1 00:00:03,200 --> 00:00:06,840 Speaker 1: In September nineteen seventy four, a secure cable arrives at 2 00:00:06,840 --> 00:00:10,880 Speaker 1: the US State Department. He comes in with a peculiar request. 3 00:00:11,280 --> 00:00:14,640 Speaker 1: The cable is from the US Embassy in Kinshasa, Zaiir. 4 00:00:15,200 --> 00:00:19,079 Speaker 1: The memo reports that a musician named Hugh Masekela visited 5 00:00:19,079 --> 00:00:22,440 Speaker 1: the embassy in Zayir seeking assistance who wants to know 6 00:00:22,480 --> 00:00:26,200 Speaker 1: if the US military can help transport festival gear from 7 00:00:26,239 --> 00:00:30,720 Speaker 1: the States over to Kinshasa. The cable documents the musician's 8 00:00:31,120 --> 00:00:35,239 Speaker 1: detailed request quote group attempting to transport from US to 9 00:00:35,320 --> 00:00:40,000 Speaker 1: Zaieir approximately sixty thousand pounds of equipment, which if shipped commercially, 10 00:00:40,040 --> 00:00:44,920 Speaker 1: would cost several hundred thousand dollars. The embassy's memo also 11 00:00:45,040 --> 00:00:48,320 Speaker 1: stresses what the Zaire seventy four music Festival could mean 12 00:00:48,520 --> 00:00:52,640 Speaker 1: on the world stage, listing all the black superstars slated 13 00:00:52,680 --> 00:00:54,000 Speaker 1: to perform. 14 00:00:53,600 --> 00:00:58,720 Speaker 2: Quote James Brown, BB King, Maria Mikiba, the Crusaders, the Spinners, 15 00:00:58,960 --> 00:01:02,520 Speaker 2: the Fania, Latin All Stars with Stevie Wonder a possibility, 16 00:01:03,120 --> 00:01:03,720 Speaker 2: and the. 17 00:01:03,760 --> 00:01:07,640 Speaker 1: List of equipment needed for all those superstars is daunting. 18 00:01:08,040 --> 00:01:12,920 Speaker 2: There's quote recording equipment, console recording machines, sound equipment, monitors, 19 00:01:12,959 --> 00:01:16,840 Speaker 2: twenty four loudspeaker cabinets, lighting equipment, seventy five dimmers, amps, 20 00:01:16,880 --> 00:01:20,039 Speaker 2: one hundred foot steel cables, in addition to gas powered 21 00:01:20,080 --> 00:01:22,119 Speaker 2: generator and a forklift truck. 22 00:01:24,000 --> 00:01:26,840 Speaker 1: In nineteen seventy four, it sure ain't easy to contract 23 00:01:26,880 --> 00:01:30,560 Speaker 1: a commercial plane to carry multiple bands, tens of thousands 24 00:01:30,600 --> 00:01:33,160 Speaker 1: of pounds of equipment and fly it all over to 25 00:01:33,400 --> 00:01:38,039 Speaker 1: Central Africa and do it on short notice. So Hughes 26 00:01:38,080 --> 00:01:40,959 Speaker 1: there in Zaieir pressing the State Department for their help, 27 00:01:41,200 --> 00:01:44,199 Speaker 1: and his partner Stuart Levine is in New York doing 28 00:01:44,240 --> 00:01:48,400 Speaker 1: the same thing. Interestingly, in the memo from Kinshasa, the 29 00:01:48,440 --> 00:01:52,000 Speaker 1: South African jazz musician Hugh Masekela is described as the. 30 00:01:52,080 --> 00:01:55,680 Speaker 2: Quote farmer husband of Miriam Mikiba, whose political views he 31 00:01:55,760 --> 00:01:57,160 Speaker 2: does not report to share. 32 00:01:57,800 --> 00:02:01,600 Speaker 1: That last bit is key because this memo ends up 33 00:02:01,640 --> 00:02:06,480 Speaker 1: on the desk of Henry Kissinger. Yeah, that Henry Kissinger, 34 00:02:06,760 --> 00:02:12,120 Speaker 1: Nixon's international hatchetman. Since the memo about Hugh Masekela is 35 00:02:12,160 --> 00:02:15,440 Speaker 1: intended for Henry Kissinger, the part about him not sharing 36 00:02:15,480 --> 00:02:19,640 Speaker 1: Mary Makiba's political views is very important. You see, Mary 37 00:02:19,680 --> 00:02:23,280 Speaker 1: Mikiba is still under watched by both the FBI and 38 00:02:23,520 --> 00:02:27,280 Speaker 1: the CIA, but her ex husband, Hugh Masekela says he 39 00:02:27,360 --> 00:02:30,680 Speaker 1: isn't so eager to spread communism on the continent of Africa. 40 00:02:31,080 --> 00:02:33,600 Speaker 1: The note in the memo is code for we can 41 00:02:33,639 --> 00:02:36,600 Speaker 1: work with this guy now. Also keep in mind that 42 00:02:36,639 --> 00:02:40,360 Speaker 1: in September of seventy four, President Nixon was freshly removed 43 00:02:40,360 --> 00:02:43,480 Speaker 1: from office. Nixon resigns on August eighth, and boom the 44 00:02:43,520 --> 00:02:46,760 Speaker 1: next day. He's out of power, but Henry Kissinger is 45 00:02:46,800 --> 00:02:50,160 Speaker 1: still very much running things at the State Department. So 46 00:02:50,240 --> 00:02:53,440 Speaker 1: that means it's Kissinger's call to help Hugh and stew 47 00:02:53,880 --> 00:02:57,880 Speaker 1: and the Zaire seventy four Music Festival or not. What 48 00:02:58,000 --> 00:03:01,520 Speaker 1: do you think would Henry kiss a man famous for 49 00:03:01,639 --> 00:03:05,679 Speaker 1: advocating that carpet bombing Southeast Asian nations would convince them 50 00:03:05,720 --> 00:03:09,960 Speaker 1: to turn away from communism? Would this same international diplomat 51 00:03:10,080 --> 00:03:13,200 Speaker 1: see the importance of music and culture to change hearts 52 00:03:13,240 --> 00:03:18,240 Speaker 1: and minds? Would Kissinger help musical goodwill ambassadors get their 53 00:03:18,280 --> 00:03:21,800 Speaker 1: show to the people of a Central African nation. Well, 54 00:03:22,080 --> 00:03:26,280 Speaker 1: here's the memo Kissinger sends back in response, quote. 55 00:03:26,040 --> 00:03:29,080 Speaker 3: It would be difficult and perhaps impossible to secure a 56 00:03:29,120 --> 00:03:32,160 Speaker 3: plane in the limited time remaining, and the Air Force 57 00:03:32,200 --> 00:03:36,760 Speaker 3: would have to be reallyimbursed at approximately commercial rates, So. 58 00:03:36,800 --> 00:03:40,000 Speaker 1: Much for that route. Now Hugh and Stu are days 59 00:03:40,040 --> 00:03:43,400 Speaker 1: away from opening night of the three day festival in Kinshasa, 60 00:03:43,480 --> 00:03:46,880 Speaker 1: and they still have no way to get there. Now 61 00:03:46,920 --> 00:03:50,800 Speaker 1: they must truly scramble to charter any private plane that 62 00:03:50,800 --> 00:03:53,760 Speaker 1: they can find that will fly them to Conshasa. And 63 00:03:53,800 --> 00:03:58,560 Speaker 1: then a last minute Hail Mary request pans out. They 64 00:03:58,680 --> 00:04:03,520 Speaker 1: find a private company that will fly them their famous passengers, 65 00:04:03,600 --> 00:04:06,960 Speaker 1: and they're thousands of pounds of sound equipment over to 66 00:04:07,080 --> 00:04:11,640 Speaker 1: Africa for the festival. They've done it. Now, the show 67 00:04:11,720 --> 00:04:15,960 Speaker 1: lineup is set, their ride is set. Somehow, some way, 68 00:04:16,160 --> 00:04:20,480 Speaker 1: with little time remaining, the festival organizers pull off the impossible. 69 00:04:21,240 --> 00:04:25,400 Speaker 1: And of course, that is precisely when the unexpected strikes. 70 00:04:26,720 --> 00:04:31,160 Speaker 1: Something occurs that threatens to derail absolutely everything. All the 71 00:04:31,200 --> 00:04:37,000 Speaker 1: carefully coordinated plans, the daring bluffs and international monetary arrangements, 72 00:04:37,160 --> 00:04:42,120 Speaker 1: it is all put in peril. You see, on September sixteenth, 73 00:04:42,320 --> 00:04:45,960 Speaker 1: just one week before the Ali Foreman heavyweight title fight 74 00:04:46,040 --> 00:04:49,960 Speaker 1: is scheduled to go down, George Foreman's sparring partner throws 75 00:04:50,000 --> 00:04:54,720 Speaker 1: a punch but he lands an elbow. The blow hits 76 00:04:54,800 --> 00:04:58,440 Speaker 1: George Foreman square in the face, just above the eye. 77 00:04:58,800 --> 00:05:03,560 Speaker 1: The sharp elbow splitz open skin, a deep and ugly gash. 78 00:05:03,839 --> 00:05:07,200 Speaker 1: Blood spurts from his face as Foreman yells out that 79 00:05:07,240 --> 00:05:11,119 Speaker 1: he's cut. For anyone there who sees the cut happen, 80 00:05:11,240 --> 00:05:30,719 Speaker 1: they immediately know the fight is off. Welcome to Rumble, 81 00:05:30,880 --> 00:05:33,719 Speaker 1: the story of Ali Foreman and the soul music of 82 00:05:33,800 --> 00:05:37,239 Speaker 1: nineteen seventy four. I'm your host, Zarin Burnett, the third 83 00:05:38,440 --> 00:05:42,200 Speaker 1: from iHeart Podcast and School of Humans. This is Rumble. 84 00:05:48,080 --> 00:05:50,120 Speaker 1: Previously on Rumble, We've. 85 00:05:49,960 --> 00:05:52,720 Speaker 4: Been changed for four hundred years in slavery, and now 86 00:05:52,720 --> 00:05:53,960 Speaker 4: I'm gonna free my people. 87 00:05:54,040 --> 00:05:55,680 Speaker 5: When I beat George Foreman. 88 00:05:55,760 --> 00:05:58,800 Speaker 2: To travel with his wife and his mistress at the 89 00:05:58,880 --> 00:06:01,760 Speaker 2: same time on the same pane, I mean that's a 90 00:06:01,800 --> 00:06:03,159 Speaker 2: special kind of ego. 91 00:06:03,560 --> 00:06:07,039 Speaker 6: The German shepherds with the dogs the Belgiums used to 92 00:06:07,160 --> 00:06:11,400 Speaker 6: control the Congolese people. So right away Foreman made the 93 00:06:11,480 --> 00:06:12,360 Speaker 6: wrong move. 94 00:06:13,040 --> 00:06:17,360 Speaker 7: That poor guy had no had. I felt sorry for. 95 00:06:17,440 --> 00:06:28,239 Speaker 8: Him, Ali, Ali. 96 00:06:28,960 --> 00:06:32,440 Speaker 4: I hear someone banging against my bedroom door. It's open, 97 00:06:32,720 --> 00:06:36,400 Speaker 4: I shout, and Howard Bingham breaks in. The fight is off. 98 00:06:36,920 --> 00:06:41,280 Speaker 4: Bingham who ordinarily stutters, is speaking clear and straight. The 99 00:06:41,279 --> 00:06:42,640 Speaker 4: fight is off. It's over. 100 00:06:43,600 --> 00:06:44,640 Speaker 5: I just look at him. 101 00:06:44,960 --> 00:06:48,720 Speaker 1: Muhammad Ali recalls exactly the moment he heard the news 102 00:06:48,800 --> 00:06:52,279 Speaker 1: of Foreman's cut. As he writes later in his autobiography, 103 00:06:52,400 --> 00:06:56,200 Speaker 1: his emotional response is immediate and devastating. 104 00:06:57,640 --> 00:07:01,680 Speaker 4: I feel paralyzed out of bed and look them in 105 00:07:01,720 --> 00:07:03,880 Speaker 4: the eye to see if they act in They're not. 106 00:07:04,720 --> 00:07:07,279 Speaker 4: Now that I look back on it, I remember that 107 00:07:07,320 --> 00:07:10,480 Speaker 4: for a split second, I was pleased. George had been 108 00:07:10,480 --> 00:07:13,640 Speaker 4: built up as an invisible monster. This shows that he's 109 00:07:13,720 --> 00:07:17,200 Speaker 4: human like me. I'm thinking that nothing like that had 110 00:07:17,200 --> 00:07:19,560 Speaker 4: ever happened to him in all his life. 111 00:07:19,720 --> 00:07:22,560 Speaker 5: Then the full meaning of it hit me. Oh No. 112 00:07:24,200 --> 00:07:28,760 Speaker 1: Zayir's press secretary, Mundungu Bulah, is certainly unsure how to 113 00:07:28,760 --> 00:07:32,080 Speaker 1: handle this news. He is the man responsible for handling 114 00:07:32,120 --> 00:07:35,640 Speaker 1: the heavyweight title fight and managing its perception on the 115 00:07:35,640 --> 00:07:40,360 Speaker 1: world stage, and his boss is President Mabutu. That's bad 116 00:07:40,440 --> 00:07:44,960 Speaker 1: news for Bulah. Bulah's first instinct is to smother this 117 00:07:45,080 --> 00:07:48,080 Speaker 1: news story. There are tens of millions of dollars on 118 00:07:48,120 --> 00:07:51,920 Speaker 1: the line and international relationships rioting on the success of 119 00:07:51,960 --> 00:07:56,160 Speaker 1: this event, so Bullah tells the press, you must not publicize. 120 00:07:56,240 --> 00:07:58,200 Speaker 1: He warns the press that any talk of the cut 121 00:07:58,200 --> 00:08:01,640 Speaker 1: will quote be improperly understood in your country. The cut 122 00:08:01,680 --> 00:08:04,560 Speaker 1: is nothing. I suggest you forget about this story. Go 123 00:08:04,680 --> 00:08:08,200 Speaker 1: for a swim. But no one is hitting the hotel pool, 124 00:08:08,320 --> 00:08:13,360 Speaker 1: not now. How could they? This is major news, So unsurprisingly, 125 00:08:13,760 --> 00:08:18,360 Speaker 1: word immediately spreads amongst the sports writers, and questions follow. 126 00:08:18,800 --> 00:08:22,080 Speaker 1: Will the fight be postponed, will the fight be rescheduled? 127 00:08:22,280 --> 00:08:25,880 Speaker 1: If so, when will there even be a fight? And 128 00:08:26,080 --> 00:08:29,040 Speaker 1: if the fight does get rescheduled, what does this mean 129 00:08:29,080 --> 00:08:32,800 Speaker 1: for the music festival. Unlike the fight, the three days 130 00:08:32,840 --> 00:08:37,400 Speaker 1: of live music cannot be postponed. The musician's schedules will 131 00:08:37,440 --> 00:08:41,880 Speaker 1: not allow that. It's now or never. Gary Stromberg, the 132 00:08:42,000 --> 00:08:45,400 Speaker 1: pr man for the three day festival, remembers how back 133 00:08:45,440 --> 00:08:47,440 Speaker 1: in New York, Stuart Levine. 134 00:08:47,240 --> 00:08:50,440 Speaker 9: He streaked out. It's on film in When We Were Kings. 135 00:08:50,480 --> 00:08:52,520 Speaker 9: You can see it when Stuart's getting the phone call 136 00:08:52,760 --> 00:08:55,959 Speaker 9: about the cancelation. He cannot figure it out what that 137 00:08:56,040 --> 00:08:58,160 Speaker 9: means or what that represents. Are we going to stay? 138 00:08:58,160 --> 00:09:00,720 Speaker 9: Are we going home? Is this over with? Yeah? He 139 00:09:00,840 --> 00:09:03,400 Speaker 9: was stunned by that. Obviously, everybody was stunned by it. 140 00:09:03,400 --> 00:09:05,720 Speaker 9: But Stewart especially, what do we do now? You know 141 00:09:05,800 --> 00:09:09,520 Speaker 9: he gets responsible for all these musicians. What's gonna happen now? 142 00:09:11,080 --> 00:09:14,720 Speaker 1: Meanwhile, a few of the most diligent sports writers travel 143 00:09:14,760 --> 00:09:17,760 Speaker 1: over to George Foreman's training camp. They want to see 144 00:09:17,760 --> 00:09:21,599 Speaker 1: this cut for themselves, to hear from the champ himself 145 00:09:21,720 --> 00:09:25,880 Speaker 1: about his plans. Does he want to postpone or to 146 00:09:26,160 --> 00:09:31,640 Speaker 1: cancel the fight. When the sports writers arrive at Foreman's 147 00:09:31,679 --> 00:09:36,680 Speaker 1: training camp, they're met by rifles and armed soldiers. Butbutu 148 00:09:36,880 --> 00:09:40,400 Speaker 1: stations his men outside Foreman's camp and they block the 149 00:09:40,440 --> 00:09:44,160 Speaker 1: press at gunpoint. They order the sports writers to leave. 150 00:09:44,600 --> 00:09:48,400 Speaker 1: They say, you are bothering the champion. The journalists argue 151 00:09:48,400 --> 00:09:51,040 Speaker 1: that Foreman would never object to their presence, he would 152 00:09:51,040 --> 00:09:54,400 Speaker 1: want to speak with them. The armed soldiers change their tone. 153 00:09:54,480 --> 00:09:58,679 Speaker 1: They tell the sports writers, well, then you are bothering us. 154 00:09:59,360 --> 00:10:05,120 Speaker 1: The get the message and they retreat. Much like Mbutu, 155 00:10:05,440 --> 00:10:08,600 Speaker 1: the promoter Don King can also feel a growing sense 156 00:10:08,640 --> 00:10:12,280 Speaker 1: of calamity. So Don King phones back to the US 157 00:10:12,440 --> 00:10:16,240 Speaker 1: and he orders the music festival promoter Stu Levine, do. 158 00:10:16,280 --> 00:10:18,800 Speaker 5: Not let the bands know about Foreman's cut. 159 00:10:19,480 --> 00:10:22,000 Speaker 1: Get them on the plane to Zaya. In order to 160 00:10:22,080 --> 00:10:25,720 Speaker 1: keep this news secret, stue Levine has to call in 161 00:10:25,760 --> 00:10:29,480 Speaker 1: a favor. He phones the one journalist who will determine 162 00:10:29,520 --> 00:10:33,320 Speaker 1: if this story breaks big in America or not. That 163 00:10:33,520 --> 00:10:38,800 Speaker 1: man Howard Cosell. STU calls and personally asks Cosel not 164 00:10:39,120 --> 00:10:41,600 Speaker 1: to announce the news of Foreman's cut when he's on 165 00:10:41,640 --> 00:10:45,040 Speaker 1: the air later that night for Monday Night Football. The 166 00:10:45,080 --> 00:10:50,280 Speaker 1: famously egotistical broadcaster is calling the September sixteenth game Oakland 167 00:10:50,400 --> 00:10:54,440 Speaker 1: Raiders versus the Buffalo Bills, and this news about his 168 00:10:54,480 --> 00:10:58,360 Speaker 1: friend Muhammad Ali would be the perfect kind of news 169 00:10:58,400 --> 00:11:01,760 Speaker 1: for Cosel to break during Monday Night Football. The big 170 00:11:01,840 --> 00:11:05,440 Speaker 1: question is will Howard Cosell be able to resist the 171 00:11:05,600 --> 00:11:09,520 Speaker 1: ego driven urge to break this huge news that George 172 00:11:09,520 --> 00:11:12,360 Speaker 1: Foreman's been cut and that the rumble in the Jungle 173 00:11:12,440 --> 00:11:15,760 Speaker 1: may be canceled. Cosell is good to his word to 174 00:11:15,800 --> 00:11:19,960 Speaker 1: stue Levine. Never once does he mention Foreman's cut. According 175 00:11:20,000 --> 00:11:24,560 Speaker 1: to the New York Times account of events, stue Levine successfully. 176 00:11:23,960 --> 00:11:27,400 Speaker 2: Quote prevailed on the sportscaster Howard Cosell to hold back 177 00:11:27,440 --> 00:11:29,760 Speaker 2: for twenty four hours the news that the fight had 178 00:11:29,800 --> 00:11:33,240 Speaker 2: been postponed lest the American musicians stay home. 179 00:11:35,080 --> 00:11:38,960 Speaker 1: But there was also one other key but unlikely factor 180 00:11:39,040 --> 00:11:42,160 Speaker 1: that helps save the music festival. As The New York 181 00:11:42,200 --> 00:11:46,040 Speaker 1: Times further reported, Stue Levine quote was also lucky. 182 00:11:46,160 --> 00:11:48,920 Speaker 2: He said that it was Rashashana and many of the 183 00:11:48,960 --> 00:11:51,400 Speaker 2: performers managers were observing the holiday. 184 00:11:51,920 --> 00:11:55,920 Speaker 1: Turns out that same Monday, September sixteenth, is the Jewish 185 00:11:55,960 --> 00:11:59,199 Speaker 1: New Year, and that is why many of the musicians 186 00:11:59,280 --> 00:12:04,440 Speaker 1: never hear about Foreman's cut before they take off for Zaire. Instead, 187 00:12:04,640 --> 00:12:08,120 Speaker 1: the bands and their crews, their families, their entourages, along 188 00:12:08,200 --> 00:12:10,920 Speaker 1: with a documentary film crew as well as journalists and 189 00:12:10,920 --> 00:12:15,320 Speaker 1: photographers and the festival directors and Gary work in the 190 00:12:15,320 --> 00:12:18,960 Speaker 1: pr They all load up on that Douglas DC eight 191 00:12:19,679 --> 00:12:22,400 Speaker 1: and now the only thing they can stop them from 192 00:12:22,440 --> 00:12:26,800 Speaker 1: making it to Zaire is James Brown's overloaded sound equipment, 193 00:12:26,880 --> 00:12:29,240 Speaker 1: which could bring down the plane at any moment. 194 00:12:36,440 --> 00:12:38,720 Speaker 9: This is my favorite part of this whole story. There 195 00:12:38,800 --> 00:12:41,360 Speaker 9: was so much anticipation. I was so excited. 196 00:12:41,760 --> 00:12:45,599 Speaker 1: Nearly everyone on the plane to Zaire is buzzing with enthusiasm, 197 00:12:45,800 --> 00:12:49,720 Speaker 1: just like Gary Stromberg. Dancer Lola Love still can feel 198 00:12:49,760 --> 00:12:51,040 Speaker 1: the energy of that flight. 199 00:12:51,559 --> 00:12:54,520 Speaker 6: I'll take you that. It was Don King, it was 200 00:12:54,600 --> 00:12:57,240 Speaker 6: Lloyd Price, it was James Brown. They were doing all 201 00:12:57,280 --> 00:12:59,599 Speaker 6: the interviews. It was exciting. 202 00:13:00,480 --> 00:13:04,560 Speaker 1: The big stars, the bands, their crew, managers, family, the 203 00:13:04,600 --> 00:13:08,320 Speaker 1: documentary crew, and various writers and photographers. They all arrive 204 00:13:08,480 --> 00:13:10,040 Speaker 1: at the airport that Monday night. 205 00:13:10,520 --> 00:13:13,360 Speaker 9: We were all going together on one airplane, two hundred 206 00:13:13,400 --> 00:13:15,920 Speaker 9: and fifty of us on one airplane, all of this 207 00:13:16,120 --> 00:13:18,920 Speaker 9: talent together, and we were just winging it. And it 208 00:13:19,000 --> 00:13:20,960 Speaker 9: was chaos, total chaos. 209 00:13:21,000 --> 00:13:23,959 Speaker 1: And they were all ready to take off Rezaiir, but 210 00:13:24,200 --> 00:13:27,480 Speaker 1: they didn't leave right away because not everyone was on 211 00:13:27,520 --> 00:13:31,520 Speaker 1: the plane yet. As Lola Love remembers, noon quickly turned 212 00:13:31,520 --> 00:13:33,000 Speaker 1: to one pm. 213 00:13:33,040 --> 00:13:36,240 Speaker 6: And then it became two pm and three pm, and 214 00:13:36,280 --> 00:13:38,040 Speaker 6: we're still at the airport, and I'm like, well, when 215 00:13:38,040 --> 00:13:38,839 Speaker 6: an't we gonna go? 216 00:13:39,480 --> 00:13:42,120 Speaker 1: No one on the plane knows it or could know it. 217 00:13:42,520 --> 00:13:45,600 Speaker 1: But around that same time, Stu Levine is busy calling 218 00:13:45,679 --> 00:13:50,040 Speaker 1: Howard Kosel to ask for his huge personal favor. Meanwhile, 219 00:13:50,160 --> 00:13:55,880 Speaker 1: more time passes and more time passes. Ours actually pass. 220 00:13:56,320 --> 00:13:59,680 Speaker 6: And then it's six pm, and then it's eleven pm. 221 00:14:00,040 --> 00:14:03,400 Speaker 1: The musicians in entourages, media folks and everyone else has 222 00:14:03,440 --> 00:14:07,600 Speaker 1: been stuck at this airport for nearly twelve hours. Naturally, 223 00:14:07,679 --> 00:14:11,360 Speaker 1: what starts as general irritation begins to turn into a 224 00:14:11,559 --> 00:14:15,200 Speaker 1: simmering anger. By this point, the Monday night football game 225 00:14:15,240 --> 00:14:18,240 Speaker 1: is over, and Howard Cosell holds back the news a 226 00:14:18,240 --> 00:14:21,240 Speaker 1: foreman's cut and the fact that the title fight is 227 00:14:21,320 --> 00:14:24,640 Speaker 1: now postponed, so no one at the airport is privy 228 00:14:24,680 --> 00:14:28,600 Speaker 1: to this news. However, things may still come undone because 229 00:14:28,920 --> 00:14:31,760 Speaker 1: the plane still can't take off or zaiir because of 230 00:14:32,120 --> 00:14:35,760 Speaker 1: well a new problem. One that is the exact same 231 00:14:36,040 --> 00:14:40,880 Speaker 1: size and shape of James Brown. You see, the godfather 232 00:14:40,960 --> 00:14:44,440 Speaker 1: of Soul is threatening to walk at the last minute. 233 00:14:44,560 --> 00:14:47,920 Speaker 1: He is the big headliner. He knows his absence will 234 00:14:47,960 --> 00:14:50,920 Speaker 1: mean the end of the festival. That means James Brown 235 00:14:51,040 --> 00:14:54,600 Speaker 1: also knows he has leverage and he uses it to 236 00:14:54,640 --> 00:14:57,920 Speaker 1: get what he wants or he won't fly anywhere. 237 00:14:58,480 --> 00:15:00,600 Speaker 6: And then they say, oh, James Brown is waiting for 238 00:15:00,640 --> 00:15:03,480 Speaker 6: his money. James Brown does not hit the stage unless 239 00:15:03,520 --> 00:15:05,680 Speaker 6: he has his money in cash. 240 00:15:06,520 --> 00:15:09,560 Speaker 1: And until James Brown gets his money, he refuses to 241 00:15:09,640 --> 00:15:12,960 Speaker 1: leave the United States. He won't set foot on that plane, 242 00:15:13,000 --> 00:15:16,560 Speaker 1: not until he has the one hundred grand he was promised. 243 00:15:16,920 --> 00:15:20,160 Speaker 1: That means everyone must now wait for James Brown to 244 00:15:20,200 --> 00:15:23,880 Speaker 1: get paid. But it's the middle of the night. Now. 245 00:15:24,200 --> 00:15:29,040 Speaker 1: Another hour passes, and another hour until finally. 246 00:15:29,240 --> 00:15:33,640 Speaker 6: At two am, they got the money to James Brown's 247 00:15:33,680 --> 00:15:38,040 Speaker 6: wife in the hotel room. She counted it. She told 248 00:15:38,120 --> 00:15:40,080 Speaker 6: him it's all here. 249 00:15:40,480 --> 00:15:46,040 Speaker 1: The good to go to Africa now, right, Well not quite, because. 250 00:15:46,280 --> 00:15:49,960 Speaker 6: Then he said, fine, now I want all of my 251 00:15:50,200 --> 00:15:53,200 Speaker 6: sound equipment to go. And they're like, mister Brown, you 252 00:15:53,240 --> 00:15:56,440 Speaker 6: don't need just sound. We got Chipmunk doing the sound. 253 00:15:56,480 --> 00:15:59,960 Speaker 6: He is the biggest rock sound designer in the world. 254 00:16:00,000 --> 00:16:02,920 Speaker 1: Well, this doesn't matter a feather or a fig to 255 00:16:03,000 --> 00:16:05,960 Speaker 1: James Brown. He plans to bring his own gear because 256 00:16:05,960 --> 00:16:09,080 Speaker 1: he's booked other gigs in Africa and he wants them 257 00:16:09,160 --> 00:16:12,880 Speaker 1: to fly all his stuff over for free. So James 258 00:16:12,960 --> 00:16:14,000 Speaker 1: Brown says. 259 00:16:14,000 --> 00:16:15,960 Speaker 6: My equipment don't go. I don't go. 260 00:16:17,400 --> 00:16:19,560 Speaker 1: As Gary Stromberg recalls. 261 00:16:19,600 --> 00:16:22,280 Speaker 9: He had I think it was forty thousand pounds of 262 00:16:22,360 --> 00:16:25,200 Speaker 9: his own equipment that he insisted on bringing on the plane. 263 00:16:25,400 --> 00:16:28,920 Speaker 1: James Brown's bold demand goes about how you might expect. 264 00:16:29,320 --> 00:16:34,240 Speaker 1: Photographer Lynn Goldsmith certainly remembers that day all too well, oh. 265 00:16:34,080 --> 00:16:35,640 Speaker 10: The rideover was horrible. 266 00:16:36,280 --> 00:16:40,200 Speaker 7: I think we sat in that airport for sixteen hours 267 00:16:40,280 --> 00:16:42,760 Speaker 7: or some ridiculous amount of time. 268 00:16:43,440 --> 00:16:44,320 Speaker 8: So all the. 269 00:16:44,320 --> 00:16:47,360 Speaker 7: Artists were getting really mad with James Brown, but he 270 00:16:47,400 --> 00:16:50,000 Speaker 7: didn't care, and he ain't care if we all died. 271 00:16:50,360 --> 00:16:52,840 Speaker 7: That equipment was going on the plane this night. 272 00:16:53,320 --> 00:16:57,320 Speaker 1: That's how James Brown rolls deal with it, which they did. 273 00:16:57,600 --> 00:17:00,320 Speaker 6: So it took more time to figure out what they 274 00:17:00,360 --> 00:17:02,920 Speaker 6: were going to bring and his equipment. 275 00:17:03,360 --> 00:17:07,360 Speaker 1: Remarkably, the festival organizers eventually get the equipment all sorted 276 00:17:07,400 --> 00:17:08,520 Speaker 1: out and loaded up. 277 00:17:09,200 --> 00:17:13,399 Speaker 6: And when we finally finally got on the plane, James 278 00:17:13,440 --> 00:17:17,119 Speaker 6: Brown says, my entravige sits in the front like it's 279 00:17:17,160 --> 00:17:19,720 Speaker 6: a first class. It was a private plane. There was 280 00:17:19,760 --> 00:17:23,240 Speaker 6: no first class, business class, auld coach. It was a plane. 281 00:17:23,560 --> 00:17:28,600 Speaker 7: Everybody's on the plane, and James Brown wouldn't move. 282 00:17:31,720 --> 00:17:35,600 Speaker 1: The festival organizers, having gotten this far, decide to appease 283 00:17:35,680 --> 00:17:36,879 Speaker 1: the godfather of soul. 284 00:17:38,119 --> 00:17:41,280 Speaker 9: The plane was divided into the first class in the 285 00:17:41,320 --> 00:17:44,320 Speaker 9: economy I guess you'd call it sections, and James Brown 286 00:17:44,440 --> 00:17:48,159 Speaker 9: and his orchestra had the entire front section, which I 287 00:17:48,160 --> 00:17:50,719 Speaker 9: think was like forty seats, and the rest of us 288 00:17:50,720 --> 00:17:51,560 Speaker 9: were all in the back. 289 00:17:52,080 --> 00:17:55,960 Speaker 1: That pretty much kills whatever good vibe there is on 290 00:17:56,000 --> 00:17:57,480 Speaker 1: this plane. 291 00:17:57,560 --> 00:18:04,320 Speaker 7: Everybody was so angry to spin everybody that the Godfather 292 00:18:04,440 --> 00:18:08,560 Speaker 7: of soul was just so selfish as to keep them 293 00:18:08,600 --> 00:18:11,840 Speaker 7: waiting around to them, he wouldn't move to the back 294 00:18:11,880 --> 00:18:12,679 Speaker 7: of the plane. 295 00:18:13,080 --> 00:18:16,960 Speaker 1: And all those hours of waiting, by early Tuesday morning, 296 00:18:17,200 --> 00:18:20,520 Speaker 1: the plane still has yet to leave the tarmac and 297 00:18:20,640 --> 00:18:23,840 Speaker 1: is starting to get warm aboard the plane because. 298 00:18:23,840 --> 00:18:27,160 Speaker 9: The plane was severely overload. Literally you couldn't walk down 299 00:18:27,160 --> 00:18:30,240 Speaker 9: the aisles. Everybody brought all of their personal effects, all 300 00:18:30,280 --> 00:18:32,960 Speaker 9: of their instruments. All the musicians brought all their instruments. 301 00:18:33,119 --> 00:18:36,879 Speaker 9: Not being in storage, they were all in the passenger compartment, 302 00:18:37,320 --> 00:18:39,679 Speaker 9: so it was so cluttered you couldn't walk down the aisles. 303 00:18:39,760 --> 00:18:40,639 Speaker 9: It was hilarious. 304 00:18:41,080 --> 00:18:45,200 Speaker 1: However, it's not that funny to everyone on board. One 305 00:18:45,240 --> 00:18:48,359 Speaker 1: of the acts threatens to walk, a mutiny starts to 306 00:18:48,400 --> 00:18:52,760 Speaker 1: spread through the overloaded DC eight, but then just in time, 307 00:18:52,840 --> 00:18:56,919 Speaker 1: an announcement sounds through the plane. The pilot says, we 308 00:18:57,000 --> 00:19:03,600 Speaker 1: are ready for takeoff. People cheer, they holler with joy excitement. 309 00:19:03,680 --> 00:19:08,840 Speaker 1: It's happening. It's actually finally happening. This mad DC eight, 310 00:19:09,200 --> 00:19:13,960 Speaker 1: stuffed with irreplaceable talent and about forty pounds of James 311 00:19:13,960 --> 00:19:21,560 Speaker 1: Brown's sound gear, is now finally, really actually headed to Africa. First, 312 00:19:21,760 --> 00:19:24,439 Speaker 1: they have to take off, and that won't be easy. 313 00:19:25,119 --> 00:19:28,880 Speaker 6: It took every inch of the runway at JFK to. 314 00:19:28,920 --> 00:19:32,840 Speaker 1: Lift off, but somehow the overweight DC eight makes it 315 00:19:32,880 --> 00:19:35,480 Speaker 1: off the ground and it climbs up into the sky, 316 00:19:36,000 --> 00:19:37,920 Speaker 1: bound for the unknown. 317 00:19:38,480 --> 00:19:41,920 Speaker 9: We flew from New York to Madrid and then Madrid 318 00:19:41,960 --> 00:19:45,640 Speaker 9: to Conchosa. It was a long flight. Both legs were 319 00:19:45,800 --> 00:19:47,680 Speaker 9: very long, eight hours. 320 00:19:47,280 --> 00:19:53,800 Speaker 1: Maybe despite all the delays endured the bad vibes of 321 00:19:53,880 --> 00:19:59,320 Speaker 1: miscommunication and acts of selfishness. Ultimately, this is a plainload 322 00:19:59,359 --> 00:20:03,320 Speaker 1: of musicians. So soon enough someone starts to play a song, 323 00:20:04,960 --> 00:20:09,040 Speaker 1: someone else joins in, then a spontaneous jam takes hold. 324 00:20:09,320 --> 00:20:12,040 Speaker 1: It's led by a few of the members of the group, 325 00:20:12,240 --> 00:20:14,000 Speaker 1: the Fania All Stars. 326 00:20:14,560 --> 00:20:18,160 Speaker 6: My favorites. The Fania All Stars were in the back. 327 00:20:18,240 --> 00:20:21,120 Speaker 6: We had Johnny Pacheco, we had Saya Cruise, we had 328 00:20:21,200 --> 00:20:23,560 Speaker 6: Ray Barretto, and I was like, all those are my 329 00:20:23,600 --> 00:20:24,880 Speaker 6: funio oweso, I'm going back. 330 00:20:25,119 --> 00:20:27,880 Speaker 1: Except there's one little problem with Lola Love's plan. 331 00:20:28,359 --> 00:20:33,320 Speaker 6: She's told tap Lola, you're not allowed to socialize with 332 00:20:33,359 --> 00:20:38,439 Speaker 6: the other entertainers. What yes, mister Brown doesn't want you 333 00:20:38,720 --> 00:20:40,360 Speaker 6: socializing with anybody. 334 00:20:40,600 --> 00:20:43,080 Speaker 1: So Lola Love comes up with a new plan. 335 00:20:44,400 --> 00:20:48,520 Speaker 6: So I'm like, really cool, and I'm waiting until he 336 00:20:48,600 --> 00:20:51,119 Speaker 6: goes asleep and some of the other people go to sleep. 337 00:20:51,320 --> 00:20:55,320 Speaker 6: But you can hear Ray Barretto banging on stuff. You say, 338 00:20:55,359 --> 00:20:59,119 Speaker 6: your cruise is playing, Johnny Pacheco is like blowing his flute. 339 00:20:59,400 --> 00:21:02,960 Speaker 1: It's not only her, This jam session also attracts others. 340 00:21:03,320 --> 00:21:07,480 Speaker 6: And you got bb king clapping and singing and saying stuff. 341 00:21:07,720 --> 00:21:08,760 Speaker 6: And I'm gonna miss this. 342 00:21:09,200 --> 00:21:12,600 Speaker 1: I go back there, but Lola Love doesn't get into 343 00:21:12,680 --> 00:21:16,879 Speaker 1: any trouble since James Brown's band leader also plays hooky 344 00:21:17,200 --> 00:21:20,360 Speaker 1: as he recalls Fred Wesley goes back with Lola Love 345 00:21:20,480 --> 00:21:21,639 Speaker 1: and they find that. 346 00:21:21,640 --> 00:21:24,440 Speaker 11: We look along was playing a little keyboard that he 347 00:21:24,560 --> 00:21:27,840 Speaker 11: had on now you know, and check over playing his flute, 348 00:21:27,880 --> 00:21:31,359 Speaker 11: and six he was dancing, and we just had a 349 00:21:31,359 --> 00:21:36,240 Speaker 11: great time oday. We had jam sex and mckiva and 350 00:21:36,640 --> 00:21:37,959 Speaker 11: Definia all starve. 351 00:21:38,520 --> 00:21:42,440 Speaker 7: People sang or banged down the seats and did whatever. 352 00:21:42,680 --> 00:21:45,520 Speaker 7: But I think that was a long slunt. What else 353 00:21:45,520 --> 00:21:46,360 Speaker 7: were you gonna do? 354 00:21:46,920 --> 00:21:49,680 Speaker 9: And people were singing and laughing. It was just joyous. 355 00:21:50,160 --> 00:21:54,840 Speaker 1: There are also many quiet moments and some tender scenes. 356 00:21:55,240 --> 00:21:58,320 Speaker 11: I was sitting talking to Bill Withers half the time 357 00:21:58,400 --> 00:22:00,960 Speaker 11: that the next time I'm talking to to Henry with 358 00:22:01,040 --> 00:22:04,480 Speaker 11: the Aspinos, and it was just a great time from 359 00:22:04,640 --> 00:22:05,720 Speaker 11: beginning to end. 360 00:22:06,240 --> 00:22:09,639 Speaker 7: One of the Sledge sisters was doing drawings of Bill 361 00:22:09,720 --> 00:22:16,120 Speaker 7: Withers and BB King. You know, I enjoyed more personal moments. 362 00:22:15,680 --> 00:22:16,080 Speaker 10: Like b B. 363 00:22:16,280 --> 00:22:22,520 Speaker 7: King had brought fan letters with him because he was 364 00:22:22,560 --> 00:22:25,800 Speaker 7: going to be answering them on the plane. He answered 365 00:22:26,160 --> 00:22:27,440 Speaker 7: his fans. 366 00:22:27,600 --> 00:22:31,720 Speaker 11: It was truly an experience to remember. I can't ever 367 00:22:31,800 --> 00:22:33,560 Speaker 11: remember having that much fun, you know. 368 00:22:33,840 --> 00:22:36,280 Speaker 1: And lucky for us, it's all documented. 369 00:22:36,960 --> 00:22:42,320 Speaker 6: There was a West Coast camera crow. They were filming everything. 370 00:22:43,040 --> 00:22:45,720 Speaker 6: It was a party plane, but. 371 00:22:45,840 --> 00:22:49,000 Speaker 1: The vibes of this party plane are interrupted when their 372 00:22:49,080 --> 00:22:50,960 Speaker 1: lives are once again at risk. 373 00:22:51,560 --> 00:22:53,840 Speaker 6: Well, we landed in Madrid, we hit bail. 374 00:22:56,200 --> 00:22:58,960 Speaker 1: It's a scary moment for everyone aboard. 375 00:22:58,840 --> 00:22:59,960 Speaker 6: And everybody was what's going on. 376 00:23:00,400 --> 00:23:04,159 Speaker 1: It's got everyone's attention. When the overweight DC eight slams 377 00:23:04,200 --> 00:23:07,399 Speaker 1: back down to Earth, but no one is hurt and 378 00:23:07,440 --> 00:23:10,560 Speaker 1: most Importantly, none of James Brown's stage equipment gets damaged. 379 00:23:11,119 --> 00:23:14,560 Speaker 1: All jokes aside, it's a rather terrifying moment knowing that 380 00:23:14,600 --> 00:23:17,600 Speaker 1: you could die just to save James Brown a few 381 00:23:17,600 --> 00:23:20,600 Speaker 1: thousand on his touring budget. And well that didn't sit 382 00:23:20,680 --> 00:23:22,800 Speaker 1: right with everyone aboard when they heard. 383 00:23:22,960 --> 00:23:25,200 Speaker 6: James Brown had to take all of the stuff. Everybody 384 00:23:25,240 --> 00:23:28,320 Speaker 6: we overweight. And then you had Bill Withers talking about 385 00:23:28,400 --> 00:23:31,800 Speaker 6: James Brown that'd be jumping through a hoop on fire 386 00:23:32,240 --> 00:23:35,360 Speaker 6: for us to risk our lives so he could take 387 00:23:35,400 --> 00:23:36,520 Speaker 6: his sound equipment. 388 00:23:37,240 --> 00:23:40,520 Speaker 1: Bill Withers knows they're only in Madrid. They still have 389 00:23:40,600 --> 00:23:43,280 Speaker 1: to risk a whole another flight before they'll get to 390 00:23:43,359 --> 00:23:47,320 Speaker 1: conshasa plus, there's the sheer physical reality that at this. 391 00:23:47,400 --> 00:23:50,199 Speaker 9: Point everybody was exhausted. We get off the plane, we 392 00:23:50,240 --> 00:23:52,399 Speaker 9: get to shake our legs out a little bit to 393 00:23:52,480 --> 00:23:54,320 Speaker 9: get to maybe get something to eat. 394 00:23:54,480 --> 00:23:58,120 Speaker 1: But unfortunately it's a short layover, which means soon. 395 00:23:58,000 --> 00:24:01,560 Speaker 9: Enough, back on the plane, it's laid. Everybody's really tired. 396 00:24:02,000 --> 00:24:04,760 Speaker 9: We taxi to the end of the runway. 397 00:24:04,240 --> 00:24:08,439 Speaker 1: And the plane is still overloaded, but the runway is shorter. 398 00:24:08,760 --> 00:24:10,840 Speaker 9: We're ready to take off and the pilot comes on 399 00:24:10,880 --> 00:24:13,400 Speaker 9: the announcement, and he said, ladies and gentlemen, he said, 400 00:24:13,440 --> 00:24:16,280 Speaker 9: I've just received word from the flight deck that this 401 00:24:16,400 --> 00:24:20,040 Speaker 9: flight is severely overloaded and that this is a short 402 00:24:20,119 --> 00:24:22,480 Speaker 9: runway in Madrid. We're not going to get off the 403 00:24:22,520 --> 00:24:26,400 Speaker 9: ground unless we unload. Everybody in the front section has 404 00:24:26,440 --> 00:24:27,840 Speaker 9: to move to the back section. 405 00:24:28,760 --> 00:24:32,159 Speaker 1: The folks aboard must adjust the collective body weight to 406 00:24:32,280 --> 00:24:35,080 Speaker 1: balance out the plane and give them a fair shot 407 00:24:35,080 --> 00:24:37,919 Speaker 1: of taking off. But as a passenger, how do you 408 00:24:38,000 --> 00:24:40,000 Speaker 1: even respond to news like that? 409 00:24:40,600 --> 00:24:42,840 Speaker 9: And we're steady that we're stunned, like what does that mean? 410 00:24:43,560 --> 00:24:46,639 Speaker 1: Lola Love is up there in the James Brown first 411 00:24:46,680 --> 00:24:50,600 Speaker 1: class section and she recalls how it's now clear. Someone 412 00:24:50,840 --> 00:24:52,960 Speaker 1: must tell James Brown he needs to move to the 413 00:24:53,000 --> 00:24:55,919 Speaker 1: back of the plane. And you can imagine how that 414 00:24:56,000 --> 00:24:59,240 Speaker 1: chat's gonna go. The someone who gets up to go 415 00:24:59,320 --> 00:25:01,719 Speaker 1: tell James to move to the back of the plane 416 00:25:01,880 --> 00:25:03,320 Speaker 1: is Stuart Levine. 417 00:25:03,840 --> 00:25:06,679 Speaker 6: I saw Stu Levine talking about the fact that the 418 00:25:06,720 --> 00:25:08,960 Speaker 6: plane was how many tons. 419 00:25:08,720 --> 00:25:13,080 Speaker 9: Overweight, at which point James Brown stands up and says, 420 00:25:13,160 --> 00:25:16,040 Speaker 9: I'm the star this motherfucking show. You're gonna get this 421 00:25:16,160 --> 00:25:17,440 Speaker 9: plane off the ground like. 422 00:25:17,359 --> 00:25:21,480 Speaker 1: It is for the mellow honey voiced soul man Bill Withers, 423 00:25:22,080 --> 00:25:23,800 Speaker 1: this is the last straw. 424 00:25:24,359 --> 00:25:27,400 Speaker 9: And when you made that announcement, Bill Withers for some 425 00:25:27,520 --> 00:25:30,439 Speaker 9: reason just freaked out. I guess he had had some 426 00:25:30,560 --> 00:25:34,120 Speaker 9: kind of interaction with James Brown prior or just observed 427 00:25:34,160 --> 00:25:36,399 Speaker 9: him the way he was behaving prior and wasn't happy 428 00:25:36,440 --> 00:25:36,720 Speaker 9: with it. 429 00:25:36,960 --> 00:25:38,320 Speaker 1: That's an understatement. 430 00:25:38,760 --> 00:25:42,439 Speaker 6: Bill Withers was pretty pissed. I mean, I'm laughing and 431 00:25:42,520 --> 00:25:46,080 Speaker 6: talking about him, you know, jumping through hoops on fire. 432 00:25:46,240 --> 00:25:49,639 Speaker 1: But Bill was pissed, so pissed in fact, that Bill 433 00:25:49,640 --> 00:25:54,080 Speaker 1: Withers took things to the next level. What was a 434 00:25:54,119 --> 00:25:57,320 Speaker 1: flying party quickly descends into the sort of fight you'd 435 00:25:57,320 --> 00:26:00,200 Speaker 1: expect to find an a Delta juke joint. Because, yes, 436 00:26:00,280 --> 00:26:01,680 Speaker 1: Bill Withers, he pulls. 437 00:26:01,480 --> 00:26:03,160 Speaker 9: Out a knife. I don't know where he got a knife, 438 00:26:03,200 --> 00:26:06,880 Speaker 9: and he's walking down the aisle enraged. He's going after 439 00:26:06,960 --> 00:26:08,040 Speaker 9: James Brown. 440 00:26:08,680 --> 00:26:11,600 Speaker 1: In the middle of this packed plane still on the 441 00:26:11,640 --> 00:26:15,160 Speaker 1: tarmac in Madrid. Bill Withers looks to be fully prepared 442 00:26:15,200 --> 00:26:18,119 Speaker 1: to cut James Brown just to make his point, and 443 00:26:18,200 --> 00:26:18,800 Speaker 1: a big. 444 00:26:18,640 --> 00:26:22,040 Speaker 7: Fight broke out. They had to pull Bill off. I 445 00:26:22,080 --> 00:26:24,560 Speaker 7: think he pulled him down into the aisle. 446 00:26:25,040 --> 00:26:27,760 Speaker 9: I think there was Lloyd Price who jumped in front 447 00:26:27,760 --> 00:26:30,840 Speaker 9: of him and grabbed him in That little tussle ensued, 448 00:26:30,920 --> 00:26:33,440 Speaker 9: and Withers was screaming at James Brown. 449 00:26:33,920 --> 00:26:36,600 Speaker 7: It was just also shocking. 450 00:26:37,640 --> 00:26:41,399 Speaker 1: Eventually, James Brown's band leader, Fred Wesley gets involved. He 451 00:26:41,520 --> 00:26:44,040 Speaker 1: jumps in and he jokes at the plane being overloaded. 452 00:26:44,200 --> 00:26:45,680 Speaker 1: Isn't James Brown's fault. 453 00:26:46,200 --> 00:26:49,399 Speaker 11: I said, no, it's not James Brown's equipment. It's the 454 00:26:49,840 --> 00:26:51,480 Speaker 11: point of sister's wardrobe. 455 00:26:55,280 --> 00:26:56,520 Speaker 1: Make the plane overweight. 456 00:26:57,760 --> 00:26:59,840 Speaker 11: Let them leave some of those vested at home. 457 00:27:00,840 --> 00:27:04,800 Speaker 1: The pointer sisters did bring a Broadway stage show's worth 458 00:27:04,880 --> 00:27:08,280 Speaker 1: of costume changes, but a couple of racks of bedazzled 459 00:27:08,280 --> 00:27:12,800 Speaker 1: outfits are not what's making this plane several tons overweight. 460 00:27:13,440 --> 00:27:17,160 Speaker 1: The lasting impression of the Bill Withers versus James Brown 461 00:27:17,359 --> 00:27:20,440 Speaker 1: almost night fight for Lynn Goldsmith. 462 00:27:20,119 --> 00:27:25,120 Speaker 7: Is that Bill was a very honest god and the 463 00:27:25,160 --> 00:27:28,159 Speaker 7: others were still I don't know if they were trying 464 00:27:28,200 --> 00:27:33,320 Speaker 7: to just be good people and not express themselves. But 465 00:27:33,480 --> 00:27:38,760 Speaker 7: Bill really had enough. He didn't care any longer about 466 00:27:38,880 --> 00:27:42,919 Speaker 7: James being the godfather of soul. What he cared about 467 00:27:43,119 --> 00:27:47,000 Speaker 7: was that James Brown was endangering the lives of everybody. 468 00:27:59,440 --> 00:28:03,200 Speaker 1: How do you displaying a man like James Brown? Even 469 00:28:03,240 --> 00:28:06,840 Speaker 1: among the famous, among the superstars of life, James Brown 470 00:28:06,920 --> 00:28:09,320 Speaker 1: stands out. I mean that gets said a lot. But 471 00:28:09,680 --> 00:28:14,399 Speaker 1: James Brown was truly singular. He was like Prince or 472 00:28:14,480 --> 00:28:19,600 Speaker 1: Little Richard or Tupac. He was this unique, irreplaceable presence 473 00:28:19,680 --> 00:28:24,760 Speaker 1: in the culture. Born in Barnwell, South Carolina, James Brown 474 00:28:24,880 --> 00:28:27,679 Speaker 1: was raised in the church. He started out as a 475 00:28:27,680 --> 00:28:31,160 Speaker 1: gospel singer, but then left the church behind and developed 476 00:28:31,160 --> 00:28:35,400 Speaker 1: his singing style outside of the chapel walls. He added 477 00:28:35,440 --> 00:28:38,200 Speaker 1: the shouts and hollers of the juke joint and the 478 00:28:38,240 --> 00:28:42,080 Speaker 1: shrieks and squeals of sex. Then he backed that with 479 00:28:42,280 --> 00:28:45,880 Speaker 1: a fast, new rhythm, one that felt like the pelvic 480 00:28:46,040 --> 00:28:49,479 Speaker 1: thrusts of the bedroom were now allowed on the dance floor. 481 00:28:49,840 --> 00:28:53,120 Speaker 1: James Brown changed up the blues and R and B 482 00:28:53,440 --> 00:28:57,440 Speaker 1: into something wholly new, and that was the birth of 483 00:28:57,440 --> 00:29:01,960 Speaker 1: what we now call soul music. In nineteen sixty three, 484 00:29:02,320 --> 00:29:06,480 Speaker 1: James Brown released his iconic album Live at the Apollo. 485 00:29:06,880 --> 00:29:11,560 Speaker 1: It featured his genre defining songs I Got You, I 486 00:29:11,680 --> 00:29:15,440 Speaker 1: Feel Good, Papa's Got a brand New Bag, and It's 487 00:29:15,480 --> 00:29:20,440 Speaker 1: a Man's man's man's world. As the political climate of 488 00:29:20,480 --> 00:29:24,400 Speaker 1: the sixties heated and grew tumultuous. In the long hot 489 00:29:24,480 --> 00:29:28,440 Speaker 1: summer of nineteen sixty eight, James Brown gave a soundtrack 490 00:29:28,520 --> 00:29:32,719 Speaker 1: to the revolution with his mega hit song Say It Loud, 491 00:29:32,840 --> 00:29:36,320 Speaker 1: I'm Black and I'm Proud, And as the soul music 492 00:29:36,440 --> 00:29:39,920 Speaker 1: gave way to the birth of funk, James Brown was 493 00:29:40,000 --> 00:29:44,040 Speaker 1: there at the conception. In the early seventies, James Brown 494 00:29:44,200 --> 00:29:49,040 Speaker 1: redefined his sound with his pre eminent backing band, the JBS. 495 00:29:49,560 --> 00:29:52,160 Speaker 1: The band was tight as a drum skin, and it 496 00:29:52,240 --> 00:29:57,520 Speaker 1: was led by funkster Supreme Bootsy Collins and his brother Catfish. 497 00:29:57,640 --> 00:30:02,400 Speaker 1: They recorded James Brown's next of hits, the Payback and 498 00:30:02,720 --> 00:30:05,520 Speaker 1: Get Up. I feel like being a sex machine. By 499 00:30:05,560 --> 00:30:08,960 Speaker 1: the time He's headed to Zaire and James Brown is 500 00:30:09,000 --> 00:30:11,840 Speaker 1: a megastar, a man at the top of his game, 501 00:30:12,160 --> 00:30:16,360 Speaker 1: the peak of his career and his musical potency. The 502 00:30:16,440 --> 00:30:19,960 Speaker 1: promoter Don King always liked to refer to James Brown 503 00:30:20,000 --> 00:30:23,800 Speaker 1: as soul Brother number one, but the man had so 504 00:30:24,040 --> 00:30:28,000 Speaker 1: many show business nicknames. He was called the hardest working 505 00:30:28,080 --> 00:30:32,960 Speaker 1: man in show business and mister Dynamite. His most popular nickname, though, 506 00:30:33,160 --> 00:30:37,760 Speaker 1: was the godfather a soul. Regardless of what you called him, 507 00:30:38,040 --> 00:30:41,840 Speaker 1: there's one thing that remained the same. James Brown was 508 00:30:42,120 --> 00:30:45,720 Speaker 1: always what we would now call a selfish asshole, and 509 00:30:45,800 --> 00:30:48,160 Speaker 1: this wasn't helped by the fact he was typically on 510 00:30:48,240 --> 00:30:52,520 Speaker 1: a daily cocktail of uppers and downers and everything in between. 511 00:30:53,200 --> 00:30:57,120 Speaker 1: For ZI year seventy four, the job of managing James 512 00:30:57,160 --> 00:31:02,640 Speaker 1: Brown's recklessness came down to one Lloyd Price. He was 513 00:31:02,760 --> 00:31:06,560 Speaker 1: the main point of contact, but as well PR pro 514 00:31:06,720 --> 00:31:11,000 Speaker 1: Gary Stromberg certainly had his rushes with the diva James Brown. 515 00:31:11,800 --> 00:31:14,160 Speaker 9: Well. It was explained to me that James Brown was 516 00:31:14,480 --> 00:31:16,800 Speaker 9: number one and that you had to take care of 517 00:31:16,880 --> 00:31:20,760 Speaker 9: him first and foremost, so everybody else. Bb King wasn't 518 00:31:21,320 --> 00:31:23,840 Speaker 9: very demanding. Bill Withers he made him a high profile, 519 00:31:23,880 --> 00:31:26,800 Speaker 9: but he wasn't very demanding or outgoing, so he was 520 00:31:26,840 --> 00:31:30,000 Speaker 9: easy to manage. The Pointer sisters were clients of my 521 00:31:30,200 --> 00:31:32,920 Speaker 9: PR company. I knew them really well. They weren't going 522 00:31:32,920 --> 00:31:35,040 Speaker 9: to be an issue, so none of the other talent 523 00:31:35,240 --> 00:31:37,080 Speaker 9: seemed to be an issue. They were all going to 524 00:31:37,080 --> 00:31:39,960 Speaker 9: be easy to manage and work with. James Brown, on 525 00:31:40,000 --> 00:31:41,920 Speaker 9: the other hand, who I didn't know, but knew by 526 00:31:41,960 --> 00:31:45,680 Speaker 9: reputation I was very leery of and just watched him 527 00:31:45,760 --> 00:31:47,080 Speaker 9: very carefully. 528 00:31:46,800 --> 00:31:50,920 Speaker 1: And his reputation was legendary in the world of backstage 529 00:31:50,960 --> 00:31:51,920 Speaker 1: show business folk. 530 00:31:52,240 --> 00:31:55,520 Speaker 9: For instance, I'd gone to a concert once with James 531 00:31:55,520 --> 00:31:58,120 Speaker 9: Brown at the Hollywood Palladium, I think was on a 532 00:31:58,160 --> 00:32:01,120 Speaker 9: New Year's Eve in the late sixties, and he was 533 00:32:01,320 --> 00:32:03,360 Speaker 9: He showed up and he didn't come on stage because 534 00:32:03,560 --> 00:32:04,600 Speaker 9: he wanted more money. 535 00:32:05,000 --> 00:32:07,720 Speaker 1: As we've covered, if James Brown don't get paid, then 536 00:32:07,800 --> 00:32:09,360 Speaker 1: James Brown don't take the stage. 537 00:32:10,040 --> 00:32:12,240 Speaker 9: He came out on stage and he told the audience 538 00:32:12,280 --> 00:32:14,880 Speaker 9: that they're not paying him what he deserves, so he 539 00:32:14,920 --> 00:32:16,680 Speaker 9: isn't going to do this show. And if he was them, 540 00:32:17,000 --> 00:32:19,760 Speaker 9: meaning the audience, he would go and break started ripping 541 00:32:19,840 --> 00:32:22,840 Speaker 9: the place up, which they started doing. They caused a riot, 542 00:32:23,120 --> 00:32:26,440 Speaker 9: which James Brown encouraged. So I knew this guy was 543 00:32:26,480 --> 00:32:28,960 Speaker 9: capable of lighting the place on fire. 544 00:32:29,160 --> 00:32:33,280 Speaker 1: Because he also knew. James Brown was as unpredictable as 545 00:32:33,320 --> 00:32:34,320 Speaker 1: an open flame. 546 00:32:34,800 --> 00:32:36,800 Speaker 9: He was mercurial, you know, and you just never knew 547 00:32:36,880 --> 00:32:38,720 Speaker 9: what James Brown you were going to get at any 548 00:32:38,720 --> 00:32:41,000 Speaker 9: given moment. So that was a challenge. 549 00:32:42,280 --> 00:32:46,120 Speaker 1: Now, on that plane in Madrid headed to zaire Gary 550 00:32:46,240 --> 00:32:48,240 Speaker 1: feels rather honestly. 551 00:32:47,960 --> 00:32:51,320 Speaker 9: I was intimidated by James Brown. I can't lie about that. 552 00:32:51,600 --> 00:32:53,680 Speaker 9: I have a couple still photos at home with me 553 00:32:53,760 --> 00:32:56,600 Speaker 9: and James Brown just sitting there together talking and I 554 00:32:56,640 --> 00:32:59,400 Speaker 9: don't remember what we were talking about. I could see 555 00:32:59,400 --> 00:33:03,120 Speaker 9: in my face stet like I was leary of what 556 00:33:03,280 --> 00:33:06,280 Speaker 9: we were talking about. I just didn't trust that it 557 00:33:06,360 --> 00:33:09,160 Speaker 9: was safe talking to him. I don't know what it was, 558 00:33:09,200 --> 00:33:12,360 Speaker 9: but I didn't feel comfortable with James mister Brown, he 559 00:33:12,520 --> 00:33:13,720 Speaker 9: insisted on being called. 560 00:33:14,240 --> 00:33:17,320 Speaker 1: Sitting there in his made up first class section of 561 00:33:17,360 --> 00:33:20,959 Speaker 1: the plane, James Brown is perfectly willing to risk the 562 00:33:21,000 --> 00:33:24,479 Speaker 1: lives of everyone on board, including his own life, just 563 00:33:24,560 --> 00:33:27,840 Speaker 1: to save some shipping costs. The fact he risks his 564 00:33:27,920 --> 00:33:31,600 Speaker 1: own life is what makes his choice seem extra chaotic 565 00:33:32,040 --> 00:33:36,480 Speaker 1: and not just cheap and cruel ego like cocaine is 566 00:33:36,520 --> 00:33:39,160 Speaker 1: a hell of a drug, just to ask Muhammad Ali 567 00:33:39,560 --> 00:33:42,560 Speaker 1: or George Foreman or Don King or even Bill Withers. 568 00:33:43,120 --> 00:33:46,160 Speaker 1: After the pilot tells everyone that they need to go 569 00:33:46,280 --> 00:33:48,560 Speaker 1: to the back of the planes or their collective weight 570 00:33:48,640 --> 00:33:52,080 Speaker 1: can counteract the overloaded weight of James Brown's musical equipment. 571 00:33:52,560 --> 00:33:55,880 Speaker 1: What happens. Does James Brown take his place at the 572 00:33:55,920 --> 00:33:58,200 Speaker 1: back of the plane? What do you think? 573 00:33:58,720 --> 00:34:01,200 Speaker 9: James Brown stayed in the front, didn't go back in 574 00:34:01,240 --> 00:34:01,800 Speaker 9: the plane. 575 00:34:01,960 --> 00:34:03,200 Speaker 1: Hope you weren't surprised by that. 576 00:34:03,880 --> 00:34:07,479 Speaker 9: And the pilot was instructed to just take off as is. 577 00:34:07,800 --> 00:34:10,879 Speaker 1: They weren't gonna move, and so that's what they did. 578 00:34:11,080 --> 00:34:14,120 Speaker 1: Everyone had to hope the pilots knew what they were doing. 579 00:34:14,920 --> 00:34:17,160 Speaker 9: So can you imagine sitting in your seat on an 580 00:34:17,200 --> 00:34:20,560 Speaker 9: airplane where the pilot has informed you that unless everybody 581 00:34:20,600 --> 00:34:23,280 Speaker 9: moves to the back, we're not gonna make it, and 582 00:34:22,560 --> 00:34:25,279 Speaker 9: we're gonna try in any event. 583 00:34:25,280 --> 00:34:28,920 Speaker 1: And even then, James Brown still won't move to the 584 00:34:28,960 --> 00:34:30,400 Speaker 1: back of the plane. 585 00:34:30,120 --> 00:34:31,600 Speaker 6: Because I guess it was private. 586 00:34:31,880 --> 00:34:32,600 Speaker 10: They let it go. 587 00:34:33,000 --> 00:34:36,520 Speaker 1: They let it go once again. They all risk life 588 00:34:36,560 --> 00:34:44,640 Speaker 1: and limb to satisfy James Brown. The plane taxis down 589 00:34:44,760 --> 00:34:48,240 Speaker 1: the short Madrid runway. The pilots pushed the plane towards 590 00:34:48,239 --> 00:34:51,960 Speaker 1: its maximum thrust and sort of hope it all works out. 591 00:34:52,080 --> 00:34:55,520 Speaker 1: The overweight DC eight roars down that runway. The pilot 592 00:34:55,600 --> 00:34:58,200 Speaker 1: aims the nose of the plane up at the sky. 593 00:34:58,719 --> 00:35:02,080 Speaker 1: They're nearly out of runway, but then the pilot feels 594 00:35:02,080 --> 00:35:05,680 Speaker 1: the rush of wind lift the wings and that heaviest 595 00:35:05,719 --> 00:35:08,640 Speaker 1: hell airplane takes to the air, But first it. 596 00:35:09,000 --> 00:35:11,920 Speaker 9: Kit trees at the end of the runway. We skim 597 00:35:12,080 --> 00:35:14,719 Speaker 9: the trees. You could hear the brush breaking on the 598 00:35:14,760 --> 00:35:17,319 Speaker 9: bottom of the plane as we're taken off. It was 599 00:35:17,400 --> 00:35:20,480 Speaker 9: so close and I was just my heart was beating 600 00:35:20,480 --> 00:35:22,080 Speaker 9: a mile a minute, as you can imagine. 601 00:35:22,600 --> 00:35:24,319 Speaker 11: I don't know how they did it, but they got 602 00:35:24,360 --> 00:35:27,320 Speaker 11: it all together and we did manage to take off. 603 00:35:27,360 --> 00:35:29,920 Speaker 11: You know, the plane had to use every bit of 604 00:35:30,000 --> 00:35:31,960 Speaker 11: the runway, is it now? 605 00:35:32,000 --> 00:35:34,880 Speaker 1: In the following clip, you can hear my producer Julia 606 00:35:35,040 --> 00:35:38,920 Speaker 1: and I both imagining the worst as Lola Love takes 607 00:35:39,000 --> 00:35:39,960 Speaker 1: us through this moment. 608 00:35:40,320 --> 00:35:42,040 Speaker 6: Could you imagine that plane falling? 609 00:35:42,040 --> 00:35:42,279 Speaker 9: Little? 610 00:35:42,320 --> 00:35:46,480 Speaker 6: Oh my god, those stars on board no right, said no, no, no, 611 00:35:46,640 --> 00:35:47,879 Speaker 6: and it wasn't meant to be. 612 00:35:48,680 --> 00:35:51,759 Speaker 1: With their plane safely back in the sky and no 613 00:35:51,800 --> 00:35:56,120 Speaker 1: one killed by James Brown's forty pounds of musical equipment. Well, 614 00:35:56,480 --> 00:35:57,600 Speaker 1: what happens next? 615 00:35:57,920 --> 00:36:01,080 Speaker 6: We left from Madrid and the plane is still partying. 616 00:36:01,360 --> 00:36:05,000 Speaker 6: I don't think we slept, okay, We partied all the 617 00:36:05,040 --> 00:36:08,200 Speaker 6: way until we landed early in the morning in zaire. 618 00:36:08,719 --> 00:36:11,560 Speaker 9: The important part is that they have been made it 619 00:36:11,600 --> 00:36:12,359 Speaker 9: to Kinchasa. 620 00:36:12,800 --> 00:36:14,040 Speaker 5: We bid make it the zaire. 621 00:36:14,200 --> 00:36:14,480 Speaker 11: You know. 622 00:36:17,960 --> 00:36:21,840 Speaker 1: When the packed DC eight touches down in Kinshasa. This 623 00:36:22,040 --> 00:36:26,799 Speaker 1: time the pilots manage a more graceful landing, no terrifying 624 00:36:27,000 --> 00:36:32,440 Speaker 1: bam safely back down on terra firma. The musicians, their bandmates, 625 00:36:32,680 --> 00:36:36,319 Speaker 1: the dancers, their entourages, the family members, the documentary film crew, 626 00:36:36,360 --> 00:36:39,040 Speaker 1: and all the journalists and all the others gather up 627 00:36:39,080 --> 00:36:42,640 Speaker 1: their stuff and then wait to discover new sights and 628 00:36:42,719 --> 00:36:46,560 Speaker 1: new smells and new sounds that await them. It's Africa 629 00:36:47,000 --> 00:36:50,080 Speaker 1: just outside the plane, but it's also night. 630 00:36:50,560 --> 00:36:53,319 Speaker 9: We landed. It was after midnight. I looked out the 631 00:36:53,360 --> 00:36:56,200 Speaker 9: window and there were no lights on. We had apparently 632 00:36:56,280 --> 00:36:59,359 Speaker 9: landed with lights, but as soon as the plane hit 633 00:36:59,400 --> 00:37:02,360 Speaker 9: the ground those lights were turned off on purpose. We 634 00:37:02,440 --> 00:37:05,000 Speaker 9: looked out the windows. It was pitch black, and the 635 00:37:05,040 --> 00:37:08,120 Speaker 9: plane came to us stop. We all sat there looking around, 636 00:37:08,160 --> 00:37:10,520 Speaker 9: like where are we What's going on here? And it 637 00:37:10,560 --> 00:37:13,160 Speaker 9: was a few minutes just sitting there in total darkness, 638 00:37:13,480 --> 00:37:18,600 Speaker 9: and then all of a sudden we started hearing drumming, 639 00:37:19,280 --> 00:37:22,760 Speaker 9: very faint drumming, and then it started getting louder louder. 640 00:37:22,840 --> 00:37:25,319 Speaker 9: We knew something special was happening outside, but we didn't 641 00:37:25,320 --> 00:37:25,839 Speaker 9: know what it was. 642 00:37:26,160 --> 00:37:30,320 Speaker 1: Out of that darkness comes the sound of drums, African drums. 643 00:37:30,920 --> 00:37:34,760 Speaker 9: Nobody knew what to expect, nobody had been to Africa before. 644 00:37:34,880 --> 00:37:36,480 Speaker 9: We were going into the great unknown. 645 00:37:37,080 --> 00:37:42,040 Speaker 6: And then when the doors opened, the most amazing sound 646 00:37:42,280 --> 00:37:45,680 Speaker 6: were the African drums and the chance and then you 647 00:37:45,719 --> 00:37:49,279 Speaker 6: can feel that African air just coming in. 648 00:37:49,719 --> 00:37:52,400 Speaker 1: One of the first off the plane is Lynn Goldsmith, 649 00:37:52,640 --> 00:37:55,400 Speaker 1: the photographer. She has to stay in work mode. 650 00:37:56,040 --> 00:37:58,279 Speaker 7: I had to get down the plank first to try 651 00:37:58,280 --> 00:38:01,000 Speaker 7: to get people getting off the plane. There were those 652 00:38:01,040 --> 00:38:04,319 Speaker 7: who kissed the ground, you know, of Africa. 653 00:38:04,880 --> 00:38:08,759 Speaker 6: We were in Zaire and that was the Congo, and 654 00:38:08,960 --> 00:38:13,759 Speaker 6: those Congolese people greeted us, hugged us as we came 655 00:38:13,800 --> 00:38:16,960 Speaker 6: down the stairs and started walking to the buses that 656 00:38:17,000 --> 00:38:20,480 Speaker 6: were gonna take us to our hotel, and they were 657 00:38:20,520 --> 00:38:24,120 Speaker 6: so loving and the music was just so you couldn't 658 00:38:24,120 --> 00:38:27,040 Speaker 6: I was dancing my way to the bus because I 659 00:38:27,120 --> 00:38:31,919 Speaker 6: was so happy to be in in my motherland, Africa. 660 00:38:32,200 --> 00:38:35,040 Speaker 11: I remember people coming down all the playing Bill Withers 661 00:38:35,080 --> 00:38:38,680 Speaker 11: and the the Spinners and the part of Sister's Sister sleds. 662 00:38:39,080 --> 00:38:42,440 Speaker 11: It was so many people BB king over there. B 663 00:38:42,600 --> 00:38:46,319 Speaker 11: B thought he was real, baby, you know he was. 664 00:38:46,560 --> 00:38:48,719 Speaker 11: He was the guy unbelievable. 665 00:38:49,040 --> 00:38:52,279 Speaker 1: Among those there to greet them is Hugh Masekela. 666 00:38:53,040 --> 00:38:57,120 Speaker 11: I remember Hugh Messeequila was saying that, who is Fred Wesley? 667 00:38:58,040 --> 00:39:00,920 Speaker 11: So I said, I'm Fred Wesby and he's I'm a 668 00:39:01,000 --> 00:39:01,799 Speaker 11: Hugh Messaquila. 669 00:39:01,880 --> 00:39:05,360 Speaker 1: You know, he was asking for me, for me, for 670 00:39:05,480 --> 00:39:09,360 Speaker 1: Fred Wesley. And this man travels the world with James Brown, 671 00:39:09,600 --> 00:39:12,760 Speaker 1: but when he gets to Zire, Fred Wesley recalls how 672 00:39:12,800 --> 00:39:14,040 Speaker 1: special it felt. 673 00:39:14,280 --> 00:39:17,320 Speaker 11: It was like like you didn't landed on a planet. 674 00:39:18,760 --> 00:39:21,560 Speaker 11: It just felt like this was another world. You know, 675 00:39:21,680 --> 00:39:24,960 Speaker 11: you would coming to, but you would breaking something to 676 00:39:25,120 --> 00:39:28,800 Speaker 11: this world, you know, and this world was giving something 677 00:39:28,840 --> 00:39:29,560 Speaker 11: to you too. 678 00:39:30,120 --> 00:39:33,319 Speaker 1: When he finally steps off the plane, Gary Stromberg gets 679 00:39:33,360 --> 00:39:37,239 Speaker 1: to see what all is awaiting them in kinshasa It's 680 00:39:37,360 --> 00:39:38,240 Speaker 1: just music. 681 00:39:39,040 --> 00:39:44,000 Speaker 9: There was an entire troop of African dancers, native dancers 682 00:39:44,040 --> 00:39:47,600 Speaker 9: in costume surrounding the plane welcoming us, and then the 683 00:39:47,680 --> 00:39:51,480 Speaker 9: lights came on. It was just like like a theatrical production. 684 00:39:52,120 --> 00:39:54,759 Speaker 9: And that was the greeting that was given to us 685 00:39:55,200 --> 00:39:58,320 Speaker 9: upon arrival in Conshasa, and it was great. 686 00:39:58,840 --> 00:40:00,680 Speaker 6: And it was my first trip out of the country 687 00:40:00,719 --> 00:40:02,759 Speaker 6: with James Brown and it was in Africa, so that 688 00:40:02,840 --> 00:40:05,360 Speaker 6: was an amazing omen for me. I knew I was 689 00:40:05,400 --> 00:40:08,759 Speaker 6: going to have the time of my life. 690 00:40:11,080 --> 00:40:13,279 Speaker 1: While the plane was in the air, the drama of 691 00:40:13,360 --> 00:40:17,280 Speaker 1: George Foreman's cut continues to play out. The champ wants 692 00:40:17,320 --> 00:40:20,960 Speaker 1: to seek immediate medical treatment for the deep laceration over 693 00:40:21,000 --> 00:40:25,280 Speaker 1: his eye, but no doctor is called. Instead, as Foreman 694 00:40:25,400 --> 00:40:28,520 Speaker 1: recalls later in his autobiography. 695 00:40:28,160 --> 00:40:31,480 Speaker 12: Distrust in local doctors. I had sadly a place a 696 00:40:31,520 --> 00:40:35,200 Speaker 12: butterfly adhesive over the cut. In anticipation of flying to 697 00:40:35,280 --> 00:40:39,640 Speaker 12: Belgium of France for proper medical treatment and regrouping. 698 00:40:39,880 --> 00:40:43,759 Speaker 1: President Mabutu calls a special meeting of his sports committee 699 00:40:43,880 --> 00:40:47,720 Speaker 1: to decide his next move. In this moment of pause, 700 00:40:47,880 --> 00:40:51,279 Speaker 1: in that brief liminal space between what was and what 701 00:40:51,480 --> 00:40:55,279 Speaker 1: comes next, Ali takes a walk with Don King and 702 00:40:55,440 --> 00:40:59,960 Speaker 1: his partner Hank Schwartz. They used this moment to strategize. 703 00:41:00,480 --> 00:41:05,360 Speaker 1: As Ali writes later in his autobiography. 704 00:41:04,360 --> 00:41:07,360 Speaker 4: I watched the sunset over the Zaya River that flows 705 00:41:07,400 --> 00:41:10,120 Speaker 4: just beyond my door, and I walk along the promenade 706 00:41:10,120 --> 00:41:12,879 Speaker 4: with Hans Schwartz video techniques and Don King. 707 00:41:13,680 --> 00:41:15,359 Speaker 5: This gives George his way out. 708 00:41:15,520 --> 00:41:18,560 Speaker 4: King says, there's been something pulling him away from taking 709 00:41:18,600 --> 00:41:20,879 Speaker 4: this fight with you ever since it was made. Now 710 00:41:21,000 --> 00:41:24,120 Speaker 4: Fate comes in to help him. What does Saddler say? 711 00:41:24,239 --> 00:41:27,080 Speaker 4: I asked, if George is pressing to leave the country, 712 00:41:27,200 --> 00:41:29,839 Speaker 4: Saddler will go with him, Short says, and we move 713 00:41:29,880 --> 00:41:31,080 Speaker 4: mountains to get this one. 714 00:41:31,640 --> 00:41:35,000 Speaker 5: What can I do about it? Nothing? King is depressed. 715 00:41:35,800 --> 00:41:38,160 Speaker 5: Nothing to do but wait and see where George is 716 00:41:38,200 --> 00:41:38,600 Speaker 5: gonna go. 717 00:41:39,280 --> 00:41:43,040 Speaker 1: Muhammad Ali forgets that. The real question to ask is 718 00:41:43,800 --> 00:41:48,120 Speaker 1: what will Imabutu do? As George Farman recalls it. 719 00:41:48,520 --> 00:41:49,720 Speaker 5: Fear and I wouldn't return. 720 00:41:50,239 --> 00:41:54,560 Speaker 12: Zayir President Mobutu say say Seku, who cut the deal 721 00:41:54,600 --> 00:41:57,480 Speaker 12: with Don King to sponsor the fight, refuse to let 722 00:41:57,520 --> 00:41:58,839 Speaker 12: me leave until after the. 723 00:41:58,800 --> 00:42:02,720 Speaker 1: Bout that at least a month month and a half away. 724 00:42:03,160 --> 00:42:06,120 Speaker 1: And now, for the second time in less than a year, 725 00:42:06,520 --> 00:42:10,120 Speaker 1: the heavyweight champion of the world, George Foreman, gets held 726 00:42:10,200 --> 00:42:15,120 Speaker 1: captive in a foreign country. Meanwhile, the big announcement comes out. 727 00:42:15,440 --> 00:42:20,640 Speaker 1: The Ali Foreman fight is officially postponed. However, the show 728 00:42:20,760 --> 00:42:25,960 Speaker 1: must go on. The three day music festival cannot be delayed. 729 00:42:26,160 --> 00:42:28,880 Speaker 1: The two events will be separated by at least five 730 00:42:29,040 --> 00:42:32,640 Speaker 1: or six weeks. When Ali hears the news that there 731 00:42:32,680 --> 00:42:36,880 Speaker 1: fights officially being postponed, he holds a press conference and 732 00:42:37,040 --> 00:42:40,719 Speaker 1: jokes with the press. He turns the tense narrative of 733 00:42:40,800 --> 00:42:43,360 Speaker 1: failure back to his favor. 734 00:42:43,800 --> 00:42:47,200 Speaker 4: George's eye ain't cut that bad. It ain't the cut 735 00:42:47,280 --> 00:42:48,040 Speaker 4: he's afraid of. 736 00:42:48,680 --> 00:42:49,040 Speaker 5: It's me. 737 00:42:49,800 --> 00:42:52,920 Speaker 4: I'm in shape and he ain't. You saw how fat 738 00:42:52,960 --> 00:42:56,080 Speaker 4: he is. He's about to lose his title. Look at me, 739 00:42:56,680 --> 00:42:59,279 Speaker 4: See how trim and pretty. I am not announce a 740 00:42:59,320 --> 00:43:03,799 Speaker 4: fat anywhere now. I appeal to the President not to 741 00:43:03,880 --> 00:43:06,440 Speaker 4: let anyone connected with this fight out. 742 00:43:06,280 --> 00:43:10,240 Speaker 5: Of the country. Beat careful. George might sneak out tonight. 743 00:43:10,960 --> 00:43:14,680 Speaker 4: Watch the airports, watch the train station, watch the elephant trails. 744 00:43:14,680 --> 00:43:16,320 Speaker 5: Send boats to patrol the rippers. 745 00:43:16,880 --> 00:43:19,160 Speaker 4: He'll never come back if you let him out, Because 746 00:43:19,239 --> 00:43:21,120 Speaker 4: George Foreman knows I can't lose. 747 00:43:28,960 --> 00:43:30,680 Speaker 1: Next time on Rumble. 748 00:43:30,800 --> 00:43:38,640 Speaker 7: Mabutu had all the known pickpockets arrested, lined up and shot. 749 00:43:38,960 --> 00:43:41,319 Speaker 2: A lot of people lost their lives in the midst 750 00:43:41,360 --> 00:43:42,520 Speaker 2: of Cold War politics. 751 00:43:42,640 --> 00:43:45,880 Speaker 9: This was a dictatorship out and out. People were terribly 752 00:43:45,920 --> 00:43:47,960 Speaker 9: fearful of this guy. You could feel it. 753 00:43:51,080 --> 00:43:54,440 Speaker 10: Rumble is a production of School of Humans and iHeart Podcasts. 754 00:43:55,040 --> 00:43:57,680 Speaker 10: Rumble is written and hosted by Zaren Burnett. The third 755 00:43:58,280 --> 00:44:01,919 Speaker 10: produced and directed by Julia scou Sound designed by Jesse 756 00:44:02,080 --> 00:44:06,680 Speaker 10: Niswanger and scoring by John Washington. Original music composed by 757 00:44:06,760 --> 00:44:08,720 Speaker 10: Jordan Manley and T. J. Merritt. 758 00:44:09,080 --> 00:44:14,360 Speaker 13: Series concept by Gary Stromberg. Executive producers are Jason English, 759 00:44:14,640 --> 00:44:19,960 Speaker 13: Sean Titone, Gary Stromberg, Virginia Prescott, L. C. Crowley, and 760 00:44:20,080 --> 00:44:24,000 Speaker 13: Brandon barr Our. Senior producer is Amelia Brock. Production manager 761 00:44:24,160 --> 00:44:28,719 Speaker 13: Daisy Church, fact checker Savannah Hugley. Legal services provided by 762 00:44:28,920 --> 00:44:33,960 Speaker 13: Canoel Hanley PC. Additional production by Claire Keating, Casting director 763 00:44:34,080 --> 00:44:38,480 Speaker 13: Julia Christcau. Casting support services provided by Breakdown Express. 764 00:44:38,640 --> 00:44:44,280 Speaker 14: Episode nine cast Abraham Amka as Muhammad Ali, Anthony Brandon 765 00:44:44,360 --> 00:44:48,640 Speaker 14: Walker as George Foreman, Terrence Flint as Don King. 766 00:44:49,040 --> 00:44:52,520 Speaker 10: Special thanks to Lewis Ehrenberg. Check out his book Rumble 767 00:44:52,600 --> 00:44:54,160 Speaker 10: in the Jungle. It's a great resource. 768 00:44:54,800 --> 00:44:58,680 Speaker 14: Also thanks to Jonathan I for his book Ali Alife, 769 00:44:59,160 --> 00:45:03,400 Speaker 14: And finally thanks to Zarenz Pops Zeek who grounds this 770 00:45:03,480 --> 00:45:05,879 Speaker 14: material like no one else. If you like the show, 771 00:45:05,960 --> 00:45:09,520 Speaker 14: let us know, like subscribe, leave five star reviews. 772 00:45:09,600 --> 00:45:10,400 Speaker 10: It really helps. 773 00:45:11,239 --> 00:45:13,759 Speaker 14: Also check out our show notes for a full list 774 00:45:13,800 --> 00:45:14,960 Speaker 14: of reference materials.