WEBVTT - Harvey Goldsmith

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<v Speaker 1>Welcome, Welcome, welcome back to the Barbs podcast. My yesterday

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<v Speaker 1>is truly a legend of the live music war Concer promoter,

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<v Speaker 1>Events promoter, Harvey Goldsmith, Harvey, Hi, Bob, thank you very

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<v Speaker 1>much for having me. I'm kind of looking forward to

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<v Speaker 1>this discussion. Okay, let's start out with the type of

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<v Speaker 1>jure when our shows coming back. Well, yeah, that's been

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<v Speaker 1>quite interesting. Were suddenly in England in the UK seeing

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<v Speaker 1>some light at the end of the tunnel and we

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<v Speaker 1>had a whole discussion about it today. I had Minister

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<v Speaker 1>of Vaccines called me up yesterday to ask me what

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<v Speaker 1>the issues were with our industry because we were getting

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<v Speaker 1>nowhere with the government. It looks like country. So what

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<v Speaker 1>you may have read in the papers that life will

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<v Speaker 1>start probably end of August, beginning of September. We're hoping

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<v Speaker 1>that there maybe one or two smaller open air events,

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<v Speaker 1>but the notion of reading and leads fifty capacity plus

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<v Speaker 1>and all that, I'd be quite amazed if they happen

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<v Speaker 1>this year. But we are hoping that indoor events and

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<v Speaker 1>the smaller outdoor events that happened late summer and then

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<v Speaker 1>indoor events will kick off in September. That's what we're

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<v Speaker 1>hoping for. Okay, Glastonbury canceled, but reading and leads they

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<v Speaker 1>still see that they're going to go on, and that's

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<v Speaker 1>what I was just intervacing. Didn't actually say they were

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<v Speaker 1>going to go on. They said that they the headliners

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<v Speaker 1>are still booked. They didn't actually say yes, we're happening

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<v Speaker 1>because they can't. The earliest that any if everything goes

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<v Speaker 1>well and smoothly, the earliest we are going to know

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<v Speaker 1>whether we can have, you know, a back to normal

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<v Speaker 1>is June. That's the very earliest. What is the significance

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<v Speaker 1>of June because what's happening The government have announced four

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<v Speaker 1>different stages of activity to get back to normal. And

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<v Speaker 1>while that's going on, there is more rapid testing being developing,

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<v Speaker 1>the vaccines being rolled out, there's now three vaccines available, etcetera, etcetera.

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<v Speaker 1>But the government are thinking, should everything be good and

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<v Speaker 1>we don't find another variant that the infection rate is

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<v Speaker 1>going down, the death rate is going down, the hospitalization

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<v Speaker 1>rate is going down. So consequently, if various schools are

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<v Speaker 1>going back March the eight, the next move is that

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<v Speaker 1>people couldn't start mixing together up to six people. The

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<v Speaker 1>next movie is that retail will open, gym's were open.

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<v Speaker 1>You've got to actually get a haircut for the first time,

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<v Speaker 1>not that you and I need it, but nevertheless everybody

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<v Speaker 1>else does, um and sold and so forth. And then

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<v Speaker 1>they're going made they're going to allow socially distant shows,

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<v Speaker 1>which for us they work um and up to a

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<v Speaker 1>thousand people. And then in June, if all goes well

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<v Speaker 1>and there's no increase in infection rates, etcetera, then the

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<v Speaker 1>government is saying they're going to open the doors to

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<v Speaker 1>get back to normal. But we don't think that is

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<v Speaker 1>enough time from June to get everything together because they've

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<v Speaker 1>still got to work out the protocols for opening up shows,

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<v Speaker 1>which haven't been sorted out yet. They've got to test them,

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<v Speaker 1>they've got to evaluate them, they've got to cost them,

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<v Speaker 1>and then we've got to work out the balance between

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<v Speaker 1>vaccines are rapid testing, because the rapid testing by five

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<v Speaker 1>minute tests are not don't show a long enough results

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<v Speaker 1>as yet, so they're still developing those. They've got to

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<v Speaker 1>look at the results of the vaccine. So we think

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<v Speaker 1>that we may have some smaller up to maybe fifteen

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<v Speaker 1>thousand capacity towards the end of the summer August onwards.

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<v Speaker 1>But I can't personally see a reading and the leads

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<v Speaker 1>at fifty capacity, or even the Big Hide Park shows

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<v Speaker 1>happening this summer because I just don't think there's enough

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<v Speaker 1>time to get it all sorted out. Okay, let's just

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<v Speaker 1>assume we'll use September one, that you can put on

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<v Speaker 1>arena shows in September one if you're the promoter A.

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<v Speaker 1>What are the issues of insurance? Well, that's I was

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<v Speaker 1>going to come onto that. There are three key issues.

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<v Speaker 1>One is what are the protocols which we just talked

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<v Speaker 1>about vaccines cleanin US, dealing with ventilation if it's indoors

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<v Speaker 1>social distancing testing. The next thing isn't sure currants unless

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<v Speaker 1>the government can help either force the insurance industry or

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<v Speaker 1>do what we've asked them to do is to create

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<v Speaker 1>a bond which we will subscribe to UM. And there's

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<v Speaker 1>if there's no insurance, there's no shows, there's no festivals,

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<v Speaker 1>and there's no tours because it's too risky. At the moment,

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<v Speaker 1>you cannot get cover for COVID anywhere in the world.

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<v Speaker 1>The final thing is an issue of US leaving the

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<v Speaker 1>e C. And there are two issues there. One is visas. Currently,

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<v Speaker 1>you have to get a different visa for every country.

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<v Speaker 1>It's a walking nightmare. You're gonna have to have fifty

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<v Speaker 1>seven different passports because you have to send them in.

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<v Speaker 1>They're going to be stamped and blah blah blah. The

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<v Speaker 1>second thing is something which you've never heard of. It's

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<v Speaker 1>called cabotage. Cabotage was a system devised by geniuses at

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<v Speaker 1>the e C many years ago to stop Russian truck

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<v Speaker 1>drivers dumping in Europe. And what kabotage means is if

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<v Speaker 1>you take a truck, load it up with sound, light,

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<v Speaker 1>staging and backline in London, taking on a ferry to

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<v Speaker 1>Paris to do your first show, you can unload it,

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<v Speaker 1>you can load it back up, you can drive it

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<v Speaker 1>to the next gig, and then you have to stop,

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<v Speaker 1>send the trucks back with the driver, and then you've

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<v Speaker 1>got to find other trucks to start again, and then

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<v Speaker 1>every other go you've got to keep doing it because

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<v Speaker 1>you're only allowed one drop off, one load up. So

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<v Speaker 1>that's going to completely screw European tours. They are they

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<v Speaker 1>understand it now, the government they it was an omission apparently,

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<v Speaker 1>but they are starting to talk to the e C

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<v Speaker 1>about sorting that out. They've still got to deal with

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<v Speaker 1>the insurance, which is a major global issue, and they've

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<v Speaker 1>also got to deal with the protocols. That's why I

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<v Speaker 1>think Summer's end of summer is the earliest. Okay, based

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<v Speaker 1>on prior conversations with you, you were very pro Brexit. Yes,

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<v Speaker 1>how do you feel about Brexit? Now? They're still pro it.

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<v Speaker 1>It doesn't because you know they've discovered that there must

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<v Speaker 1>I'm told there were fourteen thousand statutes to go through,

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<v Speaker 1>and I am as much as I think it's staff

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<v Speaker 1>where we've got to, I accept that they're going to

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<v Speaker 1>be issues that just fall out of the trees that

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<v Speaker 1>haven't been dealt with, because that's the way the nature

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<v Speaker 1>of the beast. Anybody that's got any sense will know

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<v Speaker 1>that these things were not meant for our business. They

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<v Speaker 1>weren't there to to stop our business from taking place,

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<v Speaker 1>or to stop European artists coming to England or and

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<v Speaker 1>trucks and so on. So it'll get sorted out. It's

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<v Speaker 1>only if the will is there, the way will be found. Okay.

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<v Speaker 1>Just for those people who are not necessarily from the

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<v Speaker 1>UK or at verse can you please tell us why

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<v Speaker 1>you personally approa brexit um. It goes back to the

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<v Speaker 1>time when the EU was formed. There is a difference

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<v Speaker 1>between the EU, the European Union, and the e C.

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<v Speaker 1>The EU was principally formed after the war as a

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<v Speaker 1>way to stop another war and to get countries, all

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<v Speaker 1>of whom were in a complete disaster state, to come together,

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<v Speaker 1>to work together and to to start to redevelop their

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<v Speaker 1>countries and to trade with each other. The prime reason

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<v Speaker 1>was to sort out a trading relationship, which was fine

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<v Speaker 1>as it developed and more and more countries came on board.

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<v Speaker 1>A layer of bureaucracy C came about and the e

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<v Speaker 1>C Commissioners, who are unelected were then put into place.

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<v Speaker 1>They have one agenda and one agenda only, and that

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<v Speaker 1>is to have one federal state of Europe, and every

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<v Speaker 1>other member state and every person that lives in the

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<v Speaker 1>e C is paying for these people fortunes. All they

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<v Speaker 1>want is a one federal state. Whereas every citizen of

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<v Speaker 1>every country in Europe wants to be a citizen of

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<v Speaker 1>that country, whether it's the UK or whether it's Germany

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<v Speaker 1>or France or whatever. They don't want to be in

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<v Speaker 1>one federal state. They do want to trade with each other,

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<v Speaker 1>and there's this mix up and unfortunately, because they're not elected,

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<v Speaker 1>they're starting to become, if you like, semigods. So they

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<v Speaker 1>only eat at the best restaurants. Lunch goes on forever.

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<v Speaker 1>If you and have lunch, they will talk to you.

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<v Speaker 1>You can't get business done. They dictate the rules. They

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<v Speaker 1>suddenly decide, well, you can't have Yorkshire puddings, or you

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<v Speaker 1>can't have British sausages, or our cheddar cheese is no

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<v Speaker 1>good because they're bored, and so on. I spent a

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<v Speaker 1>year going out. There is a representative for the UK

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<v Speaker 1>to deal with an outfit called the EC is divided

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<v Speaker 1>up into divisions, and this was called DG ten, which

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<v Speaker 1>is a cultural division. It just to be clear for

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<v Speaker 1>those who don't know. For those who don't know, EC

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<v Speaker 1>is the European Commission, yeah, and d G ten is

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<v Speaker 1>the Cultural Office. They told us they had one billion

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<v Speaker 1>euros to spend on developing music across Europe and they

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<v Speaker 1>wanted to They have representatives from eight or nine countries coming.

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<v Speaker 1>I went over to represent England. I went there six times.

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<v Speaker 1>They told us they had a billion euros to unlock

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<v Speaker 1>the key of the cupboard that's got the money in

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<v Speaker 1>it is absolutely impossible. But they said, so you go there,

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<v Speaker 1>you have lunch, which is other waste of time. You

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<v Speaker 1>have dinner, you have a hotel, they run you around

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<v Speaker 1>in limousines, you have lunch again, dinner. Can't unlock the

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<v Speaker 1>keys to the money. And what happens at the end

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<v Speaker 1>of the days. Instead of this money going which is

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<v Speaker 1>what we all wanted, was to go to on the ground,

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<v Speaker 1>street level encouragement for people to get into music, new artists,

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<v Speaker 1>new bands, some form of competition, touring around Europe with

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<v Speaker 1>new artists and new cultural ideas. All that happened was

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<v Speaker 1>the money went to the b p I the money

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<v Speaker 1>which is the record industry. The money went to the

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<v Speaker 1>PRS which is the performing rights people. The money went,

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<v Speaker 1>money went to the TV associations and the film associations.

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<v Speaker 1>Are not one single penny went down the grassroots music.

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<v Speaker 1>And it's a joke, okay, just since you're so educated.

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<v Speaker 1>Shifting the focus a little bit, uh, in terms of

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<v Speaker 1>Brexit on banking, certainly the city in London was the

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<v Speaker 1>epicenter certainly for the continent. Uh. And now something for

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<v Speaker 1>the well one could argue in New York City, but

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<v Speaker 1>let's not argue that, Okay, but you know things are

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<v Speaker 1>moving uh. Universal is going to go public in Amsterdam.

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<v Speaker 1>In addition their issues of shipping, there's issues of getting

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<v Speaker 1>e uh like construction of cars, getting parts from other

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<v Speaker 1>countries and sometimes the parts have to go back and forth,

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<v Speaker 1>making the focus larger. You still think Brexit's gonna work

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<v Speaker 1>itself out, Um, yes, because Brexit because they you it's

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<v Speaker 1>got too big and you have the difficulty of propping

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<v Speaker 1>out most of the countries. There's economy. Um is difficult

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<v Speaker 1>to put it bluntly, where the central banks are proper

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<v Speaker 1>having a prop up. We're contributing and we unfortunately in

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<v Speaker 1>the UK or on its citizens. So when when there's

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<v Speaker 1>a rule that comes up which the French farmers don't like,

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<v Speaker 1>they don't do it. But when the rule comes up

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<v Speaker 1>to Britain, the British farmers government, god, and we hate this,

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<v Speaker 1>but we'll have to do it. So we've already always complied.

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<v Speaker 1>But the French do whatever they want to do, and

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<v Speaker 1>so on and so forth. So it just doesn't work

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<v Speaker 1>for us. There will be hiccups. We've only been out

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<v Speaker 1>of the EU and the EC since January the third

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<v Speaker 1>December thirty one. If we're in February, it's going to

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<v Speaker 1>take six months before it sorts itself out. We will

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<v Speaker 1>have a thriving trading relationship with Europe, but we will

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<v Speaker 1>be able to row our own boats, principally in on

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<v Speaker 1>the League Eagle system we'll have. We will be back

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<v Speaker 1>in control of our legal system. We will be back

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<v Speaker 1>in control of trade. We can decide if we want

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<v Speaker 1>to trade with Australia or America or New Zealand or Timbucto.

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<v Speaker 1>We can trade with it. We don't have to ask

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<v Speaker 1>the e C. We will forge a very good, workable

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<v Speaker 1>trading relationship with the EU, and they need us and

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<v Speaker 1>we need them. So it will happen, and it'll within

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<v Speaker 1>and by this time next year you're going, what was

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<v Speaker 1>all the row about? We'll just get on with it.

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<v Speaker 1>There will be a few things that clearly aren't the same.

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<v Speaker 1>There are issues of joint companies and joint ventures like

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<v Speaker 1>the European Space Agency, like Eurotunnel, like and so on

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<v Speaker 1>and so forth, um, but they'll get sorted out as well.

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<v Speaker 1>We need our own car industry. We need to be

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<v Speaker 1>able to build electric cars in the UK with our

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<v Speaker 1>own batteries and our own battery system. We can't be

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<v Speaker 1>just depend on and everything in Europe. We have to

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<v Speaker 1>forge our own independence. And maybe how farmers will get

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<v Speaker 1>better and we'll be on easing really good English lab

0:15:09.520 --> 0:15:13.560
<v Speaker 1>which gets exported around the world. Maybe our fish will

0:15:13.600 --> 0:15:18.080
<v Speaker 1>start to um to regrow and and all of the

0:15:18.160 --> 0:15:21.360
<v Speaker 1>fisheries will start to get bigger again because they're over fish.

0:15:21.680 --> 0:15:24.400
<v Speaker 1>We can control it. We will have our own car

0:15:24.520 --> 0:15:28.840
<v Speaker 1>industry because we have to, and we will control our

0:15:28.880 --> 0:15:30.960
<v Speaker 1>own clothing and all the rest of it. And we'll

0:15:31.040 --> 0:15:34.600
<v Speaker 1>have a great trading relationship with our friends in Europe

0:15:34.760 --> 0:15:37.120
<v Speaker 1>and they'll love it. But we don't want to be

0:15:37.240 --> 0:15:41.840
<v Speaker 1>part of that mess. Okay, let's go back to what's

0:15:41.840 --> 0:15:46.000
<v Speaker 1>going to happen in the four Speak to how much

0:15:46.080 --> 0:15:50.480
<v Speaker 1>pent up demand there will be and be will ticket

0:15:50.520 --> 0:15:53.400
<v Speaker 1>prices sustain or as a result of a year staying

0:15:53.400 --> 0:15:56.360
<v Speaker 1>at home, are people harbled and not able to pay

0:15:56.400 --> 0:16:00.400
<v Speaker 1>the prices they used to? Okay, here's the city squation.

0:16:01.400 --> 0:16:08.680
<v Speaker 1>There were hundreds, if not thousands, of concerts um Plan

0:16:09.080 --> 0:16:13.200
<v Speaker 1>for two thousand and twenty. Every single one of those

0:16:13.400 --> 0:16:17.680
<v Speaker 1>was postponed to two thousand and twenty one. All of

0:16:17.680 --> 0:16:21.360
<v Speaker 1>those concerts that were planned for the first half, quarter

0:16:21.480 --> 0:16:24.200
<v Speaker 1>one and quarter two of twenty one have now been

0:16:24.240 --> 0:16:28.000
<v Speaker 1>moved to quarter one and quarter two of twenty two.

0:16:28.840 --> 0:16:32.400
<v Speaker 1>Plus a lot of people who are like unsure about

0:16:33.200 --> 0:16:36.680
<v Speaker 1>um indoor shows coming back in quarter three have also

0:16:36.760 --> 0:16:40.520
<v Speaker 1>moved into twenty two. So we have a situation of gridlock.

0:16:41.040 --> 0:16:45.120
<v Speaker 1>The venues are suffering because they're having a whole dates

0:16:45.160 --> 0:16:48.240
<v Speaker 1>in twenty one and twenty two and they don't know

0:16:48.280 --> 0:16:51.640
<v Speaker 1>which ones are going to work. Currently. You cannot get

0:16:51.680 --> 0:16:55.680
<v Speaker 1>a date in a venue for love nor money. That's

0:16:55.720 --> 0:17:01.280
<v Speaker 1>point one. The interesting thing is that the ticket rebase

0:17:01.640 --> 0:17:05.160
<v Speaker 1>people getting there asking for their money back is probably

0:17:05.880 --> 0:17:09.399
<v Speaker 1>less than five percent across the board. I had a

0:17:09.440 --> 0:17:14.320
<v Speaker 1>whole discussion with with one of my fellow promoters this afternoon,

0:17:15.200 --> 0:17:18.560
<v Speaker 1>and um, we've got I've got a whole series of

0:17:18.560 --> 0:17:22.399
<v Speaker 1>shows with Andre Pacelli coming up. Um, we've moved it

0:17:22.440 --> 0:17:24.840
<v Speaker 1>from twenty to twenty one, and we may have to

0:17:24.880 --> 0:17:28.000
<v Speaker 1>move it to twenty two depending on what happens. We've

0:17:28.040 --> 0:17:33.040
<v Speaker 1>refunded out of twenty eight thousand tickets, we've refunded a

0:17:33.080 --> 0:17:36.600
<v Speaker 1>hundred and fifty eight and so on as you go

0:17:36.720 --> 0:17:40.560
<v Speaker 1>through this week and last week. As a result of

0:17:40.800 --> 0:17:43.600
<v Speaker 1>actually this week really as a result of the Mayor's

0:17:43.920 --> 0:17:48.760
<v Speaker 1>the gut the Prime Minister's an announcement, thousands of tickets

0:17:48.760 --> 0:17:54.200
<v Speaker 1>were sold. There's huge pent up demand for concerts. There

0:17:54.320 --> 0:17:59.639
<v Speaker 1>is a confidence issue, but there is no there is

0:17:59.720 --> 0:18:03.640
<v Speaker 1>no um let up of people wanting to go. So

0:18:04.000 --> 0:18:06.840
<v Speaker 1>there is an issue of confidence. Some factors are not

0:18:06.920 --> 0:18:09.200
<v Speaker 1>quite sure and they want to be dead sure before

0:18:09.240 --> 0:18:12.760
<v Speaker 1>they actually go. But nobody's giving up their tickets, which

0:18:12.800 --> 0:18:16.879
<v Speaker 1>is really quite fascinating. So for example, I start my

0:18:17.400 --> 0:18:22.560
<v Speaker 1>September off with Jimmy Buffett. My Jimmy Buffett shows sold

0:18:22.600 --> 0:18:27.960
<v Speaker 1>out in about four seconds, and when we moved them

0:18:28.040 --> 0:18:31.840
<v Speaker 1>from twenty to twenty one, nobody back an eyelid. Were

0:18:32.000 --> 0:18:35.720
<v Speaker 1>actually refunded twelve tickets. That was it. And if I

0:18:35.760 --> 0:18:38.600
<v Speaker 1>have to move into twenty two because they're early September,

0:18:39.520 --> 0:18:43.640
<v Speaker 1>it'll be the same. So what we've discovered is that

0:18:44.400 --> 0:18:47.200
<v Speaker 1>obviously the younger you get, the more pent up demand

0:18:47.200 --> 0:18:51.040
<v Speaker 1>there is. There is a little bit reticence of reticence.

0:18:51.359 --> 0:18:54.720
<v Speaker 1>I probably the forty five plus age group, but they

0:18:54.800 --> 0:18:57.440
<v Speaker 1>just want the confidence to know they've had a vaccine,

0:18:57.640 --> 0:19:01.199
<v Speaker 1>there's a proper testing environment. What's the issue we have.

0:19:01.320 --> 0:19:04.000
<v Speaker 1>Do you have to wear masks or not masks? And

0:19:04.320 --> 0:19:07.000
<v Speaker 1>how are the venues if they're indoors, going to be

0:19:07.200 --> 0:19:10.879
<v Speaker 1>sanitized with better ventilation and so on and so forth

0:19:11.119 --> 0:19:14.120
<v Speaker 1>once they know that they're going to come back in droves.

0:19:14.160 --> 0:19:19.119
<v Speaker 1>So ticket prices can't go up at the moment because

0:19:19.119 --> 0:19:21.560
<v Speaker 1>there's nowhere to go up to because all the concerts

0:19:21.560 --> 0:19:25.440
<v Speaker 1>of books are all twenties inventory that's the same globally,

0:19:25.600 --> 0:19:28.520
<v Speaker 1>same in America, same all over the world. All the

0:19:28.560 --> 0:19:32.240
<v Speaker 1>inventory for twenties now moved to twenty one. And that's

0:19:32.240 --> 0:19:36.280
<v Speaker 1>the situation it's going to be before probably to the

0:19:36.320 --> 0:19:41.840
<v Speaker 1>middle of twenty two, before a new life starts. Whether

0:19:42.040 --> 0:19:46.680
<v Speaker 1>ticket prices starts to increase a lot, I don't know um,

0:19:46.760 --> 0:19:49.959
<v Speaker 1>But at the moment they can't because they're fixed. So

0:19:50.000 --> 0:19:53.120
<v Speaker 1>you can't have a differential from ticket somebody that bought

0:19:53.119 --> 0:19:56.679
<v Speaker 1>a ticket in nineteen or early twenty for constant in

0:19:56.760 --> 0:19:59.800
<v Speaker 1>twenty that are now going to happen late twenty one,

0:20:00.200 --> 0:20:03.160
<v Speaker 1>and you've got to say a thousand tickets left because

0:20:03.160 --> 0:20:05.640
<v Speaker 1>you haven't sold them all. You can't suddenly put them

0:20:05.680 --> 0:20:10.320
<v Speaker 1>out and double the price. But the issue who pays

0:20:10.400 --> 0:20:16.280
<v Speaker 1>the course of the sanitization, the ventilation and the extra

0:20:16.320 --> 0:20:19.879
<v Speaker 1>insurance that's going to be gobbled up between the promoters

0:20:19.880 --> 0:20:23.000
<v Speaker 1>and the artists, And quite honestly, the artists gonna have

0:20:23.040 --> 0:20:25.600
<v Speaker 1>to come to the table the same as the promoters are.

0:20:26.200 --> 0:20:29.240
<v Speaker 1>So the old days of the agents hanging out so

0:20:29.440 --> 0:20:32.440
<v Speaker 1>they squeeze your nuts off and there's nothing left are over.

0:20:33.280 --> 0:20:37.199
<v Speaker 1>They're going to have to be more open to be

0:20:37.320 --> 0:20:40.760
<v Speaker 1>able to allow shows to happen. They have to be

0:20:41.359 --> 0:20:45.000
<v Speaker 1>aware that if there's an insurance issue, whatever it ends

0:20:45.080 --> 0:20:47.880
<v Speaker 1>up being, if shows a counsel at the last, very

0:20:47.960 --> 0:20:52.280
<v Speaker 1>last minute because of COVID and it's overcover for it, um,

0:20:52.320 --> 0:20:55.200
<v Speaker 1>everybody's gonna have to dip into their pockets to deal

0:20:55.240 --> 0:20:58.760
<v Speaker 1>with it. So it's shared risk and then life or work.

0:20:59.400 --> 0:21:01.760
<v Speaker 1>So I think there will be some shift changes for

0:21:01.800 --> 0:21:04.879
<v Speaker 1>the better, if I may add, but of course they

0:21:04.920 --> 0:21:07.840
<v Speaker 1>won't last very long because the grief factor then sticks

0:21:07.840 --> 0:21:12.400
<v Speaker 1>in them. We'll go back to the the rolling. Okay,

0:21:12.440 --> 0:21:15.400
<v Speaker 1>So the business has changed dramatically from when you got

0:21:15.400 --> 0:21:20.680
<v Speaker 1>in in the seventies. Are so if that time essentially

0:21:20.720 --> 0:21:23.439
<v Speaker 1>after it leads up when it was but the guarantees

0:21:23.480 --> 0:21:27.720
<v Speaker 1>were low. Now the guarantees are incredibly high. And do

0:21:27.800 --> 0:21:31.240
<v Speaker 1>you see that changing. No, the guarantees will still be

0:21:31.320 --> 0:21:34.880
<v Speaker 1>the same because there's too much demand. There's too much

0:21:35.080 --> 0:21:38.840
<v Speaker 1>competition between promoters in each marketplace who don't want to

0:21:38.840 --> 0:21:41.640
<v Speaker 1>give in, who have to have those acts that they're

0:21:41.640 --> 0:21:43.240
<v Speaker 1>going to pay through the nose for them. And all

0:21:43.240 --> 0:21:46.280
<v Speaker 1>the agents sit down, they're just playing tennis. They look

0:21:46.320 --> 0:21:48.240
<v Speaker 1>at this one and then they go what about you?

0:21:48.320 --> 0:21:50.320
<v Speaker 1>And they look at that one and he says this,

0:21:50.400 --> 0:21:52.119
<v Speaker 1>and then they go back this one and says he

0:21:52.160 --> 0:21:57.520
<v Speaker 1>says this. That's the nature of the animal. Okay, which

0:21:57.560 --> 0:22:00.680
<v Speaker 1>brings up the issue of consolidation, which is five years

0:22:00.720 --> 0:22:03.800
<v Speaker 1>old that year. What is your viewpoint because you're a

0:22:03.800 --> 0:22:07.720
<v Speaker 1>total independent, he mean, were you ever offered to join

0:22:07.800 --> 0:22:10.159
<v Speaker 1>either age or a live nation And what is your

0:22:10.200 --> 0:22:15.280
<v Speaker 1>viewpoint about them? And how do you compete with them today? Okay? Um,

0:22:15.320 --> 0:22:17.560
<v Speaker 1>I don't compete with them, is the answer. I do

0:22:17.680 --> 0:22:21.360
<v Speaker 1>different things. I work on events and shows all over

0:22:21.400 --> 0:22:25.119
<v Speaker 1>the world. I work with my own kind of level

0:22:25.119 --> 0:22:28.680
<v Speaker 1>of artists that I want to work with bit Hand Summer,

0:22:28.840 --> 0:22:33.000
<v Speaker 1>who I kind of created be it Um. But Celli

0:22:33.760 --> 0:22:35.880
<v Speaker 1>the artists that I want. You know that I do.

0:22:35.960 --> 0:22:38.960
<v Speaker 1>I do events all over the world, and I work

0:22:39.000 --> 0:22:41.560
<v Speaker 1>on more on a different side of the business than

0:22:41.600 --> 0:22:44.199
<v Speaker 1>I used to. So I'm not that there is no

0:22:44.320 --> 0:22:47.760
<v Speaker 1>way that I can compete with the ages or the

0:22:47.800 --> 0:22:50.680
<v Speaker 1>Live Nation, and I don't want to have fun enough.

0:22:50.720 --> 0:22:53.040
<v Speaker 1>I work with both of them as well when it

0:22:53.160 --> 0:22:56.639
<v Speaker 1>when necessary, so I concentrate. I do enough. I do

0:22:56.760 --> 0:23:00.199
<v Speaker 1>my events, which I get paid for. I work kin

0:23:00.760 --> 0:23:04.960
<v Speaker 1>in an immersive theater world. I work in other areas

0:23:05.000 --> 0:23:09.000
<v Speaker 1>of activity uh, and I work in on creating events

0:23:09.000 --> 0:23:11.240
<v Speaker 1>all over the world, which I do very nicely. Out

0:23:11.240 --> 0:23:16.040
<v Speaker 1>of when I started, it was different. Um. I got

0:23:16.040 --> 0:23:18.240
<v Speaker 1>to the point where I actually used to go in

0:23:18.280 --> 0:23:20.640
<v Speaker 1>the office to figure out who I was that day?

0:23:21.000 --> 0:23:23.280
<v Speaker 1>Was I Elton John? Was I Paul McCartney, Was I

0:23:23.359 --> 0:23:26.240
<v Speaker 1>led Zeppelin? Was I Queen? And if I went out

0:23:26.280 --> 0:23:28.160
<v Speaker 1>with Queen, Elton John would find me out and say,

0:23:28.160 --> 0:23:30.560
<v Speaker 1>where the hell are you? You're with that Freddie again.

0:23:30.760 --> 0:23:33.880
<v Speaker 1>So I went out with Elton John. He Freddie would

0:23:33.920 --> 0:23:35.680
<v Speaker 1>call up and say, I'm not working with you again

0:23:35.680 --> 0:23:37.560
<v Speaker 1>because you're out with Elton John. And that that was

0:23:37.600 --> 0:23:39.240
<v Speaker 1>my life. I used to go in and say who

0:23:39.240 --> 0:23:42.720
<v Speaker 1>am I today? It was nuts six seven shows a

0:23:42.800 --> 0:23:47.520
<v Speaker 1>day all over the world. Um, I've done that, had

0:23:47.560 --> 0:23:51.320
<v Speaker 1>the paint, I've had the most fantastic life, which I

0:23:51.480 --> 0:23:55.680
<v Speaker 1>thoroughly enjoyed. But it sence the consolidation. It doesn't matter

0:23:56.560 --> 0:23:58.560
<v Speaker 1>now interest just to let me tell you about the

0:23:58.600 --> 0:24:01.600
<v Speaker 1>consolidation is a very interesting situation. That's where I was going.

0:24:02.520 --> 0:24:08.920
<v Speaker 1>As you know, America. The whole promoter pattern in America

0:24:09.040 --> 0:24:13.560
<v Speaker 1>was created by Frank Barcelona. Frank Barcelona, for those that

0:24:13.640 --> 0:24:18.040
<v Speaker 1>don't know, run an agency called Premier Talent. Premier Talent

0:24:18.359 --> 0:24:22.080
<v Speaker 1>was had the best of the best of the British acts,

0:24:22.119 --> 0:24:24.479
<v Speaker 1>which is how I came to know Frank. He and

0:24:24.560 --> 0:24:28.760
<v Speaker 1>I became unbelievably close friends. I'm still friendly with his

0:24:28.840 --> 0:24:34.120
<v Speaker 1>wife and his daughter. Um. And Frank showed the way.

0:24:34.200 --> 0:24:38.480
<v Speaker 1>Frank really opened the doors to how music should work

0:24:38.480 --> 0:24:41.160
<v Speaker 1>in America. And what he did is he picked a

0:24:41.160 --> 0:24:45.919
<v Speaker 1>promoter in every main city and every main connurbation and

0:24:46.000 --> 0:24:48.640
<v Speaker 1>said that's your city. I'm going to work with you

0:24:48.920 --> 0:24:52.280
<v Speaker 1>and you're going to get every show I have, which

0:24:52.320 --> 0:24:56.719
<v Speaker 1>is great. That worked very nicely because there was some

0:24:56.840 --> 0:24:59.960
<v Speaker 1>competition in the middle, and then there was a come

0:25:00.080 --> 0:25:05.119
<v Speaker 1>nicolled Concerts West, which UM through Jerry Weintrobe had the

0:25:05.240 --> 0:25:09.040
<v Speaker 1>rights to deal with Elvis Presley, and then they started

0:25:09.080 --> 0:25:12.399
<v Speaker 1>to do national tours. And there was a hundred pound

0:25:12.440 --> 0:25:15.479
<v Speaker 1>gorilla called Bill Graham who lived in San Francisco who

0:25:15.600 --> 0:25:17.919
<v Speaker 1>kind of did what he liked up to a point.

0:25:19.119 --> 0:25:22.359
<v Speaker 1>So that was the marketplace and it all worked really well.

0:25:24.520 --> 0:25:30.640
<v Speaker 1>When uh Mitch Slazer and Ron Delsner came across UM,

0:25:30.760 --> 0:25:34.480
<v Speaker 1>this very interesting chap who started a company called sf

0:25:34.760 --> 0:25:39.960
<v Speaker 1>X and wanted to buy up promoters. He only wanted

0:25:39.960 --> 0:25:43.480
<v Speaker 1>to buy up promoters that had a solid base either

0:25:43.680 --> 0:25:46.560
<v Speaker 1>they had some value, which was a venue. So that's

0:25:46.600 --> 0:25:50.400
<v Speaker 1>how it started. He started buying up promoters that had venues,

0:25:50.520 --> 0:25:54.160
<v Speaker 1>mainly amphitheaters. Some had clubs, but most of them were amphitheaters,

0:25:54.560 --> 0:25:58.880
<v Speaker 1>and he started to build a network. When that started

0:25:58.920 --> 0:26:04.480
<v Speaker 1>to happen, you could see the consolidation of SFX turned

0:26:04.520 --> 0:26:07.439
<v Speaker 1>into Clear Channel. Clear Channel then became Live Nation, and

0:26:08.000 --> 0:26:10.520
<v Speaker 1>we know where it is. So we now have this

0:26:11.000 --> 0:26:15.680
<v Speaker 1>big brute called Live Nation that is across the whole

0:26:15.720 --> 0:26:19.600
<v Speaker 1>of the entertainment industry and is a global player. God

0:26:19.640 --> 0:26:24.359
<v Speaker 1>bless them they have God knows seven thousand employees and

0:26:24.359 --> 0:26:29.040
<v Speaker 1>blah blah blah blah, good luck to them. A g

0:26:29.359 --> 0:26:33.920
<v Speaker 1>came about because phil and Shoots wanted to build an

0:26:33.920 --> 0:26:39.760
<v Speaker 1>arena business and he came to me because he wanted

0:26:39.760 --> 0:26:42.080
<v Speaker 1>to buy Wembley Stadium and he wanted some help. But

0:26:42.160 --> 0:26:46.960
<v Speaker 1>he wanted wem To Stadium and Wembley Arena, and unbekownst

0:26:46.960 --> 0:26:50.720
<v Speaker 1>to him, I was sitting on a government committee um

0:26:50.760 --> 0:26:53.560
<v Speaker 1>looking at the future of Wembley Stadium and there was

0:26:53.600 --> 0:26:56.440
<v Speaker 1>a piece of land that had to be compulsory purchased,

0:26:56.600 --> 0:26:59.199
<v Speaker 1>which means you couldn't talk about it because it just

0:26:59.280 --> 0:27:02.160
<v Speaker 1>literally turned up with a Britain say I'm sorry, I'm

0:27:02.160 --> 0:27:04.600
<v Speaker 1>buying this piece of land and then there's a fair

0:27:04.640 --> 0:27:08.479
<v Speaker 1>market whatever. So he said to me, would would I

0:27:08.520 --> 0:27:13.040
<v Speaker 1>help him buy Wembley Stadium And I said absolutely, no

0:27:13.200 --> 0:27:16.640
<v Speaker 1>wirries at all, except unfalsely, you can't. He said, yes, okay,

0:27:16.680 --> 0:27:18.560
<v Speaker 1>and I've got to check in my pocket and I've

0:27:18.600 --> 0:27:22.240
<v Speaker 1>got a cupboard for you know, briefcase for the contracts.

0:27:22.240 --> 0:27:25.119
<v Speaker 1>It's not going to happen, and it didn't. I was

0:27:25.160 --> 0:27:29.280
<v Speaker 1>also working with the government trying to find the future

0:27:29.440 --> 0:27:31.560
<v Speaker 1>for this thing called the Dome, which was built for

0:27:31.560 --> 0:27:38.480
<v Speaker 1>the Millennium Exhibition and anyway, so I took a fill there.

0:27:38.520 --> 0:27:41.120
<v Speaker 1>He was fuling when he found out he couldn't buy Wembley,

0:27:41.119 --> 0:27:44.800
<v Speaker 1>which he couldn't, and he thought about it. He wanted

0:27:44.800 --> 0:27:49.600
<v Speaker 1>a base in London, and we talked it through and

0:27:49.840 --> 0:27:52.240
<v Speaker 1>I introduced into the government and blah blah, blah blah.

0:27:52.320 --> 0:27:54.359
<v Speaker 1>He ended up buying the Dome, which is now the

0:27:54.400 --> 0:27:57.200
<v Speaker 1>O two. And I said to him at the time,

0:27:57.240 --> 0:28:00.359
<v Speaker 1>when everybody said it's a disaster, I said, this is

0:28:00.400 --> 0:28:04.480
<v Speaker 1>turning a lemon into a melon. And if you can

0:28:04.680 --> 0:28:08.639
<v Speaker 1>create a venue that both the audience like front of

0:28:08.680 --> 0:28:12.520
<v Speaker 1>house and the artists like back of house, it could

0:28:12.520 --> 0:28:15.160
<v Speaker 1>be in the middle of a field, in the desert

0:28:15.240 --> 0:28:17.920
<v Speaker 1>or in the desert, people will go to it. If

0:28:18.000 --> 0:28:21.600
<v Speaker 1>Madonna's playing there or the Rolling Stones are playing there,

0:28:21.920 --> 0:28:26.120
<v Speaker 1>they will go. But you better makee damn sure that

0:28:26.160 --> 0:28:30.000
<v Speaker 1>you have satisfied both the audience and made it good

0:28:30.000 --> 0:28:33.399
<v Speaker 1>and convenient for them and the artists. So they like

0:28:33.560 --> 0:28:35.840
<v Speaker 1>going there because they'll tell everybody else to go there.

0:28:36.000 --> 0:28:40.560
<v Speaker 1>It's exactly what happened. Phil is a genius because he

0:28:40.600 --> 0:28:43.520
<v Speaker 1>gets the best of the best. He built the O two.

0:28:44.000 --> 0:28:46.600
<v Speaker 1>He opened it and for the day it opened it

0:28:46.720 --> 0:28:49.800
<v Speaker 1>became the number one venue in the world, and it's

0:28:49.800 --> 0:28:53.000
<v Speaker 1>never got off that perch ever, So there was a

0:28:53.040 --> 0:28:57.880
<v Speaker 1>business there. Phil's problem was that he was deeply concerned

0:28:58.440 --> 0:29:02.080
<v Speaker 1>that as clear channel will building up their business, they

0:29:02.120 --> 0:29:07.320
<v Speaker 1>were also controlling venues management, and they were and promoters,

0:29:07.760 --> 0:29:11.440
<v Speaker 1>and he was worried that if they build up sufficient venues,

0:29:11.560 --> 0:29:14.760
<v Speaker 1>they were just block going to the A G venues.

0:29:15.440 --> 0:29:19.160
<v Speaker 1>So alongside it, against his better judgment, I might add,

0:29:20.080 --> 0:29:23.760
<v Speaker 1>he built up a promoting side and suddenly with the

0:29:23.840 --> 0:29:25.960
<v Speaker 1>meet with Mr Irving as off in the middle of

0:29:25.960 --> 0:29:29.120
<v Speaker 1>it all. And it was Irving that introduced me to Field,

0:29:29.160 --> 0:29:32.360
<v Speaker 1>by the way, so I have no problems with Irving personally,

0:29:32.680 --> 0:29:36.280
<v Speaker 1>but right whatever, just to go into Irving from his

0:29:36.400 --> 0:29:39.959
<v Speaker 1>viewpoint on this or I'm speaking for Irving, he wanted

0:29:40.080 --> 0:29:43.680
<v Speaker 1>Fill to build a promotion business so he could play

0:29:43.720 --> 0:29:48.360
<v Speaker 1>the two off each other benefiting. That's that's that's his pocisition.

0:29:48.520 --> 0:29:52.880
<v Speaker 1>That's fair enough. But what happened was he did better

0:29:53.000 --> 0:29:55.240
<v Speaker 1>the acts. But what it's set up was a deep

0:29:55.600 --> 0:30:00.400
<v Speaker 1>competition between A G and Live Nation, and they were

0:30:00.440 --> 0:30:03.480
<v Speaker 1>each outbidding each other, which meant that if you were

0:30:04.280 --> 0:30:09.000
<v Speaker 1>a an independent promoter in America or indeed some of

0:30:09.040 --> 0:30:11.800
<v Speaker 1>the great cities of Europe, you just didn't have a

0:30:11.880 --> 0:30:15.400
<v Speaker 1>chance because they had unlimited pockets. They had lots of backing,

0:30:15.960 --> 0:30:19.960
<v Speaker 1>and they had unlimited pockets. So therefore you couldn't compete.

0:30:20.320 --> 0:30:24.280
<v Speaker 1>So that build up and what happened, what's happened is

0:30:25.120 --> 0:30:28.760
<v Speaker 1>that it's now like dealing with a country. You're dealing

0:30:28.800 --> 0:30:32.040
<v Speaker 1>with civil servants, because that's what they are. They're not

0:30:32.160 --> 0:30:36.040
<v Speaker 1>really creative people. They do a bloody good job. I

0:30:36.120 --> 0:30:40.440
<v Speaker 1>have no complaints about either company whatsoever, but they do

0:30:40.480 --> 0:30:44.840
<v Speaker 1>it to a level. And so the business, in my opinions,

0:30:44.880 --> 0:30:49.840
<v Speaker 1>has suffered very badly because you need that Mumma and Papa.

0:30:49.960 --> 0:30:54.040
<v Speaker 1>You need that independent guy. You need that man, the

0:30:54.080 --> 0:30:57.000
<v Speaker 1>Bill Grahams of the world. You need the Rondelsters who

0:30:57.200 --> 0:31:01.200
<v Speaker 1>got sucked into obviously into into five Nation and so on.

0:31:02.200 --> 0:31:05.240
<v Speaker 1>And you need the Larry maggie Is who had a

0:31:05.280 --> 0:31:08.240
<v Speaker 1>different way of doing things. And the only two that

0:31:08.360 --> 0:31:12.200
<v Speaker 1>stuck it out was An'tie and Jerry now Um Jerry

0:31:12.280 --> 0:31:15.920
<v Speaker 1>in Chicago in America, and they're the only I think

0:31:15.920 --> 0:31:21.000
<v Speaker 1>they're the only two independents left. And Um I never forget.

0:31:21.040 --> 0:31:24.520
<v Speaker 1>There was a time when Frank Barcelona phoned me up.

0:31:24.560 --> 0:31:26.640
<v Speaker 1>He was having problems for you too, and he asked

0:31:26.680 --> 0:31:29.120
<v Speaker 1>for some help. And then he says to me, listen,

0:31:29.360 --> 0:31:31.800
<v Speaker 1>you are going to stick with me on on this

0:31:31.800 --> 0:31:35.520
<v Speaker 1>whole Live Nation business or SFX business. At the time,

0:31:35.560 --> 0:31:37.720
<v Speaker 1>I said sure, and he said, I'm going to get

0:31:37.760 --> 0:31:40.640
<v Speaker 1>Don Law on the phone, and Don is going to

0:31:41.360 --> 0:31:43.800
<v Speaker 1>you know, he's really adamant. He's not going to work

0:31:43.800 --> 0:31:46.040
<v Speaker 1>with them or anything like that. I want you, really,

0:31:46.200 --> 0:31:49.240
<v Speaker 1>let's work together and make sure they don't pick off

0:31:49.280 --> 0:31:51.360
<v Speaker 1>the best of the best in other territories. I'm gonna

0:31:51.480 --> 0:31:56.920
<v Speaker 1>fine whether this conversation or great. Now. Less than three

0:31:56.960 --> 0:31:59.800
<v Speaker 1>months later I pick up. I can't remember. It was

0:32:00.000 --> 0:32:02.160
<v Speaker 1>all board and variety of one of the others, Like

0:32:03.200 --> 0:32:06.719
<v Speaker 1>I see that Larry's side that don't sold his business

0:32:06.840 --> 0:32:10.400
<v Speaker 1>to lot to SFX, and I phone Barcelona up. He

0:32:10.520 --> 0:32:13.600
<v Speaker 1>was in tears. So I don't understand it. And I

0:32:13.640 --> 0:32:15.720
<v Speaker 1>think what happened was it just got to the point

0:32:15.760 --> 0:32:18.400
<v Speaker 1>where everybody just started to roll over. There was a

0:32:18.480 --> 0:32:21.400
<v Speaker 1>check waiting for them. It was a bit of security.

0:32:21.880 --> 0:32:23.720
<v Speaker 1>Their view was I'm going to sign a three to

0:32:23.840 --> 0:32:25.880
<v Speaker 1>five year contract and I'm out of there, and so

0:32:26.000 --> 0:32:30.320
<v Speaker 1>on and so forth. But of course Live Nation grew

0:32:30.360 --> 0:32:33.280
<v Speaker 1>as a business and it is. It is an incredible

0:32:33.320 --> 0:32:35.480
<v Speaker 1>business when you think about it for what it does.

0:32:36.320 --> 0:32:40.520
<v Speaker 1>And a G became a slightly different business because they

0:32:40.640 --> 0:32:45.080
<v Speaker 1>really control more arenas than anybody else in the world,

0:32:45.080 --> 0:32:48.560
<v Speaker 1>and particularly with the latest deal with it with SMG,

0:32:49.000 --> 0:32:53.000
<v Speaker 1>they are the biggest arena operators in the world and

0:32:53.320 --> 0:32:57.000
<v Speaker 1>um between them they controlled the market. So how do

0:32:57.040 --> 0:32:59.320
<v Speaker 1>you want to compete with them on a tour? You can't.

0:33:00.200 --> 0:33:03.800
<v Speaker 1>Whereas before there were global tours, but most of them

0:33:03.800 --> 0:33:07.840
<v Speaker 1>were regional tours, so you would I would have my region,

0:33:08.640 --> 0:33:12.440
<v Speaker 1>and Bill Graham would have his region and the Australians,

0:33:12.480 --> 0:33:16.360
<v Speaker 1>Michael Goodinski would have his regions Australasia and he would

0:33:16.360 --> 0:33:20.200
<v Speaker 1>handle that and so on and so forth. Suddenly, um,

0:33:20.360 --> 0:33:23.040
<v Speaker 1>these big companies were pitching and say we're going to

0:33:23.120 --> 0:33:26.400
<v Speaker 1>buy you globally, We're going to buy a merchandizing So

0:33:26.640 --> 0:33:31.000
<v Speaker 1>I had my merchandizing company. Unfortunately I sold to Michael Cole,

0:33:31.120 --> 0:33:33.040
<v Speaker 1>but that was good, so I got there for that.

0:33:33.920 --> 0:33:38.320
<v Speaker 1>But um uh, suddenly they were in every facet of it,

0:33:38.720 --> 0:33:42.160
<v Speaker 1>and they were doing different deals in essence, they were

0:33:42.200 --> 0:33:46.360
<v Speaker 1>doing treasury deals because they were pitching advances and guarantees

0:33:46.400 --> 0:33:49.920
<v Speaker 1>to the artists based on forward ticket sales. And then

0:33:49.920 --> 0:33:53.480
<v Speaker 1>when they started, when they became the ticketing company as well,

0:33:53.720 --> 0:33:56.360
<v Speaker 1>they had all aspects of it. So the whole business changed,

0:33:56.880 --> 0:33:59.920
<v Speaker 1>but it lost, in my opinion, a lot of creator

0:34:00.000 --> 0:34:10.719
<v Speaker 1>of a t okay looking forward maybe beyond our lifetimes,

0:34:11.480 --> 0:34:14.439
<v Speaker 1>is this the end for the consolidation or is there

0:34:14.440 --> 0:34:16.960
<v Speaker 1>going to be a twist that changes. There's always a twist.

0:34:17.239 --> 0:34:22.840
<v Speaker 1>If you look through history of every major business, every industry,

0:34:23.000 --> 0:34:27.240
<v Speaker 1>there's always been consolidation and then suddenly a new raft

0:34:27.280 --> 0:34:30.920
<v Speaker 1>of independence come out of it with a slightly different

0:34:30.920 --> 0:34:35.440
<v Speaker 1>way of doing things and life starts again. It's constantly involving.

0:34:35.920 --> 0:34:39.920
<v Speaker 1>There is nothing new under the sun because it's just

0:34:40.280 --> 0:34:43.960
<v Speaker 1>keeps going around in cycles, and we're at one particular

0:34:44.040 --> 0:34:47.120
<v Speaker 1>facet of the of the cycle. I'm not saying that

0:34:47.160 --> 0:34:49.280
<v Speaker 1>the live nations or ages are going to go anywhere,

0:34:49.320 --> 0:34:52.319
<v Speaker 1>because they're not. But there will be new promoters who

0:34:52.360 --> 0:34:54.759
<v Speaker 1>come out want to do it differently, and there will

0:34:54.840 --> 0:34:58.239
<v Speaker 1>be a raft of new style of artists who will

0:34:58.320 --> 0:35:01.080
<v Speaker 1>stick with the new young promoters, which is what I hope,

0:35:01.280 --> 0:35:04.000
<v Speaker 1>because that's what it should be. Okay. I don't want

0:35:04.000 --> 0:35:07.000
<v Speaker 1>to go too deeply into ticketing, but we have to

0:35:07.080 --> 0:35:11.680
<v Speaker 1>mention it conventionally. If you don't own the building, all

0:35:11.760 --> 0:35:15.440
<v Speaker 1>the money is in the ticketing. Okay. Then there's the

0:35:15.560 --> 0:35:19.760
<v Speaker 1>issue of the stones flex price. What is the future

0:35:19.800 --> 0:35:24.600
<v Speaker 1>of this? My views are known everywhere. Um. One, I

0:35:24.680 --> 0:35:29.080
<v Speaker 1>hate with a passion the secondary ticket market. Two I

0:35:29.160 --> 0:35:32.319
<v Speaker 1>hate with a passion or the box office charges, the

0:35:32.480 --> 0:35:36.440
<v Speaker 1>over the tables, the under the tables, the premium deals, that, this,

0:35:36.719 --> 0:35:40.040
<v Speaker 1>that that the other. I think we've forgotten that we're

0:35:40.080 --> 0:35:44.560
<v Speaker 1>here to satisfy fans demand to go and see their heroes.

0:35:45.200 --> 0:35:47.640
<v Speaker 1>We melt them. We don't have a duty of care

0:35:48.160 --> 0:35:51.360
<v Speaker 1>to the fans at all. And it never ceases to

0:35:51.520 --> 0:35:54.759
<v Speaker 1>amaze me how much the Sands fans will suck up

0:35:54.800 --> 0:35:58.080
<v Speaker 1>to it. I I don't get it. Um I'm from

0:35:58.080 --> 0:36:00.920
<v Speaker 1>the different school and from the old school, where I

0:36:00.960 --> 0:36:05.240
<v Speaker 1>feel if the tickets twenty five quid, Okay, it costs

0:36:05.239 --> 0:36:07.880
<v Speaker 1>a bit for convenience of buying the ticket and whatever,

0:36:08.120 --> 0:36:10.200
<v Speaker 1>but it should be sold as close to twenty five

0:36:10.200 --> 0:36:13.960
<v Speaker 1>pounds as possible. I can't see any justification for a

0:36:14.000 --> 0:36:17.680
<v Speaker 1>twenty five or thirty five pounds ticket at the top

0:36:17.760 --> 0:36:20.120
<v Speaker 1>end being sold for two hundred and fifty pounds or

0:36:20.360 --> 0:36:23.640
<v Speaker 1>five dollars. It doesn't make any sense. There's no logic

0:36:23.680 --> 0:36:28.080
<v Speaker 1>to it at all. We've created a tool which I

0:36:28.120 --> 0:36:32.560
<v Speaker 1>think is unsavory. There are too many strange deals that

0:36:32.600 --> 0:36:36.680
<v Speaker 1>go on. Still, the secondary market has to stop. We've

0:36:36.800 --> 0:36:40.040
<v Speaker 1>managed to deal with that with vir Go Go through

0:36:40.040 --> 0:36:45.680
<v Speaker 1>the UK to stop that conglomerate deal coming to into fruition.

0:36:46.280 --> 0:36:51.320
<v Speaker 1>It's not right and I think to some extent um

0:36:51.360 --> 0:36:54.560
<v Speaker 1>all the bad side of ticketing will carry on, but

0:36:54.640 --> 0:36:58.000
<v Speaker 1>it shouldn't. It really is. It just doesn't work. And

0:36:58.040 --> 0:37:02.319
<v Speaker 1>what happens is every bad habit that we learned that

0:37:02.440 --> 0:37:05.919
<v Speaker 1>comes from our fellow brothers in America to the rest

0:37:05.960 --> 0:37:08.080
<v Speaker 1>of the world feeds through to the rest of the

0:37:08.120 --> 0:37:11.680
<v Speaker 1>world and it's not good. So that the same thing

0:37:11.719 --> 0:37:15.200
<v Speaker 1>is happening, as you know in theater with premium tickets

0:37:15.200 --> 0:37:18.719
<v Speaker 1>in theater where for the privilege if you'll arrive in

0:37:18.760 --> 0:37:20.319
<v Speaker 1>a city you want to go to the theater and

0:37:20.320 --> 0:37:23.120
<v Speaker 1>you want to get see a show, um and their

0:37:23.160 --> 0:37:26.560
<v Speaker 1>tickets available for the privilege of you going on that night.

0:37:26.600 --> 0:37:28.799
<v Speaker 1>They'll try at you five times as much as the

0:37:28.840 --> 0:37:32.919
<v Speaker 1>phase value, which is outrageous, and I think there will

0:37:32.960 --> 0:37:37.080
<v Speaker 1>be eventually a reaction towards it, and I think tickets

0:37:37.120 --> 0:37:40.880
<v Speaker 1>will to some extent stabilized. I think there will be

0:37:41.040 --> 0:37:45.440
<v Speaker 1>easier systems to control the reseller tickets so that we

0:37:45.480 --> 0:37:48.879
<v Speaker 1>can get the prices stabilized. And I think out of

0:37:49.680 --> 0:37:55.040
<v Speaker 1>um technology that will happen. And I hope that it

0:37:55.160 --> 0:37:58.000
<v Speaker 1>settles down to become a real market and not the

0:37:58.000 --> 0:38:03.400
<v Speaker 1>false market. It is, okay, what do we know? Demand

0:38:03.440 --> 0:38:07.480
<v Speaker 1>outstripped supply in many cases, certainly for all these hard acts.

0:38:07.920 --> 0:38:11.640
<v Speaker 1>Are you saying we should establish a system or hopefully

0:38:11.640 --> 0:38:15.040
<v Speaker 1>we get a system such that the act sets the

0:38:15.080 --> 0:38:19.120
<v Speaker 1>price and that is the price everybody pays, or do

0:38:19.200 --> 0:38:22.120
<v Speaker 1>we have to adjust it, adjust the price of tickets

0:38:22.120 --> 0:38:26.000
<v Speaker 1>to their true market value. Probably a bit of both,

0:38:27.360 --> 0:38:30.040
<v Speaker 1>because some acts will want to set the price. There

0:38:30.080 --> 0:38:32.759
<v Speaker 1>are a lot of acts. We have this thing called

0:38:32.760 --> 0:38:36.560
<v Speaker 1>the Fanfare Alliance, which is fighting the secondary market in England.

0:38:36.840 --> 0:38:39.120
<v Speaker 1>There's a lot of acts that signed up to it.

0:38:39.400 --> 0:38:43.120
<v Speaker 1>There's a lot of acts that haven't. So there is

0:38:43.120 --> 0:38:47.160
<v Speaker 1>a greed factor that's always there. At the end of

0:38:47.160 --> 0:38:50.600
<v Speaker 1>the day. What's changed of course, is the fact that

0:38:50.640 --> 0:38:53.200
<v Speaker 1>the old dinosaur acts that we all grow up with

0:38:54.000 --> 0:38:58.400
<v Speaker 1>um have they've reached their peak, and they are peaking,

0:38:58.440 --> 0:39:00.200
<v Speaker 1>and they're getting to the point where they're going to

0:39:00.280 --> 0:39:03.200
<v Speaker 1>start diminishing because they can't carry on for much longer,

0:39:03.680 --> 0:39:08.000
<v Speaker 1>So that marketplace will go. What happens thereafter is going

0:39:08.000 --> 0:39:11.920
<v Speaker 1>to be really interesting, because even though the new acts

0:39:12.440 --> 0:39:14.480
<v Speaker 1>and the dance acts and the hip acts and the

0:39:14.560 --> 0:39:19.120
<v Speaker 1>pop acts or whatever are charging humongous prices, it's only

0:39:19.160 --> 0:39:21.719
<v Speaker 1>off the back of what they're rolling Stones charge or

0:39:21.800 --> 0:39:26.600
<v Speaker 1>YouTube charges or Madonna charges or Fleetwi Mac charges is whatever.

0:39:27.000 --> 0:39:31.600
<v Speaker 1>When they're gone, I think we'll see a completely different horizon. Now,

0:39:31.640 --> 0:39:34.000
<v Speaker 1>obviously we're in a different era with the Internet, were

0:39:34.000 --> 0:39:39.359
<v Speaker 1>experiences or everything. Do you believe the sunset of the

0:39:39.440 --> 0:39:42.960
<v Speaker 1>dinosaurs will impact the business at all? Where there will

0:39:43.000 --> 0:39:45.479
<v Speaker 1>always be a new generation of acts that people hunger

0:39:45.560 --> 0:39:48.440
<v Speaker 1>to see. Yeah, why not? I don't see any reason

0:39:48.480 --> 0:39:50.960
<v Speaker 1>why not. When I first started, it was all the

0:39:51.040 --> 0:39:54.279
<v Speaker 1>cooness you know, it was Frank sin Archer and it

0:39:54.360 --> 0:39:58.600
<v Speaker 1>was Johnny Ray and all these kind of people. When

0:39:58.640 --> 0:40:03.759
<v Speaker 1>I first I went to see the Stones and the

0:40:03.800 --> 0:40:06.760
<v Speaker 1>who I thought it was the best thing since Slice

0:40:06.840 --> 0:40:11.160
<v Speaker 1>Bread I was weaned on jazz. We had to decide

0:40:12.000 --> 0:40:15.200
<v Speaker 1>notionally in the UK whether you're a Beatles fan and

0:40:15.239 --> 0:40:17.320
<v Speaker 1>that pop era or whether you were a Stones and

0:40:17.400 --> 0:40:21.439
<v Speaker 1>a Who fan. You didn't very few people were both.

0:40:21.520 --> 0:40:24.120
<v Speaker 1>You were one or the other. I kind of went

0:40:24.160 --> 0:40:26.920
<v Speaker 1>with the Stones and the Who. I didn't have any

0:40:26.960 --> 0:40:29.320
<v Speaker 1>problem with the Beatles, but that's that was my music.

0:40:29.480 --> 0:40:32.919
<v Speaker 1>It was that that heat, that intensity, and that grew

0:40:33.080 --> 0:40:35.720
<v Speaker 1>up and grew up and grew and grew, and every

0:40:35.719 --> 0:40:37.719
<v Speaker 1>week there was a new act coming out. It was

0:40:37.760 --> 0:40:42.480
<v Speaker 1>I've never seen anything like it. That middle sixties onwards

0:40:42.760 --> 0:40:49.000
<v Speaker 1>for ten years was the greatest upheaval of music we've

0:40:49.000 --> 0:40:53.319
<v Speaker 1>ever and culture really that we've ever seen, because for

0:40:53.440 --> 0:40:56.880
<v Speaker 1>the first time ever, young people demanded a say in

0:40:56.920 --> 0:41:01.200
<v Speaker 1>society was previous to that scene or not. They wanted

0:41:01.239 --> 0:41:04.279
<v Speaker 1>to do it their way, they wanted to do it differently.

0:41:04.400 --> 0:41:06.640
<v Speaker 1>They went out of their way to say, we don't

0:41:06.640 --> 0:41:08.759
<v Speaker 1>care what our parents did, this is what we want.

0:41:09.000 --> 0:41:11.360
<v Speaker 1>It was their revolution and so on and so forth.

0:41:11.640 --> 0:41:13.920
<v Speaker 1>So there were artists coming out. I didn't know what

0:41:13.960 --> 0:41:16.600
<v Speaker 1>to do. It was like picking cherries off the tree

0:41:16.920 --> 0:41:19.839
<v Speaker 1>every week as somebody else coming up and we get

0:41:19.880 --> 0:41:22.439
<v Speaker 1>a phone call. I've got this bank called jethro Toe.

0:41:22.560 --> 0:41:24.839
<v Speaker 1>I got this bank called ten years after, I got

0:41:24.840 --> 0:41:26.960
<v Speaker 1>this bank called the Move. I got this bank called

0:41:26.960 --> 0:41:31.080
<v Speaker 1>the Action, and so even what to do. So we

0:41:31.080 --> 0:41:34.759
<v Speaker 1>were really lucky. Um. I don't know if that will

0:41:34.800 --> 0:41:37.400
<v Speaker 1>ever happen again. But what I do know is as

0:41:37.680 --> 0:41:40.280
<v Speaker 1>you come to the end of an era, there's always

0:41:40.280 --> 0:41:44.319
<v Speaker 1>a fuzzy period and then suddenly something brand new comes out.

0:41:44.719 --> 0:41:49.040
<v Speaker 1>There's a whole new engagement, there's a new activity, there's

0:41:49.080 --> 0:41:52.600
<v Speaker 1>new people getting involved in it. They will bring the excitement,

0:41:52.760 --> 0:41:57.080
<v Speaker 1>they'll make it happen, and we're going forever. Music's inside us.

0:41:57.200 --> 0:41:59.920
<v Speaker 1>We love it. The biggest problem we've got with COVID

0:42:00.320 --> 0:42:03.640
<v Speaker 1>and why there's so much pent up demand is purely

0:42:03.640 --> 0:42:07.640
<v Speaker 1>and simply because as humans were tribal, we love being

0:42:07.719 --> 0:42:12.920
<v Speaker 1>together sharing experiences and there's nothing better. They're going to

0:42:12.960 --> 0:42:15.719
<v Speaker 1>see a concert at the time with Jimmy Hendrix or

0:42:15.760 --> 0:42:18.680
<v Speaker 1>someone like that. We're going to see a concert even

0:42:19.120 --> 0:42:22.360
<v Speaker 1>you know your favorite pop band, but it's Beyonce or

0:42:22.400 --> 0:42:25.200
<v Speaker 1>whatever it is you want to see. Being with thousands

0:42:25.239 --> 0:42:29.919
<v Speaker 1>of other people, just completely consumed by the entertainment that's

0:42:29.960 --> 0:42:33.080
<v Speaker 1>in front of you. You can't beat it. And that's

0:42:33.120 --> 0:42:36.680
<v Speaker 1>what's held up. Okay, So in the UK there's been

0:42:36.719 --> 0:42:38.759
<v Speaker 1>a lot of scuttle but about the death of the

0:42:38.840 --> 0:42:41.759
<v Speaker 1>club business. What is going on there and what can

0:42:41.800 --> 0:42:43.920
<v Speaker 1>he what can take place in the future city. It's

0:42:43.920 --> 0:42:48.520
<v Speaker 1>not really, it's just a physical situation that, um, there

0:42:48.520 --> 0:42:53.799
<v Speaker 1>hasn't been any any live entertainment since the beginning of

0:42:53.920 --> 0:42:57.680
<v Speaker 1>March two thousand and twenty. And but yet if you

0:42:57.719 --> 0:43:00.439
<v Speaker 1>own a club or indeed a venue, you that's still

0:43:00.480 --> 0:43:04.200
<v Speaker 1>paying rent to the landlord, you're still paying business rates,

0:43:04.200 --> 0:43:07.759
<v Speaker 1>you might get some alleviation which is city taxes, you're

0:43:07.760 --> 0:43:11.360
<v Speaker 1>still paying your overheads and so on. But you're empty,

0:43:11.640 --> 0:43:15.200
<v Speaker 1>so you can't any money. So that's that's what you

0:43:15.280 --> 0:43:18.080
<v Speaker 1>call scuttle. But it's not scuttle. But it's just a

0:43:18.160 --> 0:43:23.040
<v Speaker 1>fact of life. Now. I'm really referencing before COVID, okay,

0:43:23.080 --> 0:43:26.879
<v Speaker 1>in a lot of communities for noise restrictions or valuably

0:43:27.000 --> 0:43:30.400
<v Speaker 1>and the number of clubs was decreasing. I'm not talking

0:43:30.400 --> 0:43:34.120
<v Speaker 1>about whether it's the two. However, I helped formed an

0:43:34.200 --> 0:43:38.400
<v Speaker 1>organization called the Empty i A which is the Nighttime

0:43:38.920 --> 0:43:44.640
<v Speaker 1>Association of Venues and slowly but surely we've got around

0:43:44.760 --> 0:43:52.320
<v Speaker 1>all of the local authorities insistence on controlling noise, pollution,

0:43:52.480 --> 0:43:55.759
<v Speaker 1>controlling late hours, the police, the numbers, and all that

0:43:55.840 --> 0:43:58.719
<v Speaker 1>Harrison we're getting. We were getting round that and doing

0:43:58.800 --> 0:44:02.680
<v Speaker 1>really well, and actually clubs were reopening and new clubs

0:44:02.680 --> 0:44:09.120
<v Speaker 1>were opening up. It goes back many, many years. Two

0:44:09.719 --> 0:44:14.680
<v Speaker 1>local authorities suddenly trying to stop young people from enjoying themselves,

0:44:14.760 --> 0:44:19.600
<v Speaker 1>and they're realizing, as they do in every city, that

0:44:19.719 --> 0:44:24.040
<v Speaker 1>the nighttime economy, which is people going out and enjoying themselves,

0:44:24.280 --> 0:44:29.320
<v Speaker 1>whether it's restaurants, bars, clubs, music in bars, music in clubs,

0:44:29.600 --> 0:44:32.640
<v Speaker 1>that's what keeps is the soul and the heart of

0:44:32.640 --> 0:44:36.839
<v Speaker 1>the city. So they have to let that happen. So

0:44:36.960 --> 0:44:41.239
<v Speaker 1>it's just again it's an evolving situation. But you were right.

0:44:41.320 --> 0:44:43.880
<v Speaker 1>There was a period of time when clubs were closing

0:44:43.960 --> 0:44:47.279
<v Speaker 1>up because the licensing laws were so ridiculous. But they

0:44:47.280 --> 0:44:51.919
<v Speaker 1>were coming around and slowly but surely, counselors were realizing

0:44:51.960 --> 0:44:54.600
<v Speaker 1>the damage that was being done to their own cities.

0:44:54.800 --> 0:44:58.080
<v Speaker 1>So they were starting the wize up again. Okay, why

0:44:58.200 --> 0:45:04.120
<v Speaker 1>does britty music out punch its wheat and why does

0:45:04.160 --> 0:45:07.280
<v Speaker 1>all the innovation come Oh, there's not innovation in America

0:45:07.760 --> 0:45:10.760
<v Speaker 1>but consistently. I mean, and the forties you had people,

0:45:11.080 --> 0:45:14.640
<v Speaker 1>you know, with a little opportunity, fewer diversions. But even

0:45:14.680 --> 0:45:17.279
<v Speaker 1>at this late date there's a level of innovation in

0:45:17.320 --> 0:45:19.760
<v Speaker 1>the UK. You don't see another country except maybe Canada.

0:45:20.280 --> 0:45:28.520
<v Speaker 1>Why do you think that is? I don't know. Interestingly enough, Um,

0:45:28.560 --> 0:45:36.440
<v Speaker 1>in England we like quirky things. So when this um

0:45:36.680 --> 0:45:43.600
<v Speaker 1>revolution started in the early sixties and different forms of music. Liverpool,

0:45:43.880 --> 0:45:46.320
<v Speaker 1>which is now the home of the equivalent of the

0:45:46.400 --> 0:45:49.319
<v Speaker 1>Rock and Roll Museum called the British Music Experience, is

0:45:49.360 --> 0:45:53.600
<v Speaker 1>based in Liverpool, which is the UNESCO Home of Music.

0:45:53.719 --> 0:45:58.160
<v Speaker 1>By the way, um, this whole eruption of pop music

0:45:58.280 --> 0:46:01.520
<v Speaker 1>came about through a little club called Cabin, and out

0:46:01.520 --> 0:46:05.240
<v Speaker 1>of it came dozens of bands. Then Manchester got involved

0:46:05.440 --> 0:46:08.600
<v Speaker 1>and then it came down to London. London was going

0:46:08.640 --> 0:46:12.839
<v Speaker 1>in a different direction of music because in London we

0:46:12.960 --> 0:46:16.080
<v Speaker 1>had things called crystal sets with a little tiny boxes

0:46:16.120 --> 0:46:18.360
<v Speaker 1>with a crystal in it, with a long while that

0:46:18.440 --> 0:46:21.560
<v Speaker 1>hung out the window. We could listen to pop music

0:46:21.640 --> 0:46:24.680
<v Speaker 1>on a station called Radio Luxemburg. And then we had

0:46:24.800 --> 0:46:29.560
<v Speaker 1>Pirate Radio starting and that infused people to say, were

0:46:29.760 --> 0:46:32.640
<v Speaker 1>they were listening to jazz, they were listening to blues,

0:46:32.680 --> 0:46:35.520
<v Speaker 1>they were listening to early rock from American said we

0:46:35.560 --> 0:46:38.520
<v Speaker 1>could do this, and so they started to create and

0:46:38.560 --> 0:46:43.759
<v Speaker 1>do it. So we've always been innovative. But we love quirkiness,

0:46:43.840 --> 0:46:48.160
<v Speaker 1>and it's really interesting that we love quirkiness from somewhere else.

0:46:48.719 --> 0:46:52.280
<v Speaker 1>So Michael Jackson was a thousand times bigger in England

0:46:52.280 --> 0:46:54.239
<v Speaker 1>than he was in America for a period of time,

0:46:54.680 --> 0:46:59.040
<v Speaker 1>Madonna was Bruce Springsteen broke in England much bigger than

0:46:59.040 --> 0:47:02.279
<v Speaker 1>he did in America, faster and so on. So we

0:47:02.400 --> 0:47:07.200
<v Speaker 1>like the quirkiness. America is a huge it's a continent,

0:47:08.200 --> 0:47:12.719
<v Speaker 1>and what the Bridge didn't really understand was, with very

0:47:12.719 --> 0:47:15.360
<v Speaker 1>few exceptions, that if you want to break in America

0:47:15.400 --> 0:47:19.960
<v Speaker 1>and become big there, every state is another country. Whereas

0:47:19.960 --> 0:47:22.840
<v Speaker 1>where a tiny little country where you can go from

0:47:23.000 --> 0:47:26.120
<v Speaker 1>You can literally go from Manchester to London and do

0:47:26.239 --> 0:47:28.479
<v Speaker 1>two gigs. You know, you could do an early gig

0:47:28.480 --> 0:47:30.560
<v Speaker 1>in Manchester and a late gig in London. You can't

0:47:30.560 --> 0:47:33.319
<v Speaker 1>really do that in America because of the distance and

0:47:33.400 --> 0:47:37.959
<v Speaker 1>so on. So we have this I'm not sure really

0:47:38.200 --> 0:47:40.960
<v Speaker 1>maybe it maybe we have inside is some kind of

0:47:41.360 --> 0:47:44.560
<v Speaker 1>symptom that we are with the lost people, that we

0:47:44.600 --> 0:47:47.439
<v Speaker 1>have to prove a point. I don't know, but so

0:47:47.520 --> 0:47:50.600
<v Speaker 1>much creativity has come out of the UK. It is

0:47:50.840 --> 0:47:54.160
<v Speaker 1>mind blowing, going back to the British evasion right at

0:47:54.200 --> 0:47:57.279
<v Speaker 1>the beginning and all the way through to today, the

0:47:57.320 --> 0:48:03.120
<v Speaker 1>innovation of punk, the innovation of glam rock, the David Bones,

0:48:03.160 --> 0:48:07.120
<v Speaker 1>that Mark Boland's, all of those artists, all of Brits,

0:48:07.120 --> 0:48:10.640
<v Speaker 1>but they all made their made it out of it

0:48:11.080 --> 0:48:13.520
<v Speaker 1>in the main out of America. When they came back

0:48:13.560 --> 0:48:17.600
<v Speaker 1>to the UK, they were heroes. So it's quite interesting.

0:48:17.760 --> 0:48:20.560
<v Speaker 1>And what happened was at the beginning, a lot of

0:48:20.600 --> 0:48:24.480
<v Speaker 1>those early bands and even the progressive rock bands that

0:48:24.680 --> 0:48:27.440
<v Speaker 1>I grew up with, Yes and Emerson, Lake and Palmer

0:48:27.480 --> 0:48:31.480
<v Speaker 1>and even Genesis, they got to a point here where

0:48:31.480 --> 0:48:35.799
<v Speaker 1>they were doing okay. They then went to America, and

0:48:35.800 --> 0:48:38.600
<v Speaker 1>when we read about them in Melody Maker and Sounds

0:48:38.640 --> 0:48:41.680
<v Speaker 1>the music papers, because that was our bible of how

0:48:41.719 --> 0:48:44.279
<v Speaker 1>well they were doing in America, when they came back

0:48:44.320 --> 0:48:48.880
<v Speaker 1>to the UK they were ten times bigger, and the

0:48:49.000 --> 0:48:52.000
<v Speaker 1>vice versa happens. Okay, I want to talk about your

0:48:52.040 --> 0:48:55.840
<v Speaker 1>experience in management. You are me and Jeff back for

0:48:55.840 --> 0:48:59.800
<v Speaker 1>a while. You've got him a lot of high profile gigs,

0:49:00.040 --> 0:49:03.400
<v Speaker 1>Bill acknowledge and well, I believe he is the best

0:49:03.440 --> 0:49:06.719
<v Speaker 1>of all the rock guitars. Then it ended, So talk

0:49:06.719 --> 0:49:09.560
<v Speaker 1>a little bit about your management career, dealing with talent,

0:49:10.080 --> 0:49:14.560
<v Speaker 1>how you approached it, why it ended, etcetera. Huh, I've

0:49:14.600 --> 0:49:17.520
<v Speaker 1>managed a lot of people right now. I've just used

0:49:17.560 --> 0:49:20.560
<v Speaker 1>exact to tell us how you got into management. I mean,

0:49:20.600 --> 0:49:24.719
<v Speaker 1>because you're a promoter. Yeah, Well, I always wanted to

0:49:24.719 --> 0:49:27.600
<v Speaker 1>be a promoter. Um. It used to be joined the

0:49:27.680 --> 0:49:30.880
<v Speaker 1>Navy and see the world. That was the slogan, and

0:49:30.960 --> 0:49:33.080
<v Speaker 1>for me it was be a promoter and see the

0:49:33.080 --> 0:49:36.000
<v Speaker 1>world because I went around the world promoting right up

0:49:36.000 --> 0:49:38.799
<v Speaker 1>from the beginning. I started going to Australia in the

0:49:38.800 --> 0:49:41.520
<v Speaker 1>early seventies with people like Black Sabbath and so on.

0:49:42.280 --> 0:49:46.120
<v Speaker 1>I never ever dreamt or wanted to be in management.

0:49:47.239 --> 0:49:52.120
<v Speaker 1>It started as follows. Um, when I left college, um

0:49:52.239 --> 0:49:54.719
<v Speaker 1>or university, I wanted to be I wanted to be

0:49:54.760 --> 0:49:58.560
<v Speaker 1>a pharmacist for various reasons. The course I wanted to

0:49:58.640 --> 0:50:01.279
<v Speaker 1>do I couldn't do. I got very upset about it.

0:50:01.960 --> 0:50:04.880
<v Speaker 1>I went to a particular university in the south coast

0:50:04.680 --> 0:50:08.000
<v Speaker 1>of Brighton, and um, I thought it was gonna be

0:50:08.040 --> 0:50:11.480
<v Speaker 1>a great social life and there wasn't. And I persuaded

0:50:11.520 --> 0:50:14.440
<v Speaker 1>the student union to open a club called Club sixty six.

0:50:14.560 --> 0:50:17.600
<v Speaker 1>That was the start of my life. I then got

0:50:17.680 --> 0:50:20.120
<v Speaker 1>very upset because the course I wanted to do was

0:50:20.239 --> 0:50:23.160
<v Speaker 1>canceled and I ended up doing a course I didn't

0:50:23.200 --> 0:50:24.960
<v Speaker 1>want to do, and I got fed up with it

0:50:25.200 --> 0:50:28.279
<v Speaker 1>and I went to America. I went to America. I

0:50:28.360 --> 0:50:30.719
<v Speaker 1>saw what was going on in America. I got a

0:50:30.800 --> 0:50:33.640
<v Speaker 1>great hound bus ticket. I went from one side of

0:50:33.640 --> 0:50:36.480
<v Speaker 1>America to the other, ended up in hate Ashbury. Hang on,

0:50:36.680 --> 0:50:40.120
<v Speaker 1>I'll finish this and you'll I'll get it. No, no, no, no, no.

0:50:40.280 --> 0:50:43.719
<v Speaker 1>What year was sixty six? I started? My club was

0:50:43.800 --> 0:50:47.640
<v Speaker 1>called Club sixty six. I went to a student union meeting,

0:50:47.840 --> 0:50:51.239
<v Speaker 1>which is like your fraternities, and I listen to them

0:50:51.280 --> 0:50:54.720
<v Speaker 1>talking about the rugby club, the cricket club, the chess club,

0:50:54.760 --> 0:50:56.600
<v Speaker 1>the bridge club, blah blah blah blah, And I said,

0:50:56.600 --> 0:50:58.640
<v Speaker 1>where's the social life? And they said, what do you mean?

0:50:58.840 --> 0:51:01.839
<v Speaker 1>I see, where's the entertain This is a town known

0:51:01.880 --> 0:51:04.839
<v Speaker 1>for fun parties, entertainment. There isn't any. They said, well,

0:51:04.840 --> 0:51:07.520
<v Speaker 1>we've just talked about it all. I said, that's not entertainment,

0:51:07.560 --> 0:51:10.160
<v Speaker 1>it's hard work. So they said, what you didn't we

0:51:10.200 --> 0:51:11.839
<v Speaker 1>should do? I said that I think we should open

0:51:11.840 --> 0:51:16.200
<v Speaker 1>the club. So they kind of looked at me and said,

0:51:16.200 --> 0:51:18.960
<v Speaker 1>who are you. I said, I'm from pharmacy. That was

0:51:19.120 --> 0:51:21.520
<v Speaker 1>the course I was studying. They said, we've never seen

0:51:21.520 --> 0:51:25.240
<v Speaker 1>a pharmacy repped before because it's such a condense course.

0:51:25.280 --> 0:51:29.400
<v Speaker 1>It was hard work anyway, So the president Union said,

0:51:29.440 --> 0:51:32.280
<v Speaker 1>a right clever dick, open a club. So I said, okay,

0:51:32.400 --> 0:51:34.359
<v Speaker 1>screw you, I'm going to open the club. So open

0:51:34.400 --> 0:51:37.800
<v Speaker 1>the club called Club sixty six for students. It wasn't

0:51:38.239 --> 0:51:43.440
<v Speaker 1>literally an instant success, and it was at the point.

0:51:43.800 --> 0:51:46.440
<v Speaker 1>One of the earliest acts idea was the Moody Blues,

0:51:46.520 --> 0:51:49.200
<v Speaker 1>and next Fleet with Mac and then it went from

0:51:49.239 --> 0:51:54.000
<v Speaker 1>there onward Family Taste and someone. It just went on

0:51:54.040 --> 0:51:56.520
<v Speaker 1>and on. We I was so lucky to be at

0:51:56.560 --> 0:51:59.440
<v Speaker 1>the right place at the right time, so all of

0:51:59.440 --> 0:52:02.520
<v Speaker 1>this style it off. And then I decided I wanted

0:52:02.640 --> 0:52:05.719
<v Speaker 1>to learn a bit more. I got fed up with

0:52:05.760 --> 0:52:09.080
<v Speaker 1>this whole university thing of having to do this theoretical

0:52:09.600 --> 0:52:12.160
<v Speaker 1>degree that I didn't want to do. And I got

0:52:12.239 --> 0:52:15.240
<v Speaker 1>shipped on an exchange course to America. I went to America.

0:52:15.560 --> 0:52:17.920
<v Speaker 1>I stuck the course out for one semester. I've had

0:52:18.040 --> 0:52:20.960
<v Speaker 1>enough of this. My aunt lived in you. I'm interested.

0:52:21.040 --> 0:52:24.600
<v Speaker 1>Where was that course taught the University of Toledo in

0:52:24.640 --> 0:52:30.040
<v Speaker 1>Ohio somewhere. Everybody goes to, Okay, you've got there for

0:52:30.120 --> 0:52:33.319
<v Speaker 1>one semester, and then I go back to It was

0:52:33.360 --> 0:52:36.480
<v Speaker 1>in the summer. It was the summer semester, got or

0:52:36.520 --> 0:52:39.799
<v Speaker 1>whatever however you call it. I go back to New York.

0:52:39.960 --> 0:52:43.440
<v Speaker 1>It's boiling hot. It's June or end of June, July

0:52:44.120 --> 0:52:48.240
<v Speaker 1>and um. I stayed with my aunt for a week,

0:52:48.320 --> 0:52:50.600
<v Speaker 1>and I saw an ad in the paper that said

0:52:51.040 --> 0:52:54.359
<v Speaker 1>greyhound bus tickets. If you're an international student, you get

0:52:54.440 --> 0:52:58.959
<v Speaker 1>nine nine days for which is just about what I had.

0:52:59.840 --> 0:53:02.359
<v Speaker 1>I had the greatest time in my life going from

0:53:02.440 --> 0:53:05.280
<v Speaker 1>one side of America to the other on a greyhound bus.

0:53:05.520 --> 0:53:08.200
<v Speaker 1>I saw more cities then than I've ever seen since.

0:53:08.680 --> 0:53:11.160
<v Speaker 1>I saw more that was going on than I've ever

0:53:11.160 --> 0:53:14.280
<v Speaker 1>seen since. I ended up going over Golden Gate Bridge

0:53:14.600 --> 0:53:17.960
<v Speaker 1>to go to the downtown wine in San Francisco, and

0:53:18.000 --> 0:53:22.080
<v Speaker 1>I heard this noise, saw this massive people and I thought,

0:53:22.120 --> 0:53:24.439
<v Speaker 1>what the hell is this? Go to the wide said

0:53:24.480 --> 0:53:27.640
<v Speaker 1>what's going on? Somewhere near the Golden Gate bridgeless so

0:53:27.680 --> 0:53:31.160
<v Speaker 1>as a concert. I shot down there and I saw

0:53:31.200 --> 0:53:34.960
<v Speaker 1>the Grateful Dead and quit Silver Messenger service. I thought,

0:53:35.000 --> 0:53:39.359
<v Speaker 1>this is fantastic. I went. I literally were my way backstage.

0:53:39.960 --> 0:53:43.120
<v Speaker 1>They loved my accent. I met the Grateful Dead. I

0:53:43.239 --> 0:53:47.759
<v Speaker 1>became friends with them for thirty five years thereafter, and

0:53:47.920 --> 0:53:51.120
<v Speaker 1>it's started my pathway to realize that music's where I

0:53:51.120 --> 0:53:54.719
<v Speaker 1>wanted to be. The thing that got me, very simply

0:53:55.080 --> 0:54:01.280
<v Speaker 1>was that all over San Francisco were the most unbelievable

0:54:01.360 --> 0:54:06.400
<v Speaker 1>looking posters advertising shows of artists I had never heard of.

0:54:06.840 --> 0:54:09.680
<v Speaker 1>But all I knew is those posters were so good

0:54:10.160 --> 0:54:13.000
<v Speaker 1>I had to go and see the show because they

0:54:13.000 --> 0:54:17.839
<v Speaker 1>sucked me in. So um, I did a deal with

0:54:18.320 --> 0:54:22.240
<v Speaker 1>Bill Graham and chat Helms. Chat Helms had Family Dog

0:54:22.280 --> 0:54:25.480
<v Speaker 1>and Rand the Avalon Ballroom. Bill Graham had the film

0:54:25.480 --> 0:54:28.839
<v Speaker 1>More and had his film More Posters to represent them.

0:54:29.160 --> 0:54:32.000
<v Speaker 1>I came back to England and I co started a

0:54:32.000 --> 0:54:35.160
<v Speaker 1>company called Big Old Posters. Let me start for us,

0:54:35.280 --> 0:54:36.719
<v Speaker 1>let me stop your hard you say you're not gonna

0:54:36.760 --> 0:54:39.680
<v Speaker 1>forget your what'd your father do for a living? My

0:54:39.800 --> 0:54:44.560
<v Speaker 1>father was a tailor. My mother was a millionaire, made hats. Okay,

0:54:44.640 --> 0:54:48.360
<v Speaker 1>they work for themselves. Yeah, so we're you know, what

0:54:48.560 --> 0:54:54.000
<v Speaker 1>made you such an entrepreneur? No idea, No idea? I mean,

0:54:54.000 --> 0:54:55.800
<v Speaker 1>were you the type of kid before you went to

0:54:56.160 --> 0:54:59.080
<v Speaker 1>when you were in secondary school? Did you deliver papers?

0:54:59.120 --> 0:55:02.040
<v Speaker 1>Were always hustle money or I'll tell you, you know,

0:55:02.080 --> 0:55:05.160
<v Speaker 1>you just fell into this. You might laugh. But my

0:55:05.280 --> 0:55:09.719
<v Speaker 1>training came from being in the Scouts. I became a

0:55:09.800 --> 0:55:13.320
<v Speaker 1>Scout because that's what everybody did. I then got into

0:55:13.360 --> 0:55:16.840
<v Speaker 1>it and became a Queen Scout, which was a big deal,

0:55:17.480 --> 0:55:21.120
<v Speaker 1>and I learned a huge amount of managing people from

0:55:21.160 --> 0:55:24.320
<v Speaker 1>the Scouts. That's the only place I ever got it from,

0:55:24.400 --> 0:55:28.040
<v Speaker 1>because it didn't come from my parents and didn't starting

0:55:28.040 --> 0:55:31.360
<v Speaker 1>a business. You started the club, you started the poster business.

0:55:31.760 --> 0:55:33.640
<v Speaker 1>Did you just look in the mirror and say, hey,

0:55:33.680 --> 0:55:35.840
<v Speaker 1>I think I can do this, or it was just instinctive,

0:55:35.880 --> 0:55:38.120
<v Speaker 1>I see an idea, I'm doing it. It was a challenge.

0:55:38.440 --> 0:55:41.440
<v Speaker 1>I love challenges. Anyway, I'm going to get into the

0:55:41.480 --> 0:55:44.320
<v Speaker 1>management because I don't want to drag out. This is

0:55:44.440 --> 0:55:47.920
<v Speaker 1>very very interesting digression as a space of life. So

0:55:48.400 --> 0:55:52.080
<v Speaker 1>we started with the big Oh was in existence, but

0:55:52.160 --> 0:55:56.319
<v Speaker 1>it was really very arty. I joined up with a

0:55:56.360 --> 0:55:59.799
<v Speaker 1>guy called Peter Ledibar. We started Big Old Posters. I

0:56:00.040 --> 0:56:02.960
<v Speaker 1>rolled in this contract and said, I've got this contract

0:56:03.280 --> 0:56:07.759
<v Speaker 1>to sell Avalon and Family dog posters from America. And

0:56:07.800 --> 0:56:10.200
<v Speaker 1>it was people like Stanley Mouse and all those great

0:56:10.320 --> 0:56:16.080
<v Speaker 1>artists um all over Europe and the this is this

0:56:16.120 --> 0:56:19.240
<v Speaker 1>is where you love. And this guy who had already

0:56:19.320 --> 0:56:22.080
<v Speaker 1>who was a printer, who started the business, said to me,

0:56:22.200 --> 0:56:24.920
<v Speaker 1>very funny, you're the fourth person that's come in this summer.

0:56:27.840 --> 0:56:31.359
<v Speaker 1>Bill big Bill as he was, had told everybody they

0:56:31.400 --> 0:56:34.520
<v Speaker 1>could have the exclusive because he didn't even think about

0:56:34.560 --> 0:56:37.600
<v Speaker 1>it anyway. We started this company, we built it up.

0:56:37.960 --> 0:56:41.360
<v Speaker 1>We were signing acts after acts, and the two things

0:56:41.480 --> 0:56:47.200
<v Speaker 1>we did was we supported two underground magazines. One was

0:56:47.239 --> 0:56:52.240
<v Speaker 1>called International Times and one was called Oz Magazine. Both

0:56:52.280 --> 0:56:58.319
<v Speaker 1>of them are the legendary papers they were. They were

0:56:58.520 --> 0:57:02.160
<v Speaker 1>They were being pubs at the same time as magazines

0:57:02.160 --> 0:57:06.600
<v Speaker 1>in America called Screw and Suck, you remember all that stuff.

0:57:06.640 --> 0:57:10.160
<v Speaker 1>They were always sure of money, they were always in trouble.

0:57:11.160 --> 0:57:15.640
<v Speaker 1>OZ Magazine were busted for obscenity and they were drug

0:57:15.680 --> 0:57:20.280
<v Speaker 1>bust or whatever. And because I had this, people knew

0:57:20.320 --> 0:57:22.760
<v Speaker 1>a little bit that I was in music doing something.

0:57:23.360 --> 0:57:26.400
<v Speaker 1>Every time I was busy trying to build this poster

0:57:26.400 --> 0:57:28.320
<v Speaker 1>of business up, this is to me, could you do

0:57:28.360 --> 0:57:30.200
<v Speaker 1>a concert because we've got to raise some money to

0:57:30.240 --> 0:57:33.000
<v Speaker 1>pay the lawyers. Next week, he put on a concert

0:57:33.240 --> 0:57:35.400
<v Speaker 1>and it works. We could have enough money. So I

0:57:35.480 --> 0:57:38.680
<v Speaker 1>was always being drawn back into doing concerts, and then

0:57:38.760 --> 0:57:42.040
<v Speaker 1>eventually I was asked do a big concert, a big

0:57:42.080 --> 0:57:45.320
<v Speaker 1>fundraiser for OZ to raise money to pay the barristers

0:57:45.680 --> 0:57:48.480
<v Speaker 1>to fight this obscenity case, which they would have gone

0:57:48.520 --> 0:57:51.120
<v Speaker 1>to prison if they'd lost. And I put on a

0:57:51.160 --> 0:57:56.720
<v Speaker 1>show called Christmas on Earth, which was with the animals,

0:57:57.080 --> 0:58:01.760
<v Speaker 1>Jimmy Hendrix, Pink Floyd and whatever a place called Olympia,

0:58:01.920 --> 0:58:05.160
<v Speaker 1>and it was a huge success. So I thought this

0:58:05.320 --> 0:58:10.520
<v Speaker 1>is good and um, eventually I decided I've not made

0:58:10.560 --> 0:58:13.480
<v Speaker 1>for the post of business, but music keeps drawing me in.

0:58:14.520 --> 0:58:16.880
<v Speaker 1>I then went to see my brother in law, who

0:58:16.920 --> 0:58:20.640
<v Speaker 1>was a lawyer, and I said to him, look, I

0:58:20.680 --> 0:58:24.440
<v Speaker 1>don't know anything about the music business. Really, I'd like

0:58:24.640 --> 0:58:28.560
<v Speaker 1>to learn. Do you know anybody who's in management or

0:58:28.600 --> 0:58:32.560
<v Speaker 1>in promoting and he said, actually I represent Man frew Man,

0:58:33.400 --> 0:58:35.960
<v Speaker 1>and um, why don't I introduce you to his manager,

0:58:36.120 --> 0:58:39.160
<v Speaker 1>which he did. I then went to work for Man

0:58:39.160 --> 0:58:41.800
<v Speaker 1>frew Man's manager, guy called David Joseph, who was an

0:58:41.800 --> 0:58:47.120
<v Speaker 1>Australian TV producer who produced the series and individuals. Yeah.

0:58:47.120 --> 0:58:51.400
<v Speaker 1>He produced the most successful Pops series ever called Hey Hey,

0:58:51.400 --> 0:58:55.840
<v Speaker 1>It's Saturday. He was managing Man frew Man. He was

0:58:55.880 --> 0:58:59.160
<v Speaker 1>living in Australia producing this series six seven months of

0:58:59.200 --> 0:59:02.000
<v Speaker 1>a year. I only met him four times in the

0:59:02.120 --> 0:59:06.040
<v Speaker 1>ten months I worked for him. During that period of time,

0:59:06.160 --> 0:59:09.200
<v Speaker 1>I was putting together all Man fIF Man's tours and

0:59:09.280 --> 0:59:13.720
<v Speaker 1>looking after him, and together with Keith Popka, who was

0:59:13.760 --> 0:59:16.840
<v Speaker 1>a Seeker who you may remember, the band called the Seekers.

0:59:17.040 --> 0:59:20.200
<v Speaker 1>Of course, of course we formed the New Seekers under

0:59:20.280 --> 0:59:23.360
<v Speaker 1>his direction, and then we did that Coca Cola song

0:59:23.400 --> 0:59:25.120
<v Speaker 1>and I'd like to teach the world to sing, which

0:59:25.240 --> 0:59:31.320
<v Speaker 1>was a originally a you know, a melodigue uh song

0:59:31.400 --> 0:59:34.919
<v Speaker 1>and so on. So I was learning about management and

0:59:35.000 --> 0:59:37.720
<v Speaker 1>to be honest with you, Man fIF Man used to

0:59:37.840 --> 0:59:41.040
<v Speaker 1>drive me nuts. He would find if I if I

0:59:41.080 --> 0:59:44.320
<v Speaker 1>was five minutes late in the office, he'd fun up

0:59:44.360 --> 0:59:46.520
<v Speaker 1>at ten o'clock at the dot and if I was

0:59:46.600 --> 0:59:49.000
<v Speaker 1>late the night before and came in at quarter past ten,

0:59:49.160 --> 0:59:51.920
<v Speaker 1>he starts screaming at me, where have you been? So

0:59:52.040 --> 0:59:54.440
<v Speaker 1>I thought, I don't want to do this. I hated it.

0:59:55.400 --> 0:59:59.320
<v Speaker 1>Time rolls on. I'm working with The Who. We're doing

0:59:59.360 --> 1:00:03.960
<v Speaker 1>a tour and we're in Glasgow. Glasgow had one venue

1:00:04.160 --> 1:00:10.160
<v Speaker 1>called Green's Playhouse. It's an infamous, unbelievable venue that then

1:00:10.200 --> 1:00:15.120
<v Speaker 1>became the Apollo. It was the best venue on the planet.

1:00:15.440 --> 1:00:18.640
<v Speaker 1>You've never seen audience reactions and so on that went

1:00:18.720 --> 1:00:21.960
<v Speaker 1>on in this place. I had The Who playing there

1:00:22.000 --> 1:00:27.640
<v Speaker 1>for two nights and the manager of Green's Playhouse got

1:00:27.720 --> 1:00:30.400
<v Speaker 1>hold of me and said, I want you to come

1:00:30.400 --> 1:00:34.160
<v Speaker 1>and see a comedian. And I said, well, I can't

1:00:34.240 --> 1:00:35.800
<v Speaker 1>leave the hoo because you never know what's going to

1:00:35.880 --> 1:00:38.000
<v Speaker 1>happen with them. You go out the door for five

1:00:38.040 --> 1:00:41.120
<v Speaker 1>minutes and they're killing each other, it will be fine.

1:00:42.040 --> 1:00:45.120
<v Speaker 1>So we stuck out and we went to up the road,

1:00:45.240 --> 1:00:47.480
<v Speaker 1>literally five minutes up to the road of the King's Theater,

1:00:48.000 --> 1:00:51.200
<v Speaker 1>and there was a comedian on stage called Billy Connolly,

1:00:52.000 --> 1:00:57.360
<v Speaker 1>and Billy Connolly spoke in this broad Glaswegian accent. The

1:00:57.520 --> 1:01:00.479
<v Speaker 1>place was they were hanging off the walls in there.

1:01:01.080 --> 1:01:04.960
<v Speaker 1>I have no idea what he was saying. It was

1:01:05.000 --> 1:01:07.960
<v Speaker 1>this is a foreign language. All I know is I

1:01:07.960 --> 1:01:14.160
<v Speaker 1>couldn't stop laughing because everybody was pissing themselves. So the

1:01:14.200 --> 1:01:18.840
<v Speaker 1>manager of the playhouse has come back and meet Billy

1:01:19.000 --> 1:01:21.640
<v Speaker 1>to who were on to eleven and this is ten o'clock.

1:01:22.040 --> 1:01:25.240
<v Speaker 1>I went backstage. I was introduced to Billy. Billy said,

1:01:25.400 --> 1:01:28.760
<v Speaker 1>I I've just been told that you you you've got

1:01:28.760 --> 1:01:31.040
<v Speaker 1>the WHO on. I said, yeah, yeah, I worked with

1:01:31.160 --> 1:01:34.200
<v Speaker 1>WHO all over the UK. He said, there my heroes.

1:01:34.280 --> 1:01:36.520
<v Speaker 1>Can I come and see them? I said, we'll get

1:01:36.600 --> 1:01:40.280
<v Speaker 1>dressed there on for another forty fifty minutes. I hope

1:01:41.360 --> 1:01:44.080
<v Speaker 1>come and see them. Staying, you know, come back staying

1:01:44.120 --> 1:01:46.240
<v Speaker 1>on the side of the stage. So I brought him back,

1:01:46.560 --> 1:01:49.640
<v Speaker 1>came on the side of the stage. We started talking.

1:01:50.040 --> 1:01:52.320
<v Speaker 1>He said to me, I want you to look after me.

1:01:52.560 --> 1:01:54.880
<v Speaker 1>I said, what do you mean? He said, I want

1:01:54.880 --> 1:01:57.640
<v Speaker 1>to come to England. I said, but nobody understands what

1:01:57.680 --> 1:02:00.360
<v Speaker 1>you're talking about in English. He said, I could speak

1:02:00.400 --> 1:02:09.480
<v Speaker 1>English anyway. We talked he um I then UM introduced

1:02:09.520 --> 1:02:13.360
<v Speaker 1>him to a TV host called Michael Parkinson. You may

1:02:13.360 --> 1:02:16.520
<v Speaker 1>have heard of and he had a TV show a

1:02:16.600 --> 1:02:19.919
<v Speaker 1>bit like you know your Tonight Show, and I got

1:02:19.960 --> 1:02:22.760
<v Speaker 1>him on that show, and he went on that show

1:02:22.880 --> 1:02:27.640
<v Speaker 1>once and suddenly became an instant. Here. Now I am

1:02:27.680 --> 1:02:32.760
<v Speaker 1>managing Billy Connolly. I'm managing Billy Connolly Um, which I

1:02:32.800 --> 1:02:36.520
<v Speaker 1>didn't want to do, but I'm managing him. As a

1:02:36.600 --> 1:02:40.880
<v Speaker 1>result of that, there was a very good TV series

1:02:40.920 --> 1:02:46.840
<v Speaker 1>called Not the Nine o'clock News, which was Rowan, Rowan, Atkinson, Griffreith, Jones,

1:02:47.240 --> 1:02:52.640
<v Speaker 1>Mel Smith Um and a girl called Pamela Stevenson. They

1:02:52.680 --> 1:02:56.080
<v Speaker 1>then came to me and said, look, we've seen what

1:02:56.120 --> 1:02:58.000
<v Speaker 1>you've done with Billy. Billy was now a hit all

1:02:58.040 --> 1:03:03.160
<v Speaker 1>over the UK and whatever. We all have the individual managements,

1:03:03.240 --> 1:03:06.480
<v Speaker 1>but nobody's looking after the show. Can you manage the

1:03:06.480 --> 1:03:10.360
<v Speaker 1>show for us? So I said, I'll do that on

1:03:10.400 --> 1:03:12.480
<v Speaker 1>the basis that I don't want to manage any of you,

1:03:12.680 --> 1:03:15.560
<v Speaker 1>because then I can't act for all of you. So

1:03:15.640 --> 1:03:18.040
<v Speaker 1>I looked after the show called Not the nine o'clock News.

1:03:19.280 --> 1:03:21.920
<v Speaker 1>The deal was they would do it as long as

1:03:21.920 --> 1:03:24.240
<v Speaker 1>they're going to be funny. When they felt they weren't

1:03:24.240 --> 1:03:27.560
<v Speaker 1>going to be any funny anymore themselves, they would not

1:03:27.720 --> 1:03:30.800
<v Speaker 1>pick up an option to do another series. The only

1:03:30.920 --> 1:03:33.800
<v Speaker 1>did three series. Came to the end of the series,

1:03:34.440 --> 1:03:38.280
<v Speaker 1>to the penultimate show, they decided that was it. I said,

1:03:38.320 --> 1:03:40.080
<v Speaker 1>you've never had a guest on the show. It was

1:03:40.120 --> 1:03:43.919
<v Speaker 1>a number one rating show on TV for comedy. I said,

1:03:43.920 --> 1:03:46.320
<v Speaker 1>you never had a guest on the shows the penultimate show,

1:03:46.320 --> 1:03:49.760
<v Speaker 1>why didn't you put Billy on? This is great? I

1:03:49.880 --> 1:03:54.280
<v Speaker 1>then made a terrible error. I introduced Billy Connolly to

1:03:54.440 --> 1:04:01.240
<v Speaker 1>Pamela Stevenson, who was a very beautiful lady, and Billy,

1:04:01.360 --> 1:04:05.360
<v Speaker 1>who was happily married to kids wife in Scotland and

1:04:05.560 --> 1:04:11.000
<v Speaker 1>all good suddenly takes a liking at rehearsal to Pamela Stevenson.

1:04:11.040 --> 1:04:16.720
<v Speaker 1>They recalled the show and Billy disappears for two days. Thereafter,

1:04:16.960 --> 1:04:20.560
<v Speaker 1>for a year, Billy and Pamela are hiding in a

1:04:20.680 --> 1:04:23.720
<v Speaker 1>news house that I had in the West End. His

1:04:23.800 --> 1:04:26.760
<v Speaker 1>wife is Guy Loupy or whatever I'm going I don't

1:04:26.760 --> 1:04:29.240
<v Speaker 1>want to do this. I love promoting, I don't want

1:04:29.240 --> 1:04:34.640
<v Speaker 1>to do management. At the end of it, Pamela came over,

1:04:34.760 --> 1:04:37.320
<v Speaker 1>sat on my lap flash Deraisles and said, you've got

1:04:37.320 --> 1:04:38.960
<v Speaker 1>to manage me. I said, no, no, no no, I don't

1:04:38.960 --> 1:04:42.160
<v Speaker 1>want to do that because it won't work. She said, yes, yes, yes.

1:04:43.080 --> 1:04:46.760
<v Speaker 1>I ended up managing Pamela and Billy, and I said,

1:04:46.800 --> 1:04:51.200
<v Speaker 1>this is the deal Monday to Friday. Asked me with

1:04:51.280 --> 1:04:54.120
<v Speaker 1>you in London or whatever you need doing. But every

1:04:54.160 --> 1:04:57.160
<v Speaker 1>weekend I'm going out on the road with Billy. Is

1:04:57.160 --> 1:05:02.320
<v Speaker 1>that okay? So Friday I'm not here. Pamela Thursday night

1:05:02.400 --> 1:05:05.040
<v Speaker 1>would call up week after weeks, I've got to see

1:05:05.080 --> 1:05:10.160
<v Speaker 1>you tomorrow. I gotta see It was one of those. Anyway,

1:05:10.360 --> 1:05:13.400
<v Speaker 1>I put Pamela into a show called The Pirates of

1:05:13.480 --> 1:05:17.080
<v Speaker 1>Pen's Ants and it was a big hit of Theodore

1:05:17.160 --> 1:05:20.360
<v Speaker 1>or Jury Lane. Billy was on the road. I'm going

1:05:20.360 --> 1:05:24.080
<v Speaker 1>out to see Billy for the weekend, Pamela insisted. I

1:05:24.120 --> 1:05:27.600
<v Speaker 1>stayed in London. It was driving me nuts. The next

1:05:27.640 --> 1:05:31.880
<v Speaker 1>thing that happened is I get a phone call um

1:05:32.080 --> 1:05:34.920
<v Speaker 1>from producers in America who wanted Pamela to do an

1:05:34.920 --> 1:05:40.920
<v Speaker 1>American TV series. She ended up doing two movies and

1:05:40.920 --> 1:05:45.680
<v Speaker 1>and she was going to do a series called Dynasty.

1:05:45.840 --> 1:05:50.200
<v Speaker 1>You may remember that, of course, and we pronounced it

1:05:50.280 --> 1:05:54.280
<v Speaker 1>dynasty here. She was going to be the female leading Dynasty.

1:05:54.400 --> 1:05:57.960
<v Speaker 1>They wanted someone quirky, and had an English accident, even

1:05:58.000 --> 1:06:01.560
<v Speaker 1>though she was she's actually from New zic Eland, but Australia. Whatever,

1:06:02.400 --> 1:06:07.400
<v Speaker 1>she didn't want to do it, so eventually we uh

1:06:08.000 --> 1:06:11.560
<v Speaker 1>and I suggested that I suggested as you talked to

1:06:11.640 --> 1:06:18.080
<v Speaker 1>Joan Collins, which they didn't anyway, So I ended up

1:06:18.120 --> 1:06:21.240
<v Speaker 1>managing Pamela and Billy, and I hated every minute of

1:06:21.240 --> 1:06:24.080
<v Speaker 1>it because it was only a matter of time before

1:06:24.120 --> 1:06:27.720
<v Speaker 1>it was going to break up, because Pamela decided that

1:06:27.760 --> 1:06:31.080
<v Speaker 1>she wanted all my time and Billy decided he wanted

1:06:31.120 --> 1:06:34.400
<v Speaker 1>all my time. I couldn't do it. And I remember

1:06:34.400 --> 1:06:36.320
<v Speaker 1>going to see my lawyer and I wrote down on

1:06:36.360 --> 1:06:37.880
<v Speaker 1>a piece of paper. I said, put it in your

1:06:37.960 --> 1:06:40.760
<v Speaker 1>safe how long this is going to last? And I

1:06:40.800 --> 1:06:43.320
<v Speaker 1>said under a year, I'm going to be out of here.

1:06:43.920 --> 1:06:47.080
<v Speaker 1>And sure enough, under a year we broke up. And

1:06:47.120 --> 1:06:50.840
<v Speaker 1>I didn't. I said, I'm not managing either. We roll

1:06:50.960 --> 1:06:56.680
<v Speaker 1>on to seventy five. I'm minding my own business. I

1:06:56.760 --> 1:06:59.960
<v Speaker 1>had split from my partnership with John and Tony Smith,

1:07:00.640 --> 1:07:02.880
<v Speaker 1>which was that they were the real big Day, were

1:07:02.920 --> 1:07:06.600
<v Speaker 1>the biggest rock promoters in England. I had a partnership

1:07:06.680 --> 1:07:10.760
<v Speaker 1>with them called John Smith Entertainments, John and under chain

1:07:10.840 --> 1:07:15.560
<v Speaker 1>of clubs. Um Tony was managing a bank called Genesis

1:07:15.680 --> 1:07:19.000
<v Speaker 1>very young, trying to help them out. My other partner,

1:07:19.000 --> 1:07:22.640
<v Speaker 1>there's another partner called Michael aldis managing a bank called Family,

1:07:23.200 --> 1:07:25.840
<v Speaker 1>and all I wanted to do is promote very happily.

1:07:27.680 --> 1:07:30.680
<v Speaker 1>At the end of seventy five, Tony came through and

1:07:30.720 --> 1:07:33.880
<v Speaker 1>said that Genesis really wanted me to manage in full

1:07:33.920 --> 1:07:36.840
<v Speaker 1>time and didn't want me doing anything else. We split

1:07:36.880 --> 1:07:40.920
<v Speaker 1>the business up. I took the promoting, Michael took Family,

1:07:41.040 --> 1:07:44.040
<v Speaker 1>Tony took Genesis. He won by the way, and John

1:07:44.080 --> 1:07:47.440
<v Speaker 1>wanted his father wanted to keep the clubs. The fast

1:07:47.480 --> 1:07:50.040
<v Speaker 1>thing that happened to me was a tool within the

1:07:50.160 --> 1:07:53.000
<v Speaker 1>skinnerd And the next thing that happened to me was

1:07:53.040 --> 1:07:56.800
<v Speaker 1>the Rolling Stones wanted to do a big show in London,

1:07:56.960 --> 1:08:00.720
<v Speaker 1>and I said, let's play Earl's Cool. So we planned

1:08:00.760 --> 1:08:04.000
<v Speaker 1>to do six nights in Ours Court, which turned out

1:08:04.000 --> 1:08:09.480
<v Speaker 1>to be unbelievable in some respects and he's sound disaster

1:08:09.800 --> 1:08:12.919
<v Speaker 1>in other respects because the sound was terrible in there.

1:08:14.680 --> 1:08:17.560
<v Speaker 1>So I'm quite close with the Stones. I'd work with

1:08:17.680 --> 1:08:20.160
<v Speaker 1>them quite a bit, done a lot of shows of them.

1:08:20.280 --> 1:08:24.720
<v Speaker 1>So on Bill Wyman then funds me up getting a

1:08:24.920 --> 1:08:30.080
<v Speaker 1>seventy six. He said to me, do you know Van Morrison? Said?

1:08:30.120 --> 1:08:33.519
<v Speaker 1>I love Van Morrison. I said, you know them, we're

1:08:33.760 --> 1:08:38.040
<v Speaker 1>just incredible. Where is he? He said, well, he's been rehabbing.

1:08:38.080 --> 1:08:41.840
<v Speaker 1>He's just come out. He's looking for a manager. Would

1:08:41.920 --> 1:08:44.000
<v Speaker 1>you go and meet with him? And by the way,

1:08:44.080 --> 1:08:46.759
<v Speaker 1>don't talk about alcohol or anything like that. He doesn't

1:08:46.760 --> 1:08:49.960
<v Speaker 1>do coffee. He's come out of rehab. He's a bit nervous.

1:08:50.280 --> 1:08:53.519
<v Speaker 1>Will you go and meet with Van Morrison and help

1:08:53.600 --> 1:08:56.880
<v Speaker 1>him find a manager? I said sure, So I got

1:08:56.920 --> 1:08:59.919
<v Speaker 1>he's my hero, so I gotn't beat meet Van Morrison.

1:09:01.000 --> 1:09:03.960
<v Speaker 1>And we started talking. And I had prepared on a

1:09:03.960 --> 1:09:07.840
<v Speaker 1>piece of paper a list of eighteen managers, everybody from

1:09:08.000 --> 1:09:12.160
<v Speaker 1>Irving to build Curvishly to Peter Right to all the

1:09:12.200 --> 1:09:15.800
<v Speaker 1>great managers of the day. Um even Steve o'rourkey was

1:09:15.840 --> 1:09:19.799
<v Speaker 1>managing Pick Floyd. And he said, everybody keeps talking about

1:09:19.840 --> 1:09:22.479
<v Speaker 1>all of them. He said, but I want someone different.

1:09:23.720 --> 1:09:27.360
<v Speaker 1>We talked and talked. He was drinking orange juice. It

1:09:27.439 --> 1:09:29.479
<v Speaker 1>was a bit awkward. It's not an easy bloke to

1:09:29.520 --> 1:09:32.360
<v Speaker 1>talk to. But he said to me, look, I'm gonna

1:09:32.400 --> 1:09:34.679
<v Speaker 1>go away and think about it. Could we meet again?

1:09:34.840 --> 1:09:37.839
<v Speaker 1>I said, I'm here, I'm just waiting by the phone.

1:09:38.560 --> 1:09:40.320
<v Speaker 1>I go and meet with him the following week because

1:09:40.320 --> 1:09:41.960
<v Speaker 1>at the end of the day, all I wanted to

1:09:42.040 --> 1:09:44.720
<v Speaker 1>do is once he got his band together, was tour him.

1:09:44.840 --> 1:09:48.920
<v Speaker 1>That was my interest. He said to me, Um, I

1:09:49.080 --> 1:09:52.080
<v Speaker 1>thought about it. I've made my mind up. I want

1:09:52.120 --> 1:09:56.320
<v Speaker 1>you to be my manager and I went, no, manager

1:09:56.320 --> 1:10:00.280
<v Speaker 1>of a promoter. He said, I've decided. Look what you

1:10:00.360 --> 1:10:03.599
<v Speaker 1>need to do is you need to have And I said,

1:10:03.720 --> 1:10:06.880
<v Speaker 1>you don't work enough. I mean, you know, even in

1:10:06.920 --> 1:10:10.080
<v Speaker 1>your hey day, you'd never worked that much. He's and

1:10:10.200 --> 1:10:12.920
<v Speaker 1>I said that, how do I do management of promoting

1:10:13.040 --> 1:10:17.920
<v Speaker 1>on this level? Because this is another level? Um. She said, look,

1:10:18.600 --> 1:10:21.000
<v Speaker 1>you work with Black Sabbath. Why didn't you manage Black

1:10:21.040 --> 1:10:23.080
<v Speaker 1>Sabbath because they will be the work course and you

1:10:23.120 --> 1:10:26.160
<v Speaker 1>can manage me and that would be it. And I said, no,

1:10:26.200 --> 1:10:29.559
<v Speaker 1>I'm not giving up promoting anyway. I kind of deal

1:10:29.600 --> 1:10:34.040
<v Speaker 1>with Van where we He insisted on having a contract,

1:10:34.040 --> 1:10:38.240
<v Speaker 1>which I didn't really want, and all the contract was

1:10:38.240 --> 1:10:42.240
<v Speaker 1>was what happened if it didn't work, which pervades to

1:10:42.320 --> 1:10:45.519
<v Speaker 1>this day because I still get royalties from projects we did.

1:10:46.360 --> 1:10:51.720
<v Speaker 1>Really yeah, and I um, Van and I go on

1:10:51.880 --> 1:10:55.440
<v Speaker 1>like a house on fire. Van wanted to come to

1:10:55.439 --> 1:10:58.120
<v Speaker 1>to England. The truth was, I think he was in

1:10:58.160 --> 1:11:00.519
<v Speaker 1>love with my wife because he used to a phoner

1:11:01.120 --> 1:11:08.160
<v Speaker 1>six thirty six o'clock l a time and um uh

1:11:08.200 --> 1:11:10.200
<v Speaker 1>and it's two thirty in the morning here, which might

1:11:10.240 --> 1:11:13.000
<v Speaker 1>even imagine my wife what she felt. Anyway, she got

1:11:13.040 --> 1:11:15.360
<v Speaker 1>into it. They used to talk for hours there. I

1:11:15.479 --> 1:11:19.679
<v Speaker 1>never got a word in edgeways. But anyway I looked

1:11:19.720 --> 1:11:22.559
<v Speaker 1>after Van, I got in together and then we we

1:11:22.560 --> 1:11:26.760
<v Speaker 1>He decided he wanted to do an album, so he go.

1:11:26.880 --> 1:11:28.320
<v Speaker 1>We go to l A, we go to s I

1:11:28.520 --> 1:11:33.559
<v Speaker 1>R and um. There's another lunatic in one studio called

1:11:33.560 --> 1:11:37.400
<v Speaker 1>Catch Stevens, who I also worked with, and there's Van

1:11:37.520 --> 1:11:40.760
<v Speaker 1>at the other end, and there are a stream of

1:11:40.920 --> 1:11:44.200
<v Speaker 1>musicians because Catch Stevens is putting a band together to

1:11:44.400 --> 1:11:47.120
<v Speaker 1>his last two of the Magic Cats are which fortunately

1:11:47.120 --> 1:11:49.960
<v Speaker 1>I promoted, and Van Morris is trying to put a

1:11:49.960 --> 1:11:52.960
<v Speaker 1>band together. And these musicians are going, they're going into

1:11:53.000 --> 1:11:55.000
<v Speaker 1>the Van Guah's going. No, they're going to Catch Stevens.

1:11:55.040 --> 1:11:57.320
<v Speaker 1>He's going. Now they're coming round again. They're coming back,

1:11:57.560 --> 1:12:00.280
<v Speaker 1>and it's like it's loot am I going for God say,

1:12:00.360 --> 1:12:02.719
<v Speaker 1>you've seen so many musicians, you've got to pick him out.

1:12:04.360 --> 1:12:08.519
<v Speaker 1>Somewhere in the middle of all this, Matt rebanac Dr

1:12:08.640 --> 1:12:14.280
<v Speaker 1>John pitches up and Van says, this is my man.

1:12:15.360 --> 1:12:20.679
<v Speaker 1>So we've got a guy had a rehab and we've

1:12:20.680 --> 1:12:25.559
<v Speaker 1>got a method home person together trying to make music.

1:12:26.040 --> 1:12:29.960
<v Speaker 1>It was extraordinary and it just used to crap and

1:12:30.040 --> 1:12:33.960
<v Speaker 1>made me laugh. So we started to get together. They

1:12:34.040 --> 1:12:38.880
<v Speaker 1>started to create and they are the most beautiful people.

1:12:39.320 --> 1:12:42.479
<v Speaker 1>And Mac is unfortunately he's not with us anymore. He

1:12:42.600 --> 1:12:46.120
<v Speaker 1>was just divine and he actually kept he kind of

1:12:46.200 --> 1:12:48.360
<v Speaker 1>kept Van on the straight of narrow, even though he

1:12:48.400 --> 1:12:51.080
<v Speaker 1>was on a methodome program. You can figure that one out.

1:12:52.120 --> 1:12:56.479
<v Speaker 1>And so he started to record and record a recording.

1:12:56.640 --> 1:12:59.320
<v Speaker 1>He had this book. He has a book of songs

1:13:00.000 --> 1:13:02.600
<v Speaker 1>and at any time of the day and night he

1:13:02.640 --> 1:13:05.720
<v Speaker 1>could pull out twenty five new songs just sitting in

1:13:05.760 --> 1:13:08.280
<v Speaker 1>this book. He pull him out, he recalled him he

1:13:08.360 --> 1:13:10.559
<v Speaker 1>throw away. Didn't like it. He did like it. We

1:13:10.680 --> 1:13:13.280
<v Speaker 1>ended up with an album. The first album was called

1:13:13.280 --> 1:13:17.519
<v Speaker 1>a Period of Transition and Van said, I'm coming to England.

1:13:17.600 --> 1:13:21.640
<v Speaker 1>I said, fantastic. He comes to England. I find him

1:13:21.680 --> 1:13:25.240
<v Speaker 1>a house next door actually where Jimmy Page now lives,

1:13:25.960 --> 1:13:30.280
<v Speaker 1>and um, he's rent a house for him. He's coming over.

1:13:30.360 --> 1:13:35.120
<v Speaker 1>He's going to live in England. He's here literally a day,

1:13:35.520 --> 1:13:37.880
<v Speaker 1>and he decided he didn't want to live in England.

1:13:37.960 --> 1:13:40.960
<v Speaker 1>He's going back to America. So he goes back to America.

1:13:41.240 --> 1:13:45.040
<v Speaker 1>Is now in Westchester, and I'm having a commute to

1:13:45.680 --> 1:13:48.639
<v Speaker 1>l A every three weeks to spend time with him.

1:13:48.920 --> 1:13:51.960
<v Speaker 1>We drove me nuts and then the end said. I said, Van,

1:13:52.040 --> 1:13:55.240
<v Speaker 1>I love you dearly. I can't handle this. I signed

1:13:55.320 --> 1:13:57.479
<v Speaker 1>up Bill Graham. I said, boo, you've got to help

1:13:57.479 --> 1:14:01.080
<v Speaker 1>me out here. I got Van Morrison managing. Who can

1:14:01.120 --> 1:14:03.799
<v Speaker 1>I get to manage? If we honed in on Bill Siddons,

1:14:03.920 --> 1:14:09.200
<v Speaker 1>who had managed Fanning previously, and Bill said he'd help,

1:14:09.800 --> 1:14:12.120
<v Speaker 1>but there's no way he could do it again. I said,

1:14:12.360 --> 1:14:15.519
<v Speaker 1>I'll stay with it. I can't do this anymore. And

1:14:15.560 --> 1:14:17.840
<v Speaker 1>we kind of passed the company, and funny enough, we

1:14:17.880 --> 1:14:21.080
<v Speaker 1>didn't fall out. It wasn't bad. I think we had

1:14:21.120 --> 1:14:23.360
<v Speaker 1>one fight the whole time we were together. I loved

1:14:23.400 --> 1:14:26.360
<v Speaker 1>doing it, but I looked at upon it as a project.

1:14:27.320 --> 1:14:29.840
<v Speaker 1>Off Fan went, He stayed in l A. He gone

1:14:29.920 --> 1:14:34.040
<v Speaker 1>with his life slowly, but surely. We had some I

1:14:34.080 --> 1:14:36.200
<v Speaker 1>can't even tell you some of the things that happened

1:14:36.240 --> 1:14:39.519
<v Speaker 1>to us in and our experiences together that we used

1:14:39.520 --> 1:14:44.400
<v Speaker 1>to laugh about. But he is a tough guard, a genius.

1:14:45.240 --> 1:14:49.840
<v Speaker 1>Roll On, roll On. The Rolling Stones are going into hiasis.

1:14:50.479 --> 1:14:54.080
<v Speaker 1>Mick Jagger decides he can't work with them anymore. He

1:14:54.120 --> 1:14:57.240
<v Speaker 1>wants to time off, He wants to do a solo project.

1:14:57.960 --> 1:15:01.400
<v Speaker 1>Who gets the call to manage Mick Jagger? Me and

1:15:01.520 --> 1:15:04.240
<v Speaker 1>I go and here we go again, another lunacic I've

1:15:04.240 --> 1:15:09.439
<v Speaker 1>got to deal with. So I helped Mick get his

1:15:09.479 --> 1:15:11.920
<v Speaker 1>whole solo thing together. I knew it wasn't gonna be

1:15:11.960 --> 1:15:16.400
<v Speaker 1>for long. It was a project, and he wanted to

1:15:16.400 --> 1:15:20.280
<v Speaker 1>work with Jeff Beck, and I got in together with

1:15:20.360 --> 1:15:23.920
<v Speaker 1>Jeff Beck. He put this great band together. We we

1:15:24.240 --> 1:15:27.760
<v Speaker 1>I put a tour together, We created everything. It was

1:15:27.800 --> 1:15:31.200
<v Speaker 1>a new album. It was. We had this amazing set,

1:15:31.360 --> 1:15:35.160
<v Speaker 1>the show, everything that met wanted. The only problem was

1:15:35.760 --> 1:15:40.439
<v Speaker 1>Jeff Beck refused point blank to play any of the

1:15:40.520 --> 1:15:43.639
<v Speaker 1>Keith Richards parts and didn't want to do Rolling Stone's

1:15:43.720 --> 1:15:47.120
<v Speaker 1>music and Mick knew that he couldn't tool without doing it.

1:15:47.680 --> 1:15:52.080
<v Speaker 1>The night before the press conference to announce the whole thing,

1:15:52.960 --> 1:15:55.280
<v Speaker 1>Jeff phoned up and said, I'm not doing this, I'm

1:15:55.280 --> 1:16:00.519
<v Speaker 1>out and um that got really different cool and it

1:16:00.600 --> 1:16:02.840
<v Speaker 1>kind of came to a sticky end. So that's the

1:16:02.920 --> 1:16:10.520
<v Speaker 1>Mick Jagger management saga. Meantime, the Pink Floyd are doing brilliantly.

1:16:10.680 --> 1:16:14.080
<v Speaker 1>Another one of my favorite bands to work with them.

1:16:14.120 --> 1:16:16.439
<v Speaker 1>I went out to dinner one night with Roger Waters

1:16:16.640 --> 1:16:20.280
<v Speaker 1>and he he told me this whole story had in

1:16:20.320 --> 1:16:23.280
<v Speaker 1>his mind about a show with a wall in it,

1:16:23.640 --> 1:16:25.360
<v Speaker 1>and what do you wanted to do was build up

1:16:25.400 --> 1:16:28.840
<v Speaker 1>the wall during the show and then explode it at

1:16:28.840 --> 1:16:30.920
<v Speaker 1>the end of the show. And they said, I'm in

1:16:31.120 --> 1:16:34.400
<v Speaker 1>I love it, and we talked. He does the wall,

1:16:34.960 --> 1:16:38.120
<v Speaker 1>he falls out with Dave gilmu and the rest of

1:16:38.120 --> 1:16:40.320
<v Speaker 1>the band. He decided he doesn't want to work with

1:16:40.360 --> 1:16:43.920
<v Speaker 1>them anymore. Who gets the call to look after him?

1:16:43.920 --> 1:16:48.240
<v Speaker 1>Me side outcome from Billy connor Ley to Van Morrison

1:16:48.360 --> 1:16:56.160
<v Speaker 1>to Mick Jagger. I'm now managing Roger Waters. This Roger

1:16:56.200 --> 1:16:59.599
<v Speaker 1>Waters wants to do a solo album pros and cons

1:16:59.640 --> 1:17:04.080
<v Speaker 1>of hit hiking. He we put this whole project together.

1:17:04.280 --> 1:17:10.560
<v Speaker 1>He ends up through two solo albums and in um,

1:17:10.600 --> 1:17:13.559
<v Speaker 1>it's all ready to go, and he wants to do

1:17:14.200 --> 1:17:16.639
<v Speaker 1>something in London, but he wants to start in New York.

1:17:16.840 --> 1:17:18.760
<v Speaker 1>I'm not sure why I wanted to do it, he did.

1:17:19.479 --> 1:17:22.280
<v Speaker 1>We decided to do it at Radio City and get

1:17:22.320 --> 1:17:25.680
<v Speaker 1>the deal done with Radio City because he was very complicated,

1:17:26.120 --> 1:17:31.840
<v Speaker 1>because he insisted on having a holographic head um suspended

1:17:31.880 --> 1:17:34.719
<v Speaker 1>from the ceiling of Radio City where all the sound

1:17:34.840 --> 1:17:38.240
<v Speaker 1>was directed to to give out this three sixty sound,

1:17:38.400 --> 1:17:42.720
<v Speaker 1>which is way ahead of its time. We notched up

1:17:43.400 --> 1:17:47.840
<v Speaker 1>the biggest union bill at Radio City on Record two.

1:17:48.000 --> 1:17:52.599
<v Speaker 1>This shows all planned ready to go. I then get

1:17:52.600 --> 1:17:56.799
<v Speaker 1>a phone call from Wham's manager, another band, George Michael

1:17:56.800 --> 1:18:00.479
<v Speaker 1>that I'm dealing with and Simon Napier Bell and says

1:18:01.120 --> 1:18:05.320
<v Speaker 1>Harvey said, um, Um, I've got why. I'm a tour

1:18:05.360 --> 1:18:09.640
<v Speaker 1>of China. I said what he said, Whe's going to

1:18:09.720 --> 1:18:12.000
<v Speaker 1>go to Chinese So we're gonna do two shows is

1:18:12.360 --> 1:18:15.120
<v Speaker 1>in Hong Kong and then we're going to China. I said.

1:18:15.200 --> 1:18:18.240
<v Speaker 1>The only problem is I can't go to China, so

1:18:18.320 --> 1:18:20.759
<v Speaker 1>you're gonna have to go and look after the band

1:18:20.960 --> 1:18:24.599
<v Speaker 1>and take care of the tour. Plump. The phone goes dead.

1:18:24.760 --> 1:18:27.479
<v Speaker 1>I'm going, Oh my god, I'm going to New York

1:18:28.160 --> 1:18:33.160
<v Speaker 1>to launch Roger Walters first solo project with his mad

1:18:33.200 --> 1:18:36.000
<v Speaker 1>holographic head. And now I'm going to go to China.

1:18:36.120 --> 1:18:42.000
<v Speaker 1>So I go through New York via Tokyo to Hong Kong,

1:18:42.720 --> 1:18:44.960
<v Speaker 1>where I meet with Simon has said, it's all good,

1:18:45.000 --> 1:18:47.880
<v Speaker 1>don't worry about it. The all China youth asiancy are

1:18:47.920 --> 1:18:52.960
<v Speaker 1>doing the tour and you're going to China, see you later. Bye.

1:18:54.400 --> 1:18:58.679
<v Speaker 1>And then just before I left to go to New

1:18:58.760 --> 1:19:01.320
<v Speaker 1>York to meat to a broad I get a phone

1:19:01.320 --> 1:19:04.719
<v Speaker 1>call for Bob Geldof, who says, you've seen what's happened

1:19:04.760 --> 1:19:07.920
<v Speaker 1>in Africa. You know about the record because you've been there,

1:19:07.920 --> 1:19:09.599
<v Speaker 1>You've been aware of it. We've got to do a

1:19:09.600 --> 1:19:12.280
<v Speaker 1>concert and you've got to do this shirt at Wembley.

1:19:12.720 --> 1:19:15.439
<v Speaker 1>I said, no, no, no, I can't do that. I'm

1:19:15.479 --> 1:19:19.320
<v Speaker 1>looking after Roger Waters and I'm now quasi managing Wham.

1:19:19.360 --> 1:19:22.000
<v Speaker 1>I've got to get out to China from New York.

1:19:22.240 --> 1:19:24.840
<v Speaker 1>I can't even think about A concert was called Live Aid.

1:19:25.080 --> 1:19:29.599
<v Speaker 1>All happened between March and July when Live Aid happened.

1:19:29.600 --> 1:19:33.800
<v Speaker 1>That same period, Roger did his Tory, came back, and

1:19:33.840 --> 1:19:36.599
<v Speaker 1>then he had this mad idea of doing an opera,

1:19:36.840 --> 1:19:41.000
<v Speaker 1>and he's not an easy guy to deal with. And

1:19:41.160 --> 1:19:43.640
<v Speaker 1>I got less and less inclined to do it. And

1:19:43.680 --> 1:19:49.120
<v Speaker 1>I thought, I enjoy promoting. They am I doing managing acts? Okay,

1:19:49.160 --> 1:19:52.879
<v Speaker 1>I have to start you from one point here. Roger

1:19:53.240 --> 1:19:59.160
<v Speaker 1>has made a number of Ian Ti Israel pro Palestinian comments. Correct,

1:19:59.240 --> 1:20:01.479
<v Speaker 1>how do you feel the about that? Into what degree

1:20:01.560 --> 1:20:05.720
<v Speaker 1>have you experienced ante semitism in your career? I have

1:20:05.840 --> 1:20:10.760
<v Speaker 1>experienced anti semitism. Interestingly enough, I was taking Jeff back

1:20:10.800 --> 1:20:14.360
<v Speaker 1>to Israel to play because he wanted to go. Roger

1:20:14.400 --> 1:20:17.120
<v Speaker 1>got to him and did everything in his power to

1:20:17.240 --> 1:20:23.040
<v Speaker 1>persuade him, not ago, including his funny furry friends in

1:20:23.080 --> 1:20:30.360
<v Speaker 1>the Palestinian group who bombarded Van with emails and messages

1:20:31.040 --> 1:20:35.000
<v Speaker 1>and sent death threats to me. And I got to

1:20:35.040 --> 1:20:37.040
<v Speaker 1>the point with Jeff. I said, look, Jeff, if you

1:20:37.080 --> 1:20:40.599
<v Speaker 1>don't want to go, I'm you know, please, I'll cancel it.

1:20:40.680 --> 1:20:44.240
<v Speaker 1>But actually think about it. He said, do they like

1:20:44.439 --> 1:20:47.519
<v Speaker 1>my music in Israel? I said, they love your music?

1:20:47.560 --> 1:20:49.920
<v Speaker 1>He shows us sold out? He said, in that case,

1:20:49.960 --> 1:20:53.200
<v Speaker 1>I'm going. He said, while I'm there, can I play

1:20:53.240 --> 1:20:56.560
<v Speaker 1>in Palestine? I said, I'm fine with it. If you

1:20:56.600 --> 1:20:59.679
<v Speaker 1>want to play. I've put the feelers out and we'll

1:20:59.680 --> 1:21:02.080
<v Speaker 1>see what we could do. They didn't want to know.

1:21:02.720 --> 1:21:05.920
<v Speaker 1>But Roger did everything in his power to try and

1:21:06.040 --> 1:21:09.400
<v Speaker 1>stop Jeff going, and has done with many other acts.

1:21:09.960 --> 1:21:14.799
<v Speaker 1>He was got at by a group of UM smart

1:21:14.880 --> 1:21:18.679
<v Speaker 1>ask people, very clever pr people, and he's still got

1:21:18.680 --> 1:21:22.880
<v Speaker 1>that and quite frankly, I find it's despicable because he

1:21:23.000 --> 1:21:26.880
<v Speaker 1>actually doesn't know what he's talking about and he doesn't listen.

1:21:27.640 --> 1:21:30.559
<v Speaker 1>And that's unfortunate because he won't hear the truth it

1:21:30.600 --> 1:21:34.720
<v Speaker 1>doesn't exist. And he's still he is the leader of

1:21:34.760 --> 1:21:37.360
<v Speaker 1>all leaders trying to stop every act going to play

1:21:37.360 --> 1:21:41.720
<v Speaker 1>in Israel, which is really unfortunate. And as when all

1:21:41.800 --> 1:21:45.240
<v Speaker 1>that happened, UM and David Gilmer wanted to go back

1:21:45.240 --> 1:21:48.000
<v Speaker 1>on the road. I to make a decision. David said

1:21:48.000 --> 1:21:50.639
<v Speaker 1>to me, if you're working with Roger, you can't work

1:21:50.680 --> 1:21:52.880
<v Speaker 1>with me. If you want to work with me, you

1:21:52.920 --> 1:21:55.839
<v Speaker 1>can't work with Roger. I said, it's not even a debate.

1:21:55.960 --> 1:21:59.240
<v Speaker 1>I'm with you, David, and I'll still at so that's

1:21:59.240 --> 1:22:10.880
<v Speaker 1>how that happened. So that was Roger Waters. Okay, so

1:22:11.000 --> 1:22:15.800
<v Speaker 1>you you leave Waters and you know you do coming. Yeah.

1:22:16.360 --> 1:22:20.320
<v Speaker 1>The WAB tool ended up being a massive success. George

1:22:20.400 --> 1:22:24.360
<v Speaker 1>Michael hated every minute of it. Everybody else loved it.

1:22:24.360 --> 1:22:26.920
<v Speaker 1>It was opened the doors of China. It was extra

1:22:27.160 --> 1:22:30.120
<v Speaker 1>It was quite extraordinary. I'd already opened the doors with

1:22:30.160 --> 1:22:32.360
<v Speaker 1>Elton John because I took in the Russia for the

1:22:32.400 --> 1:22:34.519
<v Speaker 1>first time, went in the middle of the communist era,

1:22:34.880 --> 1:22:37.680
<v Speaker 1>and this was a point in China where they were

1:22:37.680 --> 1:22:42.360
<v Speaker 1>still wearing mouth suits and whatever. Anyway, we came back.

1:22:42.479 --> 1:22:45.439
<v Speaker 1>I did Live Aid and the whole world change because

1:22:45.479 --> 1:22:49.519
<v Speaker 1>suddenly out of Live Aid all the good things happened,

1:22:49.520 --> 1:22:52.400
<v Speaker 1>all the money that we raised, the whole coming together,

1:22:52.479 --> 1:22:56.200
<v Speaker 1>the fact that the rock music community with the first

1:22:56.200 --> 1:22:58.800
<v Speaker 1>people to stand up and be counted, and all the

1:22:58.840 --> 1:23:02.519
<v Speaker 1>rest of it. The bad side of it was it

1:23:02.720 --> 1:23:07.040
<v Speaker 1>invented the cult of celebrity, particularly in the UK, which

1:23:07.080 --> 1:23:11.040
<v Speaker 1>they went all over the world. Suddenly artists were famous

1:23:11.200 --> 1:23:16.280
<v Speaker 1>for being famous for being celebrities, and the newspapers that

1:23:16.360 --> 1:23:19.599
<v Speaker 1>would only ever print a story about a rock musician

1:23:20.000 --> 1:23:23.160
<v Speaker 1>if they were either getting divorced or busted, that was

1:23:23.240 --> 1:23:26.439
<v Speaker 1>the only time they'd ever write about them. Suddenly saw

1:23:26.520 --> 1:23:29.680
<v Speaker 1>them as a result of live aid of selling papers,

1:23:29.720 --> 1:23:33.320
<v Speaker 1>and they just grabbed it. And then this whole celebrity

1:23:33.320 --> 1:23:36.720
<v Speaker 1>cult came out. It's kind of changed out all of

1:23:36.760 --> 1:23:41.040
<v Speaker 1>our perception of music completely because we became entertainment and

1:23:41.080 --> 1:23:44.760
<v Speaker 1>so on. And then, by the way, I forgot one

1:23:44.800 --> 1:23:48.400
<v Speaker 1>other person that I got suddenly involved with, and that's

1:23:48.400 --> 1:23:55.519
<v Speaker 1>a chap called Luciano Pavarossi, who um strangely enough, I

1:23:55.600 --> 1:23:59.679
<v Speaker 1>was going to put Bruce Springsteen refused, point blank, ever

1:24:00.160 --> 1:24:03.840
<v Speaker 1>to do open air shows. Ever, I didn't want to know.

1:24:04.160 --> 1:24:07.759
<v Speaker 1>I didn't understand them, couldn't see the logic, and didn't

1:24:07.760 --> 1:24:12.200
<v Speaker 1>want to know. A friend of mine who was a

1:24:12.240 --> 1:24:17.320
<v Speaker 1>TV producer wanted to do a document a film and

1:24:17.479 --> 1:24:23.680
<v Speaker 1>artist playing at Red Rocks Endeavor and he's British and

1:24:23.800 --> 1:24:27.759
<v Speaker 1>somehow the other he got to Bruce Springsteen and said,

1:24:27.880 --> 1:24:29.360
<v Speaker 1>I want you to do this TV show, but I

1:24:29.360 --> 1:24:31.040
<v Speaker 1>want to do it in this place called Red Rock

1:24:31.080 --> 1:24:35.679
<v Speaker 1>because it's spectacular. Will you do it? Bruce Springsteen agreed

1:24:36.240 --> 1:24:41.000
<v Speaker 1>and suddenly loved playing open air. I had booked six

1:24:41.120 --> 1:24:44.719
<v Speaker 1>lights at Earls Coot for Bruce Springsteen. I had already

1:24:44.720 --> 1:24:47.080
<v Speaker 1>paid half a million pounds, which is quite a lot

1:24:47.080 --> 1:24:51.400
<v Speaker 1>of money, which was a nonrefundable deposit. And I get

1:24:51.439 --> 1:24:54.439
<v Speaker 1>a phone call for John Lando and says, Harvey, Bruce

1:24:54.520 --> 1:24:57.479
<v Speaker 1>had such a great time at Red Rocks. He wants

1:24:57.479 --> 1:25:00.320
<v Speaker 1>to play Wembley Stadium. And I'm going no, no, no, no.

1:25:00.400 --> 1:25:03.559
<v Speaker 1>We booked well school, I paid for it. He says, no, no, no, no,

1:25:03.680 --> 1:25:08.440
<v Speaker 1>Bruce wants to play Webb him. I had Bruce Springsteen

1:25:08.479 --> 1:25:13.559
<v Speaker 1>playing Wembley Stadium for three nights, the night after UM,

1:25:13.600 --> 1:25:17.240
<v Speaker 1>the week after Live Aid, and I got stuck with

1:25:17.320 --> 1:25:20.400
<v Speaker 1>his half a million pounds deposit because I had a

1:25:20.439 --> 1:25:22.720
<v Speaker 1>four wall ten nights that I was cooled so he

1:25:22.720 --> 1:25:25.920
<v Speaker 1>could build the arena. It's a horrible place, but nevertheless

1:25:25.960 --> 1:25:30.120
<v Speaker 1>the biggest place in England. I then got my office

1:25:30.960 --> 1:25:33.639
<v Speaker 1>to sit about and say, I've got to find an

1:25:33.640 --> 1:25:35.960
<v Speaker 1>act to fill it. We got to the point we're

1:25:35.960 --> 1:25:38.599
<v Speaker 1>doing We're going to do a jumble sale, we're gonna

1:25:38.600 --> 1:25:41.479
<v Speaker 1>do mass military bands, we're going to do a car

1:25:41.560 --> 1:25:44.960
<v Speaker 1>boot sale, anything to get my money back. In the end,

1:25:44.960 --> 1:25:48.080
<v Speaker 1>we couldn't find anything. But one of the guys in

1:25:48.160 --> 1:25:51.280
<v Speaker 1>my office said, I've just read about this opera singer

1:25:51.640 --> 1:25:55.360
<v Speaker 1>called Luciano Pavarossi, and I go, oh, yes, And they

1:25:55.400 --> 1:25:58.960
<v Speaker 1>said he's about to do his first ever arena concert

1:25:59.360 --> 1:26:02.519
<v Speaker 1>and apparent it sold out in seconds. I said, get him.

1:26:04.000 --> 1:26:08.080
<v Speaker 1>They made the vocals, they couldn't get anywhere. Eventually, I'm

1:26:08.120 --> 1:26:11.800
<v Speaker 1>now so desperate, and I didn't as much as I

1:26:12.120 --> 1:26:15.080
<v Speaker 1>knew about classical music, because I knew a lot about it,

1:26:15.120 --> 1:26:18.760
<v Speaker 1>but I didn't in the detail of how it really were.

1:26:19.200 --> 1:26:21.959
<v Speaker 1>I got hold of his manager, Chap called Herbert Breslyn,

1:26:22.640 --> 1:26:27.839
<v Speaker 1>and I said, I'd like um to bring the minestro

1:26:28.000 --> 1:26:32.679
<v Speaker 1>Pavarossi to London to play Els Cool and he said

1:26:32.920 --> 1:26:35.000
<v Speaker 1>who are you? And I told him who I was.

1:26:35.040 --> 1:26:38.839
<v Speaker 1>He said, why am I talking to your rock promote?

1:26:38.840 --> 1:26:42.600
<v Speaker 1>So we don't deal with people like that, and so anyway,

1:26:42.960 --> 1:26:45.439
<v Speaker 1>this dragged on and dragged on and dragged on. I've

1:26:45.479 --> 1:26:48.240
<v Speaker 1>now lost my dates and earls Cool. They won't give

1:26:48.280 --> 1:26:50.960
<v Speaker 1>me my money back. I'm completely stuff and I'm fed up.

1:26:51.640 --> 1:26:54.360
<v Speaker 1>But I suddenly get a phone call from Herbert Breslyn, who,

1:26:54.439 --> 1:26:56.800
<v Speaker 1>unbeknowns to me, Pavarotti was having a row with the

1:26:56.880 --> 1:27:00.479
<v Speaker 1>Royal Opera House. And he said I'm coming to London.

1:27:00.560 --> 1:27:02.200
<v Speaker 1>He said, I don't know why, but I'm going to

1:27:02.280 --> 1:27:05.200
<v Speaker 1>come and talk to you. Anyway, I ended up doing

1:27:05.240 --> 1:27:09.679
<v Speaker 1>a deal with him and I brought Pavorossi over to London.

1:27:10.600 --> 1:27:14.680
<v Speaker 1>It ended up the following year playing at Wembley Arena,

1:27:14.920 --> 1:27:19.840
<v Speaker 1>and it was fantastic and we became lifelong friends. And

1:27:20.040 --> 1:27:23.640
<v Speaker 1>eventually he worked with a chap called Tibor Rudas. He

1:27:23.760 --> 1:27:27.519
<v Speaker 1>came after that, who threw Results International, which is a

1:27:27.560 --> 1:27:32.280
<v Speaker 1>casino company, bought his rights for concerts year and year.

1:27:32.600 --> 1:27:35.200
<v Speaker 1>When that ended, he came to me and I ended

1:27:35.320 --> 1:27:40.320
<v Speaker 1>up managing Pavorossi said he died really so that was

1:27:40.680 --> 1:27:44.920
<v Speaker 1>that was the most extraordinary experience. I mean, if ever

1:27:45.479 --> 1:27:48.040
<v Speaker 1>somebody talks to you about a global rock star, they

1:27:48.040 --> 1:27:50.880
<v Speaker 1>don't know what they're talking about. This is a man

1:27:51.280 --> 1:27:54.479
<v Speaker 1>that could sell ten thousand tickets in tim Buck two

1:27:54.560 --> 1:27:57.919
<v Speaker 1>on a Wednesday night, that could sell out a concert

1:27:57.920 --> 1:28:01.960
<v Speaker 1>in Announce, that could play not of Mexico City, meeting

1:28:02.080 --> 1:28:04.680
<v Speaker 1>somewhere in Mexico. Then it took us a day and

1:28:04.680 --> 1:28:07.919
<v Speaker 1>a half to actually find where there was an arena

1:28:07.960 --> 1:28:11.200
<v Speaker 1>that they kind of built. There were fifty thousand people

1:28:11.280 --> 1:28:14.960
<v Speaker 1>there where we played in countries that were just you

1:28:14.960 --> 1:28:19.719
<v Speaker 1>wouldn't even think about. That was a global rock star, extraordinary.

1:28:19.760 --> 1:28:22.760
<v Speaker 1>I had the best time in my life with him.

1:28:22.640 --> 1:28:26.400
<v Speaker 1>For what was motivating Parvarati to do all these gigs?

1:28:27.080 --> 1:28:31.600
<v Speaker 1>He loved, He loved playing to audiences. He felt, he

1:28:31.800 --> 1:28:34.679
<v Speaker 1>looked he was at the top of his game within

1:28:34.720 --> 1:28:39.360
<v Speaker 1>the opera opera circle, which is very closeted. The opera

1:28:39.439 --> 1:28:44.000
<v Speaker 1>cycle is very closeted. It's very carefully nurtured. You don't

1:28:44.000 --> 1:28:47.160
<v Speaker 1>go outside it. And signed and so forth. He did

1:28:47.160 --> 1:28:50.280
<v Speaker 1>all that he got the first one for money and

1:28:50.439 --> 1:28:56.160
<v Speaker 1>two for big audiences. Um. He had read about his

1:28:56.240 --> 1:29:00.840
<v Speaker 1>predecessors and how well they did, and some of them were,

1:29:01.120 --> 1:29:04.840
<v Speaker 1>you know, some of the great opera stars could draw

1:29:04.880 --> 1:29:07.960
<v Speaker 1>two hundred thousand people open air just to say hello.

1:29:08.000 --> 1:29:11.479
<v Speaker 1>I mean, it was extraordinary. Caruso was his hero, and

1:29:11.560 --> 1:29:16.599
<v Speaker 1>Caruso was the biggest rock star ever. And Pavarossi loved

1:29:17.080 --> 1:29:21.200
<v Speaker 1>playing to thousands of thousands of people. And he and

1:29:21.240 --> 1:29:25.439
<v Speaker 1>I just became best mates. We became buddies, we became button.

1:29:25.479 --> 1:29:28.799
<v Speaker 1>I managed him and we went we went to places

1:29:29.479 --> 1:29:31.120
<v Speaker 1>we have to go and see the doctor. Watched the

1:29:31.160 --> 1:29:36.080
<v Speaker 1>documentary that Ron Howard produced You'll see it. It's extraordinary.

1:29:36.560 --> 1:29:44.599
<v Speaker 1>Um So that was Pavarossi. He died unfortunately. I did

1:29:44.640 --> 1:29:47.880
<v Speaker 1>this amazing memorial for him in the city of Petra,

1:29:48.439 --> 1:29:51.200
<v Speaker 1>which is this five thousand year old city in the

1:29:51.360 --> 1:29:56.320
<v Speaker 1>desert in Jordan. It was extraordinary and everybody came to

1:29:56.320 --> 1:30:01.679
<v Speaker 1>perform with him. Roll on. I'm in New York, minding

1:30:01.760 --> 1:30:04.760
<v Speaker 1>my own business. I literally ride in my hotel room.

1:30:05.000 --> 1:30:07.000
<v Speaker 1>I get a phone call from a friend of mine.

1:30:07.040 --> 1:30:10.120
<v Speaker 1>He said, um, I want to have you got a minute.

1:30:10.160 --> 1:30:12.720
<v Speaker 1>I said, well, I've just checked in and he said, well,

1:30:12.760 --> 1:30:17.920
<v Speaker 1>somebody wants to talk to you. Who is it? Jeff Beck? Oh? Hello, Jeff? Oh?

1:30:18.080 --> 1:30:21.400
<v Speaker 1>You who? He said? Where are you? I said, New York?

1:30:21.439 --> 1:30:23.320
<v Speaker 1>He said when are you coming back? I said, I

1:30:23.439 --> 1:30:26.240
<v Speaker 1>just got here. He said, well, I'd like to talk

1:30:26.280 --> 1:30:30.920
<v Speaker 1>to you. Said okay, anyway, he said, look, he said,

1:30:31.040 --> 1:30:33.439
<v Speaker 1>I'm getting fed up. He said, I know what I'm

1:30:33.439 --> 1:30:35.800
<v Speaker 1>good at, I know how good I am. Nobody knows

1:30:35.840 --> 1:30:38.840
<v Speaker 1>who I am, and I can't think of anybody else

1:30:38.880 --> 1:30:40.920
<v Speaker 1>that can help me get back going. And that's how

1:30:40.920 --> 1:30:44.120
<v Speaker 1>I got involved with Jeff. Really well, he did a

1:30:44.160 --> 1:30:46.760
<v Speaker 1>phenomenal job and I will ask since that's the most

1:30:46.800 --> 1:30:51.280
<v Speaker 1>recent client, how did it end? Not good? Originally because

1:30:51.560 --> 1:30:55.320
<v Speaker 1>he didn't like He doesn't like Tory, he doesn't like

1:30:55.400 --> 1:31:01.160
<v Speaker 1>working that hard. He used to do early forty concerts

1:31:01.160 --> 1:31:04.479
<v Speaker 1>a year. I remember finding up C A A and

1:31:04.520 --> 1:31:06.320
<v Speaker 1>I said to Rob, like, can you send me a

1:31:06.360 --> 1:31:10.240
<v Speaker 1>list of recent shows at Jeff Beck's done? Because I

1:31:10.280 --> 1:31:12.400
<v Speaker 1>just want to get my handle on it, because he's

1:31:12.439 --> 1:31:14.559
<v Speaker 1>asked me to manage him. He said, sure, something over

1:31:14.720 --> 1:31:19.200
<v Speaker 1>one sheet of paper, right, I said, where's the rest?

1:31:19.240 --> 1:31:22.080
<v Speaker 1>He said, that's it. So he used to play a

1:31:22.120 --> 1:31:24.680
<v Speaker 1>short tour of America, one shine in London and a

1:31:24.720 --> 1:31:27.599
<v Speaker 1>tour of Japan. That was it. He raised enough money

1:31:27.840 --> 1:31:30.720
<v Speaker 1>buy another classic car, get it shipped to London and

1:31:30.760 --> 1:31:33.360
<v Speaker 1>get it to Guildford and get it and rebuild it.

1:31:33.520 --> 1:31:36.559
<v Speaker 1>That was his life. But then he realized, So I said, hi, Lot,

1:31:36.600 --> 1:31:39.880
<v Speaker 1>if you're prepared to work, I'll help you. If you

1:31:39.920 --> 1:31:42.880
<v Speaker 1>don't want to work, there's nothing I can do. So

1:31:43.080 --> 1:31:47.639
<v Speaker 1>I started managing Jeff. I got him excited. We really,

1:31:47.680 --> 1:31:50.840
<v Speaker 1>I mean we went from playing very small venues to

1:31:51.000 --> 1:31:53.960
<v Speaker 1>doing two nights of the Garden, two nights and in

1:31:54.280 --> 1:31:58.839
<v Speaker 1>in in Toronto and in Montreal. We went to Japan.

1:31:59.040 --> 1:32:01.920
<v Speaker 1>We sold out shows. You know, it was huge. We

1:32:01.920 --> 1:32:04.280
<v Speaker 1>were doing math two shows at the O two and

1:32:04.320 --> 1:32:06.639
<v Speaker 1>It's that and the other with Eric Clapson, but the

1:32:06.680 --> 1:32:09.000
<v Speaker 1>two of them together. He was just on the up

1:32:09.400 --> 1:32:12.040
<v Speaker 1>and he suddenly kicked back and said, why am I

1:32:12.120 --> 1:32:14.640
<v Speaker 1>doing all these touring? So I said, I want to

1:32:14.640 --> 1:32:19.200
<v Speaker 1>make music. So he disbanded his band and a great band.

1:32:19.240 --> 1:32:22.240
<v Speaker 1>He disbanded his band. He wanted to get new musicians.

1:32:22.439 --> 1:32:26.320
<v Speaker 1>He found a drama that he liked off YouTube who

1:32:26.479 --> 1:32:30.000
<v Speaker 1>was a a drama used to just hang around Central

1:32:30.080 --> 1:32:32.559
<v Speaker 1>a young girl hang around Central Park and used to

1:32:33.200 --> 1:32:36.200
<v Speaker 1>you know, whatever, busk we got it. I had a

1:32:36.280 --> 1:32:40.120
<v Speaker 1>gone to New York literally find this girl, which I did,

1:32:40.520 --> 1:32:42.639
<v Speaker 1>brought the back. He started to put a band together.

1:32:42.680 --> 1:32:45.080
<v Speaker 1>He went in the studio. He didn't like what he

1:32:45.200 --> 1:32:49.479
<v Speaker 1>was doing and he started kicking back, blaming me because

1:32:49.520 --> 1:32:52.040
<v Speaker 1>it wasn't right. He wanted to do some new music

1:32:52.320 --> 1:32:54.479
<v Speaker 1>and he couldn't get it together and he was kicking out.

1:32:54.680 --> 1:32:58.360
<v Speaker 1>Then he said, why am I making him work so much? Meantime,

1:32:59.080 --> 1:33:03.400
<v Speaker 1>I'd introduced in Josh Stone, who is the most beautiful

1:33:03.400 --> 1:33:07.120
<v Speaker 1>girl in the planet, who has a great soul, but

1:33:07.280 --> 1:33:10.840
<v Speaker 1>another one that doesn't want success, and I ended up.

1:33:11.360 --> 1:33:15.960
<v Speaker 1>But it's really strange relationship. Josh Stone and Jeff recorded

1:33:15.960 --> 1:33:18.360
<v Speaker 1>a lot together and get on like a house on fire.

1:33:19.360 --> 1:33:24.760
<v Speaker 1>Josh goes to America. She's in Nashville, UM recording an album.

1:33:24.880 --> 1:33:27.680
<v Speaker 1>I suddenly get a text message out of the blue

1:33:28.200 --> 1:33:32.479
<v Speaker 1>which says I have told everybody you are my manager.

1:33:33.120 --> 1:33:36.240
<v Speaker 1>Please get rid of everybody else. Please deal with it.

1:33:36.479 --> 1:33:40.240
<v Speaker 1>You are my manager. I did. I tried to call

1:33:40.320 --> 1:33:43.519
<v Speaker 1>the number that was on the text message, it wouldn't answer,

1:33:44.000 --> 1:33:47.080
<v Speaker 1>and I'm going this is a joke. Of course, I

1:33:47.280 --> 1:33:49.760
<v Speaker 1>don't think any more of it. A couple of days later,

1:33:49.920 --> 1:33:51.640
<v Speaker 1>I get a phone call from Josh said, did you

1:33:51.720 --> 1:33:54.840
<v Speaker 1>get my text message? I said, yeah, I've been trying

1:33:54.880 --> 1:33:56.960
<v Speaker 1>to ring you. She said, I've been locked in the studio.

1:33:57.160 --> 1:34:01.280
<v Speaker 1>I need you to manage me. So it then got

1:34:01.320 --> 1:34:05.040
<v Speaker 1>to a point where I managed, I'm managing Jeff back

1:34:05.160 --> 1:34:09.080
<v Speaker 1>Big Jeff, and I'm managing little Jeff. Who's Josh Stone?

1:34:09.680 --> 1:34:14.360
<v Speaker 1>Because Josh Stone went into the studio, produced an album,

1:34:14.600 --> 1:34:17.639
<v Speaker 1>put a band together, gotta we put this whole tour

1:34:17.720 --> 1:34:21.439
<v Speaker 1>around her. Ready to go, She goes to America to

1:34:21.560 --> 1:34:26.240
<v Speaker 1>start promoting. Everybody's thrilled and it's all happening. She goes

1:34:26.280 --> 1:34:29.320
<v Speaker 1>on The Today Show, The Morning Show and says, I

1:34:29.360 --> 1:34:31.080
<v Speaker 1>don't really like to say album. I don't think you

1:34:31.080 --> 1:34:36.639
<v Speaker 1>should buy it bad. She then carries on the tour

1:34:37.960 --> 1:34:41.320
<v Speaker 1>she managed. She hasn't lost any ticket sales ass all.

1:34:41.439 --> 1:34:44.479
<v Speaker 1>By the way, We then book we're booking a tour

1:34:44.520 --> 1:34:48.360
<v Speaker 1>of South America because she's huge there and the idea

1:34:48.479 --> 1:34:51.200
<v Speaker 1>was to warm up this new band she's put together,

1:34:51.320 --> 1:34:53.800
<v Speaker 1>playing the new music, do all of these dates in

1:34:53.840 --> 1:34:57.960
<v Speaker 1>America and then go from there, from Florida straight to

1:34:58.920 --> 1:35:02.679
<v Speaker 1>South America, then end up in Brazil where she's drawing

1:35:02.760 --> 1:35:09.439
<v Speaker 1>fifty thousand people. A nine I think it's nine days

1:35:10.439 --> 1:35:12.920
<v Speaker 1>before we do to start the tour. She phones me

1:35:13.040 --> 1:35:16.000
<v Speaker 1>up and says, I'm in Florida. I thought about it.

1:35:16.160 --> 1:35:18.200
<v Speaker 1>I'm going to dump the band and start a new

1:35:18.280 --> 1:35:23.120
<v Speaker 1>band for South America. What are you talking about? She said,

1:35:24.040 --> 1:35:26.519
<v Speaker 1>that's what I want to do. I've got all the

1:35:26.600 --> 1:35:28.560
<v Speaker 1>musicians worked out. We're gonna have a day and a

1:35:28.600 --> 1:35:30.680
<v Speaker 1>half rehearsals and then we go straight. I said, but

1:35:30.800 --> 1:35:35.200
<v Speaker 1>your home down, You're it's a whole machine. It's on fire.

1:35:35.400 --> 1:35:37.720
<v Speaker 1>It works. How can you take the risk of going

1:35:37.720 --> 1:35:40.679
<v Speaker 1>to your biggest market in the world with a brand

1:35:40.680 --> 1:35:42.600
<v Speaker 1>new band that you don't even know if it's going

1:35:42.640 --> 1:35:47.000
<v Speaker 1>to work, if it's going to take off. Jos Star said,

1:35:47.040 --> 1:35:49.640
<v Speaker 1>just I can't do this. So I then it was

1:35:49.680 --> 1:35:56.440
<v Speaker 1>then goodbye Jeff, goodbye Josh, and that was it. Management Okay.

1:35:56.640 --> 1:35:59.040
<v Speaker 1>How do you keep your marriage together being so busy

1:35:59.080 --> 1:36:04.680
<v Speaker 1>and traveling? Some that's it six months an average a

1:36:04.760 --> 1:36:07.880
<v Speaker 1>year out of home on the road. So we're not

1:36:07.960 --> 1:36:11.160
<v Speaker 1>at a time, but you know, over over the course

1:36:11.160 --> 1:36:14.280
<v Speaker 1>of the year, most of my working life six months.

1:36:14.800 --> 1:36:18.439
<v Speaker 1>Great marriage. We love each other. I've actually since the

1:36:18.520 --> 1:36:21.960
<v Speaker 1>COVID thing, I have spent more time with my wife

1:36:22.240 --> 1:36:26.439
<v Speaker 1>than I have since we're now. Um, we're coming up

1:36:26.479 --> 1:36:30.280
<v Speaker 1>for fifty years of marriage and more time than ever

1:36:30.360 --> 1:36:34.600
<v Speaker 1>since we've been married. Doesn't working or not? Kind of?

1:36:36.560 --> 1:36:40.680
<v Speaker 1>You still talk to each other with each other so

1:36:40.840 --> 1:36:43.920
<v Speaker 1>you literally have or you want to say something now,

1:36:43.960 --> 1:36:47.200
<v Speaker 1>I'm gonna say, it's, uh, you know, it's we respect

1:36:47.280 --> 1:36:51.519
<v Speaker 1>each other. She's a smashing lady. She understands where I'm

1:36:51.600 --> 1:36:56.000
<v Speaker 1>going and gives me the space and I think quietly

1:36:56.120 --> 1:36:58.800
<v Speaker 1>she kin kind of enjoys me being out the way

1:36:58.920 --> 1:37:01.160
<v Speaker 1>she's got on with her life. And then when we

1:37:01.240 --> 1:37:03.120
<v Speaker 1>come back together again. You know, we talk all the

1:37:03.200 --> 1:37:05.439
<v Speaker 1>time when we were away, but I've spent my whole

1:37:05.520 --> 1:37:08.400
<v Speaker 1>life traveling, except for the last twelve months we've been

1:37:08.400 --> 1:37:12.320
<v Speaker 1>at home. Okay, we're talking about being a promoter. You know,

1:37:12.520 --> 1:37:16.960
<v Speaker 1>a manager is a license to starve. A promoter is

1:37:17.000 --> 1:37:21.840
<v Speaker 1>a way to instantly go broke. So you know, I'm

1:37:21.920 --> 1:37:24.120
<v Speaker 1>sure you know you've had some you know, was it

1:37:24.320 --> 1:37:28.240
<v Speaker 1>in the early days the guarantees were so low? How

1:37:28.320 --> 1:37:31.280
<v Speaker 1>did you stay in business? You must have guarantee. Excuse me,

1:37:31.640 --> 1:37:35.920
<v Speaker 1>we didn't have guarantees. Okay, but still you can have

1:37:36.000 --> 1:37:38.240
<v Speaker 1>a losing date. You could lose money. Whose money you're

1:37:38.240 --> 1:37:42.080
<v Speaker 1>gonna lose? We never lost money, never, What was your

1:37:42.120 --> 1:37:46.080
<v Speaker 1>first what was your first losing show? Then of course

1:37:46.160 --> 1:37:48.680
<v Speaker 1>we lost money on some shows. But the way it

1:37:48.800 --> 1:37:54.719
<v Speaker 1>was was that, um oh, my philosophy is very simple,

1:37:55.680 --> 1:37:59.920
<v Speaker 1>and I decided it's very very early on. If I'm

1:38:00.000 --> 1:38:02.639
<v Speaker 1>going to promote an act, I've got to like the music.

1:38:02.880 --> 1:38:06.479
<v Speaker 1>That's number one. If I didn't like the music, it

1:38:06.600 --> 1:38:08.840
<v Speaker 1>doesn't matter how big they were, I couldn't do it.

1:38:10.240 --> 1:38:14.040
<v Speaker 1>Number two, I have to like the artist as much

1:38:14.120 --> 1:38:16.320
<v Speaker 1>as I could deal with the agent, the tour manager,

1:38:16.400 --> 1:38:20.919
<v Speaker 1>the production manager, the lawyer, the accountant, and the manager.

1:38:21.479 --> 1:38:23.360
<v Speaker 1>If I can't have a one on one with the

1:38:23.560 --> 1:38:26.320
<v Speaker 1>artists and understand what they're trying to do, where they

1:38:26.360 --> 1:38:28.200
<v Speaker 1>want to go, what they want to do, I'm not

1:38:28.360 --> 1:38:31.680
<v Speaker 1>doing it. So every act I've ever worked with in

1:38:31.840 --> 1:38:35.639
<v Speaker 1>my life, i've worked with the artists, I don't I'm

1:38:35.680 --> 1:38:38.120
<v Speaker 1>not decrying the role of the manager because I've been there.

1:38:38.439 --> 1:38:40.200
<v Speaker 1>I'm not to tie in the role of the Asian.

1:38:40.560 --> 1:38:42.800
<v Speaker 1>I have to have a relationship with the people I'm

1:38:42.840 --> 1:38:46.800
<v Speaker 1>working with. So it goes way back from you know,

1:38:47.040 --> 1:38:50.200
<v Speaker 1>with people like Emerson Laker, Palmer and Yes and so on.

1:38:50.720 --> 1:38:54.920
<v Speaker 1>Right at the very early days. Um, I was there

1:38:55.160 --> 1:38:58.040
<v Speaker 1>live manager, if you like, for all these acts. That's

1:38:58.080 --> 1:39:02.040
<v Speaker 1>what I did. So we never lost money, and it

1:39:02.160 --> 1:39:05.559
<v Speaker 1>was choosing the right acts because we always chose acts

1:39:05.560 --> 1:39:08.840
<v Speaker 1>of work. Sometimes we didn't mate much. Occasionally we lost

1:39:08.880 --> 1:39:11.360
<v Speaker 1>a bit, but it was we just managed it. It

1:39:11.520 --> 1:39:15.679
<v Speaker 1>just rolled through until the days of when the agents

1:39:15.760 --> 1:39:19.240
<v Speaker 1>started really pushing their acts in different directions and the

1:39:19.320 --> 1:39:21.760
<v Speaker 1>big tours and all the rest of it. There was

1:39:21.800 --> 1:39:24.519
<v Speaker 1>a band called Bread. Do you remember them? Of course

1:39:25.800 --> 1:39:28.559
<v Speaker 1>they were the biggest loss I ever had. One year

1:39:29.040 --> 1:39:33.200
<v Speaker 1>they sold out about fifteen shows, including three or four

1:39:33.280 --> 1:39:36.639
<v Speaker 1>Albert Halls. They came back twelve months later they couldn't

1:39:36.680 --> 1:39:39.280
<v Speaker 1>give the tickets away. I lost the fortune on that.

1:39:39.720 --> 1:39:42.400
<v Speaker 1>Was it your money? It's always my money. I've never

1:39:42.479 --> 1:39:46.160
<v Speaker 1>had anybody else's money. I did. I did a deal

1:39:46.240 --> 1:39:50.560
<v Speaker 1>with Jerry Weintro to bring Bob Dylan over Um and

1:39:50.760 --> 1:39:54.679
<v Speaker 1>then it's we did. It was cool. We did probably

1:39:54.800 --> 1:39:58.679
<v Speaker 1>the best band he ever had ever. We did six

1:39:58.840 --> 1:40:02.400
<v Speaker 1>nights Earls Cool sold out in heartbeat hundred and twenty

1:40:02.479 --> 1:40:06.880
<v Speaker 1>thousand people. And then I persuaded him to do an

1:40:06.920 --> 1:40:11.920
<v Speaker 1>open air show on an aerodrome called Black Bush. And

1:40:12.400 --> 1:40:15.040
<v Speaker 1>what I did is I went up as to see

1:40:15.160 --> 1:40:18.880
<v Speaker 1>Jerry Weintrobe, who I'm very lucky in my life. There

1:40:18.920 --> 1:40:22.920
<v Speaker 1>are people that have guided me and befriended me. Frank

1:40:23.000 --> 1:40:28.519
<v Speaker 1>Barcelona number one, Armorica number two, and Jerry Weintrobe number

1:40:28.600 --> 1:40:31.000
<v Speaker 1>three in terms of that side of things. I got

1:40:31.200 --> 1:40:34.800
<v Speaker 1>very friendly with Jerry. He really helped me out. I

1:40:35.000 --> 1:40:40.679
<v Speaker 1>ended up guaranteeing Bob Dylan a million dollars to play

1:40:40.760 --> 1:40:44.639
<v Speaker 1>this show. At Black Bush. No one at this is nine.

1:40:48.200 --> 1:40:52.439
<v Speaker 1>No one had ever offered a million dollars surnact ever anyway, ever,

1:40:53.600 --> 1:40:56.559
<v Speaker 1>And this is the strangest thing. I woke up one

1:40:56.640 --> 1:41:00.439
<v Speaker 1>morning in London and I said, Bob Dylan. I read

1:41:00.520 --> 1:41:03.240
<v Speaker 1>something about Bob Dylan. I said, he's gotta work, He's

1:41:03.240 --> 1:41:07.040
<v Speaker 1>got to come over. How did Wine travel? And I

1:41:07.080 --> 1:41:10.320
<v Speaker 1>went to go and see him here. I went to

1:41:10.360 --> 1:41:14.000
<v Speaker 1>see him in a blah blah blah blah, and I

1:41:14.120 --> 1:41:17.680
<v Speaker 1>went over with my German friend called Fritz Rao, who

1:41:17.760 --> 1:41:21.240
<v Speaker 1>was the German promoter, quite a famous guy at the time.

1:41:21.640 --> 1:41:23.639
<v Speaker 1>The pair of us went over there to persuade Bob

1:41:23.720 --> 1:41:26.400
<v Speaker 1>Dylan do a tour, and we put Bob Dylan and

1:41:26.600 --> 1:41:29.679
<v Speaker 1>Eric Clapton together. That was the tour that we did.

1:41:30.439 --> 1:41:35.360
<v Speaker 1>And um, unbeknownst to us, Jerry and Bob had already

1:41:35.400 --> 1:41:38.439
<v Speaker 1>decided they wanted to come. They were just sounding us

1:41:38.479 --> 1:41:40.360
<v Speaker 1>out and see how far they could go with this.

1:41:41.160 --> 1:41:45.280
<v Speaker 1>We're sitting him Jerry Wine Show's office on the Santa

1:41:45.320 --> 1:41:49.920
<v Speaker 1>Monica and in the boardroom suddenly the door opens and

1:41:50.000 --> 1:41:53.439
<v Speaker 1>then walks Bob Dylan. It was extraordinary. He sat down,

1:41:53.520 --> 1:41:55.400
<v Speaker 1>We did the deal, shook hands, and off we went

1:41:55.680 --> 1:41:58.160
<v Speaker 1>and I became quite friendly with Bob, if you could

1:41:58.160 --> 1:42:02.080
<v Speaker 1>ever become friendly with him. But I offered after we

1:42:02.160 --> 1:42:05.160
<v Speaker 1>did this run of shows, the and the Ards Court run,

1:42:05.439 --> 1:42:07.960
<v Speaker 1>I offered him a million dollars to do this one

1:42:08.040 --> 1:42:12.400
<v Speaker 1>show at Blackbush Aerodrome. If it had gone wrong, I

1:42:12.400 --> 1:42:14.320
<v Speaker 1>wouldn't have been busted. They would have been all over.

1:42:14.800 --> 1:42:17.479
<v Speaker 1>I mean there's no work and pay it. I managed

1:42:17.520 --> 1:42:21.439
<v Speaker 1>to flam my way of paying the money over. But

1:42:21.600 --> 1:42:24.720
<v Speaker 1>it sold out so quickly that it was in the bank.

1:42:24.840 --> 1:42:28.040
<v Speaker 1>I mean it was just bullshit and bravado, That's what

1:42:28.160 --> 1:42:31.479
<v Speaker 1>it was. Okay at this lead, d you have the

1:42:31.560 --> 1:42:35.559
<v Speaker 1>best resume of any concert promoter. What keeps you going,

1:42:35.720 --> 1:42:41.600
<v Speaker 1>what gets you excited? There's always a challenge. Um. In

1:42:41.720 --> 1:42:46.080
<v Speaker 1>two thousand and fourteen, UM I got a I got

1:42:46.160 --> 1:42:51.040
<v Speaker 1>a phone call to say that, UM, UM, would I

1:42:51.160 --> 1:42:55.840
<v Speaker 1>look like to create an event for the premier of

1:42:55.880 --> 1:43:00.600
<v Speaker 1>a film called Kung Fu Panda? And I thought this

1:43:00.840 --> 1:43:08.040
<v Speaker 1>is a wind up, but nevertheless, um Kung Fu Panda

1:43:08.160 --> 1:43:12.880
<v Speaker 1>was a big film and it was it was The

1:43:13.040 --> 1:43:17.439
<v Speaker 1>music was by a chap called Hands Zimmer and I

1:43:17.560 --> 1:43:21.880
<v Speaker 1>ended up putting an event together which really really worked

1:43:22.080 --> 1:43:27.960
<v Speaker 1>in Princess Diana's brothers Stately Home. Quite extraordinary. I blew

1:43:28.040 --> 1:43:32.040
<v Speaker 1>everybody away on that one. I met Hans Zimmer. We

1:43:32.280 --> 1:43:37.320
<v Speaker 1>fell in love two thousand and fourteen. It then took

1:43:37.360 --> 1:43:39.560
<v Speaker 1>me two years because I thought, I'm not going to

1:43:39.680 --> 1:43:41.840
<v Speaker 1>let this one go. This guy's got to go on

1:43:41.920 --> 1:43:45.200
<v Speaker 1>the road. And he's never done a concert of his

1:43:45.280 --> 1:43:49.800
<v Speaker 1>own in his life ever, and um, you know, all

1:43:49.880 --> 1:43:53.320
<v Speaker 1>he ever did. He was a keyboard player in Yes

1:43:54.320 --> 1:43:57.000
<v Speaker 1>during video gires, the radio start, he's the keyboard player

1:43:57.040 --> 1:44:01.160
<v Speaker 1>in it. And um, I just all these guys incredible.

1:44:02.080 --> 1:44:04.280
<v Speaker 1>And I talked and talked at all and once I

1:44:04.400 --> 1:44:06.640
<v Speaker 1>get the bit between my seat, I don't get up,

1:44:06.880 --> 1:44:09.840
<v Speaker 1>give up till I get there. And eventually two thousand

1:44:09.880 --> 1:44:13.439
<v Speaker 1>and sixteen I persuaded hands Zimmer to do a couple

1:44:13.479 --> 1:44:16.639
<v Speaker 1>of concerts in London, which we did, but he wanted

1:44:16.680 --> 1:44:19.160
<v Speaker 1>to do something really special, and he said, I want

1:44:19.160 --> 1:44:21.960
<v Speaker 1>to do a concert where there is no There is

1:44:22.280 --> 1:44:26.439
<v Speaker 1>a millimeter of film footage in the concert, but I

1:44:26.560 --> 1:44:28.960
<v Speaker 1>want to allude to the music because that's what I do,

1:44:29.640 --> 1:44:33.200
<v Speaker 1>and create a mood around each musical piece, which is

1:44:33.280 --> 1:44:36.880
<v Speaker 1>what we did. Of course, the shows were incredible. It

1:44:36.960 --> 1:44:40.120
<v Speaker 1>then took me another two years. I finally got it

1:44:40.240 --> 1:44:43.040
<v Speaker 1>sorted out with him and we ended up doing a

1:44:43.160 --> 1:44:47.439
<v Speaker 1>hundred concerts around the world, again based on thin Air.

1:44:48.040 --> 1:44:50.400
<v Speaker 1>Most of the people I found up to talk about

1:44:50.479 --> 1:44:53.360
<v Speaker 1>hands Zimmer didn't know what I was talking about at all.

1:44:54.240 --> 1:44:56.400
<v Speaker 1>Most of the people when I created Lord of the

1:44:56.560 --> 1:45:00.920
<v Speaker 1>Dance for Michael Flatley, I created it for when I

1:45:01.040 --> 1:45:02.640
<v Speaker 1>phone people up and said, You're going to do an

1:45:02.640 --> 1:45:05.960
<v Speaker 1>Irish dance show. They just about you about River Dance

1:45:06.400 --> 1:45:08.439
<v Speaker 1>and they said, what are you talking about. I said,

1:45:08.520 --> 1:45:10.360
<v Speaker 1>trust me, you've got to do it. So I had

1:45:10.439 --> 1:45:14.360
<v Speaker 1>this reputation for doing the weird and the wonderful. And

1:45:14.600 --> 1:45:16.599
<v Speaker 1>if I said it was good and it was great,

1:45:17.000 --> 1:45:20.160
<v Speaker 1>most of the promoters that I work with bought into it.

1:45:20.320 --> 1:45:23.800
<v Speaker 1>So everybody came in and got involved in it and

1:45:23.960 --> 1:45:27.400
<v Speaker 1>it works. So that's my challenge. I loved the challenge.

1:45:27.840 --> 1:45:32.439
<v Speaker 1>I love finding new ideas, new artists, new styles. I'm

1:45:32.520 --> 1:45:36.960
<v Speaker 1>currently working with an immersive theater group and I'm on

1:45:37.080 --> 1:45:40.040
<v Speaker 1>the board of a Dutch theater company that has a

1:45:40.120 --> 1:45:43.400
<v Speaker 1>process called stage around which we have a theater in

1:45:43.680 --> 1:45:47.160
<v Speaker 1>in in Um in Holland, and we have a Theater

1:45:47.240 --> 1:45:52.439
<v Speaker 1>in Amsterdam in partnership with Tokyo Broadcasting. That just sold out,

1:45:53.040 --> 1:45:55.439
<v Speaker 1>and we were in the middle of building four theaters

1:45:55.479 --> 1:45:57.840
<v Speaker 1>re China at the moment, and we were going to

1:45:57.880 --> 1:46:01.800
<v Speaker 1>build one in London in any Scene Bermingham and to

1:46:01.920 --> 1:46:05.200
<v Speaker 1>do a new version of Starlight Express until COVID hit

1:46:05.240 --> 1:46:09.400
<v Speaker 1>and everything stopped. But we'll get that done. So that's

1:46:09.439 --> 1:46:13.240
<v Speaker 1>the fun through Pavarossi. Pavarossi phone me out one day

1:46:13.280 --> 1:46:16.840
<v Speaker 1>and said, get on the plane. I need you here

1:46:16.880 --> 1:46:20.719
<v Speaker 1>by lunchtime. It's eight o'clock in the morning fortunately in London.

1:46:21.439 --> 1:46:23.920
<v Speaker 1>Get over to Modern Art and needs you here at lunchtime.

1:46:24.360 --> 1:46:28.719
<v Speaker 1>I'm going why he said, just get here. I managed

1:46:28.760 --> 1:46:30.280
<v Speaker 1>to get on a plane, I get some modern and

1:46:30.320 --> 1:46:33.280
<v Speaker 1>I going to his house. We sit down and there's

1:46:33.280 --> 1:46:35.880
<v Speaker 1>a chap sitting there with a very nice young lady.

1:46:36.400 --> 1:46:42.720
<v Speaker 1>And he said, um, this is Andre Abricelli. This is

1:46:42.760 --> 1:46:46.479
<v Speaker 1>Harvey Goldsmith. He's taking over doing looking after your shows.

1:46:46.640 --> 1:46:48.800
<v Speaker 1>You've got to get rid of your management. Just buy

1:46:48.920 --> 1:46:53.200
<v Speaker 1>them now. That's what my life was about. I don't know.

1:46:53.680 --> 1:46:57.840
<v Speaker 1>I've worked with him ever since. So okay. In terms

1:46:57.920 --> 1:47:01.000
<v Speaker 1>of concert you know, once we get early seventies once

1:47:01.000 --> 1:47:04.160
<v Speaker 1>again Peter Grant and led Zeppelin. Things changed because you

1:47:04.240 --> 1:47:07.519
<v Speaker 1>knew they were going to be guaranteed sellouts. So in

1:47:07.720 --> 1:47:12.360
<v Speaker 1>terms of promoting shows today, what publicity is necessary on

1:47:12.479 --> 1:47:16.840
<v Speaker 1>a guaranteed sell out? If any? But more interestingly, how

1:47:16.920 --> 1:47:20.080
<v Speaker 1>do you promote an act that is not going to

1:47:20.160 --> 1:47:26.120
<v Speaker 1>guarantee sell out? It's a nightmare. Look, it was very

1:47:26.400 --> 1:47:32.360
<v Speaker 1>simple promoting. This is my marketing is my forte. That's

1:47:32.479 --> 1:47:36.160
<v Speaker 1>my thing. I'm marketing a product. That's why I wanted

1:47:36.400 --> 1:47:40.920
<v Speaker 1>my pharmacy days was I was interested in perfumery and

1:47:41.040 --> 1:47:44.639
<v Speaker 1>cosmetics and how they were marketed. I knew about estate

1:47:44.840 --> 1:47:49.559
<v Speaker 1>order because when you see people walking around with those

1:47:49.600 --> 1:47:52.320
<v Speaker 1>packages and see the ads, you knew where they were winners.

1:47:52.600 --> 1:47:56.040
<v Speaker 1>Didn't matter what was inside, it was irrelevant. So marketing

1:47:56.160 --> 1:47:58.880
<v Speaker 1>acts and those days of seeing what Bill Graham did

1:47:58.920 --> 1:48:01.799
<v Speaker 1>with those film will posts us was what it's about.

1:48:02.600 --> 1:48:08.160
<v Speaker 1>So marketing is everything and um that's really the key

1:48:08.240 --> 1:48:11.120
<v Speaker 1>thriddles how to market it? So we had a formula.

1:48:11.880 --> 1:48:15.479
<v Speaker 1>We had a London evening paper called Evening Standard who

1:48:15.600 --> 1:48:19.479
<v Speaker 1>over the years I nurtured into having a big entertainment section.

1:48:20.040 --> 1:48:22.479
<v Speaker 1>So we would take if we wanted to launching app.

1:48:22.520 --> 1:48:26.200
<v Speaker 1>We've take an ad in the Evening Standard. We would

1:48:26.240 --> 1:48:29.920
<v Speaker 1>do a week of radio promotion. We take an ad

1:48:30.080 --> 1:48:33.519
<v Speaker 1>in the Music paper either Melody Make or Enemy or

1:48:33.560 --> 1:48:36.240
<v Speaker 1>one of the of those, and we would do a

1:48:36.439 --> 1:48:40.360
<v Speaker 1>Sunday supplement the Color magazine, a half page in that

1:48:40.880 --> 1:48:47.479
<v Speaker 1>that would sell on average sevent of my inventory. Goodnight today,

1:48:47.880 --> 1:48:52.479
<v Speaker 1>it is a walking nightmare. Everybody talks about social media

1:48:52.520 --> 1:48:56.759
<v Speaker 1>and all his bollocks is bollocks. We are so wide today,

1:48:57.280 --> 1:49:01.160
<v Speaker 1>there is so much available, and it is so hard

1:49:01.320 --> 1:49:04.439
<v Speaker 1>to do the same job. So they either sell out

1:49:04.640 --> 1:49:07.720
<v Speaker 1>most that shows sell out viral e The ads are

1:49:07.840 --> 1:49:11.080
<v Speaker 1>just information about where you know when they're going on sale,

1:49:11.160 --> 1:49:14.960
<v Speaker 1>what the date is, and the venue. They're irrelevant. If

1:49:15.040 --> 1:49:17.559
<v Speaker 1>you want to take an app from scratch and work

1:49:17.680 --> 1:49:21.680
<v Speaker 1>it through. It is a hundred times harder today than

1:49:21.760 --> 1:49:25.439
<v Speaker 1>it was when I first started, that's for sure. Okay,

1:49:26.080 --> 1:49:28.439
<v Speaker 1>And wrapping up, I know you get this question all

1:49:28.479 --> 1:49:31.519
<v Speaker 1>the time, but I'm gonna ask you anyway. The two peaks,

1:49:31.880 --> 1:49:35.960
<v Speaker 1>the two peaks of your career, two best shows for you,

1:49:36.439 --> 1:49:39.479
<v Speaker 1>the moment you've got this is just transcendent for you personally.

1:49:39.800 --> 1:49:42.719
<v Speaker 1>The best concert I ever saw it in my life,

1:49:43.640 --> 1:49:47.160
<v Speaker 1>which I actually didn't promote was Van Morrison playing the

1:49:47.280 --> 1:49:52.000
<v Speaker 1>Rainbow Theater in London without doubt still lives on if

1:49:52.040 --> 1:49:55.880
<v Speaker 1>you get a chance two you could find it on

1:49:57.200 --> 1:50:01.800
<v Speaker 1>on YouTube somewhere. The most extraordinary con for ever the

1:50:01.960 --> 1:50:06.160
<v Speaker 1>Bob Dylan, Eric Claps and Joan Armor Trading concert at

1:50:06.240 --> 1:50:11.640
<v Speaker 1>Blackbush was probably the best open air music concert, and

1:50:11.760 --> 1:50:19.240
<v Speaker 1>the led Zeppelin reunion, which um was extraordinary. Okay, this

1:50:19.360 --> 1:50:22.520
<v Speaker 1>spects a couple of the questions. How important is production?

1:50:23.479 --> 1:50:27.320
<v Speaker 1>It turns to the fiance expected, is it necessary? Is

1:50:27.400 --> 1:50:29.720
<v Speaker 1>it a waste as a detract from the music or

1:50:30.240 --> 1:50:38.040
<v Speaker 1>is it necessary? Um? The whole idea of production, I'm

1:50:38.080 --> 1:50:41.200
<v Speaker 1>pretty sure came out of England, those progressive acts like

1:50:41.400 --> 1:50:44.280
<v Speaker 1>Yes and Emerson Lake and Palm and whatever. They were

1:50:44.320 --> 1:50:47.960
<v Speaker 1>the forerunners and their genesis to have production, and then

1:50:48.000 --> 1:50:50.960
<v Speaker 1>of course the Pink Floyd and so on, and then

1:50:51.720 --> 1:50:55.120
<v Speaker 1>when the stunts got bigger and bigger, they believed that

1:50:55.439 --> 1:50:59.000
<v Speaker 1>part of their myth of playing was to have some

1:51:00.040 --> 1:51:05.320
<v Speaker 1>incredible production show. So I was used to, um, you know,

1:51:06.479 --> 1:51:09.439
<v Speaker 1>playing Pink Floyd Crystal Palace Bowl, which is the first

1:51:09.479 --> 1:51:11.920
<v Speaker 1>big open air show that I ever did the Garden

1:51:12.040 --> 1:51:16.519
<v Speaker 1>Passes with you. I told that story for you about Leslie,

1:51:16.600 --> 1:51:20.960
<v Speaker 1>Western Mountain, Pink Floyd, the faces and Mountain where Pink

1:51:21.000 --> 1:51:25.040
<v Speaker 1>Floyd sunk into the lake, the monsters which came out

1:51:25.120 --> 1:51:28.960
<v Speaker 1>of the lake, which just flew everybody away. To working

1:51:29.040 --> 1:51:32.439
<v Speaker 1>with everything the Pink Floyd did, I couldn't get I

1:51:32.640 --> 1:51:37.720
<v Speaker 1>just literally loved every second of it and help them

1:51:38.080 --> 1:51:42.360
<v Speaker 1>put those productions together. Um, when Everson, Lake and Palmer

1:51:42.720 --> 1:51:46.360
<v Speaker 1>did that Manticore, you know the album, I built the Manticore.

1:51:46.439 --> 1:51:49.000
<v Speaker 1>They thought I was nuts, and that's what we're gonna do.

1:51:49.400 --> 1:51:52.760
<v Speaker 1>I built it. I love all those tricks. I love

1:51:52.880 --> 1:51:56.920
<v Speaker 1>production where they're relevant. And then you go to Mariah Carey,

1:51:57.600 --> 1:52:01.839
<v Speaker 1>who arrived at Wembley for a first sold out no problem.

1:52:01.920 --> 1:52:05.920
<v Speaker 1>I think two nights or three nights. She had so

1:52:06.400 --> 1:52:09.519
<v Speaker 1>much equipment we only managed to unload a truck and

1:52:09.560 --> 1:52:12.320
<v Speaker 1>a half. There were three trucks sitting in the car park.

1:52:12.360 --> 1:52:14.000
<v Speaker 1>We couldn't know we know what to do with them.

1:52:14.920 --> 1:52:17.400
<v Speaker 1>And then with Barbra Streiser and I said, I said,

1:52:17.439 --> 1:52:19.200
<v Speaker 1>but you don't need all this stuff. They want to

1:52:19.280 --> 1:52:23.559
<v Speaker 1>see you. And with Prince, he took me. With Prince,

1:52:23.920 --> 1:52:27.160
<v Speaker 1>we did fourty nights at Wembley. It took half a

1:52:27.400 --> 1:52:32.120
<v Speaker 1>tour to get Prince to understand that he didn't need

1:52:32.240 --> 1:52:35.680
<v Speaker 1>the elevator, and he didn't need the escalator, and he

1:52:35.800 --> 1:52:38.439
<v Speaker 1>didn't need this an all he needed to stand on

1:52:38.640 --> 1:52:42.920
<v Speaker 1>stage and play. He could blow anybody away in his sleep,

1:52:43.200 --> 1:52:45.559
<v Speaker 1>which is what he did, of course after every show

1:52:45.640 --> 1:52:48.880
<v Speaker 1>he did in a little club at night. That so

1:52:49.160 --> 1:52:52.679
<v Speaker 1>there are acts where production is part of their ethos

1:52:52.840 --> 1:52:56.799
<v Speaker 1>and works incredibly Pink Floyd, etcetera. And they are acts

1:52:57.080 --> 1:52:59.439
<v Speaker 1>who feel they have to have it but don't actually

1:52:59.560 --> 1:53:03.759
<v Speaker 1>need it, where it's a waste of time and money. Okay,

1:53:04.280 --> 1:53:06.280
<v Speaker 1>this leads to the other thing, which you get asked

1:53:06.320 --> 1:53:10.400
<v Speaker 1>all the time. I'm sure any and this is fantasy

1:53:10.680 --> 1:53:14.200
<v Speaker 1>if it bleeds to the reality, greet any still alive

1:53:14.280 --> 1:53:17.240
<v Speaker 1>act that you haven't worked with you would like to

1:53:17.320 --> 1:53:21.040
<v Speaker 1>work with, or any project that you can envision that

1:53:21.160 --> 1:53:30.400
<v Speaker 1>you would like to put up. Um project. I'm mentoring

1:53:30.720 --> 1:53:35.560
<v Speaker 1>a group of the next generation and we're going to

1:53:35.720 --> 1:53:38.920
<v Speaker 1>do a huge climate change concert lation at the end

1:53:38.960 --> 1:53:43.080
<v Speaker 1>towards the end of the year. I co patures when

1:53:43.479 --> 1:53:47.200
<v Speaker 1>my partner Kevin Wall Live Earth in two thousand and ten,

1:53:47.960 --> 1:53:50.160
<v Speaker 1>which was the forerunner, which we did with our goal,

1:53:51.160 --> 1:53:53.080
<v Speaker 1>and we did that all over the world. We were

1:53:53.120 --> 1:53:57.400
<v Speaker 1>ahead of the game. Today the future is dealing with

1:53:57.479 --> 1:54:00.519
<v Speaker 1>the climate and the environment. You could see every day

1:54:00.520 --> 1:54:04.640
<v Speaker 1>of the week what's happened in Texas. Last week we

1:54:04.800 --> 1:54:08.479
<v Speaker 1>were ten degrees below zero or eighteen degrees below zero,

1:54:09.000 --> 1:54:12.040
<v Speaker 1>and three days later we're eighteen degrees. But I went

1:54:12.080 --> 1:54:15.280
<v Speaker 1>out this morning with a shirts, not even a jacket.

1:54:15.840 --> 1:54:19.639
<v Speaker 1>That's nuts. Last seven days ago, I had so many

1:54:19.760 --> 1:54:22.240
<v Speaker 1>layers on. I had two pairs of gloves on. Mine

1:54:22.320 --> 1:54:26.120
<v Speaker 1>was so cold. It's extremes of climate what we're living with.

1:54:26.600 --> 1:54:30.080
<v Speaker 1>That's the result of what they call climate change. So

1:54:30.520 --> 1:54:33.920
<v Speaker 1>the next big event is a massive event about the environment.

1:54:34.360 --> 1:54:36.800
<v Speaker 1>I want to do that. I'm gonna I want them.

1:54:36.840 --> 1:54:39.240
<v Speaker 1>They're headed up. There were a great bunch of kids.

1:54:39.280 --> 1:54:42.640
<v Speaker 1>They're not kids, but they're the next generation. They're passionate

1:54:42.720 --> 1:54:45.520
<v Speaker 1>about it. I want to help mentor them through given

1:54:45.560 --> 1:54:50.360
<v Speaker 1>the pathway to it and um what they want to

1:54:50.440 --> 1:54:52.920
<v Speaker 1>create and what they're building, believe it or not, which

1:54:53.000 --> 1:54:55.480
<v Speaker 1>is the best thing. It's got me sucked in with them.

1:54:55.880 --> 1:54:59.320
<v Speaker 1>They're going to build an app called Hero, which means

1:54:59.400 --> 1:55:03.000
<v Speaker 1>that every body can download that app and follow their

1:55:03.120 --> 1:55:08.240
<v Speaker 1>pathway of what every individual can do to help beat

1:55:08.280 --> 1:55:12.440
<v Speaker 1>the climate situation, not what governments have to do. So

1:55:12.560 --> 1:55:15.280
<v Speaker 1>it's not about them. It's about what we can do

1:55:15.880 --> 1:55:18.280
<v Speaker 1>and that I want to get that over the whole

1:55:18.400 --> 1:55:20.960
<v Speaker 1>idea is to promote this app which is free, but

1:55:21.040 --> 1:55:24.600
<v Speaker 1>everybody to download it with a whole series of pathways

1:55:24.960 --> 1:55:28.960
<v Speaker 1>where each person could do their own thing about protecting

1:55:29.000 --> 1:55:32.360
<v Speaker 1>the environment and their future, and it can be global.

1:55:32.520 --> 1:55:37.320
<v Speaker 1>That's my next project. Okay, that does beg the question

1:55:37.400 --> 1:55:40.160
<v Speaker 1>since you were there with the progenitors, the big ones

1:55:40.280 --> 1:55:45.440
<v Speaker 1>like Live Aid, at this point in time, the massive concert,

1:55:46.200 --> 1:55:50.360
<v Speaker 1>is that still valid and be Is it more about

1:55:50.480 --> 1:55:53.800
<v Speaker 1>getting the message across the information and more about raising

1:55:53.920 --> 1:55:58.520
<v Speaker 1>money or is that paradigm just exhausted. Well, everybody thinks

1:55:58.600 --> 1:56:05.000
<v Speaker 1>it's exhausted, but actually at all and um, the paradigm

1:56:06.040 --> 1:56:09.840
<v Speaker 1>is what the message you're giving out. When we did

1:56:09.960 --> 1:56:16.240
<v Speaker 1>Live Aid, it was purely and simple. Four thousand miles

1:56:16.320 --> 1:56:20.200
<v Speaker 1>down the road, people were starving and we in Europe

1:56:20.440 --> 1:56:23.800
<v Speaker 1>were having arguments about what to do with fruit mountains

1:56:23.880 --> 1:56:27.720
<v Speaker 1>and butter mountains that we couldn't give away. It was nuts.

1:56:29.120 --> 1:56:33.200
<v Speaker 1>Live eight was a message to government to the G

1:56:33.400 --> 1:56:36.200
<v Speaker 1>eight conference. That's what it was called Live eight to

1:56:36.360 --> 1:56:40.040
<v Speaker 1>persuade them to put Africa on the agenda, which they did.

1:56:41.040 --> 1:56:43.880
<v Speaker 1>So it depends on what you're trying to do. Our

1:56:44.080 --> 1:56:47.640
<v Speaker 1>environmental show is not going to be about raising money.

1:56:47.680 --> 1:56:50.800
<v Speaker 1>It's about promoting the app for people to use and

1:56:50.920 --> 1:56:54.560
<v Speaker 1>to get involved themselves and what they can do if

1:56:54.600 --> 1:56:57.120
<v Speaker 1>you want to raise money, are like shows I've done

1:56:57.160 --> 1:56:59.920
<v Speaker 1>for the Red Cross and whatever, and you're blatant about

1:57:00.120 --> 1:57:04.400
<v Speaker 1>raising money. Raise the money, it's not you can separate

1:57:04.480 --> 1:57:11.480
<v Speaker 1>the two. Okay. I think finally, you are a commander

1:57:11.560 --> 1:57:14.960
<v Speaker 1>of the British Empire. Did you see that coming? What

1:57:15.040 --> 1:57:17.400
<v Speaker 1>does it mean to you? And what's your relationship? I

1:57:17.680 --> 1:57:20.400
<v Speaker 1>understand you have some sort of relationship with the Royal family.

1:57:21.240 --> 1:57:24.360
<v Speaker 1>I didn't see it coming at all. Actually, in fact,

1:57:24.720 --> 1:57:28.640
<v Speaker 1>what happens is this brown envelope arrives and you think

1:57:28.680 --> 1:57:31.520
<v Speaker 1>it's a bill from the tax people, that it's a

1:57:31.680 --> 1:57:35.440
<v Speaker 1>letter saying you're commanded that. What it says is we

1:57:35.520 --> 1:57:37.960
<v Speaker 1>are mindful of giving you this or not. If you

1:57:38.080 --> 1:57:40.520
<v Speaker 1>are offered it, will you accept. That's how it works,

1:57:40.920 --> 1:57:42.880
<v Speaker 1>so at that point you can actually turn it down.

1:57:43.000 --> 1:57:45.200
<v Speaker 1>Very quietly, thank you very much, you're not getting it,

1:57:45.560 --> 1:57:49.120
<v Speaker 1>or thank you very much. I was really surprised that

1:57:49.280 --> 1:57:52.600
<v Speaker 1>I didn't know I was getting it, had no idea whatsoever,

1:57:53.480 --> 1:57:57.760
<v Speaker 1>and I was thrilled. I've also got a I've got

1:57:58.040 --> 1:58:00.840
<v Speaker 1>an honor from France as well, which which I like

1:58:02.280 --> 1:58:04.720
<v Speaker 1>as well, which is which is an order of arts

1:58:04.800 --> 1:58:08.040
<v Speaker 1>and letters which I got from the French government. And

1:58:08.160 --> 1:58:10.560
<v Speaker 1>I've got a few other bits of pieces led around

1:58:11.240 --> 1:58:17.440
<v Speaker 1>they look um. I spent eighteen years working with the

1:58:17.520 --> 1:58:19.520
<v Speaker 1>Prince of Wales. I was the vice chairman of the

1:58:19.560 --> 1:58:22.920
<v Speaker 1>Princess Trust for the first five years. I was their

1:58:23.000 --> 1:58:25.320
<v Speaker 1>main you know, did all their fundraising. And you may

1:58:25.400 --> 1:58:28.960
<v Speaker 1>recall the Princess Trust Rock Carlos or other stars Saga

1:58:29.000 --> 1:58:31.520
<v Speaker 1>and another story. And I did a lot of work

1:58:31.560 --> 1:58:34.960
<v Speaker 1>with them because the work they do is incredible. I

1:58:35.080 --> 1:58:38.160
<v Speaker 1>worked with the Duke of Edinburgh on his awards ceremony.

1:58:38.200 --> 1:58:40.880
<v Speaker 1>Fact I produced his seventieth birthday pass it wins the

1:58:40.960 --> 1:58:44.200
<v Speaker 1>castle where the Queen wasn't invited and she was looking

1:58:44.240 --> 1:58:46.240
<v Speaker 1>out the window going what the hell is going on

1:58:46.400 --> 1:58:51.560
<v Speaker 1>down there? I I've done a lot for very different

1:58:51.640 --> 1:58:56.400
<v Speaker 1>parts of or family whatever. I um six weeks before

1:58:56.440 --> 1:59:00.600
<v Speaker 1>Princess Diana was killed. I actually went with her to Washington,

1:59:01.520 --> 1:59:05.440
<v Speaker 1>um um, to meet with the American Red Cross to

1:59:05.520 --> 1:59:08.200
<v Speaker 1>to a big Red Cross event, and she asked me

1:59:08.280 --> 1:59:10.080
<v Speaker 1>to go with her, and I did. And you know,

1:59:10.120 --> 1:59:12.080
<v Speaker 1>I knew it quite well, and so on and so forth.

1:59:12.360 --> 1:59:16.520
<v Speaker 1>You know, it's what you do. I um. I don't

1:59:16.600 --> 1:59:19.400
<v Speaker 1>really brag about it. It's just what I've done, and

1:59:20.120 --> 1:59:25.920
<v Speaker 1>so on and so forth. Um. The the French honor

1:59:26.080 --> 1:59:28.960
<v Speaker 1>was great. That was a real surprise I got. That

1:59:29.200 --> 1:59:31.640
<v Speaker 1>was given to me at Medham and I had no

1:59:31.840 --> 1:59:35.360
<v Speaker 1>idea about that either. And the other thing I've got

1:59:35.480 --> 1:59:37.840
<v Speaker 1>is a Freeman of the City of London, which actually

1:59:37.920 --> 1:59:41.040
<v Speaker 1>is really cool because once a year I can drive

1:59:41.120 --> 1:59:44.320
<v Speaker 1>a flock of sheep over London Bridge and there ain't

1:59:44.360 --> 1:59:46.920
<v Speaker 1>many people who could do that and I'm allowed to.

1:59:49.000 --> 1:59:52.640
<v Speaker 1>It goes back to four hundred odds as the son

1:59:52.720 --> 1:59:55.640
<v Speaker 1>of a tailor. To use the name of the Jack

1:59:55.720 --> 1:59:58.320
<v Speaker 1>Bruce album. Do you ever pinch yourself and say, wow,

1:59:58.480 --> 2:00:00.760
<v Speaker 1>look at this ride? I do where I made it?

2:00:00.960 --> 2:00:03.400
<v Speaker 1>I do. I actually go around the world giving a

2:00:03.520 --> 2:00:08.560
<v Speaker 1>talk um which is basically on luck, called luck and timing,

2:00:09.240 --> 2:00:12.320
<v Speaker 1>because I believe That's what it's all about. It's all

2:00:12.360 --> 2:00:15.600
<v Speaker 1>about luck and timing and being in the right place

2:00:15.680 --> 2:00:20.000
<v Speaker 1>at the right time and having a stroker luck. But

2:00:20.200 --> 2:00:26.040
<v Speaker 1>then the the finnessing of it is taking advantage of

2:00:26.080 --> 2:00:32.080
<v Speaker 1>the situation. I never missed a trick, whether it's meeting president's,

2:00:32.120 --> 2:00:35.360
<v Speaker 1>prime ministers, kings, queens, I've met them all all over

2:00:35.440 --> 2:00:39.440
<v Speaker 1>the world. I've done the craziest I mean, if I

2:00:39.560 --> 2:00:42.040
<v Speaker 1>told you some of the things that I've done. I

2:00:42.160 --> 2:00:45.960
<v Speaker 1>spent one afternoon with Bob geldof paying Catch running up

2:00:45.960 --> 2:00:48.560
<v Speaker 1>and down the corridors of the Right House. Go figure

2:00:48.600 --> 2:00:55.600
<v Speaker 1>that one. You know, we are just I've just lucked in,

2:00:56.800 --> 2:01:00.560
<v Speaker 1>just the weird and the wonderful. I got advited a Cuba.

2:01:01.280 --> 2:01:04.200
<v Speaker 1>I did a deal for the Club Tropicana, which technically

2:01:04.280 --> 2:01:07.040
<v Speaker 1>I still kind of co on the overseas rights for

2:01:07.840 --> 2:01:10.960
<v Speaker 1>I met Fidell. I mean it was you can't do

2:01:11.160 --> 2:01:14.440
<v Speaker 1>that unless you're a rock and roll you know. I mean,

2:01:14.840 --> 2:01:19.800
<v Speaker 1>when when Queen did that song with with the Monster

2:01:19.920 --> 2:01:24.919
<v Speaker 1>at Barcelona for the Barcelona Olympics. Here I am standing

2:01:25.000 --> 2:01:29.360
<v Speaker 1>in a lineup with with all of Queen and monsterral

2:01:29.400 --> 2:01:32.160
<v Speaker 1>at one end, and the King and Queen arrive at

2:01:32.360 --> 2:01:34.840
<v Speaker 1>on the other side and everyone's standing look at each

2:01:34.840 --> 2:01:37.800
<v Speaker 1>other and I literally get up. I walk. I could

2:01:37.800 --> 2:01:40.040
<v Speaker 1>see there's nothing. Nobody knows what to do. I go

2:01:40.320 --> 2:01:45.880
<v Speaker 1>king follow me. You can get away with Blue Murder.

2:01:46.320 --> 2:01:52.680
<v Speaker 1>Extraordinary and working um with the Royal Kingdom of Jordan

2:01:52.800 --> 2:01:55.960
<v Speaker 1>to produce the event in Petro where we produced in

2:01:56.280 --> 2:02:01.000
<v Speaker 1>the desert, a weekend of events where we produced a

2:02:01.040 --> 2:02:04.320
<v Speaker 1>show in Petra where the ancestry is. We have to

2:02:04.400 --> 2:02:07.440
<v Speaker 1>look up, you have to walk down this corridor that's

2:02:07.480 --> 2:02:11.720
<v Speaker 1>a meter wide, four hundred meters. We list it. There's

2:02:11.760 --> 2:02:14.480
<v Speaker 1>no power. So we did this whole event with fourteen

2:02:14.640 --> 2:02:18.080
<v Speaker 1>thousand candles, and then we did a dinner in the

2:02:18.200 --> 2:02:22.160
<v Speaker 1>desert for five hundred people that people ten years later

2:02:22.280 --> 2:02:24.760
<v Speaker 1>still talk about because it was extraordinary. I mean, it's

2:02:24.760 --> 2:02:29.080
<v Speaker 1>just fun. Do it, Okay, I think we've come to

2:02:29.200 --> 2:02:31.000
<v Speaker 1>the end of the feeling. We've known we can go

2:02:31.160 --> 2:02:35.320
<v Speaker 1>on for hours. You know, these stories are gold. Harvey,

2:02:35.720 --> 2:02:37.680
<v Speaker 1>thanks so much for giving us your time. Thank you.

2:02:37.760 --> 2:02:40.480
<v Speaker 1>I'll enjoyed it until next time. This is barbed Las