have production, and then

1784
01:50:48,000 --> 01:50:50,960
Speaker 1: of course the Pink Floyd and so on, and then

1785
01:50:51,720 --> 01:50:55,120
Speaker 1: when the stunts got bigger and bigger, they believed that

1786
01:50:55,439 --> 01:50:59,000
Speaker 1: part of their myth of playing was to have some

1787
01:51:00,040 --> 01:51:05,320
Speaker 1: incredible production show. So I was used to, um, you know,

1788
01:51:06,479 --> 01:51:09,439
Speaker 1: playing Pink Floyd Crystal Palace Bowl, which is the first

1789
01:51:09,479 --> 01:51:11,920
Speaker 1: big open air show that I ever did the Garden

1790
01:51:12,040 --> 01:51:16,519
Speaker 1: Passes with you. I told that story for you about Leslie,

1791
01:51:16,600 --> 01:51:20,960
Speaker 1: Western Mountain, Pink Floyd, the faces and Mountain where Pink

1792
01:51:21,000 --> 01:51:25,040
Speaker 1: Floyd sunk into the lake, the monsters which came out

1793
01:51:25,120 --> 01:51:28,960
Speaker 1: of the lake, which just flew everybody away. To working

1794
01:51:29,040 --> 01:51:32,439
Speaker 1: with everything the Pink Floyd did, I couldn't get I

1795
01:51:32,640 --> 01:51:37,720
Speaker 1: just literally loved every second of it and help them

1796
01:51:38,080 --> 01:51:42,360
Speaker 1: put those productions together. Um, when Everson, Lake and Palmer

1797
01:51:42,720 --> 01:51:46,360
Speaker 1: did that Manticore, you know the album, I built the Manticore.

1798
01:51:46,439 --> 01:51:49,000
Speaker 1: They thought I was nuts, and that's what we're gonna do.

1799
01:51:49,400 --> 01:51:52,760
Speaker 1: I built it. I love all those tricks. I love

1800
01:51:52,880 --> 01:51:56,920
Speaker 1: production where they're relevant. And then you go to Mariah Carey,

1801
01:51:57,600 --> 01:52:01,839
Speaker 1: who arrived at Wembley for a first sold out no problem.

1802
01:52:01,920 --> 01:52:05,920
Speaker 1: I think two nights or three nights. She had so

1803
01:52:06,400 --> 01:52:09,519
Speaker 1: much equipment we only managed to unload a truck and

1804
01:52:09,560 --> 01:52:12,320
Speaker 1: a half. There were three trucks sitting in the car park.

1805
01:52:12,360 --> 01:52:14,000
Speaker 1: We couldn't know we know what to do with them.

1806
01:52:14,920 --> 01:52:17,400
Speaker 1: And then with Barbra Streiser and I said, I said,

1807
01:52:17,439 --> 01:52:19,200
Speaker 1: but you don't need all this stuff. They want to

1808
01:52:19,280 --> 01:52:23,559
Speaker 1: see you. And with Prince, he took me. With Prince,

1809
01:52:23,920 --> 01:52:27,160
Speaker 1: we did fourty nights at Wembley. It took half a

1810
01:52:27,400 --> 01:52:32,120
Speaker 1: tour to get Prince to understand that he didn't need

1811
01:52:32,240 --> 01:52:35,680
Speaker 1: the elevator, and he didn't need the escalator, and he

1812
01:52:35,800 --> 01:52:38,439
Speaker 1: didn't need this an all he needed to stand on

1813
01:52:38,640 --> 01:52:42,920
Speaker 1: stage and play. He could blow anybody away in his sleep,

1814
01:52:43,200 --> 01:52:45,559
Speaker 1: which is what he did, of course after every show

1815
01:52:45,640 --> 01:52:48,880
Speaker 1: he did in a little club at night. That so

1816
01:52:49,160 --> 01:52:52,679
Speaker 1: there are acts where production is part of their ethos

1817
01:52:52,840 --> 01:52:56,799
Speaker 1: and works incredibly Pink Floyd, etcetera. And they are acts

1818
01:52:57,080 --> 01:52:59,439
Speaker 1: who feel they have to have it but don't actually

1819
01:52:59,560 --> 01:53:03,759
Speaker 1: need it, where it's a waste of time and money. Okay,

1820
01:53:04,280 --> 01:53:06,280
Speaker 1: this leads to the other thing, which you get asked

1821
01:53:06,320 --> 01:53:10,400
Speaker 1: all the time. I'm sure any and this is fantasy

1822
01:53:10,680 --> 01:53:14,200
Speaker 1: if it bleeds to the reality, greet any still alive

1823
01:53:14,280 --> 01:53:17,240
Speaker 1: act that you haven't worked with you would like to

1824
01:53:17,320 --> 01:53:21,040
Speaker 1: work with, or any project that you can envision that

1825
01:53:21,160 --> 01:53:30,400
Speaker 1: you would like to put up. Um project. I'm mentoring

1826
01:53:30,720 --> 01:53:35,560
Speaker 1: a group of the next generation and we're going to

1827
01:53:35,720 --> 01:53:38,920
Speaker 1: do a huge climate change concert lation at the end

1828
01:53:38,960 --> 01:53:43,080
Speaker 1: towards the end of the year. I co patures when

1829
01:53:43,479 --> 01:53:47,200
Speaker 1: my partner Kevin Wall Live Earth in two thousand and ten,

1830
01:53:47,960 --> 01:53:50,160
Speaker 1: which was the forerunner, which we did with our goal,

1831
01:53:51,160 --> 01:53:53,080
Speaker 1: and we did that all over the world. We were

1832
01:53:53,120 --> 01:53:57,400
Speaker 1: ahead of the game. Today the future is dealing with

1833
01:53:57,479 --> 01:54:00,519
Speaker 1: the climate and the environment. You could see every day

1834
01:54:00,520 --> 01:54:04,640
Speaker 1: of the week what's happened in Texas. Last week we

1835
01:54:04,800 --> 01:54:08,479
Speaker 1: were ten degrees below zero or eighteen degrees below zero,

1836
01:54:09,000 --> 01:54:12,040
Speaker 1: and three days later we're eighteen degrees. But I went

1837
01:54:12,080 --> 01:54:15,280
Speaker 1: out this morning with a shirts, not even a jacket.

1838
01:54:15,840 --> 01:54:19,639
Speaker 1: That's nuts. Last seven days ago, I had so many

1839
01:54:19,760 --> 01:54:22,240
Speaker 1: layers on. I had two pairs of gloves on. Mine

1840
01:54:22,320 --> 01:54:26,120
Speaker 1: was so cold. It's extremes of climate what we're living with.

1841
01:54:26,600 --> 01:54:30,080
Speaker 1: That's the result of what they call climate change. So

1842
01:54:30,520 --> 01:54:33,920
Speaker 1: the next big event is a massive event about the environment.

1843
01:54:34,360 --> 01:54:36,800
Speaker 1: I want to do that. I'm gonna I want them.

1844
01:54:36,840 --> 01:54:39,240
Speaker 1: They're headed up. There were a great bunch of kids.

1845
01:54:39,280 --> 01:54:42,640
Speaker 1: They're not kids, but they're the next generation. They're passionate

1846
01:54:42,720 --> 01:54:45,520
Speaker 1: about it. I want to help mentor them through given

1847
01:54:45,560 --> 01:54:50,360
Speaker 1: the pathway to it and um what they want to

1848
01:54:50,440 --> 01:54:52,920
Speaker 1: create and what they're building, believe it or not, which

1849
01:54:53,000 --> 01:54:55,480
Speaker 1: is the best thing. It's got me sucked in with them.

1850
01:54:55,880 --> 01:54:59,320
Speaker 1: They're going to build an app called Hero, which means

1851
01:54:59,400 --> 01:55:03,000
Speaker 1: that every body can download that app and follow their

1852
01:55:03,120 --> 01:55:08,240
Speaker 1: pathway of what every individual can do to help beat

1853
01:55:08,280 --> 01:55:12,440
Speaker 1: the climate situation, not what governments have to do. So

1854
01:55:12,560 --> 01:55:15,280
Speaker 1: it's not about them. It's about what we can do

1855
01:55:15,880 --> 01:55:18,280
Speaker 1: and that I want to get that over the whole

1856
01:55:18,400 --> 01:55:20,960
Speaker 1: idea is to promote this app which is free, but

1857
01:55:21,040 --> 01:55:24,600
Speaker 1: everybody to download it with a whole series of pathways

1858
01:55:24,960 --> 01:55:28,960
Speaker 1: where each person could do their own thing about protecting

1859
01:55:29,000 --> 01:55:32,360
Speaker 1: the environment and their future, and it can be global.

1860
01:55:32,520 --> 01:55:37,320
Speaker 1: That's my next project. Okay, that does beg the question

1861
01:55:37,400 --> 01:55:40,160
Speaker 1: since you were there with the progenitors, the big ones

1862
01:55:40,280 --> 01:55:45,440
Speaker 1: like Live Aid, at this point in time, the massive concert,

1863
01:55:46,200 --> 01:55:50,360
Speaker 1: is that still valid and be Is it more about

1864
01:55:50,480 --> 01:55:53,800
Speaker 1: getting the message across the information and more about raising

1865
01:55:53,920 --> 01:55:58,520
Speaker 1: money or is that paradigm just exhausted. Well, everybody thinks

1866
01:55:58,600 --> 01:56:05,000
Speaker 1: it's exhausted, but actually at all and um, the paradigm

1867
01:56:06,040 --> 01:56:09,840
Speaker 1: is what the message you're giving out. When we did

1868
01:56:09,960 --> 01:56:16,240
Speaker 1: Live Aid, it was purely and simple. Four thousand miles

1869
01:56:16,320 --> 01:56:20,200
Speaker 1: down the road, people were starving and we in Europe

1870
01:56:20,440 --> 01:56:23,800
Speaker 1: were having arguments about what to do with fruit mountains

1871
01:56:23,880 --> 01:56:27,720
Speaker 1: and butter mountains that we couldn't give away. It was nuts.

1872
01:56:29,120 --> 01:56:33,200
Speaker 1: Live eight was a message to government to the G

1873
01:56:33,400 --> 01:56:36,200
Speaker 1: eight conference. That's what it was called Live eight to

1874
01:56:36,360 --> 01:56:40,040
Speaker 1: persuade them to put Africa on the agenda, which they did.

1875
01:56:41,040 --> 01:56:43,880
Speaker 1: So it depends on what you're trying to do. Our

1876
01:56:44,080 --> 01:56:47,640
Speaker 1: environmental show is not going to be about raising money.

1877
01:56:47,680 --> 01:56:50,800
Speaker 1: It's about promoting the app for people to use and

1878
01:56:50,920 --> 01:56:54,560
Speaker 1: to get involved themselves and what they can do if

1879
01:56:54,600 --> 01:56:57,120
Speaker 1: you want to raise money, are like shows I've done

1880
01:56:57,160 --> 01:56:59,920
Speaker 1: for the Red Cross and whatever, and you're blatant about

1881
01:57:00,120 --> 01:57:04,400
Speaker 1: raising money. Raise the money, it's not you can separate

1882
01:57:04,480 --> 01:57:11,480
Speaker 1: the two. Okay. I think finally, you are a commander

1883
01:57:11,560 --> 01:57:14,960
Speaker 1: of the British Empire. Did you see that coming? What

1884
01:57:15,040 --> 01:57:17,400
Speaker 1: does it mean to you? And what's your relationship? I

1885
01:57:17,680 --> 01:57:20,400
Speaker 1: understand you have some sort of relationship with the Royal family.

1886
01:57:21,240 --> 01:57:24,360
Speaker 1: I didn't see it coming at all. Actually, in fact,

1887
01:57:24,720 --> 01:57:28,640
Speaker 1: what happens is this brown envelope arrives and you think

1888
01:57:28,680 --> 01:57:31,520
Speaker 1: it's a bill from the tax people, that it's a

1889
01:57:31,680 --> 01:57:35,440
Speaker 1: letter saying you're commanded that. What it says is we

1890
01:57:35,520 --> 01:57:37,960
Speaker 1: are mindful of giving you this or not. If you

1891
01:57:38,080 --> 01:57:40,520
Speaker 1: are offered it, will you accept. That's how it works,

1892
01:57:40,920 --> 01:57:42,880
Speaker 1: so at that point you can actually turn it down.

1893
01:57:43,000 --> 01:57:45,200
Speaker 1: Very quietly, thank you very much, you're not getting it,

1894
01:57:45,560 --> 01:57:49,120
Speaker 1: or thank you very much. I was really surprised that

1895
01:57:49,280 --> 01:57:52,600
Speaker 1: I didn't know I was getting it, had no idea whatsoever,

1896
01:57:53,480 --> 01:57:57,760
Speaker 1: and I was thrilled. I've also got a I've got

1897
01:57:58,040 --> 01:58:00,840
Speaker 1: an honor from France as well, which which I like

1898
01:58:02,280 --> 01:58:04,720
Speaker 1: as well, which is which is an order of arts

1899
01:58:04,800 --> 01:58:08,040
Speaker 1: and letters which I got from the French government. And

1900
01:58:08,160 --> 01:58:10,560
Speaker 1: I've got a few other bits of pieces led around

1901
01:58:11,240 --> 01:58:17,440
Speaker 1: they look um. I spent eighteen years working with the

1902
01:58:17,520 --> 01:58:19,520
Speaker 1: Prince of Wales. I was the vice chairman of the

1903
01:58:19,560 --> 01:58:22,920
Speaker 1: Princess Trust for the first five years. I was their

1904
01:58:23,000 --> 01:58:25,320
Speaker 1: main you know, did all their fundraising. And you may

1905
01:58:25,400 --> 01:58:28,960
Speaker 1: recall the Princess Trust Rock Carlos or other stars Saga

1906
01:58:29,000 --> 01:58:31,520
Speaker 1: and another story. And I did a lot of work

1907
01:58:31,560 --> 01:58:34,960
Speaker 1: with them because the work they do is incredible. I

1908
01:58:35,080 --> 01:58:38,160
Speaker 1: worked with the Duke of Edinburgh on his awards ceremony.

1909
01:58:38,200 --> 01:58:40,880
Speaker 1: Fact I produced his seventieth birthday pass it wins the

1910
01:58:40,960 --> 01:58:44,200
Speaker 1: castle where the Queen wasn't invited and she was looking

1911
01:58:44,240 --> 01:58:46,240
Speaker 1: out the window going what the hell is going on

1912
01:58:46,400 --> 01:58:51,560
Speaker 1: down there? I I've done a lot for very different

1913
01:58:51,640 --> 01:58:56,400
Speaker 1: parts of or family whatever. I um six weeks before

1914
01:58:56,440 --> 01:59:00,600
Speaker 1: Princess Diana was killed. I actually went with her to Washington,

1915
01:59:01,520 --> 01:59:05,440
Speaker 1: um um, to meet with the American Red Cross to

1916
01:59:05,520 --> 01:59:08,200
Speaker 1: to a big Red Cross event, and she asked me

1917
01:59:08,280 --> 01:59:10,080
Speaker 1: to go with her, and I did. And you know,

1918
01:59:10,120 --> 01:59:12,080
Speaker 1: I knew it quite well, and so on and so forth.

1919
01:59:12,360 --> 01:59:16,520
Speaker 1: You know, it's what you do. I um. I don't

1920
01:59:16,600 --> 01:59:19,400
Speaker 1: really brag about it. It's just what I've done, and

1921
01:59:20,120 --> 01:59:25,920
Speaker 1: so on and so forth. Um. The the French honor

1922
01:59:26,080 --> 01:59:28,960
Speaker 1: was great. That was a real surprise I got. That

1923
01:59:29,200 --> 01:59:31,640
Speaker 1: was given to me at Medham and I had no

1924
01:59:31,840 --> 01:59:35,360
Speaker 1: idea about that either. And the other thing I've got

1925
01:59:35,480 --> 01:59:37,840
Speaker 1: is a Freeman of the City of London, which actually

1926
01:59:37,920 --> 01:59:41,040
Speaker 1: is really cool because once a year I can drive

1927
01:59:41,120 --> 01:59:44,320
Speaker 1: a flock of sheep over London Bridge and there ain't

1928
01:59:44,360 --> 01:59:46,920
Speaker 1: many people who could do that and I'm allowed to.

1929
01:59:49,000 --> 01:59:52,640
Speaker 1: It goes back to four hundred odds as the son

1930
01:59:52,720 --> 01:59:55,640
Speaker 1: of a tailor. To use the name of the Jack

1931
01:59:55,720 --> 01:59:58,320
Speaker 1: Bruce album. Do you ever pinch yourself and say, wow,

1932
01:59:58,480 --> 02:00:00,760
Speaker 1: look at this ride? I do where I made it?

1933
02:00:00,960 --> 02:00:03,400
Speaker 1: I do. I actually go around the world giving a

1934
02:00:03,520 --> 02:00:08,560
Speaker 1: talk um which is basically on luck, called luck and timing,

1935
02:00:09,240 --> 02:00:12,320
Speaker 1: because I believe That's what it's all about. It's all

1936
02:00:12,360 --> 02:00:15,600
Speaker 1: about luck and timing and being in the right place

1937
02:00:15,680 --> 02:00:20,000
Speaker 1: at the right time and having a stroker luck. But

1938
02:00:20,200 --> 02:00:26,040
Speaker 1: then the the finnessing of it is taking advantage of

1939
02:00:26,080 --> 02:00:32,080
Speaker 1: the situation. I never missed a trick, whether it's meeting president's,

1940
02:00:32,120 --> 02:00:35,360
Speaker 1: prime ministers, kings, queens, I've met them all all over

1941
02:00:35,440 --> 02:00:39,440
Speaker 1: the world. I've done the craziest I mean, if I

1942
02:00:39,560 --> 02:00:42,040
Speaker 1: told you some of the things that I've done. I

1943
02:00:42,160 --> 02:00:45,960
Speaker 1: spent one afternoon with Bob geldof paying Catch running up

1944
02:00:45,960 --> 02:00:48,560
Speaker 1: and down the corridors of the Right House. Go figure

1945
02:00:48,600 --> 02:00:55,600
Speaker 1: that one. You know, we are just I've just lucked in,

1946
02:00:56,800 --> 02:01:00,560
Speaker 1: just the weird and the wonderful. I got advited a Cuba.

1947
02:01:01,280 --> 02:01:04,200
Speaker 1: I did a deal for the Club Tropicana, which technically

1948
02:01:04,280 --> 02:01:07,040
Speaker 1: I still kind of co on the overseas rights for

1949
02:01:07,840 --> 02:01:10,960
Speaker 1: I met Fidell. I mean it was you can't do

1950
02:01:11,160 --> 02:01:14,440
Speaker 1: that unless you're a rock and roll you know. I mean,

1951
02:01:14,840 --> 02:01:19,800
Speaker 1: when when Queen did that song with with the Monster

1952
02:01:19,920 --> 02:01:24,919
Speaker 1: at Barcelona for the Barcelona Olympics. Here I am standing

1953
02:01:25,000 --> 02:01:29,360
Speaker 1: in a lineup with with all of Queen and monsterral

1954
02:01:29,400 --> 02:01:32,160
Speaker 1: at one end, and the King and Queen arrive at

1955
02:01:32,360 --> 02:01:34,840
Speaker 1: on the other side and everyone's standing look at each

1956
02:01:34,840 --> 02:01:37,800
Speaker 1: other and I literally get up. I walk. I could

1957
02:01:37,800 --> 02:01:40,040
Speaker 1: see there's nothing. Nobody knows what to do. I go

1958
02:01:40,320 --> 02:01:45,880
Speaker 1: king follow me. You can get away with Blue Murder.

1959
02:01:46,320 --> 02:01:52,680
Speaker 1: Extraordinary and working um with the Royal Kingdom of Jordan

1960
02:01:52,800 --> 02:01:55,960
Speaker 1: to produce the event in Petro where we produced in

1961
02:01:56,280 --> 02:02:01,000
Speaker 1: the desert, a weekend of events where we produced a

1962
02:02:01,040 --> 02:02:04,320
Speaker 1: show in Petra where the ancestry is. We have to

1963
02:02:04,400 --> 02:02:07,440
Speaker 1: look up, you have to walk down this corridor that's

1964
02:02:07,480 --> 02:02:11,720
Speaker 1: a meter wide, four hundred meters. We list it. There's

1965
02:02:11,760 --> 02:02:14,480
Speaker 1: no power. So we did this whole event with fourteen

1966
02:02:14,640 --> 02:02:18,080
Speaker 1: thousand candles, and then we did a dinner in the

1967
02:02:18,200 --> 02:02:22,160
Speaker 1: desert for five hundred people that people ten years later

1968
02:02:22,280 --> 02:02:24,760
Speaker 1: still talk about because it was extraordinary. I mean, it's

1969
02:02:24,760 --> 02:02:29,080
Speaker 1: just fun. Do it, Okay, I think we've come to

1970
02:02:29,200 --> 02:02:31,000
Speaker 1: the end of the feeling. We've known we can go

1971
02:02:31,160 --> 02:02:35,320
Speaker 1: on for hours. You know, these stories are gold. Harvey,

1972
02:02:35,720 --> 02:02:37,680
Speaker 1: thanks so much for giving us your time. Thank you.

1973
02:02:37,760 --> 02:02:40,480
Speaker 1: I'll enjoyed it until next time. This is barbed Las