1 00:00:00,240 --> 00:00:02,719 Speaker 1: The twenty seven Club is the production of I Heart 2 00:00:02,800 --> 00:00:08,280 Speaker 1: Radio and Double Elvis. Amy Winehouse died at the age 3 00:00:08,280 --> 00:00:12,119 Speaker 1: of and she lived the life full of opportunities that 4 00:00:12,240 --> 00:00:15,920 Speaker 1: she both seized and missed. I can give you twenty 5 00:00:16,000 --> 00:00:20,279 Speaker 1: seven reasons why that statement is true. Eighteen would be 6 00:00:20,280 --> 00:00:22,680 Speaker 1: the age she was when she first stumbled onto a 7 00:00:22,720 --> 00:00:25,720 Speaker 1: Monday night music scene that would change her life, shape 8 00:00:25,760 --> 00:00:30,040 Speaker 1: her career, and keep certain bad habits within reach. Another 9 00:00:30,080 --> 00:00:32,360 Speaker 1: one would be the number of years she would string 10 00:00:32,400 --> 00:00:35,680 Speaker 1: along a dream come true collaborator as he waited in 11 00:00:35,800 --> 00:00:38,440 Speaker 1: vain for her to contribute to a tribute album in 12 00:00:38,520 --> 00:00:41,520 Speaker 1: his honor. One more would be the number of loyal, 13 00:00:41,560 --> 00:00:45,519 Speaker 1: longtime collaborators who would unwittingly find himself on the receiving 14 00:00:45,640 --> 00:00:48,920 Speaker 1: end of an early morning social media flame war. Yet 15 00:00:48,960 --> 00:00:52,360 Speaker 1: another one would be the number of pounds and millions 16 00:00:52,400 --> 00:00:54,880 Speaker 1: that she would be offered to play a private forty 17 00:00:54,880 --> 00:00:59,880 Speaker 1: minute show for an anonymous Russian oligarch. Four more would 18 00:00:59,880 --> 00:01:02,800 Speaker 1: be the number of hours past midnight when Amy's new 19 00:01:02,840 --> 00:01:06,959 Speaker 1: flame would be ambushed by the press, photographed walking hand 20 00:01:07,000 --> 00:01:10,720 Speaker 1: in hand with his ex girlfriend. And two will be 21 00:01:10,760 --> 00:01:13,840 Speaker 1: the number of distinct paths she could choose to take 22 00:01:13,920 --> 00:01:17,760 Speaker 1: as her life stared down a very clear set of crossroads, 23 00:01:18,440 --> 00:01:24,039 Speaker 1: all totally on this our seventh episode of season four, 24 00:01:24,600 --> 00:01:30,039 Speaker 1: Bad Habits and anonymous Russian oligarch, Flame Wars and Amy Winehouse. 25 00:01:30,840 --> 00:02:06,800 Speaker 1: I'm Jake Brennan in This is the Seven Club m Y. 26 00:02:18,760 --> 00:02:21,280 Speaker 1: The DJ could feel the promoter eyeing him as he 27 00:02:21,360 --> 00:02:24,440 Speaker 1: set up his gear. He knew the guy wanted to 28 00:02:24,440 --> 00:02:26,600 Speaker 1: come over and talk to him. They tried to seek 29 00:02:26,639 --> 00:02:31,960 Speaker 1: a furtive glance, but the promoter locked dies ship. Come on, man, 30 00:02:32,320 --> 00:02:36,840 Speaker 1: don't do it, don't assle me. The DJ had spent 31 00:02:36,919 --> 00:02:39,680 Speaker 1: more nights absorbing one in nightlife than he could remember. 32 00:02:40,200 --> 00:02:44,280 Speaker 1: He was there, he was always there. He watched bands 33 00:02:44,320 --> 00:02:47,919 Speaker 1: make a bloody racket, DJ is spinning their sirens. Web 34 00:02:48,080 --> 00:02:52,079 Speaker 1: dance floor is packed with sweaty bodies. Now on this night, 35 00:02:52,360 --> 00:02:55,480 Speaker 1: the tables were turned. He was the one up on stage, 36 00:02:55,800 --> 00:02:59,400 Speaker 1: preparing to play his own set, and of course, just 37 00:02:59,600 --> 00:03:04,200 Speaker 1: as law, this promoter was ready to pounce. As the 38 00:03:04,320 --> 00:03:07,200 Speaker 1: DJ finished arranging his decks and plugging in his gear, 39 00:03:07,520 --> 00:03:11,079 Speaker 1: the promoter finally approached and handed him a list. Right 40 00:03:11,639 --> 00:03:15,960 Speaker 1: there was a list of records and artists he shouldn't play. 41 00:03:16,480 --> 00:03:19,079 Speaker 1: The club was worried he would spend something the audience 42 00:03:19,120 --> 00:03:21,280 Speaker 1: didn't want to hear, worried that he would clear the 43 00:03:21,360 --> 00:03:25,360 Speaker 1: dance floor, But Errol Alkin could give a funk about 44 00:03:25,400 --> 00:03:29,400 Speaker 1: clearing the dance floor. Errol would later state that playing 45 00:03:29,400 --> 00:03:32,240 Speaker 1: a record the audience didn't dig was just confirmation that 46 00:03:32,320 --> 00:03:34,880 Speaker 1: he wasn't resting on his laurels. He was always pushing, 47 00:03:35,160 --> 00:03:39,400 Speaker 1: always experimenting. He understood that life wasn't just about success. 48 00:03:40,160 --> 00:03:44,160 Speaker 1: Life was about being real above all else, and sometimes 49 00:03:44,200 --> 00:03:47,840 Speaker 1: being real meant screwing up. It may suck in the moment, 50 00:03:48,040 --> 00:03:50,640 Speaker 1: but it gave context to your truth as an artist. 51 00:03:51,280 --> 00:03:55,840 Speaker 1: He wasn't about playing it safe. Safe was boring. Erroll 52 00:03:55,880 --> 00:03:58,840 Speaker 1: didn't give a shit about genres. It was music for everyone. 53 00:03:59,480 --> 00:04:02,760 Speaker 1: This voter, though it was proven to be a major downer. 54 00:04:03,280 --> 00:04:06,440 Speaker 1: The guy didn't understand the alternative culture. How could he 55 00:04:06,920 --> 00:04:09,080 Speaker 1: buttoned up in a suit, just looking for the next 56 00:04:09,080 --> 00:04:11,920 Speaker 1: buck punching the clock. And that wasn't what this was 57 00:04:11,960 --> 00:04:15,560 Speaker 1: all about. This was about the music, the music that 58 00:04:15,680 --> 00:04:19,799 Speaker 1: ran through Errol's very being. Some of his earliest memories 59 00:04:19,800 --> 00:04:23,359 Speaker 1: were listening to his parents record collection, t Rex, the Stones, 60 00:04:23,480 --> 00:04:26,680 Speaker 1: the Beatles, By twelve years old, he was speaking out 61 00:04:26,680 --> 00:04:29,240 Speaker 1: of his parents house to play gigs, and by twenty 62 00:04:29,560 --> 00:04:32,719 Speaker 1: he was fully immersed in the alternative music movement in England, 63 00:04:33,080 --> 00:04:36,120 Speaker 1: spending nearly every eatning and nightclubs and concert halls. From 64 00:04:37,160 --> 00:04:40,440 Speaker 1: to two thousand, he listened to everything he could get 65 00:04:40,440 --> 00:04:44,400 Speaker 1: his hands on. Djaying was essentially sharing music, and he 66 00:04:44,480 --> 00:04:47,640 Speaker 1: wanted to make sure he shared the best. Music. Was 67 00:04:47,680 --> 00:04:50,440 Speaker 1: all connected the old and formed the new. The new 68 00:04:50,520 --> 00:04:52,880 Speaker 1: reflected on the old, and there was no reason to 69 00:04:52,960 --> 00:04:56,599 Speaker 1: draw lines. Regardless. Errol finished a set according to the 70 00:04:56,600 --> 00:04:59,880 Speaker 1: promoter's rules. He strayed from the songs they didn't want 71 00:05:00,040 --> 00:05:02,440 Speaker 1: to play, but he knew when it was over that 72 00:05:02,560 --> 00:05:05,440 Speaker 1: he was done. Not just at the Dog and Pony Show, 73 00:05:05,839 --> 00:05:10,080 Speaker 1: he was done playing other people's venues. He wanted to 74 00:05:10,120 --> 00:05:12,640 Speaker 1: make his own rules for playing to an audience. Just 75 00:05:12,839 --> 00:05:17,520 Speaker 1: one rule actually, and that rule was there were no rules, 76 00:05:18,040 --> 00:05:22,120 Speaker 1: total freedom of expression. That rule was in full effect 77 00:05:22,120 --> 00:05:25,040 Speaker 1: from the first night Eild debut his own weekly nightclub 78 00:05:25,440 --> 00:05:29,520 Speaker 1: Trash in January, all the way to the night it 79 00:05:29,600 --> 00:05:33,520 Speaker 1: closed a decade later. That rule stayed in place. Trash 80 00:05:33,560 --> 00:05:37,000 Speaker 1: took place on Monday nights, not on the weekend, which 81 00:05:37,160 --> 00:05:40,279 Speaker 1: was also a giant middle finger to the rules, to 82 00:05:40,360 --> 00:05:43,200 Speaker 1: the way things were usually done, no matter where the 83 00:05:43,200 --> 00:05:47,000 Speaker 1: club called home from venues like Plastic People or the Annex, 84 00:05:47,080 --> 00:05:49,680 Speaker 1: and soho, all the way to the end in London's 85 00:05:49,720 --> 00:05:52,520 Speaker 1: West End, where quite literally came to an end in 86 00:05:52,560 --> 00:05:57,200 Speaker 1: two thousand seven, Trash embodied that one critical rule, no 87 00:05:57,839 --> 00:06:04,360 Speaker 1: fucking rules. On its first night, sixty people showed up. 88 00:06:05,240 --> 00:06:08,240 Speaker 1: Errol knew all of them, no worries. It gave Trash 89 00:06:08,279 --> 00:06:11,040 Speaker 1: the tight knit field. It was more than a club 90 00:06:11,120 --> 00:06:15,000 Speaker 1: that was a community. Errol mixed deep cuts and classic 91 00:06:15,080 --> 00:06:17,640 Speaker 1: tracks with all the independent music that was coming out 92 00:06:17,640 --> 00:06:21,640 Speaker 1: of the time. It felt new, unexpected, something out of 93 00:06:21,640 --> 00:06:25,280 Speaker 1: time and space. As dance music began to take on 94 00:06:25,400 --> 00:06:28,000 Speaker 1: the aesthetics of alternative music throughout the start of the 95 00:06:28,080 --> 00:06:32,120 Speaker 1: twenty one century, the lines between genres continued to blur, 96 00:06:32,360 --> 00:06:36,800 Speaker 1: and Errol's nightclub blew up right place, right time, but 97 00:06:36,960 --> 00:06:41,039 Speaker 1: also right attitude, the right time. At Trash, the sub 98 00:06:41,080 --> 00:06:44,760 Speaker 1: will first thumped impossibly loud, the walls vibrated, and the 99 00:06:44,760 --> 00:06:49,040 Speaker 1: foundation shook. Bodies kept coming. Nights that were once averaging 100 00:06:49,120 --> 00:06:52,520 Speaker 1: sixty guests soon bawoun to seven d all of them 101 00:06:52,560 --> 00:06:55,480 Speaker 1: packed into the dark, cavernous room with walls painted by 102 00:06:55,480 --> 00:06:58,480 Speaker 1: a never ending white show that emanated from the stage. 103 00:06:59,160 --> 00:07:02,720 Speaker 1: In the typical Alcin set, you could hear Destiny's Child's 104 00:07:02,720 --> 00:07:06,440 Speaker 1: Bootylicious mixed with their vanas smells like teen Spirit, followed 105 00:07:06,440 --> 00:07:09,960 Speaker 1: by Tom Tom Clubs Genius of Love before transitioning nearly 106 00:07:10,000 --> 00:07:14,640 Speaker 1: effortlessly into Mary J. Blige's Family Affair sets and segues. 107 00:07:14,720 --> 00:07:17,960 Speaker 1: Paid no mind to arra or genre. If it feels right, 108 00:07:18,440 --> 00:07:22,120 Speaker 1: do it. It shouldn't have worked, but it did, and 109 00:07:22,360 --> 00:07:25,240 Speaker 1: Errol oversaw it all standing at his console with a 110 00:07:25,280 --> 00:07:28,040 Speaker 1: cigarette hanging out of his mouth, pumping his fists along 111 00:07:28,120 --> 00:07:31,400 Speaker 1: with the crowd. Errol wasn't separate from the audience and 112 00:07:31,440 --> 00:07:33,960 Speaker 1: they were all in it together. He was the most 113 00:07:33,960 --> 00:07:36,760 Speaker 1: sought after DJ in London and it made Trash one 114 00:07:36,800 --> 00:07:39,680 Speaker 1: of the hippest indie clubs in the world. And it 115 00:07:39,720 --> 00:07:42,920 Speaker 1: wasn't just DJs that got their shot at Trash Garage. 116 00:07:43,000 --> 00:07:46,880 Speaker 1: Rock Revival and Electroclash reigned supreme on trash Is stage. 117 00:07:47,320 --> 00:07:49,920 Speaker 1: The club hosted up and coming American indie acts like 118 00:07:49,960 --> 00:07:53,120 Speaker 1: the Yea Yeah Yeahs and LCD sound System, along with 119 00:07:53,280 --> 00:07:56,640 Speaker 1: UK up starts like block Party. The artists would play 120 00:07:56,640 --> 00:07:58,640 Speaker 1: with the crowd right on top of them, and there 121 00:07:58,640 --> 00:08:01,280 Speaker 1: were no barricades separate and who was on stage from 122 00:08:01,280 --> 00:08:04,040 Speaker 1: the audience. It was feral and honest to god punk 123 00:08:04,080 --> 00:08:07,560 Speaker 1: show and procedure, and had the energy to match. Soon, 124 00:08:07,680 --> 00:08:10,400 Speaker 1: bigger bands dropped off fresh pressings of the latest singles 125 00:08:10,400 --> 00:08:14,800 Speaker 1: to arrows, turntables, the verve, the strokes, the rapture, kindred 126 00:08:14,840 --> 00:08:17,280 Speaker 1: spirits from all corners of the city made the spot 127 00:08:17,400 --> 00:08:21,600 Speaker 1: their regular hangout, their sanctuary, their source for anything hip 128 00:08:21,600 --> 00:08:24,520 Speaker 1: and new. Their Monday nights were alive with the sound 129 00:08:24,560 --> 00:08:29,200 Speaker 1: of trash. Amy Winehouse was only eighteen when she became 130 00:08:29,200 --> 00:08:33,199 Speaker 1: a regular devotee. Like so many others, she was drawn 131 00:08:33,280 --> 00:08:36,920 Speaker 1: to the movement, to the culture, into the vibe. Amy dugget. 132 00:08:37,160 --> 00:08:39,839 Speaker 1: The old mixed with the new, the well known mixed 133 00:08:39,840 --> 00:08:43,720 Speaker 1: with the unexpected. Trash exposed Amy to new music in 134 00:08:43,840 --> 00:08:46,640 Speaker 1: new ways of thinking about how music could be made 135 00:08:46,679 --> 00:08:51,000 Speaker 1: and transmitted, how genres and styles could supersede whatever gimmicky 136 00:08:51,040 --> 00:08:54,480 Speaker 1: top forty prepackaged bullshit the record labels were pumping out. 137 00:08:54,800 --> 00:08:56,560 Speaker 1: As long as the music was good, as long as 138 00:08:56,600 --> 00:08:59,960 Speaker 1: the music was real. Trash was where Amy gazed into 139 00:09:00,200 --> 00:09:03,240 Speaker 1: Crystal Ball saw her future. She could be true to 140 00:09:03,280 --> 00:09:06,640 Speaker 1: herself as an artist, played by her own rules, and 141 00:09:06,960 --> 00:09:10,080 Speaker 1: be accepted not just by a room of trash kids 142 00:09:10,080 --> 00:09:12,640 Speaker 1: who dressed in vintage thrist store duds and dance to 143 00:09:12,720 --> 00:09:16,320 Speaker 1: motorheads Ace of Spades one moment and abbess dancing Queen 144 00:09:16,360 --> 00:09:19,800 Speaker 1: the next, but by the world at large, a world 145 00:09:19,840 --> 00:09:22,600 Speaker 1: that was beginning to embrace the kind of culture clash 146 00:09:22,640 --> 00:09:28,240 Speaker 1: that trash was promoting. Errol Alkins Monday Night dance club 147 00:09:28,360 --> 00:09:31,120 Speaker 1: was also where Amy would routinely bump into that skinny 148 00:09:31,120 --> 00:09:34,200 Speaker 1: guy with the troopy hat who spent many nights handing 149 00:09:34,200 --> 00:09:37,160 Speaker 1: out flyers at the front door, the one who's claimed 150 00:09:37,160 --> 00:09:39,920 Speaker 1: to fame before being a flyer hander outer was working 151 00:09:39,960 --> 00:09:43,240 Speaker 1: on that one Lily Allen music video. She didn't know 152 00:09:43,280 --> 00:09:45,640 Speaker 1: what she saw in him, but she saw a future 153 00:09:45,760 --> 00:09:49,040 Speaker 1: that included him in it, and a relationship with only 154 00:09:49,080 --> 00:10:21,439 Speaker 1: one rule, no rules at all. Quincy Jones knew a 155 00:10:21,559 --> 00:10:24,599 Speaker 1: user when he saw one. It wasn't just their appearance. 156 00:10:24,679 --> 00:10:28,120 Speaker 1: It was more than an unnatural discoloration around the eyes. 157 00:10:28,280 --> 00:10:34,160 Speaker 1: It was the look in the eyes, piercing, bottomless, desperate, sketchy, 158 00:10:34,720 --> 00:10:36,400 Speaker 1: a look that we'll push a ninety year old woman 159 00:10:36,440 --> 00:10:38,000 Speaker 1: out of the way if I'm in a direct line 160 00:10:38,000 --> 00:10:41,679 Speaker 1: to the next fix. Quincy gave off that look more 161 00:10:41,720 --> 00:10:44,280 Speaker 1: than a few times himself. This was back in the 162 00:10:44,360 --> 00:10:47,679 Speaker 1: late forties early fifties. Ray Charles turned him out of 163 00:10:47,760 --> 00:10:50,920 Speaker 1: dope and q was just fifteen. Quincy was already doing 164 00:10:50,960 --> 00:10:54,400 Speaker 1: benzos and papers by that point, and heroin was something else, 165 00:10:54,480 --> 00:10:58,120 Speaker 1: so in its own category of high, a high so 166 00:10:58,360 --> 00:11:01,440 Speaker 1: high that it was low. When Quincy went on tour 167 00:11:01,520 --> 00:11:04,960 Speaker 1: with Lionel Hampton in the early nineteen fifties, the junkies 168 00:11:05,000 --> 00:11:07,360 Speaker 1: sat in their own section of the tour bus and 169 00:11:07,440 --> 00:11:11,360 Speaker 1: the straits sat up front, weed smokers behind them, then 170 00:11:11,440 --> 00:11:14,720 Speaker 1: the boozers, and then the users back of the bus. 171 00:11:14,720 --> 00:11:17,640 Speaker 1: With that ship, seemed like everybody else was using back then, 172 00:11:18,000 --> 00:11:21,360 Speaker 1: dealing too hell. Every time the tour bus rolled into Detroit, 173 00:11:21,679 --> 00:11:24,360 Speaker 1: it would make a can't misspassed by the Majestic Hotel 174 00:11:24,760 --> 00:11:27,040 Speaker 1: so that the band could buy some dope off Malcolm 175 00:11:27,240 --> 00:11:32,479 Speaker 1: X no ship. This was before he was Malcolm X, obviously, 176 00:11:32,559 --> 00:11:35,439 Speaker 1: and they all called him Detroit Red Red went to 177 00:11:35,520 --> 00:11:38,439 Speaker 1: prison for that. Quincy never went to prison for dope, 178 00:11:38,480 --> 00:11:40,480 Speaker 1: but he did have his own come to Jesus moment. 179 00:11:40,520 --> 00:11:44,560 Speaker 1: Only five months or so into his habit, he was 180 00:11:44,679 --> 00:11:47,840 Speaker 1: stone out of his head. He tripped at the top 181 00:11:47,880 --> 00:11:52,199 Speaker 1: of a staircase and he fell five flights, tumbling down 182 00:11:52,320 --> 00:11:55,240 Speaker 1: head over heels. Each stair found a new body part 183 00:11:55,280 --> 00:11:59,400 Speaker 1: to bruise, and that was it. Quincy Jones didn't funk 184 00:11:59,400 --> 00:12:02,920 Speaker 1: with dope, and he more after that, but he could 185 00:12:02,920 --> 00:12:05,200 Speaker 1: still pick out the ones who were fucking with dope 186 00:12:05,240 --> 00:12:08,760 Speaker 1: from a crowd, even if the crowd was fort strong, 187 00:12:09,120 --> 00:12:11,959 Speaker 1: like it was on June two thousand and eight at 188 00:12:12,040 --> 00:12:17,840 Speaker 1: Hyde Park in London. The occasion was Nelson Mandela's ninetieth 189 00:12:17,880 --> 00:12:21,120 Speaker 1: birthday party. Queens on the bill that night with bad 190 00:12:21,160 --> 00:12:25,360 Speaker 1: companies Paul Rogers attempting to fill Freddie Mercury's immortal shoes, 191 00:12:26,120 --> 00:12:29,600 Speaker 1: Will Smith Annie Lennox. The performer that everyone had eyes 192 00:12:29,640 --> 00:12:33,640 Speaker 1: on that night, however, was Amy Winehouse. Surely more than 193 00:12:33,679 --> 00:12:35,840 Speaker 1: a handful of friendly bets were placed as to whether 194 00:12:35,880 --> 00:12:38,400 Speaker 1: she would pull herself together for long enough to properly 195 00:12:38,440 --> 00:12:42,040 Speaker 1: honor Nelson Mandela, or if she was once again going 196 00:12:42,080 --> 00:12:47,120 Speaker 1: to self destruct on stage. Just five months prior, the 197 00:12:47,240 --> 00:12:50,680 Speaker 1: Sun had leaked that grainy video where she allegedly took 198 00:12:50,760 --> 00:12:52,960 Speaker 1: hits from a crack pipe. And then there was that 199 00:12:53,040 --> 00:12:55,440 Speaker 1: dust stuff with the guy playing pool at a Camden pub, 200 00:12:55,600 --> 00:12:58,200 Speaker 1: followed in quick succession with the head bluff she delivered 201 00:12:58,200 --> 00:13:00,679 Speaker 1: to the blow could tried to hail her cab. There 202 00:13:00,760 --> 00:13:04,400 Speaker 1: was Wine Mouse, that strange video co starring Pete Darty 203 00:13:04,480 --> 00:13:07,839 Speaker 1: with cameos from Baby Mice. Not to mention the revelation 204 00:13:07,920 --> 00:13:11,000 Speaker 1: that she had early onset and physion, and the crowd 205 00:13:11,000 --> 00:13:14,360 Speaker 1: had hide part braced themselves for the worst, and they 206 00:13:14,400 --> 00:13:19,960 Speaker 1: were pleasantly surprised when they were given the best. Quincy Jones, 207 00:13:20,120 --> 00:13:23,880 Speaker 1: like all others in attendance, was duly impressed with Amy's performance. 208 00:13:24,480 --> 00:13:26,320 Speaker 1: He also saw a look in her eyes when he 209 00:13:26,360 --> 00:13:29,560 Speaker 1: met her for the first time after the show. That look. 210 00:13:29,920 --> 00:13:32,360 Speaker 1: She didn't appear high at the time, but the look 211 00:13:32,480 --> 00:13:36,040 Speaker 1: was right there, lingering, lurking, hanging out at the back 212 00:13:36,080 --> 00:13:41,440 Speaker 1: of the bus for the next stop to score right now. Backstage, 213 00:13:41,520 --> 00:13:45,920 Speaker 1: Amy was charming, nervous too, so nervous that she sent 214 00:13:46,000 --> 00:13:49,920 Speaker 1: her father Mitch over to broker the introduction. Mitch led 215 00:13:50,000 --> 00:13:53,520 Speaker 1: Quincy back to where Amy was anxiously waiting. She greeted 216 00:13:53,600 --> 00:13:57,080 Speaker 1: him like Royalty, dropped to her knees, kissed his hand. 217 00:13:57,520 --> 00:13:59,560 Speaker 1: She rambled on about how she had been listening to 218 00:13:59,640 --> 00:14:02,199 Speaker 1: his record It's Her Whole Life and not just Michael 219 00:14:02,280 --> 00:14:05,120 Speaker 1: Jackson's populist bangers. She was down with Ray and a 220 00:14:05,200 --> 00:14:10,440 Speaker 1: Reason and count Basie, Dinah Washington, Dizzy, Sara Vaughan. Quincy 221 00:14:10,600 --> 00:14:13,079 Speaker 1: was blown away with Amy's knowledge of jazz and R 222 00:14:13,200 --> 00:14:16,600 Speaker 1: and B at her age incredible. He thought. He was 223 00:14:16,640 --> 00:14:19,200 Speaker 1: so impressed that he invited Amy and Mark Ronson to 224 00:14:19,200 --> 00:14:21,720 Speaker 1: work on a new project, a tribute album that would 225 00:14:21,720 --> 00:14:26,040 Speaker 1: honor Quincy himself. Amy couldn't say yes quickly enough. A 226 00:14:26,200 --> 00:14:28,720 Speaker 1: chance to work with one of her idols. She was 227 00:14:28,800 --> 00:14:31,600 Speaker 1: in the project would pair her and Mark with one 228 00:14:31,600 --> 00:14:34,560 Speaker 1: of the most respected men in the entertainment industry, and 229 00:14:34,600 --> 00:14:37,320 Speaker 1: there were even rumors circulating that she get the opportunity 230 00:14:37,360 --> 00:14:39,880 Speaker 1: to perform tracks from the album live with none other 231 00:14:39,920 --> 00:14:44,080 Speaker 1: than Michael Jackson. Amy wanted to cover some old Leslie Gore, 232 00:14:44,280 --> 00:14:46,720 Speaker 1: one of the iconic songs Quincy at helm back in 233 00:14:46,760 --> 00:14:49,640 Speaker 1: the yearly sixties, you Don't Own Me or maybe It's 234 00:14:49,680 --> 00:14:53,640 Speaker 1: My Party. They both gave off huge Amy Winehouse fives 235 00:14:53,760 --> 00:14:56,880 Speaker 1: it was a massive opportunity. Who knew what else would 236 00:14:56,960 --> 00:14:59,400 Speaker 1: lead to If there was a reason for Amy to 237 00:14:59,400 --> 00:15:03,680 Speaker 1: hold it to get there, this was it. She managed 238 00:15:03,720 --> 00:15:06,280 Speaker 1: to hold it together for a little under two weeks. 239 00:15:07,520 --> 00:15:10,680 Speaker 1: At her next show in Glastonbury, she punched a fan 240 00:15:10,800 --> 00:15:14,000 Speaker 1: in the face. A month after that, she pulled out 241 00:15:14,000 --> 00:15:16,720 Speaker 1: of the rock On sund Festival for the second straight year. 242 00:15:17,200 --> 00:15:19,440 Speaker 1: A week after that, she showed up to Best of 243 00:15:19,440 --> 00:15:23,320 Speaker 1: All forty minutes late, Hammered. Close to a year later, 244 00:15:23,400 --> 00:15:26,520 Speaker 1: Quincy Jones was still looking for the song Amy had promised. 245 00:15:27,840 --> 00:15:30,520 Speaker 1: Quincy knew Amy was a once in a lifetime talent, 246 00:15:30,840 --> 00:15:32,480 Speaker 1: and that's why he gave her so much time to 247 00:15:32,520 --> 00:15:36,800 Speaker 1: turn the track in. Mark Ronson meanwhile, was standing by 248 00:15:37,160 --> 00:15:39,800 Speaker 1: ready to finish the tune. They were so close it 249 00:15:39,840 --> 00:15:43,120 Speaker 1: wouldn't take much time at all. It didn't matter Amy 250 00:15:43,160 --> 00:15:46,560 Speaker 1: was in St. Lucia or wherever, and obviously had other priorities. 251 00:15:46,960 --> 00:15:51,640 Speaker 1: The track was never delivered. Quincy Jones noted the user behavior. 252 00:15:51,720 --> 00:15:54,200 Speaker 1: One minute they were in, the next minute they were out, 253 00:15:54,400 --> 00:15:58,480 Speaker 1: dropped out hard, and so in turn Quincy dropped her 254 00:15:58,600 --> 00:16:02,640 Speaker 1: from his album. Amy stewed in private she was pissed 255 00:16:02,680 --> 00:16:05,480 Speaker 1: at Quincy Jones for not giving her more time, pissed 256 00:16:05,520 --> 00:16:07,480 Speaker 1: that he thought she was a strong out junkie even 257 00:16:07,480 --> 00:16:10,080 Speaker 1: though she was making a concerted effort to get herself 258 00:16:10,120 --> 00:16:13,280 Speaker 1: off dope once and for all. She was also pissed 259 00:16:13,280 --> 00:16:15,880 Speaker 1: at herself for taking so long to turn something in 260 00:16:16,560 --> 00:16:19,000 Speaker 1: and that was on her. And she was pissed at 261 00:16:19,000 --> 00:16:22,600 Speaker 1: Mark Ronson because of how disappointed he was. The whole 262 00:16:22,640 --> 00:16:25,720 Speaker 1: thing ate away at her for a long time, until 263 00:16:25,760 --> 00:16:27,920 Speaker 1: one morning she took all her anger out on a 264 00:16:27,960 --> 00:16:34,760 Speaker 1: computer keyboard. September two thousand five, sixteen a m. The 265 00:16:34,920 --> 00:16:38,440 Speaker 1: sun was starting to rise, but the dull glow cast 266 00:16:38,520 --> 00:16:42,160 Speaker 1: on Amy Winehouse's face was coming from her laptop. She 267 00:16:42,320 --> 00:16:45,800 Speaker 1: was fuming. She had just seen the interview Mark Ronson 268 00:16:45,840 --> 00:16:48,840 Speaker 1: gave to Jules holland he took credit for the work 269 00:16:48,960 --> 00:16:52,160 Speaker 1: she did. She wrote that album. It was her emotion 270 00:16:52,200 --> 00:16:55,560 Speaker 1: that she had put into words, her heartbreak, and he 271 00:16:55,720 --> 00:16:58,120 Speaker 1: had the nerve to say. She stumbled into the studio 272 00:16:58,120 --> 00:17:00,840 Speaker 1: with an acoustic guitar, plucked a you strings like some 273 00:17:00,920 --> 00:17:06,920 Speaker 1: remedial bimbo, and he did the rest bullshit. She made him, 274 00:17:06,960 --> 00:17:09,360 Speaker 1: not the other way around. If it wasn't for her 275 00:17:09,760 --> 00:17:12,160 Speaker 1: he'd be stuck in DJ booth purgatory for the rest 276 00:17:12,160 --> 00:17:15,040 Speaker 1: of his life. She rubbed her eyes and she was 277 00:17:15,160 --> 00:17:18,600 Speaker 1: be maybe she should just go to bed. Fucking She 278 00:17:18,680 --> 00:17:21,400 Speaker 1: opened her browser and pulled up Twitter. She was using 279 00:17:21,400 --> 00:17:24,600 Speaker 1: her burner account at Amy Jade Mermaid, but there was 280 00:17:24,640 --> 00:17:29,760 Speaker 1: nothing anonymous about it. Her followers knew it was her good. 281 00:17:29,920 --> 00:17:32,640 Speaker 1: She wanted everyone to know this prick with the slick 282 00:17:32,680 --> 00:17:35,679 Speaker 1: back Pompadoor wasn't gonna pull one over on her. Nobody was. 283 00:17:36,080 --> 00:17:40,000 Speaker 1: She began to type Ronson, you're dead to me one album? 284 00:17:40,080 --> 00:17:42,399 Speaker 1: I right, and you take half the credit. Make a 285 00:17:42,440 --> 00:17:47,000 Speaker 1: career out of it. I don't think so. Rough. She 286 00:17:47,080 --> 00:17:49,680 Speaker 1: sat on it for a day and then another, and 287 00:17:49,800 --> 00:17:52,720 Speaker 1: the tabloids took her missive to the next level. Amy 288 00:17:52,720 --> 00:17:56,040 Speaker 1: Winehouse starts feud with collaborator Mark Ronson on Twitter or 289 00:17:56,160 --> 00:17:58,879 Speaker 1: the headline of the Daily Mail. Mark appeared on the 290 00:17:58,880 --> 00:18:01,359 Speaker 1: morning TV show be You See Breakfast to admit that 291 00:18:01,400 --> 00:18:03,520 Speaker 1: he wasn't sure what he'd done to upset it. He 292 00:18:03,560 --> 00:18:05,439 Speaker 1: even went his first to say that Amy was the 293 00:18:05,480 --> 00:18:07,480 Speaker 1: reason he was on the map, and why would he 294 00:18:07,520 --> 00:18:10,280 Speaker 1: try to take credit for her hard work. On the 295 00:18:10,359 --> 00:18:13,119 Speaker 1: third day, Amy sat back down at her laptop and 296 00:18:13,200 --> 00:18:17,600 Speaker 1: composed a follow up tweet, Ronson, I love you. That 297 00:18:17,760 --> 00:18:21,840 Speaker 1: make it better? You know I love you. She regretted 298 00:18:21,880 --> 00:18:24,320 Speaker 1: what she had said, just like she regretted what she 299 00:18:24,359 --> 00:18:27,280 Speaker 1: had done with the song for Quincy Jones, or rather 300 00:18:27,359 --> 00:18:30,080 Speaker 1: what she hadn't done with that song. At least she 301 00:18:30,080 --> 00:18:32,840 Speaker 1: didn't make Mark Ronson wait a year for an apology. 302 00:18:33,400 --> 00:18:37,000 Speaker 1: Quincy Jones never got his. He was still waiting. Not 303 00:18:37,119 --> 00:18:40,560 Speaker 1: that she dissed Quincy Jones in her mind, she just 304 00:18:40,600 --> 00:18:43,480 Speaker 1: had a change of heart. It was her track. She'd 305 00:18:43,480 --> 00:18:45,920 Speaker 1: sing it as she wanted to. She knew it would 306 00:18:45,920 --> 00:18:50,560 Speaker 1: be more opportunities, including one so lucrative it would be 307 00:18:50,640 --> 00:18:56,480 Speaker 1: damn near impossible to pass up. We'll be right back 308 00:18:56,720 --> 00:19:07,720 Speaker 1: after this word. We were. December two, the wheels of 309 00:19:07,760 --> 00:19:12,359 Speaker 1: the impressive private jet touched down in snowy Moscow. The 310 00:19:12,400 --> 00:19:16,639 Speaker 1: opulence Amy Winehouse was treating to was stunningly over the top. 311 00:19:17,400 --> 00:19:20,600 Speaker 1: Crystal hung from the ceilings and gold plating radiated in 312 00:19:20,600 --> 00:19:24,399 Speaker 1: the bathrooms. The furniture screamed House of Romanov, even though 313 00:19:24,440 --> 00:19:26,800 Speaker 1: it looked like it hadn't been sat on in centuries. 314 00:19:27,160 --> 00:19:30,800 Speaker 1: Maybe ever. The hotel room alone was worth seventeen dred 315 00:19:30,800 --> 00:19:33,919 Speaker 1: pounds a night. She didn't mind that the man paying 316 00:19:33,960 --> 00:19:37,080 Speaker 1: for it all wanted to remain anonymous. Nor did she 317 00:19:37,119 --> 00:19:40,080 Speaker 1: mind that the same man had assigned to staggering fifty 318 00:19:40,200 --> 00:19:44,399 Speaker 1: bodyguards to escort her to and from the show. That's 319 00:19:44,440 --> 00:19:47,640 Speaker 1: after flying her from London to Moscow for his private 320 00:19:47,720 --> 00:19:51,080 Speaker 1: one off gig. She also didn't mind what his politics 321 00:19:51,080 --> 00:19:55,000 Speaker 1: were or what he thought about anything. Really, one million 322 00:19:55,040 --> 00:19:59,600 Speaker 1: pounds meant that she didn't have to mind one million 323 00:19:59,640 --> 00:20:03,880 Speaker 1: pounds for a forty minutes set performed at the request 324 00:20:03,920 --> 00:20:08,159 Speaker 1: of a billionaire Russian oli arc. That's pounds a minute. 325 00:20:08,560 --> 00:20:10,840 Speaker 1: The olive Arc got the hand pick the set list, 326 00:20:11,119 --> 00:20:14,040 Speaker 1: and that seemed only fair. The way he treated Amy 327 00:20:14,080 --> 00:20:16,240 Speaker 1: before she even put a microphone to her mouth, well 328 00:20:16,720 --> 00:20:19,679 Speaker 1: that was more than fair. That was red carpet. She 329 00:20:19,800 --> 00:20:23,280 Speaker 1: felt like a queen. Amy had played a similar show 330 00:20:23,320 --> 00:20:26,320 Speaker 1: two years prior, when a Chelsea football club owner paid 331 00:20:26,320 --> 00:20:28,800 Speaker 1: her one point five million pounds to perform at his 332 00:20:28,880 --> 00:20:32,560 Speaker 1: girlfriend's art gallery, and that gig also happened to be 333 00:20:32,600 --> 00:20:36,679 Speaker 1: in Moscow, but it did not go as plan. She 334 00:20:36,800 --> 00:20:39,800 Speaker 1: took a stage two hours late, drunk or higher bowls. 335 00:20:39,920 --> 00:20:43,040 Speaker 1: She couldn't remember which and managed to inform the audience 336 00:20:43,080 --> 00:20:46,199 Speaker 1: that she had also arrived commando, which she did by 337 00:20:46,280 --> 00:20:49,760 Speaker 1: hiking up her dress. But that seemed like forever ago 338 00:20:49,840 --> 00:20:52,879 Speaker 1: at this point. At the same time, it also seemed 339 00:20:52,920 --> 00:20:55,879 Speaker 1: like it hadn't been that long ago at all, probably 340 00:20:55,920 --> 00:20:59,560 Speaker 1: because in the time since Amy hadn't completed a full concert, 341 00:21:00,960 --> 00:21:02,760 Speaker 1: it was all she could think about. If she took 342 00:21:02,760 --> 00:21:05,600 Speaker 1: the stage on the top floor of a Moscow shopping center, 343 00:21:05,960 --> 00:21:09,080 Speaker 1: it was closed off to the public. Again, more opulence, 344 00:21:09,560 --> 00:21:12,640 Speaker 1: dresses and gowns and suits that probably cost as much 345 00:21:12,680 --> 00:21:15,080 Speaker 1: as they were paying her. She walked out in a 346 00:21:15,119 --> 00:21:19,119 Speaker 1: tight lever print dress to deafening applause. Her mind raced, 347 00:21:19,480 --> 00:21:21,440 Speaker 1: and the last time she took a stage was eight 348 00:21:21,440 --> 00:21:25,400 Speaker 1: months ago, the St. Lucia Jazz Festival. Everyone knew how 349 00:21:25,440 --> 00:21:28,760 Speaker 1: that turned out, and the halves here in Moscow weren't 350 00:21:28,760 --> 00:21:31,400 Speaker 1: placing friendly bets on whether the show the night would 351 00:21:31,400 --> 00:21:34,480 Speaker 1: be good or bad. It would be good, it had 352 00:21:34,520 --> 00:21:39,200 Speaker 1: to be good. Amy's heart beat faster. What if she 353 00:21:39,240 --> 00:21:41,480 Speaker 1: couldn't do this, What if she couldn't keep it together, 354 00:21:41,600 --> 00:21:44,239 Speaker 1: What if she bombed? What if it was worse than 355 00:21:44,280 --> 00:21:47,160 Speaker 1: the last private Moscow gig? And that would be worse 356 00:21:47,240 --> 00:21:50,240 Speaker 1: than bad. The rich Russian guy take the money back? 357 00:21:50,440 --> 00:21:52,720 Speaker 1: Would he ding her a thousand pounds for each flood 358 00:21:52,720 --> 00:21:55,520 Speaker 1: line like James Brown did back in the day. The 359 00:21:55,600 --> 00:21:59,200 Speaker 1: faces in the crowd went gooey. Woman's eyes like guardboards. 360 00:21:59,440 --> 00:22:03,320 Speaker 1: Their eyes had a succession of increasingly severe concentric circles, 361 00:22:03,800 --> 00:22:07,439 Speaker 1: and the circles rotated like hands around the clock. Amy 362 00:22:07,440 --> 00:22:09,679 Speaker 1: didn't dare stare at it too long for fear that 363 00:22:09,720 --> 00:22:12,639 Speaker 1: she'd be hypnotized. But maybe this was all a ruse. 364 00:22:13,280 --> 00:22:15,440 Speaker 1: There was some bond villain plot to get her locked 365 00:22:15,440 --> 00:22:18,800 Speaker 1: in a private room, and for what she had no idea. 366 00:22:19,320 --> 00:22:21,800 Speaker 1: She didn't speak Russian. They could do whatever they wanted 367 00:22:21,800 --> 00:22:24,840 Speaker 1: to or no, whatever, no, and the fifty bodyguards standing 368 00:22:24,840 --> 00:22:26,920 Speaker 1: in a perimeter around the room and make sure of that. 369 00:22:27,800 --> 00:22:30,080 Speaker 1: She stepped up to the microphone and cracked a Joe 370 00:22:30,480 --> 00:22:33,800 Speaker 1: lighten things up, But no one laughed, and they probably 371 00:22:33,840 --> 00:22:36,359 Speaker 1: didn't even understand what she had said. They all just 372 00:22:36,440 --> 00:22:39,600 Speaker 1: sat there, mouths a game. The lights caught their gaudy 373 00:22:39,680 --> 00:22:42,480 Speaker 1: jewelry flashes of silver and diamond and pearls shone in 374 00:22:42,480 --> 00:22:44,800 Speaker 1: Amy's eyes and caused her to stumble a bit to 375 00:22:44,840 --> 00:22:48,680 Speaker 1: the side. The band began to play, and the song 376 00:22:48,800 --> 00:22:51,960 Speaker 1: was familiar. Amy knew that she knew it, and she 377 00:22:52,080 --> 00:22:55,800 Speaker 1: fell into the rhythm, found her place. The microphone beckoned 378 00:22:55,800 --> 00:22:58,960 Speaker 1: her to step forward, and she did, and then she 379 00:22:59,080 --> 00:23:05,280 Speaker 1: opened her mouth to sing. Amy was already a few 380 00:23:05,359 --> 00:23:08,560 Speaker 1: drinks deep when her father Mitch got to her. It 381 00:23:08,600 --> 00:23:11,240 Speaker 1: was early in the morning, probably too early for a 382 00:23:11,320 --> 00:23:15,560 Speaker 1: drink let alone too. It was February two thousand eleven. 383 00:23:16,440 --> 00:23:19,800 Speaker 1: Amy was thinking of Ronnie Wood and a warmer environment 384 00:23:20,160 --> 00:23:23,800 Speaker 1: like Brazil. Ronnie Wood and Brazil went hand in hand. 385 00:23:25,040 --> 00:23:27,840 Speaker 1: She was there in January for the Summer Soul Festival, 386 00:23:28,040 --> 00:23:31,720 Speaker 1: and Ronnie was there too, same hotel. The Rolling Stones 387 00:23:31,760 --> 00:23:36,000 Speaker 1: guitarist was ten months sober. At the time. Everyone knew 388 00:23:36,040 --> 00:23:38,080 Speaker 1: that a life spent as a rolling Stone was a 389 00:23:38,160 --> 00:23:41,720 Speaker 1: life lived harder than most. So to be ten months sober, well, 390 00:23:41,960 --> 00:23:44,840 Speaker 1: that was like a decade sober and non Rolling Stones heres. 391 00:23:45,960 --> 00:23:48,840 Speaker 1: Ronnie had seen many friends come and go over the years, 392 00:23:49,280 --> 00:23:51,720 Speaker 1: many of them gone to that place of no return, 393 00:23:52,280 --> 00:23:57,240 Speaker 1: gone forever. He saw firsthand what excess and excessive accolades 394 00:23:57,320 --> 00:24:00,639 Speaker 1: could do, not just to a person's music, but to 395 00:24:00,840 --> 00:24:04,520 Speaker 1: a person. Some emerged from the wreckage with scars and 396 00:24:04,640 --> 00:24:09,479 Speaker 1: stories to tell. Others just succumbed to the undertow. Ronnie 397 00:24:09,480 --> 00:24:12,280 Speaker 1: and Amy took a walk through the gardens, and Ronnie 398 00:24:12,280 --> 00:24:15,159 Speaker 1: imparted what advice he could without sounding too much like 399 00:24:15,200 --> 00:24:18,719 Speaker 1: a fucking after school special. It was hard to fly straight. 400 00:24:19,200 --> 00:24:21,919 Speaker 1: It's a little easier in a place like Brazil. The 401 00:24:21,960 --> 00:24:26,000 Speaker 1: weather was divine. London, on the other hand, was dank 402 00:24:26,000 --> 00:24:29,000 Speaker 1: and dark. At least it wasn't as cold as Moscow 403 00:24:29,040 --> 00:24:32,399 Speaker 1: had been. She had left Moscow riding high on her 404 00:24:32,440 --> 00:24:35,840 Speaker 1: own talent. Moscow felt like a dream. She pulled that 405 00:24:35,880 --> 00:24:39,680 Speaker 1: performance out like a rabbit from a hat pounds a minute, 406 00:24:39,720 --> 00:24:43,200 Speaker 1: and she delivered every minute like a goddamn pro. Rode 407 00:24:43,240 --> 00:24:45,720 Speaker 1: that positive momentum on the plane all the way back home, 408 00:24:46,200 --> 00:24:49,320 Speaker 1: went to Brazil, still positive. That even got the positive 409 00:24:49,320 --> 00:24:53,520 Speaker 1: pep talk from Ronnie. But Ronnie wasn't with her now 410 00:24:53,560 --> 00:24:56,520 Speaker 1: in London, and neither was the nice weather or the 411 00:24:56,560 --> 00:25:01,719 Speaker 1: one million pounds pay day. Her father, Mitch, was understandably concerned. 412 00:25:02,400 --> 00:25:05,480 Speaker 1: She saw that look in his face. Her daddy didn't 413 00:25:05,520 --> 00:25:09,160 Speaker 1: think she was fine. She knew what would happen next. 414 00:25:09,760 --> 00:25:12,399 Speaker 1: She'd go to Dubai for her next scheduled show. She 415 00:25:12,440 --> 00:25:14,520 Speaker 1: wouldn't be able to use the weather as an excuse 416 00:25:14,520 --> 00:25:17,239 Speaker 1: anymore because it was hot there, like desert hot, and 417 00:25:17,280 --> 00:25:21,320 Speaker 1: she'd still be drinking. Somebody, whether it was her father 418 00:25:21,480 --> 00:25:23,760 Speaker 1: or a record company or her management, would install the 419 00:25:24,400 --> 00:25:27,480 Speaker 1: seven surveillance unit again like they have before, outside her 420 00:25:27,480 --> 00:25:31,160 Speaker 1: hotel room, and maybe she'd know their names and maybe not, 421 00:25:31,840 --> 00:25:34,879 Speaker 1: and they would operate under strict instructions that no contrabank 422 00:25:34,880 --> 00:25:37,199 Speaker 1: could go in or out, and keep her dry and 423 00:25:37,280 --> 00:25:39,399 Speaker 1: get her up, get her to the show, get her 424 00:25:39,440 --> 00:25:42,080 Speaker 1: on the stage, get her back to the hotel, and 425 00:25:42,160 --> 00:25:45,920 Speaker 1: get her home. The Dubai show would be another disaster. 426 00:25:46,720 --> 00:25:50,240 Speaker 1: The people would turn on her again, or maybe they 427 00:25:50,240 --> 00:25:53,080 Speaker 1: had never really been on her side in the first place. 428 00:26:14,480 --> 00:26:17,520 Speaker 1: They walked down the streets of Bomby, London, hand in hand. 429 00:26:17,960 --> 00:26:20,680 Speaker 1: It was four in the morning and a long Saturday 430 00:26:20,760 --> 00:26:24,080 Speaker 1: night was slowly turning into an early, warm Sunday morning. 431 00:26:25,160 --> 00:26:27,720 Speaker 1: They had broken up a month ago. She accused him 432 00:26:27,720 --> 00:26:31,600 Speaker 1: of cheating. He begged forgiveness, and was all forgiven. At 433 00:26:31,600 --> 00:26:34,520 Speaker 1: the very least. Here on Great Queen Street, with sun 434 00:26:34,600 --> 00:26:37,880 Speaker 1: yat to rise, all had been forgotten. They had been 435 00:26:37,920 --> 00:26:40,760 Speaker 1: madly in love before, and maybe they could be again. 436 00:26:42,320 --> 00:26:45,280 Speaker 1: The neon signed for The Red Rooms, a gentleman's club, 437 00:26:45,400 --> 00:26:49,560 Speaker 1: buzzed overhead. Inside, it was still the night before and 438 00:26:49,720 --> 00:26:53,280 Speaker 1: morning would never come. She nodded towards the front door, 439 00:26:53,520 --> 00:26:57,520 Speaker 1: and then she smiled. They both entered. When they exited 440 00:26:57,520 --> 00:27:00,560 Speaker 1: the club a short time after morning had broken, but 441 00:27:00,680 --> 00:27:03,679 Speaker 1: word had broken too that he was there at the 442 00:27:03,720 --> 00:27:06,600 Speaker 1: Red Rooms with her, and they both lit up a 443 00:27:06,640 --> 00:27:09,960 Speaker 1: cigarette and began to walk down the street. Paparazzi was 444 00:27:10,000 --> 00:27:13,360 Speaker 1: stationed outside the club, waiting in the tall grass where 445 00:27:13,400 --> 00:27:16,320 Speaker 1: they to launch their ambush. He managed to catch a 446 00:27:16,320 --> 00:27:18,760 Speaker 1: glimpse of a man with a camera off to the side, 447 00:27:19,000 --> 00:27:22,440 Speaker 1: right at the moment when he grabbed her hand. Shit, 448 00:27:23,240 --> 00:27:25,639 Speaker 1: He tried to disappear, to run, to dive out of 449 00:27:25,680 --> 00:27:27,679 Speaker 1: the way. He had to do something he could not 450 00:27:27,920 --> 00:27:31,800 Speaker 1: be seen with her. He wasn't fast enough. The cameras 451 00:27:31,800 --> 00:27:35,600 Speaker 1: got what they came for, money shots galore. He should 452 00:27:35,600 --> 00:27:38,360 Speaker 1: have known, should have seen them coming. He could never 453 00:27:38,400 --> 00:27:43,840 Speaker 1: be too careful. This, this was just careless. Red Travis 454 00:27:43,880 --> 00:27:48,480 Speaker 1: Amy Winehouse's current flame had been caught red handed, photographed 455 00:27:48,480 --> 00:27:51,720 Speaker 1: for this ex girlfriend and burlesque dancer No less after 456 00:27:51,800 --> 00:27:54,360 Speaker 1: a long night out on the town, in and out 457 00:27:54,359 --> 00:27:56,879 Speaker 1: of a strip joint, even and just a month after, 458 00:27:56,920 --> 00:27:59,719 Speaker 1: Amy had given Redg an ultimato he could cut all 459 00:27:59,800 --> 00:28:02,360 Speaker 1: time eyes with his X or he would lose Amy. 460 00:28:02,480 --> 00:28:04,919 Speaker 1: Then this is the same X who had sold taddre 461 00:28:05,080 --> 00:28:09,280 Speaker 1: stories about Amy to the tabloids. The fuck. Amy looked 462 00:28:09,280 --> 00:28:11,320 Speaker 1: over the pictures in the Daily Mail the next day. 463 00:28:11,640 --> 00:28:15,800 Speaker 1: No way, no chance. Here he was her boyfriend, allegedly 464 00:28:16,119 --> 00:28:18,639 Speaker 1: walking down the street hand in hand with his ex 465 00:28:18,920 --> 00:28:23,359 Speaker 1: at four in the morning. It had been nearly a 466 00:28:23,440 --> 00:28:26,600 Speaker 1: year since Amy's very public divorce from Blake Fielder civil 467 00:28:26,920 --> 00:28:30,439 Speaker 1: in six months since her last public mountdown. Redd was 468 00:28:30,480 --> 00:28:32,919 Speaker 1: aware of all she had gone through and what she 469 00:28:33,000 --> 00:28:35,800 Speaker 1: was still going through, and that's what made it hurt more. 470 00:28:36,560 --> 00:28:40,200 Speaker 1: Amy had finally allowed herself to feel vulnerable. She opened 471 00:28:40,200 --> 00:28:43,040 Speaker 1: herself up to Redge. He grounded her and gave her 472 00:28:43,040 --> 00:28:45,920 Speaker 1: the space and support to get her ship together. She 473 00:28:46,040 --> 00:28:48,680 Speaker 1: was truly moving on from Blake and starting a new 474 00:28:48,760 --> 00:28:51,920 Speaker 1: chapter in her life. Sobriety was at the end of 475 00:28:51,920 --> 00:28:55,280 Speaker 1: the tunnel, not just the Class A ship, but alcohol too. 476 00:28:55,840 --> 00:28:58,040 Speaker 1: Amy had been laying low, keeping out of the spotlight, 477 00:28:58,120 --> 00:29:00,760 Speaker 1: keeping her head on straight, much to the chagrin of 478 00:29:00,800 --> 00:29:04,120 Speaker 1: the vultures and the media, of course. But here was 479 00:29:04,280 --> 00:29:06,920 Speaker 1: this a piece of news, a bit of gossip, something 480 00:29:06,960 --> 00:29:09,600 Speaker 1: to throw on the front page, get people talking. A 481 00:29:09,640 --> 00:29:12,400 Speaker 1: few quick photos that equal to solid payday, and that's 482 00:29:12,440 --> 00:29:15,840 Speaker 1: what the media saw it as. Amy, however, saw it 483 00:29:15,880 --> 00:29:19,600 Speaker 1: as a shattering betrayal. Redg told Amy that he had 484 00:29:19,640 --> 00:29:21,560 Speaker 1: broken it off with that girl and that it was over. 485 00:29:21,960 --> 00:29:24,320 Speaker 1: He was with Amy now, but the X was telling 486 00:29:24,400 --> 00:29:27,840 Speaker 1: the papers the opposite. According to her, she had continued 487 00:29:27,840 --> 00:29:30,560 Speaker 1: her romance with Redg throughout the better part of Regg 488 00:29:30,640 --> 00:29:34,720 Speaker 1: and Amy's four month relationship. According to her, Redge came 489 00:29:34,760 --> 00:29:37,720 Speaker 1: crawling back and he groveled he was ending it with Amy. 490 00:29:37,800 --> 00:29:42,040 Speaker 1: Amy meant nothing to him. Amy was confused. They had 491 00:29:42,080 --> 00:29:45,320 Speaker 1: talked about marriage, It talked about kids, about settling down 492 00:29:45,400 --> 00:29:48,400 Speaker 1: for real. She didn't know who were what to believe anymore. 493 00:29:49,400 --> 00:29:52,239 Speaker 1: Over the next few weeks, reg would avoid Amy when 494 00:29:52,240 --> 00:29:54,360 Speaker 1: he saw her out at the pub, and he failed 495 00:29:54,400 --> 00:29:56,760 Speaker 1: to show up at her brother's engagement party. He even 496 00:29:56,800 --> 00:29:59,000 Speaker 1: skipped out of the Libertines concert they had planned to 497 00:29:59,000 --> 00:30:02,640 Speaker 1: attend together months ago, and just months ago, Amy had 498 00:30:02,680 --> 00:30:07,160 Speaker 1: been the other woman and now the tables had tragically turned. 499 00:30:07,760 --> 00:30:10,520 Speaker 1: The stars were crossed up in the sky and down 500 00:30:10,560 --> 00:30:13,640 Speaker 1: here on the ground. The universe had dealt yet another 501 00:30:13,680 --> 00:30:16,640 Speaker 1: shitty hand. There was only one rule in this life, 502 00:30:16,920 --> 00:30:21,080 Speaker 1: and that rule was that there were no rules, none 503 00:30:21,760 --> 00:30:27,680 Speaker 1: at all. I'm Jake Brennan, and this is the Seven 504 00:30:27,800 --> 00:30:43,080 Speaker 1: Colors Club is hosted and produced by me Jake Brennan 505 00:30:43,240 --> 00:30:47,120 Speaker 1: for Double Elvis in partnership with My Heart Radio. Zeth 506 00:30:47,200 --> 00:30:50,440 Speaker 1: Lundie is the lead writer and co producer. This episode 507 00:30:50,480 --> 00:30:54,000 Speaker 1: was mixed by Matt Bowden. Additional music and score elements 508 00:30:54,040 --> 00:30:57,520 Speaker 1: by Ryan Spraaker and Henry Luneta. This episode was written 509 00:30:57,520 --> 00:31:01,120 Speaker 1: by Ted Omo, story and copy being by Pat Healy. 510 00:31:01,720 --> 00:31:05,000 Speaker 1: Sources for this episode are available at Double Elvis dot 511 00:31:05,040 --> 00:31:08,040 Speaker 1: com on the twenty seven Club series page, talk to 512 00:31:08,080 --> 00:31:10,560 Speaker 1: me on Social Act, Disgrace Sland Pod, and hang out 513 00:31:10,560 --> 00:31:13,600 Speaker 1: with me live on my Twitch channel Disgrace Sland Talks. 514 00:31:13,640 --> 00:31:16,440 Speaker 1: For more news on your favorite podcast, fallow at Double 515 00:31:16,480 --> 00:31:22,240 Speaker 1: Elvis on Instagram, Rock rolla, what's up for your ears?