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Speaker 1: Welcome, Welcome, Welcome back to the Bob Leftsaids podcast.

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Speaker 2: My guest today is Johnny Browers, one of the promoters

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Speaker 2: of the Toronto Rock and Roll Revival in nineteen sixty nine,

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Speaker 2: featured in the new movie.

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Speaker 1: Revival sixty nine. This, of course, was debut of John

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Speaker 1: Lennon in The Plastic Ono Man. So tell me the

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Speaker 1: history of putting on this concert. What was the thought

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Speaker 1: forget when you get John at the end, when you

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Speaker 1: initially booked the festival, what were you thinking?

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Speaker 3: Well, I was thinking that Chuck Berry stole the show

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Speaker 3: in June at my festival called the Toronto Pop Festival,

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Speaker 3: which was the first festival of nineteen sixty nine, featuring

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Speaker 3: Sly Steppenwolf, the band, Blood, Sweat and Tears, terrific artists.

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Speaker 3: For two days, duck Berry had people duck walking and

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Speaker 3: like just really absolutely stole the show. And that's no exaggeration.

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Speaker 3: So I thought we needed a show for the fall,

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Speaker 3: and I thought, why don't we get Chuck and all

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Speaker 3: of the old rockers together. And of course, being a musician,

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Speaker 3: I had played Chuck Berry's songs, and you know, being

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Speaker 3: a musicians sometimes you think everybody else likes all the

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Speaker 3: same bands you did, and so Little Richard, Jerry Lee, Lewis,

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Speaker 3: Bo Diddley were available in the same day as Chuck

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Speaker 3: and that seemed to be an omen So it became like, Okay,

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Speaker 3: that's it, that's the rock and Roll Revival. And at

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Speaker 3: that point we started adding other artists just to fill

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Speaker 3: the bill out and got Chicago. Alice Cooper was just

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Speaker 3: an afterthought because shep was our buddy and they were

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Speaker 3: going to back up geene Vince and nobody had any

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Speaker 3: idea they were going to launch a twenty five year career,

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Speaker 3: but God bless them. I'm glad they did. I kind

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Speaker 3: of think that was a milestone of the event as well.

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Speaker 3: But that was the thinking, and it was thinking about

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Speaker 3: doing something that you think's a good idea. But you

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Speaker 3: know what, I'm sure you've had it happened to you.

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Speaker 3: Sometimes you're a good idea. You go, oh wow, I

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Speaker 3: thought that was a good idea, but it doesn't seem

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Speaker 3: to be a good idea with the public. Nobody's buying tickets.

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Speaker 2: Okay, you'd seen Chuck Berry, had you seen these other

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Speaker 2: acts perform live? Gene Vincent, Jerry Lee Lewis.

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Speaker 3: No, I had never seen any of them. I had

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Speaker 3: been in bands that played their songs. I had seen

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Speaker 3: them on American Bandstand or various different things, but no,

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Speaker 3: not live. I never had. Just based on the way

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Speaker 3: Chuck was, I assumed they'd all be incredible, which turned

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Speaker 3: out they were.

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Speaker 2: Okay, tell me about the venue in the capacity of

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Speaker 2: the venue.

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Speaker 3: Well, it's the football stadium on the University of Toronto

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Speaker 3: campus and depending on the configure, it could probably hold

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Speaker 3: forty thousand people. I do remember when Crosby Stills in

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Speaker 3: Nash played there with the band opening in nineteen seventy five.

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Speaker 3: They had the stage right up against the wall and

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Speaker 3: Bluer Street. Our stage was halfway up the field and

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Speaker 3: we had twenty thousand people there, so I think they

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Speaker 3: must have had thirty anyway, but that would have been

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Speaker 3: the capacity at that time, the way the stage was

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Speaker 3: set up.

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Speaker 2: Okay, tell me about your festival in the spring.

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Speaker 3: Well, it was the Toronto Pop Festival. It was at

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Speaker 3: the same facility two days and as I said, we

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Speaker 3: had quite a bill headlined by Sly and the Family

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Speaker 3: Stone Steppenwolf. We brought them back to Toronto. They were Canadians.

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Speaker 3: It was their return to Toronto. It was the band's

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Speaker 3: first outdoor festival. Many people think Woodstock was Toronto pop

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Speaker 3: festival was. It was just a great show, and I

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Speaker 3: think all the bands are kind of listed on that

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Speaker 3: quick shot of the flyer in the Revival six '

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Speaker 3: nine film. But it was a huge success. It sold

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Speaker 3: out both days. As I say in the movie, we

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Speaker 3: made a ton of money in that show, and I

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Speaker 3: guess we felt kind of invincible because we had come

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Speaker 3: from being regular, you know, small time concert promoters. Maybe

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Speaker 3: not small time, but smaller venues. The largest venue we

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Speaker 3: had done prior to that was Donovan at Varsity Arena.

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Speaker 3: That was seven thousand seats. That was quite a jump

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Speaker 3: from there to the Football Stadium. But the energy of

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Speaker 3: nineteen sixty nine. Agents were talking about festivals. People are

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Speaker 3: going to be doing festivals, and we thought, well we

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Speaker 3: better do one.

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Speaker 2: Okay, once again, let's talk about the economics for sixty

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Speaker 2: nine in the spring, you had two days. How many

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Speaker 2: tickets did you sell over the two days?

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Speaker 3: We sold twenty five thousand on each day.

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Speaker 2: And what were the economics in terms of ticket price?

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Speaker 2: How much did you have to be the bands? What

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Speaker 2: kind of profit?

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Speaker 3: Well, I know we made a ton of money, and

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Speaker 3: Kenny was the one handling all the money. I just

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Speaker 3: knew we made a lot of money and allowed us

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Speaker 3: to roll up into the fall very comfortably. And we

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Speaker 3: could have probably stood the losses had we not got

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Speaker 3: John Lennon. But the Eton investors had, you know, enough

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Speaker 3: shares in the company to be able to say, no,

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Speaker 3: we're not going to go along with this. I can't

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Speaker 3: remember the scale of economics. The tickets were reasonably priced,

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Speaker 3: the same as at the Rock Festival in September, you know,

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Speaker 3: six dollars a day. People laugh at that now, but

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Speaker 3: you know, in terms of the concert business then these

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Speaker 3: were standard prices. Woodstock was eighteen dollars for three days.

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Speaker 3: So I think, you know, the fact that we sold

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Speaker 3: out both of those eight gave us the confidence that

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Speaker 3: we could pretty much put anybody into Varsity Stadium and

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Speaker 3: it would be a great seller.

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Speaker 2: Tell me who we is? Tell me about the company.

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Speaker 3: Well, Ken Walker was the guy that got me out

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Speaker 3: of the rock pile. I was in the rock pile.

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Speaker 3: That was my club. It was like the Fillmore Masonic

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Speaker 3: Temple in Toronto brought led Zeppelin. Who Jeff Beck, Rod Stewart,

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Speaker 3: you know, Jethro Tull, all kinds of bands on a

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Speaker 3: regular basis, but it became kind of like the same

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Speaker 3: thing every week, and there was a ceiling to the capacity,

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Speaker 3: so you couldn't really make that much money. And I

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Speaker 3: had three other partners. So Kenny said to me, why

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Speaker 3: aren't you and I get in business and let's just

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Speaker 3: put on bigger concerts. I knew Kenny from you know,

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Speaker 3: the chums of high school and different places, and we

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Speaker 3: knew the Eatons. That was common friends of ours. They

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Speaker 3: were a very very wealthy family and so ultimately Henny

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Speaker 3: and I just went out on our own. But when

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Speaker 3: we needed to do the festival in June, we brought

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Speaker 3: George and Thor in with substantial funds and that allows

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Speaker 3: us to really do the Toronto Pop Festival and do

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Speaker 3: it properly.

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Speaker 2: Okay, let's go back to the beginning. You're from Toronto.

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Speaker 3: I am from Toronto, born and raised.

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Speaker 2: Okay, So you know, one thing about Canada and non

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Speaker 2: Canadians don't realize is direct connection with England. There are

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Speaker 2: a lot of bands that connected from England first in Canada.

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Speaker 2: What got you excited about music?

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Speaker 3: Well, I am a musician. I was also a choir boy.

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Speaker 3: I had a band of some note during my high

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Speaker 3: school years called the Diplomats. And in terms of coming

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Speaker 3: back to Toronto, remember I went to Los Angeles for

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Speaker 3: sixty six and sixty seven, and when I came back

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Speaker 3: act I did.

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Speaker 2: Wait wait wait, wait, wait wait wait, let's just go

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Speaker 2: a little bit further. What year did the Diplomat start?

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Speaker 2: Pre Beatles or post Beatles?

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Speaker 3: Sixty two three four? Definitely pre Beatles because we were

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Speaker 3: playing Smokey Robinson and Marvin Gaye songs initially, and it

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Speaker 3: was an R and B band. And I don't ever

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Speaker 3: remember being in a band that played Beatles songs because

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Speaker 3: after the Diplomats I was out of playing in bands.

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Speaker 2: Okay, so sixty two, sixty three, sixty four, what instrument

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Speaker 2: did you play?

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Speaker 3: I played the bass and sang in some of the songs.

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Speaker 3: I played bass.

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Speaker 2: Yes, So what a lot of people a little younger

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Speaker 2: than you were inspired by seeing and hearing the Beatles?

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Speaker 2: What inspired you to get into music?

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Speaker 3: I just wanted to be in a band. I had

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Speaker 3: played piano and given little concerts in my gray flannel

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Speaker 3: short pants when I was you know, ten eleven, twelve

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Speaker 3: thirty Team but I wanted to be in a band.

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Speaker 3: I started trying to play the drums. I was terrible,

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Speaker 3: and I wanted to stand up, and so the easiest

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Speaker 3: thing to learn standing up is the bass, and that's

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Speaker 3: why I became a bass player. I played guitar later,

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Speaker 3: but as a bass player, I was able to jump

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Speaker 3: right in. I had a good year, and you know,

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Speaker 3: everybody needed a bass player.

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Speaker 2: Okay, what kind of background did you come from? What

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Speaker 2: did your parents do for a living.

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Speaker 3: My family was involved in the legal profession, construction politics.

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Speaker 3: I grew up in I guess you would call it

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Speaker 3: a blue blood family. I went to Upper Canada College,

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Speaker 3: which was the oldest private school in Canada, where apparently

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Speaker 3: I was enrolled at birth if I can imagine people

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Speaker 3: doing that. So I had the opportunity of seeing, you know,

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Speaker 3: what could be done and what money could do, and

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Speaker 3: that when you needed I kind of had access to

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Speaker 3: friends and family who you know, were not unwilling to

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Speaker 3: roll the dice with something that their sons or daughters

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Speaker 3: might want to do.

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Speaker 2: Now, being a contos entrepreneurial, was there any history of

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Speaker 2: entrepreneurship in your family? Any models or were you just

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Speaker 2: striking off and you were the first one.

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Speaker 3: No, my grandfather was quite a well known entrepreneur. Aside

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Speaker 3: from building the Granite Club, he also built the Detroit

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Speaker 3: Windsor Tunnel. And his method was to go to the

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Speaker 3: United States government tell them that the Canadian government were

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Speaker 3: going to put up half the money. He hadn't spoken

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Speaker 3: to the Canadian government, but he came back with a

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Speaker 3: letter from the US government saying we'll put up half

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Speaker 3: the money, and the Canadian government said, oh my god,

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Speaker 3: well of course we'll put up half as well. So

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Speaker 3: that was pretty entrepreneurial. And you know, my father was

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Speaker 3: involved in mining at times. I think that's entrepreneurial.

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Speaker 2: And you know, obviously there was a lot of success.

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Speaker 2: Did you end up inheriting any of this money or

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Speaker 2: any of these businesses when your parents passed?

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Speaker 3: No, No, my grandfather died in nineteen thirty. My father

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Speaker 3: was when, you know, became a lawyer, which wasn't something

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Speaker 3: you handed on. They wanted me to go to law school.

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Speaker 3: I had no intention of doing anything that required you

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Speaker 3: to be in a room all day with no windows.

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Speaker 3: I was, you know, I was bound for California at

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Speaker 3: seventeen eighteen, and as I as I said earlier. You know,

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Speaker 3: I just wanted to get out and do stuff.

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Speaker 2: Okay, when you went to California, was this after the Diplomats? Yes, yes, okay,

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Speaker 2: let's start with the diplomats. So what was it like

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Speaker 2: with the Diplomats? How successful, how often? What kind of gigs?

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Speaker 3: Well, we played the same gigs that you know, the

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Speaker 3: well known bands of the day played the Rogues, John Elene,

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Speaker 3: the Checkmates. There weren't big opportunities or big venues for

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Speaker 3: local bands, but there was the Village in Yorkville, the Alpatio,

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Speaker 3: I mean a number of these clubs that that was

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Speaker 3: like big time playing those clubs. I think the biggest

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Speaker 3: thing we played was the Pepsi Under twenty one club

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Speaker 3: at the CNE, which would have had about twenty five

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Speaker 3: hundred people at it. We played the Key to Bala,

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Speaker 3: various places like that, but it was definitely on a

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Speaker 3: local scene. The Diplomats were very highly regarded by other musicians.

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Speaker 3: We had a fan base and we were a great band.

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Speaker 3: That's basically all they can say. Bob Bob McBride was

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Speaker 3: our singer. He went on to be the singer of

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Speaker 3: a Lighthouse, which was a very successful Canadian Band, and

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Speaker 3: the other singer, Peter McGraw, went on to be the

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Speaker 3: singer with Paul Butterfield. So those who wanted to stay

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Speaker 3: in the business musically ended up moving up the ladder.

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Speaker 2: So tell me about this move to California.

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Speaker 3: Well, I had the good fortune to fall in love

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Speaker 3: with a girl in Toronto, and she was an actress

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Speaker 3: and probably the second most well known Canadian next to

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Speaker 3: Lauren Green. She had a TV show five days a

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Speaker 3: week from the time she was eleven till she was fifteen,

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Speaker 3: and her name was Michelle Finney. But her parents, who

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Speaker 3: had moved to California, wanted her to be a movie star,

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Speaker 3: had demanded that she returned there. So of course I

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Speaker 3: had to go to California, and I got a student

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Speaker 3: visa and I moved on to her parents' coach, much

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Speaker 3: to their chagrin, but nonetheless I ended up getting a

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Speaker 3: job selling photocopy paper, and they gave me a car

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Speaker 3: and a box of leads, and that's what I did.

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Speaker 3: My school visa went out the window, and I became

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Speaker 3: an entrepreneur selling photocopy paper.

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Speaker 2: So when you left Toronto, how old were you and

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Speaker 2: how did you leave the Diplomats.

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Speaker 3: I played at the Pepsieter twenty one club. That was

240
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Speaker 3: the last gig that I played as the bass player.

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Speaker 3: It was the big send off. How old was I

242
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Speaker 3: when I went to California? I was just almost eighteen.

243
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Speaker 3: I was seventeen, but in November of that year I

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Speaker 3: became eighteen.

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Speaker 2: So how long did it last with Michelle Finney?

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Speaker 3: Well, we elope to Encinata, Mexico, and came back with

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Speaker 3: a Mayorage certificate with our names in English and the

248
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Speaker 3: rest in Mexican or Spanish. Somebody said, are you sure

249
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Speaker 3: you did buy a cow? But it was fifty dollars

250
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Speaker 3: and it was very romantic. And we were then married

251
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Speaker 3: again in the little brown church on Van Knives. And

252
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Speaker 3: then we moved back to Canada, moved back to Toronto,

253
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Speaker 3: and that's when I found a dearth of rock and roll.

254
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Speaker 3: We've been going on too, the Sunset Strip and to

255
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Speaker 3: clubs and seeing great bands, love the doors, people like that.

256
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Speaker 3: Toronto was all folksing back then, and that's how I

257
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Speaker 3: ended up bringing the doors and that was my first concert.

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Speaker 2: Okay, how long were you in Los Angeles?

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Speaker 3: Two years? Almost two years?

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Speaker 2: And your student visa ran out? How did you stay

261
00:15:30,720 --> 00:15:33,479
Speaker 2: in California or no one knew when you were basically

262
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Speaker 2: illegal at that point?

263
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Speaker 3: Yeah, yeah, basically no one knew. No one cared back

264
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Speaker 3: in those days, certainly.

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Speaker 2: And okay, so you sold copy paper until you returned

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Speaker 2: to Toronto.

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Speaker 3: Well not quite. I met a guy named Huggy Boy

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Speaker 3: at the racetrack. Because I made so much money selling

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Speaker 3: photocopy paper that I kind of just lived on mailbox

270
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Speaker 3: money or picked up my checks. I created the concept

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Speaker 3: that paper was going to get to be very expensive,

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Speaker 3: but if you ordered a year's worth, I could keep

273
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Speaker 3: it at this price. And so the next thing you know,

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Speaker 3: my customers are ordering a year's worth of paper. That's entrepreneurial,

275
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Speaker 3: I guess, whatever. But I wanted to cut to the

276
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Speaker 3: chase and not be going back to the same place

277
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Speaker 3: every two weeks. Ended up going to the racetrack with

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Speaker 3: a neighbor of mine. By this time, of course, I

279
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Speaker 3: had moved into an apartment on North Orange Drive in

280
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Speaker 3: Hollywood called the Madison and met a neighbor and he

281
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Speaker 3: took me out to the racetrack and I met a

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Speaker 3: guy named Huggy Boy, who'd been a legendary DJ in

283
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Speaker 3: the fifties. It was a little down on his luck,

284
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Speaker 3: but I bankrolled him to get the big forty oldies

285
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Speaker 3: pressed up again and went up and down the coast

286
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Speaker 3: with him in his Cadillac, selling them by knocking on

287
00:16:52,800 --> 00:16:56,360
Speaker 3: the doors of radio stations and saying, Huggy Boys here,

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Speaker 3: and people would go, oh my god, Huggy boy. I mean,

289
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Speaker 3: we're in awe of him. And we would go in

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Speaker 3: the air with a little pre recorded commercial and people

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Speaker 3: would come down to the station and he would sign

292
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Speaker 3: the records. Then Jack Smith gave us a slot on XDRB.

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Speaker 3: I think it was midnight to one in the morning

294
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Speaker 3: on Sunday, and it didn't matter, hugging it on the

295
00:17:18,760 --> 00:17:22,879
Speaker 3: air with the big forty oldies and bags of money

296
00:17:22,920 --> 00:17:27,720
Speaker 3: started pouring in. So this was all great until I

297
00:17:27,760 --> 00:17:30,439
Speaker 3: got a knock on my door of my apartment and

298
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Speaker 3: it was US Customs and Immigration. You need to be

299
00:17:34,080 --> 00:17:36,840
Speaker 3: back in Toronto within three days or we'll be taking

300
00:17:36,880 --> 00:17:40,720
Speaker 3: you back. You were working and you're not doing your

301
00:17:40,720 --> 00:17:44,040
Speaker 3: student visa stuff. So Michelle and I had to basically

302
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Speaker 3: go back to Toronto and okay, wait.

303
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Speaker 2: Wait, wait, wait wait. Before you get there, was it

304
00:17:50,760 --> 00:17:53,480
Speaker 2: cheaper if you bought paper for a year, or you'd

305
00:17:53,520 --> 00:17:54,440
Speaker 2: just tell people.

306
00:17:54,480 --> 00:17:58,480
Speaker 3: It was the same price, and paper, of course, always

307
00:17:58,560 --> 00:18:03,359
Speaker 3: like anything else, increased in price, but probably not material

308
00:18:04,080 --> 00:18:07,160
Speaker 3: materially to the degree that if you bought it for

309
00:18:07,200 --> 00:18:10,080
Speaker 3: a year, you were going to save a fortune of money.

310
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Speaker 3: What I was saving was a lot of time because

311
00:18:12,680 --> 00:18:15,960
Speaker 3: we would do deliveries on a three monthly basis, so

312
00:18:16,080 --> 00:18:18,920
Speaker 3: instead of me lugging paper out to people's places because

313
00:18:18,920 --> 00:18:22,439
Speaker 3: there wasn't any deliveries, but once you ordered a year's worth,

314
00:18:22,680 --> 00:18:25,800
Speaker 3: you would get it delivered every three months, so there

315
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Speaker 3: were some benefits to it.

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Speaker 2: What was your pitch to Huggy Boy. You only met

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00:18:30,880 --> 00:18:33,040
Speaker 2: him one day at the racetrack. How did he decide

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Speaker 2: to go to business with you?

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Speaker 3: Well, I met him one day, but we saw each

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Speaker 3: other many times, and as it turned out, I was

321
00:18:42,440 --> 00:18:45,359
Speaker 3: in line behind a couple of very well dressed women

322
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Speaker 3: who I recognized as obviously wealthy from you know, mothers

323
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Speaker 3: of friends of mine at Upper Canada College. The way

324
00:18:52,840 --> 00:18:55,399
Speaker 3: they were dressed, and they were talking about betting on

325
00:18:55,440 --> 00:18:57,959
Speaker 3: a horse. This woman said that they flew in on

326
00:18:58,000 --> 00:19:02,920
Speaker 3: their jet from Connecticut. Now nobody had jets back then.

327
00:19:02,800 --> 00:19:04,959
Speaker 3: The unless you had a leer jet and they were

328
00:19:04,960 --> 00:19:07,199
Speaker 3: going to bet this long shot and it was like

329
00:19:07,240 --> 00:19:10,520
Speaker 3: twenty eight to one, and the woman bet five thousand.

330
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Speaker 3: That brought the odds down. Our friend brought a bad

331
00:19:13,640 --> 00:19:16,879
Speaker 3: a thousand. I had two hundred and sixty dollars on me.

332
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Speaker 3: I put that all in the same horse in at one.

333
00:19:19,920 --> 00:19:22,800
Speaker 3: So I ended up with about seven thousand dollars with

334
00:19:22,920 --> 00:19:26,960
Speaker 3: the tickets. Now, my friend advised me, you will not

335
00:19:27,080 --> 00:19:29,320
Speaker 3: be able to cash those. You're not twenty one, you're

336
00:19:29,320 --> 00:19:31,840
Speaker 3: not even legal to be in here. They will seize

337
00:19:31,840 --> 00:19:33,919
Speaker 3: them from you. We need to find Huggy Boy and

338
00:19:33,960 --> 00:19:36,959
Speaker 3: get them to cash those tickets. So that's when Huggy

339
00:19:36,960 --> 00:19:40,119
Speaker 3: Boy said, I'll only do it if you invest this

340
00:19:40,240 --> 00:19:43,280
Speaker 3: money and we get the big forty oldies going again.

341
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Speaker 3: So I said, okay, I want my two hundred and

342
00:19:45,800 --> 00:19:48,439
Speaker 3: sixty eight dollars back, but yeah, I'll bank roll that.

343
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Speaker 3: And that's how it started.

344
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Speaker 2: Okay, so you go back to Toronto. What year is it?

345
00:19:56,920 --> 00:19:58,080
Speaker 2: Set the scene for me?

346
00:19:58,760 --> 00:20:03,680
Speaker 3: Well, it's now nineteen six and I moved back into

347
00:20:03,760 --> 00:20:07,200
Speaker 3: my mom's place in Rosedale with my bride, with my wife,

348
00:20:07,640 --> 00:20:11,920
Speaker 3: we'd been married for almost two years, and that's when

349
00:20:12,200 --> 00:20:14,760
Speaker 3: I wanted to know what to do, how to you know,

350
00:20:14,920 --> 00:20:18,400
Speaker 3: how to fit in up here. And that's when I

351
00:20:18,440 --> 00:20:21,720
Speaker 3: decided to bring the doors to Toronto, and they were

352
00:20:21,920 --> 00:20:26,840
Speaker 3: very hot. Jamie Sifton's uncle gave us the money and

353
00:20:26,920 --> 00:20:29,000
Speaker 3: he was in the construction business, and we went to

354
00:20:29,040 --> 00:20:31,399
Speaker 3: ask him for ten thousand dollars to bring the doors

355
00:20:31,440 --> 00:20:34,720
Speaker 3: to Toronto, and he was either hard of hearing or

356
00:20:34,760 --> 00:20:38,359
Speaker 3: busy on speakerphones or something, and he said, oh, Jamie, Jamie,

357
00:20:38,359 --> 00:20:41,680
Speaker 3: I'm glad you're getting into the business. It turns out

358
00:20:41,720 --> 00:20:44,680
Speaker 3: he thought we were buying doors, like doors that you've

359
00:20:44,720 --> 00:20:49,240
Speaker 3: got put on a wall, and so you know, that's

360
00:20:49,240 --> 00:20:51,720
Speaker 3: how we got the money for the doors. And that

361
00:20:51,920 --> 00:20:53,760
Speaker 3: was the first time, you know that I wrote in

362
00:20:53,800 --> 00:20:58,440
Speaker 3: a limo alone with Jim Morrison of course at the time,

363
00:20:59,200 --> 00:21:04,040
Speaker 3: and that was very exciting. We sold out the CNE

364
00:21:04,040 --> 00:21:08,880
Speaker 3: Coliseum ten thousand seats and Jim was the Lizard King.

365
00:21:08,920 --> 00:21:11,320
Speaker 3: Then it was April twentieth, nineteen sixty eight. I like

366
00:21:11,400 --> 00:21:13,959
Speaker 3: to think maybe we started four twenty. I'm not sure,

367
00:21:14,400 --> 00:21:19,040
Speaker 3: but that was a very exciting time. I was told

368
00:21:19,040 --> 00:21:22,240
Speaker 3: to bring six beers for Jim and two limos and

369
00:21:22,600 --> 00:21:24,920
Speaker 3: the band and Bill Siddons got in one and I'm

370
00:21:24,920 --> 00:21:27,560
Speaker 3: standing at the curb with Jim and we get in

371
00:21:27,600 --> 00:21:30,440
Speaker 3: and he sees the beers and the opener opens one

372
00:21:30,520 --> 00:21:33,119
Speaker 3: up drains it opens another one, and he kind of

373
00:21:33,160 --> 00:21:36,119
Speaker 3: bumped his shoulder at me, like, you know, meaning have one.

374
00:21:36,400 --> 00:21:39,840
Speaker 3: So I nursed mine all the way downtown and we

375
00:21:39,880 --> 00:21:42,040
Speaker 3: got to the hotel. The driver opened the door. Jim

376
00:21:42,119 --> 00:21:43,919
Speaker 3: got halfway out and he turned back and looked at

377
00:21:43,920 --> 00:21:46,399
Speaker 3: me and he said, hey, man, thanks for not talking.

378
00:21:47,000 --> 00:21:49,000
Speaker 3: Like I was terrified. I couldn't say a word to him.

379
00:21:49,040 --> 00:21:54,600
Speaker 3: I'd find out later. The agent said to me the

380
00:21:54,640 --> 00:21:56,640
Speaker 3: next day, hey, kid, you did gray. You sold out

381
00:21:56,680 --> 00:21:58,920
Speaker 3: the show. And Jim said he likes the promoter. Well,

382
00:21:58,920 --> 00:22:01,440
Speaker 3: that was the only kind I had hitting contact with him.

383
00:22:01,480 --> 00:22:04,040
Speaker 3: So Robbie told me later that would be about the

384
00:22:04,040 --> 00:22:05,919
Speaker 3: best thing you could ever do with Jim is not

385
00:22:06,000 --> 00:22:08,880
Speaker 3: to talk. So that's when fear won out.

386
00:22:10,680 --> 00:22:14,320
Speaker 2: Okay, you start in the business. The concept is easy.

387
00:22:14,400 --> 00:22:16,840
Speaker 2: You book a band, you get a venue, sell tickets,

388
00:22:16,840 --> 00:22:19,639
Speaker 2: big money. But the first time around it must have

389
00:22:19,680 --> 00:22:22,000
Speaker 2: been pretty scaring. You must have fucked up a little bit.

390
00:22:23,160 --> 00:22:26,520
Speaker 3: Well, you know, you try not to think of the

391
00:22:26,560 --> 00:22:29,400
Speaker 3: fuck ups, I'd have to really press hard to recall one.

392
00:22:29,560 --> 00:22:33,640
Speaker 3: Just the thrill of doing these things for me overrode

393
00:22:33,760 --> 00:22:38,920
Speaker 3: any kind of problems that we had with the door show.

394
00:22:39,040 --> 00:22:42,680
Speaker 3: We didn't really have any problems. It was very smooth,

395
00:22:42,760 --> 00:22:47,800
Speaker 3: it sold out. The band was incredible. As I said,

396
00:22:47,920 --> 00:22:51,320
Speaker 3: Jim was the Lizard King. Then on like nineteen sixty nine,

397
00:22:51,359 --> 00:22:55,399
Speaker 3: when he came back for the revival, he was very subdued, haircut,

398
00:22:56,080 --> 00:22:58,000
Speaker 3: very you know, you could see the look on his face.

399
00:22:58,040 --> 00:23:00,080
Speaker 3: He was not a happy man. He was facing the

400
00:23:00,200 --> 00:23:04,919
Speaker 3: charges out of Miami. It was life changing. So the

401
00:23:05,000 --> 00:23:07,520
Speaker 3: sixty eight event, now, of course, right after that, Russ

402
00:23:07,560 --> 00:23:09,560
Speaker 3: Gibb got in touch with me from Detroit. He had

403
00:23:09,600 --> 00:23:12,000
Speaker 3: the Grandy Ballroom. He knew me from the Rock Pile

404
00:23:12,800 --> 00:23:15,119
Speaker 3: and he was bringing Jimmy Hendricks and he said, Brower,

405
00:23:15,240 --> 00:23:18,320
Speaker 3: be my local promoter, be my guy there. So that

406
00:23:18,440 --> 00:23:20,120
Speaker 3: was the next show I was involved in.

407
00:23:20,440 --> 00:23:22,399
Speaker 2: But whoa, whoa, whoa, whoa? How did he know you

408
00:23:22,440 --> 00:23:24,200
Speaker 2: from the rock Pile at that point? When did you

409
00:23:24,240 --> 00:23:25,040
Speaker 2: open the rock Pile?

410
00:23:25,080 --> 00:23:28,960
Speaker 3: Well? I had the rock Pile in sixty eight, later

411
00:23:29,640 --> 00:23:35,520
Speaker 3: in sixty eight, and you know, back and forth with

412
00:23:36,520 --> 00:23:39,359
Speaker 3: Russ Gibb was a promoter. A lot of promoters, you know,

413
00:23:39,480 --> 00:23:42,000
Speaker 3: were in touch with each other because it was sometimes

414
00:23:42,000 --> 00:23:45,680
Speaker 3: you'd if, like Donald in Montreal, if a band needed

415
00:23:45,720 --> 00:23:48,680
Speaker 3: two dates, Donald would ask me if you'll take one,

416
00:23:48,760 --> 00:23:51,080
Speaker 3: or I would ask him, like the Doors, they needed

417
00:23:51,119 --> 00:23:54,520
Speaker 3: two dates to play the revival, and so Donald took

418
00:23:54,560 --> 00:23:59,359
Speaker 3: them on the Sunday in Montreal. Russ Gibb on occasion,

419
00:24:00,320 --> 00:24:02,399
Speaker 3: I would, you know, share a date with him, or

420
00:24:02,440 --> 00:24:06,399
Speaker 3: in this case it was you know, the opportunity of

421
00:24:06,480 --> 00:24:11,040
Speaker 3: him for the first time asking me and he didn't

422
00:24:11,040 --> 00:24:12,760
Speaker 3: know me yet from the rock Pile. He knew me

423
00:24:12,800 --> 00:24:17,960
Speaker 3: from the Door show, because I think that was promoted

424
00:24:18,080 --> 00:24:21,400
Speaker 3: also of course in Detroit, Windsor everybody promoted. I mean,

425
00:24:21,440 --> 00:24:24,640
Speaker 3: as you know, back in the day, there was no computers.

426
00:24:24,680 --> 00:24:27,040
Speaker 3: You had to deliver your tickets as far and wide

427
00:24:27,080 --> 00:24:30,560
Speaker 3: as possible in order to sell them. Promotion was easy.

428
00:24:30,720 --> 00:24:33,960
Speaker 3: Radio stations were on the case, not a problem. Buy

429
00:24:34,000 --> 00:24:37,280
Speaker 3: some radio time and they'll blast it out there because

430
00:24:37,320 --> 00:24:39,919
Speaker 3: there wasn't anything else going on, like a million things

431
00:24:40,000 --> 00:24:43,920
Speaker 3: right now, you know, putting on a concert. You were

432
00:24:44,119 --> 00:24:48,280
Speaker 3: you know VIP in terms of promotion at radio stations.

433
00:24:49,520 --> 00:24:53,720
Speaker 2: So when you put on the doors in Toronto sixty eight,

434
00:24:54,400 --> 00:24:56,760
Speaker 2: if we use the line of demarcation of the Beatles

435
00:24:56,800 --> 00:25:00,800
Speaker 2: sixty four, things explode. Were there any the other concert

436
00:25:00,880 --> 00:25:04,399
Speaker 2: promoters in Toronto? Was anybody mad that you got the

437
00:25:04,480 --> 00:25:06,040
Speaker 2: gig and they didn't?

438
00:25:06,480 --> 00:25:09,760
Speaker 3: Well, Marty Enrat was a well known promoter in Toronto.

439
00:25:10,359 --> 00:25:14,159
Speaker 3: He did events at Massey Hall. I don't believe that

440
00:25:14,280 --> 00:25:19,200
Speaker 3: he did any rock events. And of course the Gardens

441
00:25:19,240 --> 00:25:24,280
Speaker 3: did the Beatles and the Stones, and other than that,

442
00:25:24,280 --> 00:25:27,600
Speaker 3: there was the o'keith Center, and I guess there were

443
00:25:27,640 --> 00:25:32,960
Speaker 3: a couple of other promoters, you know, other than Marty.

444
00:25:33,040 --> 00:25:35,720
Speaker 3: I can't really think of them. If there were any,

445
00:25:35,760 --> 00:25:39,200
Speaker 3: they certainly weren't anyone in my social circle or anyone

446
00:25:39,240 --> 00:25:42,439
Speaker 3: that I knew. And the whole thing with Kenny and

447
00:25:42,480 --> 00:25:44,880
Speaker 3: I is we just wanted to do rock shows. I mean,

448
00:25:44,920 --> 00:25:47,320
Speaker 3: that was what we wanted. That's what was happening.

449
00:25:48,520 --> 00:25:51,239
Speaker 2: Okay, so it's nineteen sixty eight. How old are you

450
00:25:51,240 --> 00:25:52,360
Speaker 2: in nineteen sixty eight.

451
00:25:52,640 --> 00:25:56,679
Speaker 3: Well, I'm approaching twenty two. My birthdays in November, so

452
00:25:56,760 --> 00:25:59,760
Speaker 3: each year I'm the same as I was almost the

453
00:25:59,760 --> 00:26:04,359
Speaker 3: whole year. Eleven months of the last birthday so yeah, twenty.

454
00:26:04,520 --> 00:26:07,840
Speaker 2: How many How many shows do you put on before

455
00:26:07,880 --> 00:26:08,959
Speaker 2: you open the club?

456
00:26:12,800 --> 00:26:21,000
Speaker 3: Probably four, maybe five, and two of them of course

457
00:26:21,040 --> 00:26:25,080
Speaker 3: were with ruskib because Kenny scooped me up after the club.

458
00:26:25,520 --> 00:26:30,040
Speaker 3: But we decided to do the club basically because we were,

459
00:26:30,080 --> 00:26:33,359
Speaker 3: you know, reading Rollie's sone about Bill Graham and the

460
00:26:33,440 --> 00:26:36,680
Speaker 3: film More and you know, one of my friends said, well,

461
00:26:36,760 --> 00:26:39,680
Speaker 3: you know, my girlfriend's dad's ahead of the Masonic Temple,

462
00:26:40,119 --> 00:26:42,520
Speaker 3: and my other buddy, Doug, said, you know, I have

463
00:26:42,560 --> 00:26:45,040
Speaker 3: some trust fund money, and the next thing you know,

464
00:26:45,160 --> 00:26:48,080
Speaker 3: we're meeting the Masonic Temple and opening up the Rock

465
00:26:48,119 --> 00:26:51,280
Speaker 3: Pile with Blood, Sweat and Tears. Who had a number

466
00:26:51,320 --> 00:26:54,200
Speaker 3: one record and was there coming home to Toronto.

467
00:26:55,640 --> 00:26:58,200
Speaker 2: What was the capacity of the Rock Pile?

468
00:26:59,000 --> 00:27:03,040
Speaker 3: I would say legal about fourteen hundred. There were occasions

469
00:27:03,040 --> 00:27:05,600
Speaker 3: of having over two thousand people in there. There were

470
00:27:05,600 --> 00:27:09,280
Speaker 3: some fire marshall crowbar in the back door nights when

471
00:27:09,760 --> 00:27:12,960
Speaker 3: that's just what had to be done. It was very

472
00:27:13,000 --> 00:27:15,719
Speaker 3: free for all back in those days when there's no seating.

473
00:27:16,320 --> 00:27:19,639
Speaker 3: There were some benches, the concrete benches up on the

474
00:27:19,680 --> 00:27:22,960
Speaker 3: second floor, but for the right band, and when led

475
00:27:23,000 --> 00:27:26,920
Speaker 3: Zeppelin came, the second time. I mean bikers were charging

476
00:27:27,480 --> 00:27:30,720
Speaker 3: five dollars to push people through the open windows from

477
00:27:30,760 --> 00:27:33,760
Speaker 3: the street. It was so packed that you couldn't even

478
00:27:33,800 --> 00:27:38,240
Speaker 3: get in if a door was opened. It was insane.

479
00:27:38,480 --> 00:27:40,280
Speaker 2: How long did the Rock Pile operate?

480
00:27:41,040 --> 00:27:46,400
Speaker 3: I operated in capacity as a talent buyer and producer

481
00:27:46,960 --> 00:27:50,600
Speaker 3: for about eight months. It lasted about another six months,

482
00:27:50,640 --> 00:27:52,080
Speaker 3: so it was about a year and a half.

483
00:27:52,880 --> 00:27:53,880
Speaker 2: And why did you leave?

484
00:27:54,440 --> 00:27:57,359
Speaker 3: I left to do bigger concerts with Ken Walker. I

485
00:27:57,480 --> 00:27:59,480
Speaker 3: just you know, the rock Pile was just like the

486
00:27:59,520 --> 00:28:02,600
Speaker 3: same thing every week. And also there were other weeks

487
00:28:02,640 --> 00:28:05,560
Speaker 3: like Silver Apples, where you drew three people, but the

488
00:28:05,640 --> 00:28:08,200
Speaker 3: agent told you they were the next Beatles. There wasn't

489
00:28:08,320 --> 00:28:12,719
Speaker 3: Led Zeppelin every week, and we weren't Bill Graham, we

490
00:28:12,720 --> 00:28:17,600
Speaker 3: weren't selling posters and merchandise. And you know, this was

491
00:28:17,680 --> 00:28:21,359
Speaker 3: kind of a fun thing for my three partners. They

492
00:28:21,359 --> 00:28:24,080
Speaker 3: all went either back to school or into business or

493
00:28:24,520 --> 00:28:28,760
Speaker 3: to business school. And you know, I was entrepreneurial. I

494
00:28:28,800 --> 00:28:31,480
Speaker 3: just wanted to keep doing this, so Kenny offered the

495
00:28:31,520 --> 00:28:32,440
Speaker 3: opportunity for.

496
00:28:32,400 --> 00:28:35,960
Speaker 2: That and just staying with the Rock pill for a while.

497
00:28:36,680 --> 00:28:39,440
Speaker 2: How often did you do shows and how did that

498
00:28:39,480 --> 00:28:40,720
Speaker 2: work out? Economically.

499
00:28:41,560 --> 00:28:44,000
Speaker 3: Well, there were great weeks and there were disasters, but

500
00:28:44,040 --> 00:28:46,080
Speaker 3: there was talent every week. We had to do a

501
00:28:46,120 --> 00:28:49,400
Speaker 3: show every week in order to qualify as being a

502
00:28:49,480 --> 00:28:55,880
Speaker 3: legitimate venue. You know, we had the debacles there and

503
00:28:56,200 --> 00:29:00,280
Speaker 3: we had incredible sellouts, and we had experiences like Peter

504
00:29:00,440 --> 00:29:05,160
Speaker 3: Grant showing up and try to rob us, and you

505
00:29:05,200 --> 00:29:09,080
Speaker 3: know other times when certain people would show up and

506
00:29:09,160 --> 00:29:11,840
Speaker 3: there would be like they'd be so gracious that you're,

507
00:29:12,000 --> 00:29:16,640
Speaker 3: you know, putting on a show for them. That especially

508
00:29:16,680 --> 00:29:20,080
Speaker 3: the English bands, like you mentioned earlier, many of the

509
00:29:20,120 --> 00:29:23,160
Speaker 3: English bands would get their visas to Canada first and

510
00:29:23,200 --> 00:29:26,480
Speaker 3: then that would be something that they would use in

511
00:29:26,520 --> 00:29:30,360
Speaker 3: the States to add American dates. So a lot of

512
00:29:30,440 --> 00:29:34,400
Speaker 3: times they would come to Toronto or Montreal first and

513
00:29:34,440 --> 00:29:37,840
Speaker 3: then that would trigger them already being in North America,

514
00:29:38,360 --> 00:29:40,240
Speaker 3: or they would be able to apply in the States

515
00:29:40,280 --> 00:29:42,840
Speaker 3: since they were playing Toronto, and then we need to

516
00:29:42,840 --> 00:29:45,040
Speaker 3: come to Detroit. That's kind of where they went. It

517
00:29:45,120 --> 00:29:46,960
Speaker 3: is from Us to ruskild.

518
00:29:53,760 --> 00:29:55,760
Speaker 2: Okay, how did Peter Grant try to rob you?

519
00:29:56,920 --> 00:30:03,160
Speaker 3: Well, Peter Grant was the tour manager for the Jeff

520
00:30:03,200 --> 00:30:07,200
Speaker 3: Beck group. This is pre led Zeppelin, and we booked

521
00:30:07,240 --> 00:30:09,640
Speaker 3: them for two shows on a Sunday. They sold out

522
00:30:09,720 --> 00:30:16,120
Speaker 3: both shows clean afternoon Mattinee, No band, No band, had

523
00:30:16,160 --> 00:30:19,400
Speaker 3: to refund all the tickets. Everybody's now lining up for

524
00:30:19,440 --> 00:30:24,520
Speaker 3: the evening show, and they show up, you know, and unload,

525
00:30:24,640 --> 00:30:28,400
Speaker 3: and you know, you always pay the agent for one

526
00:30:28,440 --> 00:30:31,120
Speaker 3: show and then you give the band cash for the second.

527
00:30:32,040 --> 00:30:35,560
Speaker 3: So Peter Grant shows up and wants the money for

528
00:30:35,600 --> 00:30:38,920
Speaker 3: the second show, and we said, well, we had to

529
00:30:38,960 --> 00:30:41,000
Speaker 3: refund the first show. You didn't show up. What do

530
00:30:41,040 --> 00:30:42,760
Speaker 3: you mean, give you the money for the second show.

531
00:30:43,080 --> 00:30:44,480
Speaker 3: He goes, so if we don't get the money for

532
00:30:44,520 --> 00:30:48,120
Speaker 3: the second show, we're not going on. Well, at that point,

533
00:30:48,200 --> 00:30:50,320
Speaker 3: you know, we'd already let people in the hall. I mean,

534
00:30:50,320 --> 00:30:54,680
Speaker 3: it would have been a nightmare, and of course our

535
00:30:54,720 --> 00:30:57,160
Speaker 3: reputation would have been destroyed. It was bad enough that

536
00:30:57,240 --> 00:31:00,600
Speaker 3: we had to refund the first show. So the band

537
00:31:00,640 --> 00:31:03,960
Speaker 3: starts to play and one of my partners, Doug mcquaig's

538
00:31:03,960 --> 00:31:07,680
Speaker 3: father was a very powerful attorney, and he made some

539
00:31:07,680 --> 00:31:09,880
Speaker 3: phone calls, even on a Sunday, And when the band

540
00:31:09,880 --> 00:31:13,280
Speaker 3: got off stage, there was immigration officers, customs officers and

541
00:31:13,320 --> 00:31:18,320
Speaker 3: police officers there waiting, and two of my partners were

542
00:31:18,360 --> 00:31:21,360
Speaker 3: big guys. They were like six foot three, two hundred

543
00:31:21,360 --> 00:31:23,080
Speaker 3: and something, and they said you have to go talk

544
00:31:23,120 --> 00:31:26,520
Speaker 3: to him because he might hit us. So I went

545
00:31:26,600 --> 00:31:28,280
Speaker 3: up to Peter and I said, look, Peter, I need

546
00:31:28,320 --> 00:31:31,080
Speaker 3: to inform you that the police there are going to

547
00:31:31,080 --> 00:31:34,320
Speaker 3: take you to your hotel and you're going to a

548
00:31:34,360 --> 00:31:39,080
Speaker 3: court tomorrow and be charged with theft by conversion, whatever

549
00:31:39,120 --> 00:31:43,720
Speaker 3: else they can throw at you. And the customs people

550
00:31:43,760 --> 00:31:48,040
Speaker 3: are going to impound the equipment and that's what's happening

551
00:31:48,080 --> 00:31:52,160
Speaker 3: for you guys right now. And so he just now,

552
00:31:52,240 --> 00:31:56,840
Speaker 3: meaning take in our equipment, and I go, well, you know,

553
00:31:56,840 --> 00:31:58,680
Speaker 3: I'm afraid that's not the case. So one of the

554
00:31:58,680 --> 00:32:02,560
Speaker 3: police officers came over and started telling him the same thing,

555
00:32:02,560 --> 00:32:05,400
Speaker 3: and he grabbed the guy through like right here of

556
00:32:05,480 --> 00:32:07,680
Speaker 3: his uniform and lifting him up in the air right

557
00:32:07,720 --> 00:32:11,680
Speaker 3: to his face and said, nobody's taking our equipment. And

558
00:32:11,720 --> 00:32:13,520
Speaker 3: this guy pulled his side arm out and put it

559
00:32:13,600 --> 00:32:15,280
Speaker 3: in his gut and he said to him, you know,

560
00:32:15,440 --> 00:32:17,600
Speaker 3: like let me down roll shoot you. Well Peter looked

561
00:32:17,600 --> 00:32:20,280
Speaker 3: downside the gun lowered him. In La he might have

562
00:32:20,320 --> 00:32:23,200
Speaker 3: been shot, but in Toronto, I think he shocked everybody.

563
00:32:23,240 --> 00:32:26,320
Speaker 3: So much that they just escorted him to the hotel.

564
00:32:27,440 --> 00:32:29,680
Speaker 3: Chaff said to me, can we please take our guitars?

565
00:32:29,680 --> 00:32:32,680
Speaker 3: They said yes, of course. So nine in the morning,

566
00:32:32,720 --> 00:32:35,720
Speaker 3: Steve Weiss and Frank Barcelona are on the phone to me,

567
00:32:35,920 --> 00:32:39,160
Speaker 3: nine o'clock Monday morning, going, John, the band's got to

568
00:32:39,200 --> 00:32:41,400
Speaker 3: be in Detroit tonight. Please, what can we do? How

569
00:32:41,400 --> 00:32:45,120
Speaker 3: can we work this out? And I go, well, we

570
00:32:45,200 --> 00:32:47,400
Speaker 3: just want our money back, you know, like we want

571
00:32:47,400 --> 00:32:49,120
Speaker 3: to pay for one show and if it was we

572
00:32:49,200 --> 00:32:51,440
Speaker 3: paid for the first show and we ended up getting

573
00:32:51,480 --> 00:32:54,800
Speaker 3: the second, that's fine, fine, fine, John. The police are

574
00:32:54,840 --> 00:32:58,360
Speaker 3: over there. They're talking about escorting Peter downtown in an hour,

575
00:32:59,000 --> 00:33:01,120
Speaker 3: and what what can we do? I said, well, get

576
00:33:01,120 --> 00:33:03,920
Speaker 3: Peter to come over here with our money and then

577
00:33:04,120 --> 00:33:07,160
Speaker 3: I'll make a call and whatever, you know, charges whatever,

578
00:33:07,240 --> 00:33:13,240
Speaker 3: Doug mcquig's dadd'll stop everything. So Peter came over with

579
00:33:13,320 --> 00:33:16,120
Speaker 3: the money rolled up in a big thing with elastics

580
00:33:16,160 --> 00:33:19,760
Speaker 3: around it. And the Masonic Temple had these beautiful marble

581
00:33:19,800 --> 00:33:23,320
Speaker 3: steps and leading up to these huge doors, and then

582
00:33:23,400 --> 00:33:25,840
Speaker 3: more marble steps up to the entrance. So I went

583
00:33:25,840 --> 00:33:28,240
Speaker 3: and sit at the top of the inner marble steps

584
00:33:29,000 --> 00:33:31,560
Speaker 3: and within a few minutes because their hotel wasn't very

585
00:33:31,560 --> 00:33:34,680
Speaker 3: far away. It was like the door came off the hinges.

586
00:33:34,720 --> 00:33:37,800
Speaker 3: Peter pulled that door open and like the sun behind him,

587
00:33:37,800 --> 00:33:40,719
Speaker 3: and here's this giant, hoping guy in the doorway, and

588
00:33:40,760 --> 00:33:43,800
Speaker 3: he comes in and he looks up at me and

589
00:33:43,840 --> 00:33:46,160
Speaker 3: he just goes back in one blow and he just

590
00:33:46,320 --> 00:33:48,520
Speaker 3: hurls his money right at me and hit me right

591
00:33:48,560 --> 00:33:51,120
Speaker 3: in the head and it blew up all over the place,

592
00:33:51,240 --> 00:33:54,160
Speaker 3: knocked me on my ass, and I just started scooping

593
00:33:54,160 --> 00:33:55,720
Speaker 3: the money up and I looked at him, I said,

594
00:33:55,760 --> 00:33:58,240
Speaker 3: get the f out of my club. And that was

595
00:33:58,320 --> 00:34:00,680
Speaker 3: my only contact with Peter Grant. By the time he

596
00:34:00,720 --> 00:34:03,280
Speaker 3: came back the second time for led Zeppelin, I was

597
00:34:03,280 --> 00:34:06,320
Speaker 3: not involved with the club. I had been at Woodstock.

598
00:34:06,360 --> 00:34:08,400
Speaker 3: It was the Monday of Woodstock and I was just

599
00:34:08,480 --> 00:34:10,920
Speaker 3: getting back from being on stage at Woodstock for two

600
00:34:11,040 --> 00:34:14,120
Speaker 3: days and we got back to go see Zeppelin at

601
00:34:14,160 --> 00:34:17,439
Speaker 3: the club and just missed their encore. So I saw

602
00:34:17,440 --> 00:34:21,080
Speaker 3: Woodstock and I missed led Zeppelin's encore at what once

603
00:34:21,520 --> 00:34:22,120
Speaker 3: was my club.

604
00:34:23,000 --> 00:34:25,200
Speaker 2: What were you doing on the stage at Woodstock?

605
00:34:25,920 --> 00:34:30,840
Speaker 3: Well, you know entrepreneurial skills, you know, aside there was

606
00:34:30,880 --> 00:34:36,479
Speaker 3: also hustle. Michael Lang invited all the promoters that were

607
00:34:36,560 --> 00:34:40,120
Speaker 3: known to come to his show in Woodstock, which was great.

608
00:34:40,160 --> 00:34:42,880
Speaker 3: He called us in June. I don't know who he was,

609
00:34:43,680 --> 00:34:46,399
Speaker 3: and you know it was great. Sure, man, that's great. Yeah,

610
00:34:46,440 --> 00:34:51,160
Speaker 3: we'll come to your show. Well, on Friday, Hugh Curry

611
00:34:51,160 --> 00:34:54,880
Speaker 3: and I and are production manager and receptionist started driving

612
00:34:54,960 --> 00:34:59,040
Speaker 3: up Young Street and on the radio comes this incredible

613
00:34:59,040 --> 00:35:02,400
Speaker 3: story Woodstock and everything, and on the interview in a

614
00:35:02,520 --> 00:35:05,799
Speaker 3: radio comes Michael Lang talking about it. So I'm going

615
00:35:06,040 --> 00:35:08,560
Speaker 3: that's that guy called our office in June. That guy

616
00:35:08,640 --> 00:35:13,080
Speaker 3: invited us to come. So long story short, we decide

617
00:35:13,120 --> 00:35:15,160
Speaker 3: we're going to turn the car around, go to my place,

618
00:35:15,200 --> 00:35:19,040
Speaker 3: get some underwear, socks or whatever. Nobody's calling their wife,

619
00:35:19,120 --> 00:35:22,240
Speaker 3: nobody's The receptionist said, I don't need to call anybody,

620
00:35:22,280 --> 00:35:24,480
Speaker 3: and we had to Buffalo. So we get to the

621
00:35:24,760 --> 00:35:27,120
Speaker 3: border and tell the guy we're going to visit friends

622
00:35:27,160 --> 00:35:29,000
Speaker 3: and have dinner in Buffalo. We know we're not telling

623
00:35:29,040 --> 00:35:31,560
Speaker 3: them we're going to Woodstock. We get to fifty miles

624
00:35:31,560 --> 00:35:35,440
Speaker 3: from Woodstock and the roads closed and everybody steered into

625
00:35:35,640 --> 00:35:41,160
Speaker 3: a roadside whatever the through way things are. There was

626
00:35:41,200 --> 00:35:45,040
Speaker 3: probably a thousand people there, So, you know, my buddy says,

627
00:35:45,080 --> 00:35:48,560
Speaker 3: and we had a couple of joints with us some alcohol.

628
00:35:49,040 --> 00:35:51,719
Speaker 3: So my buddy goes, well that's it, man. We tried.

629
00:35:51,760 --> 00:35:54,040
Speaker 3: We gave it a shot, and I said, no, give

630
00:35:54,040 --> 00:35:56,719
Speaker 3: me a joint. So there was probably fifty people at

631
00:35:56,760 --> 00:35:59,319
Speaker 3: the pavephone. I lit it and came up to the

632
00:35:59,360 --> 00:36:01,239
Speaker 3: front and I said, look, somebody's having a baby. You

633
00:36:01,280 --> 00:36:03,360
Speaker 3: got to have the phone just for one minute, please

634
00:36:03,400 --> 00:36:07,080
Speaker 3: play is here? So okay, man, So pass the joint

635
00:36:07,080 --> 00:36:08,920
Speaker 3: down a couple people. I get on the phone, call

636
00:36:09,000 --> 00:36:11,640
Speaker 3: the New York State Police. I go listen, we're roadies

637
00:36:11,640 --> 00:36:13,799
Speaker 3: for a band that's playing at the festival witch Talk.

638
00:36:14,200 --> 00:36:16,560
Speaker 3: I think we're lost. We're trying to get there. How

639
00:36:16,560 --> 00:36:19,279
Speaker 3: do we get to the back roads? How do we

640
00:36:19,320 --> 00:36:22,040
Speaker 3: get to the heliport? So he goes, I don't know

641
00:36:22,080 --> 00:36:24,440
Speaker 3: what back roads, but the heliport. Where are you? And

642
00:36:24,480 --> 00:36:26,600
Speaker 3: I tell him He goes, go back to exits, go

643
00:36:26,760 --> 00:36:30,000
Speaker 3: south to Route seventeen, Go eastern Route seventeen. You'll run

644
00:36:30,080 --> 00:36:32,879
Speaker 3: right into it. You'll see the clevelands. So an hour

645
00:36:33,000 --> 00:36:36,279
Speaker 3: later we're there at the heliport and we go up

646
00:36:36,320 --> 00:36:38,200
Speaker 3: to the chopper guy and tell them, you know, when

647
00:36:38,239 --> 00:36:40,040
Speaker 3: can we get on a chopper? He goes, what band

648
00:36:40,040 --> 00:36:42,560
Speaker 3: are you with? You go, we're not with a band.

649
00:36:42,760 --> 00:36:46,120
Speaker 3: Michael Lang invited us. He goes, Michael Lang invited everybody

650
00:36:46,120 --> 00:36:47,600
Speaker 3: get out of here. If you're not on a band

651
00:36:47,600 --> 00:36:50,319
Speaker 3: playing tomorrow, you're not getting out of chopper. So now

652
00:36:50,360 --> 00:36:53,439
Speaker 3: we're like, oh my god. It was a motel there,

653
00:36:53,560 --> 00:36:56,239
Speaker 3: and of course it said rooms available, and nobody want

654
00:36:56,320 --> 00:36:59,960
Speaker 3: to stay there. So the production manager and the reception

655
00:37:00,160 --> 00:37:01,600
Speaker 3: just go, look, we've got to get a room. We

656
00:37:01,640 --> 00:37:04,879
Speaker 3: can't drive back to Traunta now. So to them, it's over.

657
00:37:05,840 --> 00:37:09,719
Speaker 3: So a cab pulls up and a guy gets out

658
00:37:09,760 --> 00:37:11,440
Speaker 3: with the guitar and he comes over to the chopper

659
00:37:11,480 --> 00:37:14,400
Speaker 3: guy and he goes, Eric Barrett got Jimmy Hendrix's guitar,

660
00:37:14,520 --> 00:37:17,560
Speaker 3: going to get on a choupper right now. The guy goes,

661
00:37:17,760 --> 00:37:19,959
Speaker 3: you're not getting on a chopper right now. Jimmy's playing

662
00:37:20,000 --> 00:37:22,440
Speaker 3: Sunday night. You don't get on a chopper till tomorrow.

663
00:37:23,120 --> 00:37:25,759
Speaker 3: So he's going fuck, you know, So we sidle up

664
00:37:25,760 --> 00:37:30,240
Speaker 3: to him, and you know, we're limiting that. The chopper guys,

665
00:37:30,280 --> 00:37:32,239
Speaker 3: which are always the worst guys in the world at

666
00:37:32,239 --> 00:37:37,960
Speaker 3: any festival and a station wagon pulls up and this

667
00:37:38,040 --> 00:37:40,640
Speaker 3: guy gets out and he's chewing on some tobacco, and

668
00:37:40,760 --> 00:37:42,880
Speaker 3: you know, Levon Holm would be the perfect guy to

669
00:37:42,920 --> 00:37:45,600
Speaker 3: play this guy if this is a movie. And he

670
00:37:45,680 --> 00:37:47,480
Speaker 3: sidles up to and he goes, hey, you boys, don't

671
00:37:47,480 --> 00:37:49,560
Speaker 3: want to go to that big hip show. Get you

672
00:37:49,640 --> 00:37:53,480
Speaker 3: right in fifty bucks each. So we look at this

673
00:37:53,520 --> 00:37:56,799
Speaker 3: guy and like so Eric Barrett goes, all right, let's go,

674
00:37:56,920 --> 00:37:57,359
Speaker 3: let's go.

675
00:37:57,440 --> 00:37:57,759
Speaker 2: I'll go.

676
00:37:58,640 --> 00:38:00,400
Speaker 3: Well, Hugh and I look at each other. Makets for

677
00:38:00,440 --> 00:38:03,279
Speaker 3: eighteen dollars, but fifty bucks each. Now my friends come

678
00:38:03,280 --> 00:38:05,480
Speaker 3: back and they've got a motel room. They're all excited.

679
00:38:05,880 --> 00:38:08,640
Speaker 3: It's one hundred bucks for the next two nights and

680
00:38:08,719 --> 00:38:12,040
Speaker 3: there's two beds in a couch. I said, we're going

681
00:38:12,080 --> 00:38:15,239
Speaker 3: into the festival with this guy. Well, my receptions looked

682
00:38:15,280 --> 00:38:16,880
Speaker 3: at this guy and she said, I'm not getting in

683
00:38:16,920 --> 00:38:19,399
Speaker 3: the car with that man. I mean he looked rough,

684
00:38:20,440 --> 00:38:22,880
Speaker 3: and so I said okay, And they've gotten kind of

685
00:38:22,880 --> 00:38:27,560
Speaker 3: snugly in the car, and a production guy you know, says, well,

686
00:38:28,640 --> 00:38:30,400
Speaker 3: we'll stay here, man, We've got a room. If it's

687
00:38:30,440 --> 00:38:32,080
Speaker 3: good coming at us, I said, I don't think we're

688
00:38:32,120 --> 00:38:34,080
Speaker 3: going to get you. But anyway, so we get in

689
00:38:34,120 --> 00:38:36,440
Speaker 3: this guy's car and he drives down the road and

690
00:38:36,480 --> 00:38:38,279
Speaker 3: all of a sudden he pulls right off the road

691
00:38:38,320 --> 00:38:42,279
Speaker 3: and crashes into the woods, and we are screaming, but

692
00:38:42,360 --> 00:38:45,319
Speaker 3: all of a sudden he's laughing, and he's driving through

693
00:38:45,400 --> 00:38:48,000
Speaker 3: ruts in the road and branches are flashing off this

694
00:38:48,239 --> 00:38:53,560
Speaker 3: windshield and Eric parents says, you know you got me pot,

695
00:38:53,719 --> 00:38:55,920
Speaker 3: and then Hugh goes, yeah, we got to do before you.

696
00:38:56,280 --> 00:38:58,400
Speaker 3: And this guy goes he bowys wants a pot, and

697
00:38:58,400 --> 00:39:01,080
Speaker 3: he pulls up his bag from under the seat, big

698
00:39:01,160 --> 00:39:05,319
Speaker 3: buds the size of mice, and he sells us two

699
00:39:05,360 --> 00:39:09,040
Speaker 3: of them for fifty each. Long story short. He drives

700
00:39:09,040 --> 00:39:11,759
Speaker 3: through the woods, comes into a field, goes through the

701
00:39:11,800 --> 00:39:14,200
Speaker 3: woods again, comes out and pulls up and drops right

702
00:39:14,200 --> 00:39:19,000
Speaker 3: into the backstage of Woodstock. There's the stage, okay, and

703
00:39:19,080 --> 00:39:22,680
Speaker 3: so security comes running over. Eric Barrett jumps out, Jimmy

704
00:39:22,680 --> 00:39:27,040
Speaker 3: Hendrix wesby Trailsmie laminates and I go where with him?

705
00:39:27,400 --> 00:39:31,480
Speaker 3: And so they give us backstage all stage laminates and

706
00:39:31,520 --> 00:39:35,759
Speaker 3: we never see him again. And that was it. We're

707
00:39:35,800 --> 00:39:41,279
Speaker 3: now backstage at Woodstock with all access laminates in twelve hours.

708
00:39:41,600 --> 00:39:46,560
Speaker 2: Okay, you're there, you're there for three days. Where do

709
00:39:46,640 --> 00:39:47,160
Speaker 2: you sleep?

710
00:39:47,320 --> 00:39:49,800
Speaker 3: No, we don't sleep anywhere, because a girl came along

711
00:39:49,960 --> 00:39:53,719
Speaker 3: very shortly thereafter with two giant mushroom stems. I ate

712
00:39:53,800 --> 00:39:56,840
Speaker 3: my allmine right away. Hugh do doled his out of

713
00:39:56,960 --> 00:40:00,000
Speaker 3: the weekend. He has some stories about what happened to me,

714
00:40:01,760 --> 00:40:05,319
Speaker 3: But nobody slept. There was no sleeping. You might lean

715
00:40:05,480 --> 00:40:09,440
Speaker 3: up against something. I fell in love with the trumpet

716
00:40:09,440 --> 00:40:12,839
Speaker 3: player for Sly and the Family Stone, standing about ten

717
00:40:12,880 --> 00:40:15,920
Speaker 3: feet from her. Abby Hoffman was standing next to me

718
00:40:15,960 --> 00:40:19,080
Speaker 3: when The Who was playing, and between one of their songs,

719
00:40:19,080 --> 00:40:20,680
Speaker 3: he ran out and grabbed the mic and goes, what

720
00:40:20,719 --> 00:40:22,960
Speaker 3: are we gonna do? But John Sinclair, what are we

721
00:40:22,960 --> 00:40:26,480
Speaker 3: gonna do about? John Sinklair and Pete Townsend come up

722
00:40:26,520 --> 00:40:28,239
Speaker 3: and smashes him on the back of the head and

723
00:40:28,320 --> 00:40:30,880
Speaker 3: knocks him out. Roady's drag him off. I'm on mushrooms

724
00:40:30,920 --> 00:40:34,120
Speaker 3: watching this. I never could have an infinity for The Who.

725
00:40:34,160 --> 00:40:37,800
Speaker 3: After that, Janna threw me off the stage. My friend

726
00:40:37,840 --> 00:40:41,080
Speaker 3: was her guitar player, John Till. We're smoking a joint

727
00:40:41,080 --> 00:40:44,719
Speaker 3: behind the amps and she comes out to go on

728
00:40:44,920 --> 00:40:47,720
Speaker 3: and doesn't see John as she goes, where's my guitar player?

729
00:40:47,920 --> 00:40:50,400
Speaker 3: Where's my guitar player? She sees us, He who the

730
00:40:50,440 --> 00:40:53,320
Speaker 3: fuck are you? Are you getting my guitar player's stone?

731
00:40:53,480 --> 00:40:55,759
Speaker 3: Get the fuck off my stage. So Rody's come and

732
00:40:55,800 --> 00:40:57,680
Speaker 3: grab me. I have to get off the stage. Lamit

733
00:40:57,920 --> 00:41:00,200
Speaker 3: or not, you get it off the stage right now. Now.

734
00:41:01,520 --> 00:41:05,240
Speaker 3: Those are some highlights. And then of course Monday morning

735
00:41:05,320 --> 00:41:10,040
Speaker 3: on stage for Jimmy, and that was incredible. I'm down

736
00:41:10,120 --> 00:41:15,359
Speaker 3: by now, and so Jimmy's over and my buddy looks

737
00:41:15,360 --> 00:41:19,399
Speaker 3: at me. He goes, where's that guy with the station wagon? Well,

738
00:41:19,440 --> 00:41:21,160
Speaker 3: of course he was nowhere to be found. But I

739
00:41:21,239 --> 00:41:24,719
Speaker 3: see about one hundred yards away a National Guard helicopter

740
00:41:24,880 --> 00:41:27,600
Speaker 3: and the blades were like it was sort of on,

741
00:41:27,840 --> 00:41:30,120
Speaker 3: like idling. I guess what their blades do? They kind

742
00:41:30,120 --> 00:41:32,480
Speaker 3: of move, So I said, come on, I remember we

743
00:41:32,520 --> 00:41:34,879
Speaker 3: have these laminates. So I come up to this kid

744
00:41:34,880 --> 00:41:36,880
Speaker 3: that looks younger than us, but he's about six '

745
00:41:36,960 --> 00:41:39,399
Speaker 3: three and he's in a uniform and he's standing next

746
00:41:39,400 --> 00:41:42,200
Speaker 3: to this huge helicopter. So I go, listen, man, can

747
00:41:42,239 --> 00:41:44,560
Speaker 3: you take us to the Montsello Airport? I said, we're

748
00:41:44,560 --> 00:41:46,759
Speaker 3: with the promoters. Very important. We have to get there.

749
00:41:47,040 --> 00:41:49,719
Speaker 3: He goes get in. He slides this door open, this

750
00:41:49,960 --> 00:41:52,360
Speaker 3: like the size of the wall in the one of

751
00:41:52,360 --> 00:41:56,160
Speaker 3: my apartments. And of course when we get in, people

752
00:41:56,239 --> 00:41:59,239
Speaker 3: rush the helicopter. I mean, nobody wanted to ask. I ask,

753
00:41:59,400 --> 00:42:01,840
Speaker 3: that's who I am? So I asked, Now the door's open.

754
00:42:02,160 --> 00:42:05,359
Speaker 3: Finally he had to stop, like he had twelve more

755
00:42:05,400 --> 00:42:07,480
Speaker 3: people in there. I don't know how many, but bum

756
00:42:07,520 --> 00:42:09,520
Speaker 3: bum bum bum bum bum bum bum bum bum bum

757
00:42:09,640 --> 00:42:12,560
Speaker 3: down right there, and there's the car, and there's my

758
00:42:12,680 --> 00:42:16,600
Speaker 3: production manager and receptionist standing next to it. And that's it.

759
00:42:16,760 --> 00:42:18,239
Speaker 3: We drive home and misleds up.

760
00:42:20,880 --> 00:42:25,800
Speaker 2: Okay, you do the festival in the spring. You've already

761
00:42:26,000 --> 00:42:31,680
Speaker 2: left the venue and the rock pile before you do

762
00:42:32,040 --> 00:42:35,040
Speaker 2: the Rock and Roll Revival sixty nine in the fall.

763
00:42:35,560 --> 00:42:37,000
Speaker 2: Did you do any other shows?

764
00:42:37,760 --> 00:42:41,880
Speaker 3: I did? I must admit that I did Blind Faith

765
00:42:42,040 --> 00:42:44,719
Speaker 3: at the end of July. Kenny wouldn't do it with me.

766
00:42:45,239 --> 00:42:48,480
Speaker 3: The record was now yet. My friend Hugh Curry was

767
00:42:48,560 --> 00:42:51,319
Speaker 3: a DJ on Chalmy at a Sunday night radio show

768
00:42:51,400 --> 00:42:53,640
Speaker 3: called The Dream Machine. He was saying, you have to

769
00:42:53,760 --> 00:42:56,160
Speaker 3: do it, you have to do it. This is the

770
00:42:56,600 --> 00:43:00,680
Speaker 3: super group. You have to bring them here. So Stan

771
00:43:00,800 --> 00:43:04,920
Speaker 3: Freeman at the Electric Circus in Toronto or in New

772
00:43:05,000 --> 00:43:08,040
Speaker 3: York had an electric circus by this time, competing with

773
00:43:08,120 --> 00:43:10,480
Speaker 3: the Rock Pile in Toronto. He said, I'll do it

774
00:43:10,560 --> 00:43:13,799
Speaker 3: with you, and so he and another guy I can't

775
00:43:13,800 --> 00:43:17,480
Speaker 3: remember his name, they put the money up and we

776
00:43:17,560 --> 00:43:20,480
Speaker 3: lost twenty thousand dollars. There's only three thousand people came.

777
00:43:20,560 --> 00:43:23,320
Speaker 3: The record came out the day of the show, and

778
00:43:25,200 --> 00:43:27,319
Speaker 3: it was an incredible show. Of course, it was an

779
00:43:27,320 --> 00:43:31,400
Speaker 3: amazing show, and Hugh and I sat and played records

780
00:43:31,480 --> 00:43:35,799
Speaker 3: with Stevie Winwood and Rick Gretch after the show all

781
00:43:35,920 --> 00:43:38,320
Speaker 3: night long. Back at Hughes Plays, Clapton went off, I

782
00:43:38,360 --> 00:43:40,840
Speaker 3: don't know where with Bonnie Bonnie Delaney. They were the

783
00:43:40,920 --> 00:43:44,839
Speaker 3: opening act. It was a magical experience, but it costs money.

784
00:43:45,239 --> 00:43:47,560
Speaker 3: It was. It was a bomb, as were many of

785
00:43:47,600 --> 00:43:50,400
Speaker 3: those dates because there was no record. If there's no record,

786
00:43:51,040 --> 00:43:54,080
Speaker 3: there's no internet, there's no nothing. There's no tribal drums.

787
00:43:54,760 --> 00:43:56,040
Speaker 3: You know, there's rolling stone.

788
00:43:57,440 --> 00:44:00,759
Speaker 2: Okay, what let's go back to the show. What is

789
00:44:00,840 --> 00:44:02,360
Speaker 2: the exact date of the Spring.

790
00:44:02,200 --> 00:44:06,359
Speaker 3: Festival September thirteenth, No, No, the one in the spring

791
00:44:06,640 --> 00:44:07,680
Speaker 3: June twenty twenty one.

792
00:44:08,600 --> 00:44:12,760
Speaker 2: Okay, so how long after that festival do you start

793
00:44:13,120 --> 00:44:16,080
Speaker 2: deciding you're going to do something in September.

794
00:44:16,160 --> 00:44:17,640
Speaker 3: Like probably the day afterwards.

795
00:44:19,239 --> 00:44:22,920
Speaker 2: And is the initial idea this rock revival thing or

796
00:44:23,280 --> 00:44:24,920
Speaker 2: is anybody saying anything different?

797
00:44:25,200 --> 00:44:27,400
Speaker 3: No? No, I was usually the guy that would call

798
00:44:27,480 --> 00:44:30,879
Speaker 3: the shots on who we were going to book. Kenny

799
00:44:31,040 --> 00:44:34,320
Speaker 3: was the business guy. He always made sure, you know,

800
00:44:35,000 --> 00:44:37,040
Speaker 3: we made money. I don't know how, but he did.

801
00:44:38,000 --> 00:44:41,160
Speaker 3: And so it was this whole thing that Chuck Berry

802
00:44:41,280 --> 00:44:44,000
Speaker 3: stole the show. Everybody's talking about Chuck Berry the next

803
00:44:44,040 --> 00:44:47,000
Speaker 3: few days. So that's when it was let's do all

804
00:44:47,040 --> 00:44:48,160
Speaker 3: the old rock and rollers.

805
00:44:56,239 --> 00:44:59,920
Speaker 2: Okay, so tell me about building the show, getting the tech.

806
00:45:00,440 --> 00:45:03,080
Speaker 3: Well, you know, the talent came together in one day,

807
00:45:03,200 --> 00:45:06,200
Speaker 3: literally the rockers, and that was what was made us

808
00:45:06,400 --> 00:45:09,680
Speaker 3: feel for sure, this is a great idea because just

809
00:45:09,800 --> 00:45:14,120
Speaker 3: two calls to Universal or you know another booking agent

810
00:45:14,200 --> 00:45:16,960
Speaker 3: I can't remember who, didn't matter. We were, you know,

811
00:45:17,520 --> 00:45:22,160
Speaker 3: Jerry Lee's available. Gene Vincent came on later, Kim Fowley

812
00:45:22,320 --> 00:45:26,120
Speaker 3: got us to bring him up there, and little Richard,

813
00:45:26,239 --> 00:45:29,680
Speaker 3: I mean, you know, probably those guys were not getting

814
00:45:29,719 --> 00:45:31,880
Speaker 3: booked very often, and this was like I got a

815
00:45:32,000 --> 00:45:34,120
Speaker 3: date for you. It was probably what their agent said, Hey,

816
00:45:34,200 --> 00:45:38,040
Speaker 3: I got a date for you up in Toronto, and

817
00:45:38,160 --> 00:45:41,280
Speaker 3: we thought it was propitious and you know, a good omen.

818
00:45:42,680 --> 00:45:45,239
Speaker 3: In hindsight, it was probably them excited to get a gig.

819
00:45:45,600 --> 00:45:48,880
Speaker 3: I don't know, nobody knows, but it all came together

820
00:45:49,040 --> 00:45:50,440
Speaker 3: in like a few phone calls.

821
00:45:51,800 --> 00:45:55,520
Speaker 2: Okay, so how did you end up booking the more

822
00:45:55,600 --> 00:45:59,280
Speaker 2: contemporary acts Chicago? The Door's Alice Cooper.

823
00:45:59,600 --> 00:46:03,160
Speaker 3: Well, Chicrgo had a number one record. Okay, they were huge,

824
00:46:03,880 --> 00:46:06,799
Speaker 3: and so they were an obvious buy just because they

825
00:46:06,840 --> 00:46:12,120
Speaker 3: were getting massive radio player. In terms of the doors,

826
00:46:12,239 --> 00:46:15,080
Speaker 3: they did not come along until I saw that this

827
00:46:15,320 --> 00:46:21,000
Speaker 3: was going to be an unmitigated disaster. And that's when

828
00:46:21,040 --> 00:46:26,000
Speaker 3: I bore the money from Edgo the Biker to bring them,

829
00:46:26,080 --> 00:46:28,120
Speaker 3: and I thought, well, for sure, now we're going to

830
00:46:28,200 --> 00:46:30,640
Speaker 3: sell out the doors because the year before we sold

831
00:46:30,680 --> 00:46:35,239
Speaker 3: out the coliseum in like days. But the you know,

832
00:46:35,800 --> 00:46:38,520
Speaker 3: blush was off the rose whatever that expression is, and

833
00:46:38,719 --> 00:46:42,040
Speaker 3: the doors. Remember something else. I believe a lot of

834
00:46:42,120 --> 00:46:45,080
Speaker 3: parents were involved in kids getting permission to go downtown

835
00:46:45,520 --> 00:46:47,480
Speaker 3: and be at a show. They didn't end till eleven

836
00:46:47,520 --> 00:46:50,279
Speaker 3: o'clock at night, and also to have six dollars or

837
00:46:50,320 --> 00:46:52,319
Speaker 3: eight dollars, and then I need money for a hot

838
00:46:52,400 --> 00:46:54,840
Speaker 3: dog and a coke, et cetera, et cetera. This was

839
00:46:55,520 --> 00:47:02,120
Speaker 3: not entrepreneurial teenagers. This was provincial Toronto. Liquor stores closed Sunday,

840
00:47:02,280 --> 00:47:06,480
Speaker 3: bars closed Sunday. I mean, this was still very provincial,

841
00:47:06,880 --> 00:47:08,920
Speaker 3: and I believe parents had a lot to do with it.

842
00:47:09,040 --> 00:47:12,360
Speaker 3: I'm sure the story about Jim Morrison more in Miami

843
00:47:12,719 --> 00:47:16,240
Speaker 3: had spread far and wide on the parental tribal drums.

844
00:47:17,640 --> 00:47:20,200
Speaker 2: Okay, let's go a little slower. Basically, in one day,

845
00:47:20,280 --> 00:47:24,480
Speaker 2: you book all the fifties rockers, do you in from

846
00:47:24,560 --> 00:47:28,640
Speaker 2: the beginning? Do you plan to book contemporary stuff like Chicago?

847
00:47:28,960 --> 00:47:31,359
Speaker 2: Or is an afterthought because those things are a little

848
00:47:31,400 --> 00:47:34,200
Speaker 2: oil and water. They're both music, are both rock, but

849
00:47:34,280 --> 00:47:35,200
Speaker 2: from different erows.

850
00:47:35,840 --> 00:47:38,640
Speaker 3: Yes, we intended to book other acts as well, because,

851
00:47:38,680 --> 00:47:41,560
Speaker 3: of course, from the June show there were acts that

852
00:47:41,640 --> 00:47:44,759
Speaker 3: were so off the wall, like Doctor John, that were

853
00:47:45,000 --> 00:47:48,480
Speaker 3: like incredible, that stunned the audience. Nobody knew who Doctor

854
00:47:48,600 --> 00:47:53,239
Speaker 3: John was. And we booked Tony Joe White, who also

855
00:47:53,320 --> 00:47:56,080
Speaker 3: had a big record and who was he was a

856
00:47:56,160 --> 00:47:59,680
Speaker 3: country guy from Nashville or something like that. But they

857
00:47:59,760 --> 00:48:03,279
Speaker 3: had big records and that was getting airplay. That obviously

858
00:48:03,520 --> 00:48:08,440
Speaker 3: did not translate to ticket sales either. And I think

859
00:48:08,480 --> 00:48:11,760
Speaker 3: you have to remember as a festival, parents were involved

860
00:48:11,880 --> 00:48:14,359
Speaker 3: in approving their kids coming down there.

861
00:48:15,760 --> 00:48:20,560
Speaker 2: How long after you booked the initial talent did you

862
00:48:20,719 --> 00:48:22,560
Speaker 2: decide and then book the doors.

863
00:48:23,760 --> 00:48:26,080
Speaker 3: Well, the doors were the very late booking. That was

864
00:48:26,120 --> 00:48:28,480
Speaker 3: a hail Mary pass right there before we had a

865
00:48:28,520 --> 00:48:32,760
Speaker 3: Hail Mary with Lennon. That was when it was obvious

866
00:48:32,880 --> 00:48:36,879
Speaker 3: the ticket sales were not going to reach any kind

867
00:48:36,960 --> 00:48:39,920
Speaker 3: of line like a stock where you know it's climbing.

868
00:48:40,000 --> 00:48:45,280
Speaker 3: They were flat, and I just felt from the Door's

869
00:48:45,840 --> 00:48:50,560
Speaker 3: performance the year before, and you know, girls were screaming,

870
00:48:50,680 --> 00:48:55,480
Speaker 3: they were like fainting at the coliseum. It was pandemonium.

871
00:48:55,600 --> 00:48:57,680
Speaker 3: Jim had his shirt open and his hair and he

872
00:48:57,800 --> 00:49:00,720
Speaker 3: was the lizard king. That's what I thought we were getting.

873
00:49:01,680 --> 00:49:05,400
Speaker 3: And you know, we didn't get latest photos of people

874
00:49:05,560 --> 00:49:07,560
Speaker 3: sent up to us. Oh wait a minute, here's Jim's

875
00:49:07,600 --> 00:49:10,360
Speaker 3: latest mugshot. No, that didn't come up with the contract.

876
00:49:12,800 --> 00:49:14,960
Speaker 3: So they came and you know it was a very

877
00:49:15,040 --> 00:49:15,840
Speaker 3: different reception.

878
00:49:17,760 --> 00:49:22,200
Speaker 2: Okay, let's talk before the date plays. So when you

879
00:49:22,320 --> 00:49:25,120
Speaker 2: booked the doors, are you aware of what happened in Miami?

880
00:49:25,280 --> 00:49:27,200
Speaker 3: Oh? Absolutely, of course.

881
00:49:27,440 --> 00:49:30,840
Speaker 2: Okay, so tell us about getting the money from the

882
00:49:31,000 --> 00:49:31,759
Speaker 2: biker gang.

883
00:49:32,920 --> 00:49:36,440
Speaker 3: Well, it was from the leader, edgo and I needed

884
00:49:36,560 --> 00:49:39,760
Speaker 3: to borrow the money because he said, look, this is alone,

885
00:49:39,840 --> 00:49:43,360
Speaker 3: this is not an investment. Okay, we don't want anything

886
00:49:43,480 --> 00:49:45,319
Speaker 3: for it, but you know what, I'll help you out.

887
00:49:45,440 --> 00:49:49,160
Speaker 3: But guess what. So that's why when I said to Kenny,

888
00:49:49,239 --> 00:49:51,279
Speaker 3: you know we need twenty five thousand, he said, no,

889
00:49:51,360 --> 00:49:54,080
Speaker 3: I'm not going to do it. Borrow it from somebody,

890
00:49:54,520 --> 00:49:57,000
Speaker 3: and you know, and then when I told him I

891
00:49:57,080 --> 00:49:59,960
Speaker 3: bored it from Edgoe, he said, well, you know that's great,

892
00:50:00,160 --> 00:50:01,920
Speaker 3: but you know, if it's a bomb, it's on you.

893
00:50:02,239 --> 00:50:08,239
Speaker 3: So rolling ahead a little further, when it was like

894
00:50:08,360 --> 00:50:11,279
Speaker 3: the Eatons went and canceled the show, you know, my

895
00:50:11,440 --> 00:50:13,520
Speaker 3: wife was ready to take the baby and move back

896
00:50:13,560 --> 00:50:16,080
Speaker 3: to her parents in California on the next plane, thinking,

897
00:50:16,160 --> 00:50:18,360
Speaker 3: you know, the Eatons aren't going to pony up to

898
00:50:18,440 --> 00:50:20,759
Speaker 3: twenty five thousand. We're Johnny going to get that money?

899
00:50:20,840 --> 00:50:24,400
Speaker 3: I don't know anyway. Then Lennon came alone and saved

900
00:50:24,480 --> 00:50:25,000
Speaker 3: the bacon.

901
00:50:25,920 --> 00:50:28,399
Speaker 2: Okay, is that what the door has cost?

902
00:50:29,360 --> 00:50:32,000
Speaker 3: Twenty five thousand for each day? Donald paid them the

903
00:50:32,040 --> 00:50:32,880
Speaker 3: same in Montreal.

904
00:50:34,120 --> 00:50:36,560
Speaker 2: Okay, how did you know this guy?

905
00:50:37,520 --> 00:50:39,680
Speaker 3: No? What guy ed Joe? He did security for us

906
00:50:39,719 --> 00:50:42,560
Speaker 3: at the rock Pile. Whenever British bands played at the

907
00:50:42,640 --> 00:50:45,520
Speaker 3: rock Pile, the Scotty Mods would come out of Scarborough,

908
00:50:46,280 --> 00:50:49,080
Speaker 3: and I mean the guys that were speaking English came

909
00:50:49,120 --> 00:50:52,040
Speaker 3: from English families, dressed like the Scotty Mods in Scotland

910
00:50:52,160 --> 00:50:54,359
Speaker 3: or in the UK, and they would come and they

911
00:50:54,360 --> 00:50:56,919
Speaker 3: would fly in a v right to the front door

912
00:50:57,040 --> 00:50:59,680
Speaker 3: and smash their way in. Well, they only did that

913
00:50:59,800 --> 00:51:03,320
Speaker 3: one and then we got Edgoe and some of his

914
00:51:03,480 --> 00:51:06,480
Speaker 3: guys to come and be security. And when they did

915
00:51:06,560 --> 00:51:09,120
Speaker 3: that the next time, they never did it again. So

916
00:51:09,400 --> 00:51:11,800
Speaker 3: I knew Edgoe also from the village. Edgo was like

917
00:51:11,840 --> 00:51:15,880
Speaker 3: a character hanging around the village, and that's where we

918
00:51:16,000 --> 00:51:19,279
Speaker 3: all hung around, like in the Diplomat's days. So I

919
00:51:19,360 --> 00:51:22,920
Speaker 3: mean these were characters. I was a character. I think

920
00:51:23,040 --> 00:51:26,000
Speaker 3: in one thing edgo says, you know John Brower was

921
00:51:26,040 --> 00:51:28,440
Speaker 3: another character hanging around the village. I mean we were

922
00:51:28,480 --> 00:51:30,000
Speaker 3: all characters against.

923
00:51:30,840 --> 00:51:34,200
Speaker 2: Okay, where did you think he got the twenty five

924
00:51:34,280 --> 00:51:35,080
Speaker 2: thousand dollars.

925
00:51:35,200 --> 00:51:38,320
Speaker 3: Where did he get it? Probably out of his back pocket,

926
00:51:38,520 --> 00:51:41,960
Speaker 3: I'm not sure. I'm sure they had businesses. I'm sure

927
00:51:42,000 --> 00:51:46,399
Speaker 3: they had enterprises that were enterprising back in those days.

928
00:51:46,480 --> 00:51:49,279
Speaker 3: As he says in the Revival movie, you got to

929
00:51:49,320 --> 00:51:52,600
Speaker 3: remember there's a lot of pot smoke back then. Well

930
00:51:52,640 --> 00:51:54,680
Speaker 3: there were a lot of people selling it back then too,

931
00:51:54,800 --> 00:51:56,640
Speaker 3: and I'm sure they may have been.

932
00:51:56,560 --> 00:51:59,640
Speaker 2: Some of them, so you weren't aware that they were

933
00:51:59,680 --> 00:52:03,200
Speaker 2: in the business. How do you know we had that money?

934
00:52:04,239 --> 00:52:07,640
Speaker 3: Well, you know, I asked a couple of people before

935
00:52:07,680 --> 00:52:10,120
Speaker 3: I asked him. Believe me, Okay, I asked a couple

936
00:52:10,200 --> 00:52:12,279
Speaker 3: of people. I asked a couple of guys from Upper

937
00:52:12,360 --> 00:52:14,880
Speaker 3: Canada College, could you get your mom to loan me

938
00:52:14,960 --> 00:52:18,600
Speaker 3: twenty five thousand? You know, I think one guy asked

939
00:52:18,640 --> 00:52:22,280
Speaker 3: his mom. She laughed him out of the house. But remember,

940
00:52:22,640 --> 00:52:25,440
Speaker 3: my friend got his uncle to give us ten thousand

941
00:52:25,520 --> 00:52:27,719
Speaker 3: to bring the doors. So I mean I was canvassing

942
00:52:27,760 --> 00:52:32,400
Speaker 3: some of those things before I settled on Edgoe. Edgoe

943
00:52:32,560 --> 00:52:37,080
Speaker 3: was very quick to say, yeah, no problem, okay.

944
00:52:38,640 --> 00:52:41,400
Speaker 2: How long after you announced the doors you realized this

945
00:52:41,560 --> 00:52:42,760
Speaker 2: isn't going to sell any real.

946
00:52:42,680 --> 00:52:45,160
Speaker 3: Tickets, probably seventy two hours.

947
00:52:47,200 --> 00:52:48,799
Speaker 2: Then what's going through your mind?

948
00:52:50,239 --> 00:52:56,480
Speaker 3: Well, I don't know, but probably wasn't very good basically,

949
00:52:56,640 --> 00:53:00,600
Speaker 3: you know now what And that's when I believe Thor

950
00:53:00,719 --> 00:53:02,840
Speaker 3: Eaton called and said, we're not going to you know,

951
00:53:03,239 --> 00:53:05,759
Speaker 3: green light the rest of the money because they had,

952
00:53:05,880 --> 00:53:07,799
Speaker 3: you know, stock in the company and they had to say.

953
00:53:08,760 --> 00:53:10,919
Speaker 3: And Kenny didn't want to green light at either. Kenny

954
00:53:10,960 --> 00:53:13,200
Speaker 3: wanted to cancel the show. We didn't want to lose money, Kenny.

955
00:53:13,400 --> 00:53:16,279
Speaker 3: You know, to me, I was losing a reputation. It

956
00:53:16,400 --> 00:53:19,160
Speaker 3: was an unmitigated disaster. I'd never be able to book

957
00:53:19,160 --> 00:53:22,600
Speaker 3: another band all of that. That's what I thought. Kenny

958
00:53:22,640 --> 00:53:24,520
Speaker 3: and Thor were like, we're not going to lose any

959
00:53:24,600 --> 00:53:28,200
Speaker 3: more money. That was just the accountants versus the creators.

960
00:53:29,480 --> 00:53:31,920
Speaker 3: And that's when I went to tell Kim Falley it's over,

961
00:53:32,080 --> 00:53:33,880
Speaker 3: and he said, you got to call John Lennon.

962
00:53:34,560 --> 00:53:38,120
Speaker 2: Okay, Well before we go there. How did Kim Fowley

963
00:53:38,200 --> 00:53:40,440
Speaker 2: and Rodney Bingenheimer get involved?

964
00:53:42,719 --> 00:53:45,680
Speaker 3: God bless him. I'm glad they did. Well. Richie Yorke,

965
00:53:45,760 --> 00:53:54,600
Speaker 3: the journalist, had suggested early on, you should bring Kim

966
00:53:54,680 --> 00:53:58,600
Speaker 3: Fowley and Rodney Bannheimer up to be the MC's. Now.

967
00:53:58,719 --> 00:54:03,760
Speaker 3: I knew Rodney from Rodney's English Disco in La Rodney

968
00:54:03,920 --> 00:54:07,600
Speaker 3: was the mayor of Sunset Strip, so that name was familiar.

969
00:54:07,640 --> 00:54:10,759
Speaker 3: I had no idea who Kim Falley was. But when

970
00:54:10,800 --> 00:54:14,000
Speaker 3: they got up there, you know, they were characters and

971
00:54:14,800 --> 00:54:17,160
Speaker 3: it sounded like they were going to be great MC's,

972
00:54:17,200 --> 00:54:19,239
Speaker 3: and in the movie Kim Fowley is a great MC.

973
00:54:19,480 --> 00:54:26,080
Speaker 3: Rodney drifted off. He didn't do anything on stage, but they,

974
00:54:26,239 --> 00:54:29,840
Speaker 3: you know, were celebrities, and you know, announcing them also

975
00:54:30,000 --> 00:54:33,799
Speaker 3: did not mean anything. It was like way over everybody's.

976
00:54:33,280 --> 00:54:38,239
Speaker 2: Head, and you booked them thinking they would do what.

977
00:54:38,719 --> 00:54:40,799
Speaker 3: Well, the first of all, they'd be the MC's as

978
00:54:40,840 --> 00:54:43,680
Speaker 3: opposed to people from Chum Radio, which would be doing

979
00:54:43,760 --> 00:54:46,800
Speaker 3: nothing but talking about Chum Radio all the time. That

980
00:54:46,960 --> 00:54:49,880
Speaker 3: was the one thing we wanted to avoid. We didn't

981
00:54:49,880 --> 00:54:52,919
Speaker 3: have any MC's at all in June, but a couple

982
00:54:53,000 --> 00:54:57,319
Speaker 3: of DJs did snatch the mic, you know, because they

983
00:54:57,360 --> 00:54:59,000
Speaker 3: were allowed to be there and say, well, we need

984
00:54:59,080 --> 00:55:01,000
Speaker 3: to make an announcement and Chum wants to thank you.

985
00:55:01,400 --> 00:55:04,280
Speaker 3: You know, everybody took credit for everything at radio stations

986
00:55:04,360 --> 00:55:07,200
Speaker 3: wherever possible, So we wanted to avoid that. So it

987
00:55:07,320 --> 00:55:09,920
Speaker 3: sounded great. We'll have the mayor of Sunset Strip and

988
00:55:10,040 --> 00:55:12,640
Speaker 3: some other guy named Kim Fowley, and they'll be the

989
00:55:12,719 --> 00:55:15,480
Speaker 3: EMC's that'll keep the radio guys off the stage.

990
00:55:17,120 --> 00:55:20,719
Speaker 2: Okay, if the show is going to play in September,

991
00:55:21,040 --> 00:55:24,520
Speaker 2: when do you decide to hire Fouley in Bingenheimer?

992
00:55:25,320 --> 00:55:29,040
Speaker 3: Oh? Probably not till the middle of August, or even

993
00:55:29,120 --> 00:55:29,680
Speaker 3: a bit later.

994
00:55:30,719 --> 00:55:33,440
Speaker 2: The movie gives the impression that they ultimately moved to

995
00:55:33,600 --> 00:55:35,960
Speaker 2: Toronto for a month. Is that kind of what happened?

996
00:55:36,000 --> 00:55:38,479
Speaker 3: Now? I don't I've seen the movie one hundred times.

997
00:55:38,560 --> 00:55:42,919
Speaker 3: I don't ever remember anything that indicated that they came

998
00:55:43,040 --> 00:55:45,840
Speaker 3: up like the week of the show to do promotion

999
00:55:46,719 --> 00:55:49,640
Speaker 3: and that was it. They were basically only there like

1000
00:55:49,760 --> 00:55:52,680
Speaker 3: two days before I went to tell them that we're

1001
00:55:52,719 --> 00:55:56,279
Speaker 3: pulling the plug and we'll send you home. But the

1002
00:55:56,360 --> 00:55:58,239
Speaker 3: idea of booking them, the idea of booking them and

1003
00:55:58,320 --> 00:56:01,200
Speaker 3: paying them and getting them there line tickets would have

1004
00:56:01,280 --> 00:56:03,920
Speaker 3: been several, you know, weeks, at least a couple before that.

1005
00:56:05,280 --> 00:56:08,600
Speaker 2: Okay, So now in this great run you have the

1006
00:56:08,960 --> 00:56:15,040
Speaker 2: fifties acts you booked the doors, tickets still aren't selling.

1007
00:56:15,800 --> 00:56:17,000
Speaker 2: What's going through your brain?

1008
00:56:18,560 --> 00:56:22,960
Speaker 3: Like, why was this my idea? You know?

1009
00:56:23,120 --> 00:56:23,319
Speaker 2: Why?

1010
00:56:23,440 --> 00:56:24,680
Speaker 3: Why was this my idea?

1011
00:56:24,840 --> 00:56:25,040
Speaker 2: Why?

1012
00:56:25,239 --> 00:56:26,960
Speaker 3: Why did I think of this? What did I think

1013
00:56:27,000 --> 00:56:30,080
Speaker 3: about this that was going to be good? Like, you know,

1014
00:56:30,280 --> 00:56:33,919
Speaker 3: I'm sure every promoter's had that happened once in their life.

1015
00:56:35,880 --> 00:56:38,600
Speaker 2: And if you had brought the show down, how much

1016
00:56:38,680 --> 00:56:41,799
Speaker 2: would you've only owed the acts for cancelation.

1017
00:56:43,120 --> 00:56:47,040
Speaker 3: That I really don't know, but probably a lot less

1018
00:56:48,080 --> 00:56:50,399
Speaker 3: than if they'd had to show up. And I don't

1019
00:56:50,440 --> 00:56:54,120
Speaker 3: know what those contracts said. I don't know that there

1020
00:56:54,200 --> 00:56:57,920
Speaker 3: was cancelation clauses in our agreements. I don't think we

1021
00:56:58,040 --> 00:57:03,360
Speaker 3: ever dealt with anybody canceled before, or US canceling anybody.

1022
00:57:03,400 --> 00:57:06,520
Speaker 2: It was like to just let's go back one chapter.

1023
00:57:06,880 --> 00:57:09,200
Speaker 2: Why did the Jeff Beck group not show up for

1024
00:57:09,320 --> 00:57:09,960
Speaker 2: the matinee?

1025
00:57:11,080 --> 00:57:13,680
Speaker 3: I don't have any idea, and we never heard. But

1026
00:57:13,840 --> 00:57:17,440
Speaker 3: obviously they were coming by car. They may have had

1027
00:57:17,480 --> 00:57:21,080
Speaker 3: a problem getting across the border because I don't know

1028
00:57:21,160 --> 00:57:26,040
Speaker 3: where they came from. But they did not fly into Toronto.

1029
00:57:26,720 --> 00:57:29,360
Speaker 3: They drove and they came in a station wagon and

1030
00:57:29,440 --> 00:57:33,080
Speaker 3: a van, So where they came from, I don't know.

1031
00:57:33,240 --> 00:57:36,440
Speaker 3: There were other acts that were delayed getting in. Some

1032
00:57:36,640 --> 00:57:40,600
Speaker 3: were even stopped from coming into Canada even though we

1033
00:57:40,680 --> 00:57:44,200
Speaker 3: had sold out shows for them. I can't think of one.

1034
00:57:44,400 --> 00:57:50,240
Speaker 3: Some guy set himself on fire. What was his name, Northrough.

1035
00:57:49,920 --> 00:57:52,360
Speaker 2: Brown Crazy World of Arthur Base, The World.

1036
00:57:52,200 --> 00:57:54,320
Speaker 3: Of Arthur Brown. It took him forever to get into

1037
00:57:54,360 --> 00:57:58,560
Speaker 3: the country. And there were other acts that were canceled

1038
00:57:58,600 --> 00:57:59,480
Speaker 3: that they couldn't get in.

1039
00:58:01,280 --> 00:58:08,560
Speaker 2: Okay, between the decision of deciding to hire Foully and Bingenheimer,

1040
00:58:09,200 --> 00:58:13,120
Speaker 2: before the John Lennon idea comes, are there any other

1041
00:58:13,280 --> 00:58:15,800
Speaker 2: ideas that come up that you either take action on

1042
00:58:16,000 --> 00:58:17,000
Speaker 2: or decide not to do.

1043
00:58:17,920 --> 00:58:20,919
Speaker 3: No, No, there were no other acts available that would

1044
00:58:20,920 --> 00:58:24,200
Speaker 3: have made any difference. There was no budget to spend

1045
00:58:24,360 --> 00:58:30,880
Speaker 3: on them because ticket sales were so disastrous and after

1046
00:58:31,000 --> 00:58:34,360
Speaker 3: the doors got there twenty five thousand and that didn't

1047
00:58:34,400 --> 00:58:37,600
Speaker 3: produce any tickets at all. That would have been a

1048
00:58:37,680 --> 00:58:41,920
Speaker 3: fools game to think anybody else would. So, you know,

1049
00:58:42,040 --> 00:58:44,680
Speaker 3: it was all moving so fast. Right now. Remember it's

1050
00:58:44,760 --> 00:58:49,400
Speaker 3: like winding down to you know, the week before the

1051
00:58:49,480 --> 00:58:52,080
Speaker 3: show and there's two thousand tickets.

1052
00:58:53,160 --> 00:58:58,720
Speaker 2: Okay, it's the week before the show. Are your partners

1053
00:58:58,760 --> 00:59:00,320
Speaker 2: still saying we want to cancel.

1054
00:59:00,760 --> 00:59:03,000
Speaker 3: No, they didn't want to cancel till the Monday. The

1055
00:59:03,120 --> 00:59:05,480
Speaker 3: show was on the Saturday. Monday was the day they

1056
00:59:05,560 --> 00:59:06,160
Speaker 3: pulled the plug.

1057
00:59:07,680 --> 00:59:09,000
Speaker 2: And what were you thinking?

1058
00:59:13,800 --> 00:59:16,080
Speaker 3: Should I go to LA with my wife and child?

1059
00:59:18,440 --> 00:59:21,880
Speaker 2: Okay, So it's Kim Fowley who comes up with the

1060
00:59:21,960 --> 00:59:25,960
Speaker 2: idea of John lenn Yes, and this is on the phone.

1061
00:59:26,080 --> 00:59:27,760
Speaker 2: Who does he call? What does he say?

1062
00:59:27,960 --> 00:59:29,840
Speaker 3: No? No, no. I go to the hotel room to

1063
00:59:29,920 --> 00:59:33,720
Speaker 3: tell he and Rodney there were the show's being canceled

1064
00:59:34,240 --> 00:59:35,880
Speaker 3: and we're going to get you guys and fly you

1065
00:59:36,040 --> 00:59:38,360
Speaker 3: back to LA. Their tickets were for like a week

1066
00:59:38,400 --> 00:59:39,920
Speaker 3: from then. We didn't want to keep them in the

1067
00:59:39,960 --> 00:59:43,440
Speaker 3: hotel any longer. Get them out of there. And that's

1068
00:59:43,480 --> 00:59:47,760
Speaker 3: when Kim Fowley had a meltdown and started stomping around

1069
00:59:47,800 --> 00:59:50,320
Speaker 3: the room, going, you can't cancel this show. It's a

1070
00:59:50,400 --> 00:59:53,680
Speaker 3: classic show. What's wrong with these guys? Da Da Da

1071
00:59:53,760 --> 00:59:57,360
Speaker 3: da da. And that's when he said, look this way

1072
00:59:57,400 --> 00:59:59,600
Speaker 3: you need to do. You need to call John Lennon

1073
00:59:59,640 --> 01:00:01,480
Speaker 3: in the more And I'm looking at him like you know,

1074
01:00:02,120 --> 01:00:04,280
Speaker 3: I know he doesn't do drugs. I heard that already,

1075
01:00:04,320 --> 01:00:07,880
Speaker 3: So where's this coming from? And you need to tell

1076
01:00:07,960 --> 01:00:11,200
Speaker 3: him You've got Chuck Berry, Little Richard, Jerry Lee Lewis,

1077
01:00:11,320 --> 01:00:15,200
Speaker 3: gen Vincent, Bo Diddley. Don't tell him about the Doors,

1078
01:00:15,280 --> 01:00:18,800
Speaker 3: don't tell him about any other bands. He loves these bands.

1079
01:00:19,200 --> 01:00:22,840
Speaker 3: The Beatles have played songs by Little Richard and Chuck Berry.

1080
01:00:23,480 --> 01:00:25,919
Speaker 3: The Beatles open for Gene Vincent at the Star Club.

1081
01:00:25,960 --> 01:00:28,200
Speaker 3: I didn't know any of this. Were citing all these

1082
01:00:28,280 --> 01:00:31,240
Speaker 3: things to me, and I go home and tell my

1083
01:00:31,360 --> 01:00:34,880
Speaker 3: wife and she goes into a complete meltdown, screaming around

1084
01:00:34,920 --> 01:00:36,800
Speaker 3: the house. You're out of your mind. I guess Elvis

1085
01:00:36,960 --> 01:00:39,120
Speaker 3: is waiting for your call too, And what about the

1086
01:00:39,240 --> 01:00:41,200
Speaker 3: Rolling Stones? Why don't you call them? You know? I

1087
01:00:41,280 --> 01:00:47,120
Speaker 3: mean it sounded so completely insane, ludicrous. But at six

1088
01:00:47,200 --> 01:00:50,000
Speaker 3: in the morning, Kenny Walker and I with Thor Eaton

1089
01:00:50,120 --> 01:00:51,960
Speaker 3: because we brought him to the office, it was like,

1090
01:00:52,040 --> 01:00:54,320
Speaker 3: if we get John Lennon on the phone, this has

1091
01:00:54,400 --> 01:00:58,560
Speaker 3: to be heard by Thor, not a story and lo

1092
01:00:58,720 --> 01:01:02,440
Speaker 3: and be old. We call out and you know, get

1093
01:01:02,600 --> 01:01:05,120
Speaker 3: Faucett there on the phone and tell him about the bands,

1094
01:01:05,160 --> 01:01:08,080
Speaker 3: and he comes back and it's like, okay, we'll do it.

1095
01:01:16,680 --> 01:01:19,840
Speaker 2: A little bit slower. How'd you get the number? What

1096
01:01:19,920 --> 01:01:22,160
Speaker 2: do you say when you call the number?

1097
01:01:22,360 --> 01:01:25,840
Speaker 3: Kim Fowley gave us the number for Apple. I mean

1098
01:01:25,880 --> 01:01:27,880
Speaker 3: it might have been that information too, I don't know.

1099
01:01:27,960 --> 01:01:30,160
Speaker 3: But Kim Fowley gave us the phone number. Here's the

1100
01:01:30,240 --> 01:01:32,520
Speaker 3: phone number. He went in a book and looked it up.

1101
01:01:33,360 --> 01:01:34,560
Speaker 3: He had everybody's number.

1102
01:01:35,160 --> 01:01:38,880
Speaker 2: Okay, so you called and someone picks up. Who do

1103
01:01:38,960 --> 01:01:40,920
Speaker 2: you say? Who you want to talk to? And what's

1104
01:01:40,960 --> 01:01:41,400
Speaker 2: your pitch?

1105
01:01:41,640 --> 01:01:44,720
Speaker 3: My pitch is just exactly this. Hi, this is John Brower.

1106
01:01:44,720 --> 01:01:47,640
Speaker 3: I'm calling from Toronto, Canada. I need you to write

1107
01:01:47,680 --> 01:01:52,520
Speaker 3: these names down please, It's very important. Chuck Berry, Little Richard,

1108
01:01:52,920 --> 01:01:56,560
Speaker 3: et cetera. I said, please give this to John Lennon

1109
01:01:56,600 --> 01:01:59,200
Speaker 3: and tell them all these acts are playing this Saturday,

1110
01:01:59,760 --> 01:02:02,160
Speaker 3: enter on and we want to invite he and Yoko

1111
01:02:02,240 --> 01:02:04,240
Speaker 3: to come and be the m Sieves, because that's what

1112
01:02:04,360 --> 01:02:07,280
Speaker 3: Folly said, invite them to be the m Sieves. So

1113
01:02:09,320 --> 01:02:12,959
Speaker 3: a minute or so later, you know, Anthony Faucett comes

1114
01:02:13,000 --> 01:02:15,840
Speaker 3: on and well where is it and when is it?

1115
01:02:15,960 --> 01:02:18,680
Speaker 3: It's this Saturday? And da da da da da, And

1116
01:02:18,840 --> 01:02:25,040
Speaker 3: then you know Lennon's there and hearing this and goes well, okay,

1117
01:02:25,160 --> 01:02:27,760
Speaker 3: we wouldn't want to come less we could play. So

1118
01:02:27,920 --> 01:02:31,680
Speaker 3: it was like what the Beatles, No, No, just us,

1119
01:02:31,840 --> 01:02:33,880
Speaker 3: me and me and Yoka and will get a little

1120
01:02:33,920 --> 01:02:37,480
Speaker 3: band together. All right. That was good enough for us,

1121
01:02:38,320 --> 01:02:40,959
Speaker 3: you know. Thor Eaton was like, okay, wow, that was cool.

1122
01:02:41,200 --> 01:02:43,760
Speaker 3: John Lennon on the phone, you know, because John Lennon's

1123
01:02:43,840 --> 01:02:46,160
Speaker 3: voice came on. He was on the phone. They had

1124
01:02:46,160 --> 01:02:48,960
Speaker 3: a speaker, So there you go, John Lennon, the real

1125
01:02:49,040 --> 01:02:52,080
Speaker 3: John Lennon. So that's why we went to chum. They

1126
01:02:52,160 --> 01:02:54,720
Speaker 3: laughed us out of the place, you know, like get

1127
01:02:54,760 --> 01:02:55,120
Speaker 3: out of here.

1128
01:02:55,840 --> 01:02:59,600
Speaker 2: Put a little bit slower. How is it left when

1129
01:02:59,640 --> 01:03:00,680
Speaker 2: you get off the phone?

1130
01:03:02,200 --> 01:03:04,480
Speaker 3: Well, we're jumping out and down, screaming and yelling. At

1131
01:03:04,520 --> 01:03:06,920
Speaker 3: six o'clock in the morning downtown in our office on

1132
01:03:07,080 --> 01:03:09,920
Speaker 3: Richmond Street. We had to wait three hours to go

1133
01:03:10,000 --> 01:03:10,400
Speaker 3: to Chump.

1134
01:03:11,240 --> 01:03:14,160
Speaker 2: Okay, but how do you leave it on the apple side?

1135
01:03:14,240 --> 01:03:17,320
Speaker 3: Appleside, I'm calling you back tomorrow. I need the names

1136
01:03:17,320 --> 01:03:19,200
Speaker 3: for the plane tickets, John said, I'm going to get

1137
01:03:19,200 --> 01:03:23,160
Speaker 3: a band together and for immigration and the plane tickets,

1138
01:03:23,280 --> 01:03:25,760
Speaker 3: and fine, call back tomorrow.

1139
01:03:26,640 --> 01:03:29,520
Speaker 2: Okay, And then you wait till nine o'clock. You go

1140
01:03:29,600 --> 01:03:31,919
Speaker 2: to the radio station tell the story there.

1141
01:03:32,160 --> 01:03:38,120
Speaker 3: Yes, and it's like, you know, ha ha ha, we

1142
01:03:38,280 --> 01:03:42,440
Speaker 3: know your show is bombing and I don't think we

1143
01:03:42,480 --> 01:03:43,880
Speaker 3: can go on the air with that. Boys.

1144
01:03:44,000 --> 01:03:44,920
Speaker 2: Sorry, you know.

1145
01:03:46,240 --> 01:03:48,560
Speaker 3: Now, there is a tiny backstory that came up on

1146
01:03:48,680 --> 01:03:53,680
Speaker 3: Tuesday Wednesday when we came back with the tape with

1147
01:03:53,800 --> 01:03:56,640
Speaker 3: Anthony Fawson on it. Now, Kenny and I had also

1148
01:03:56,720 --> 01:04:01,200
Speaker 3: been given the Beatles Magical Mystery Tour movie and we

1149
01:04:01,520 --> 01:04:04,320
Speaker 3: by Natwis, their lawyer guy in New York. They wanted

1150
01:04:04,320 --> 01:04:05,960
Speaker 3: to give it out to a few good promoters and

1151
01:04:06,040 --> 01:04:09,600
Speaker 3: we got it. So we sold out the O'Keefe Center,

1152
01:04:09,760 --> 01:04:13,000
Speaker 3: that's what it was back then. Klein Hands in Buffalo,

1153
01:04:13,880 --> 01:04:16,800
Speaker 3: Saint Lawrence Center, I think, in Montreal and at the

1154
01:04:16,960 --> 01:04:20,360
Speaker 3: Elegant Theater in Ottawa. It was a complete bus at

1155
01:04:20,400 --> 01:04:23,240
Speaker 3: twenty five hundred seat theater with four hundred tickets sold.

1156
01:04:23,280 --> 01:04:25,920
Speaker 3: The night before, Kenny and I are having dinner at

1157
01:04:25,920 --> 01:04:28,520
Speaker 3: the Chateau Laurier lamenting the fact we're going to lose

1158
01:04:28,560 --> 01:04:34,560
Speaker 3: our ass here and I had another idea. And back

1159
01:04:34,600 --> 01:04:36,400
Speaker 3: in the day, you always had the phone number of

1160
01:04:36,560 --> 01:04:40,480
Speaker 3: the radio station guy in the studio where they were

1161
01:04:40,560 --> 01:04:43,440
Speaker 3: on the air in case you had breaking news. And

1162
01:04:44,120 --> 01:04:48,200
Speaker 3: it was very organic back then. So I called a

1163
01:04:48,200 --> 01:04:51,280
Speaker 3: little hippie girl over that was a bus girl, and

1164
01:04:51,400 --> 01:04:52,880
Speaker 3: I said, how would you like to see the Beatles

1165
01:04:52,960 --> 01:04:56,320
Speaker 3: Magical Mystery Tour movie tomorrow? And she looked at us

1166
01:04:56,440 --> 01:04:59,040
Speaker 3: like I don't know what is that? You know? And

1167
01:04:59,120 --> 01:05:03,200
Speaker 3: Kenny's looking at me like, see, nobody knows. Promotion was terrible.

1168
01:05:04,920 --> 01:05:06,720
Speaker 3: So I said, Kenny, open me your briefcase. He opens

1169
01:05:06,800 --> 01:05:09,040
Speaker 3: his briefcase filled with tickets. I said, I'll give you

1170
01:05:09,160 --> 01:05:11,160
Speaker 3: ten tickets for you and your friends to go to

1171
01:05:11,280 --> 01:05:13,160
Speaker 3: the movie is playing right down the street at the

1172
01:05:13,240 --> 01:05:16,000
Speaker 3: Elgin Theaters, the Beatles movie. But I want you to

1173
01:05:16,080 --> 01:05:18,360
Speaker 3: call my friend to tell him that you work here

1174
01:05:18,440 --> 01:05:20,880
Speaker 3: and that you saw George Harrison. He's here having dinner

1175
01:05:21,120 --> 01:05:27,520
Speaker 3: with friends. That's innocent enough. So she goes okay. So

1176
01:05:27,680 --> 01:05:29,480
Speaker 3: she comes back a few minutes later and she's like

1177
01:05:29,600 --> 01:05:31,720
Speaker 3: kind of white. She goes, guy, you didn't tell me.

1178
01:05:32,400 --> 01:05:34,400
Speaker 3: You didn't tell me that that was the guy on

1179
01:05:34,480 --> 01:05:36,840
Speaker 3: the radio. He made me go on the radio and

1180
01:05:37,040 --> 01:05:40,120
Speaker 3: describe what was George Waring? And did I recognize anybody

1181
01:05:40,200 --> 01:05:42,600
Speaker 3: that was with him? To make it up, But she

1182
01:05:42,680 --> 01:05:44,160
Speaker 3: said but I did tell him that me and all

1183
01:05:44,240 --> 01:05:46,280
Speaker 3: my friends are going to see the Beatles movie tomorrow.

1184
01:05:46,600 --> 01:05:50,080
Speaker 3: I was like, oh my god, yes, okay, I love you,

1185
01:05:50,520 --> 01:05:53,920
Speaker 3: so we give her the tickets. Not even twenty minutes later.

1186
01:05:54,080 --> 01:05:56,880
Speaker 3: Thirty minutes later, kids were coming into the Chateau Laurier

1187
01:05:57,040 --> 01:05:59,880
Speaker 3: looking for George Harrison with Beatle records, wanting to say

1188
01:06:00,880 --> 01:06:03,560
Speaker 3: the next morning it was below the fold on the

1189
01:06:03,640 --> 01:06:07,440
Speaker 3: Autawa Citizen, George Harrison in town for Magical Mystery to

1190
01:06:07,520 --> 01:06:10,120
Speaker 3: our movie question Mark. Of course, we sold the show

1191
01:06:10,160 --> 01:06:12,240
Speaker 3: out by ten in the morning. The other twenty one

1192
01:06:12,320 --> 01:06:14,760
Speaker 3: hundred tickets were gone, so that became a bit of

1193
01:06:14,840 --> 01:06:16,760
Speaker 3: a story ha ha. You know, a little elbow on

1194
01:06:16,800 --> 01:06:20,880
Speaker 3: the side back in Toronto. And of course people at

1195
01:06:21,000 --> 01:06:23,320
Speaker 3: Chum had heard that, maybe a couple of the DJs

1196
01:06:23,400 --> 01:06:26,120
Speaker 3: or something. So when we came in there the second

1197
01:06:26,200 --> 01:06:29,160
Speaker 3: day with the tape, that's why they were really upset,

1198
01:06:30,320 --> 01:06:32,960
Speaker 3: because they said, you know, the Beatles must love you guys. Right,

1199
01:06:33,440 --> 01:06:36,400
Speaker 3: you're bombing with the movie in Ottawa. But George Harrison's

1200
01:06:36,520 --> 01:06:40,480
Speaker 3: in town, supposedly nobody sees him, but you sell that out.

1201
01:06:40,920 --> 01:06:44,280
Speaker 3: Now your festival's bombing. And John Lennon's coming with a

1202
01:06:44,360 --> 01:06:47,760
Speaker 3: band with Eric Clapton, no doubt, get out you guys,

1203
01:06:47,840 --> 01:06:51,720
Speaker 3: disgust me, you know, get out of here. That's that's why,

1204
01:06:51,920 --> 01:06:54,680
Speaker 3: you know they knew, And this was like that was

1205
01:06:54,880 --> 01:06:57,200
Speaker 3: our fault, but you know we had to be victim

1206
01:06:57,240 --> 01:07:01,480
Speaker 3: of our own uh you know, skullduggery if you will.

1207
01:07:03,080 --> 01:07:06,000
Speaker 2: So you called back Apple the next day and tell

1208
01:07:06,040 --> 01:07:07,080
Speaker 2: me about that conversation.

1209
01:07:07,160 --> 01:07:09,560
Speaker 3: Well, I asked for John Lennon. I said, he's expecting

1210
01:07:09,680 --> 01:07:13,440
Speaker 3: my call. Well, of course, Anthony Fosset comes on the phone. Meanwhile,

1211
01:07:13,480 --> 01:07:16,160
Speaker 3: we've got a suction cup on the phone and we're

1212
01:07:16,240 --> 01:07:22,080
Speaker 3: taping this and I was like, you know what, I

1213
01:07:22,120 --> 01:07:24,080
Speaker 3: didn't want to say, well, we need John Lennon on

1214
01:07:24,120 --> 01:07:26,120
Speaker 3: the phone. Nobody believes us. I didn't want to put

1215
01:07:26,160 --> 01:07:31,280
Speaker 3: any shade on this thing. So he recites these names,

1216
01:07:31,400 --> 01:07:35,080
Speaker 3: John Yoker here, Clappton Club's Forman Ellen White, mel Evans.

1217
01:07:35,160 --> 01:07:38,120
Speaker 3: I knew they named mel Evans and it was like, okay,

1218
01:07:38,240 --> 01:07:40,480
Speaker 3: So that's what we went up to Chum with that

1219
01:07:40,720 --> 01:07:43,400
Speaker 3: tape with him on the phone. Now, if John Lennon

1220
01:07:43,480 --> 01:07:46,400
Speaker 3: had come on the phone, Chum would have gone crazy.

1221
01:07:47,160 --> 01:07:49,680
Speaker 3: Of course, they would have everybody would have known John's voice.

1222
01:07:49,760 --> 01:07:53,920
Speaker 3: But Chum was kind of wondering about this. And that's

1223
01:07:53,960 --> 01:07:58,440
Speaker 3: when they call Capitol Records, who called Alan Kline, who said, boys,

1224
01:07:59,560 --> 01:08:01,680
Speaker 3: John lenn and it doesn't do anything I don't know about.

1225
01:08:01,840 --> 01:08:05,160
Speaker 3: Forget about it. Just forget it. And then the word

1226
01:08:05,240 --> 01:08:07,280
Speaker 3: came back to Chaum, it's all b as the Beetle's

1227
01:08:07,360 --> 01:08:09,720
Speaker 3: manager said, So well, that was it. We were dead.

1228
01:08:10,160 --> 01:08:13,600
Speaker 3: That's why the night before when Edgeo came to my house,

1229
01:08:14,520 --> 01:08:18,599
Speaker 3: he said, it's all good. If this is bullshit, that's fine,

1230
01:08:18,640 --> 01:08:22,000
Speaker 3: you're a promoter. But if my guys out at the

1231
01:08:22,040 --> 01:08:25,679
Speaker 3: airport tomorrow eighty people and there's no John Lennon, he said,

1232
01:08:25,760 --> 01:08:30,200
Speaker 3: now is the time to tell me. Not tomorrow. So

1233
01:08:30,800 --> 01:08:33,599
Speaker 3: I'm going. We talked. I talked to John Lennon. He's coming.

1234
01:08:33,680 --> 01:08:37,120
Speaker 3: We got them plane dikets now. Four in the morning.

1235
01:08:37,160 --> 01:08:39,840
Speaker 3: I hit a call Anthony Foss that John's not feeling well,

1236
01:08:39,920 --> 01:08:42,280
Speaker 3: doesn't want to come. Send roses and flowers, you know,

1237
01:08:42,560 --> 01:08:45,599
Speaker 3: like no, no, no, no, that's not going to fly.

1238
01:08:45,800 --> 01:08:49,280
Speaker 3: He has to come. And then Clampton came on board

1239
01:08:49,320 --> 01:08:51,200
Speaker 3: and that was it. John wasn't going to come without

1240
01:08:51,200 --> 01:08:53,800
Speaker 3: a guitar. Player. Not gonna come with a bass player

1241
01:08:53,840 --> 01:08:57,760
Speaker 3: and a drummer. Eric was the lynch pin. It was Eric,

1242
01:08:57,920 --> 01:08:59,840
Speaker 3: you know, on his way to the airport. All Riot,

1243
01:09:00,439 --> 01:09:01,200
Speaker 3: that's it, let's go.

1244
01:09:02,920 --> 01:09:06,680
Speaker 2: Okay, you talked to him if the show's playing on Saturday.

1245
01:09:06,920 --> 01:09:09,920
Speaker 2: The first conversation with Apple is what day of the week?

1246
01:09:10,200 --> 01:09:10,880
Speaker 3: Tuesday morning?

1247
01:09:11,680 --> 01:09:16,720
Speaker 2: Tuesday? It's confirmed on Wednesday. Do you have any contact

1248
01:09:17,560 --> 01:09:21,719
Speaker 2: before Anthony Foster calls you the night before saying we're canceling.

1249
01:09:22,240 --> 01:09:24,439
Speaker 3: Well, it was the morning of, not the night before.

1250
01:09:24,479 --> 01:09:28,720
Speaker 3: It was the morning of. Anthony Foster was canceling at

1251
01:09:29,160 --> 01:09:31,719
Speaker 3: nine o'clock in the morning, at four in the morning

1252
01:09:31,800 --> 01:09:35,240
Speaker 3: my time when the phone rang. So no, no conversation

1253
01:09:35,400 --> 01:09:39,960
Speaker 3: at all. Tickets were sent, immigration papers were organized, you know,

1254
01:09:40,080 --> 01:09:42,160
Speaker 3: the tickets arrived, they had them there. They missed that

1255
01:09:42,280 --> 01:09:45,680
Speaker 3: first plane. They had to switch all that around. No,

1256
01:09:46,040 --> 01:09:49,400
Speaker 3: that was it. And then Anthony, you know, got John

1257
01:09:49,400 --> 01:09:51,040
Speaker 3: on the phone and Eric was on board and it

1258
01:09:51,160 --> 01:09:52,759
Speaker 3: was like, okay, we're going to get the next plane.

1259
01:09:52,800 --> 01:09:53,280
Speaker 3: And that was it.

1260
01:09:53,479 --> 01:09:56,120
Speaker 2: And next time, okay, a little bit slower. He calls

1261
01:09:56,200 --> 01:09:57,440
Speaker 2: you says you're canceling.

1262
01:09:57,960 --> 01:10:02,840
Speaker 3: You say what, no, No, he can't cancel. He can't

1263
01:10:03,000 --> 01:10:05,640
Speaker 3: if he cancels, I have to leave my city. I

1264
01:10:05,760 --> 01:10:09,200
Speaker 3: have to leave my country. I'm figuring it's now four

1265
01:10:09,240 --> 01:10:11,760
Speaker 3: in the morning. I can't phone Edge oh and back

1266
01:10:11,840 --> 01:10:14,000
Speaker 3: the thing off. He had guys coming in from other

1267
01:10:14,080 --> 01:10:16,960
Speaker 3: cities for this run. This was like the VIP run.

1268
01:10:17,080 --> 01:10:20,280
Speaker 3: This was like a big deal for them. There wasn't

1269
01:10:20,320 --> 01:10:22,880
Speaker 3: anything about the twenty five thousand anymore. It was like

1270
01:10:23,040 --> 01:10:25,920
Speaker 3: I asked them to escort John Lennon in and he

1271
01:10:26,080 --> 01:10:28,600
Speaker 3: pulled out all the stops. Now you don't get a

1272
01:10:28,680 --> 01:10:33,160
Speaker 3: guy like that to get egg on his face. Okay, no,

1273
01:10:33,840 --> 01:10:37,240
Speaker 3: And I needed John Lennon anyway. Our whole credibility was

1274
01:10:37,320 --> 01:10:40,320
Speaker 3: based on this. Now we'd sold all these tickets in Detroit,

1275
01:10:40,439 --> 01:10:43,200
Speaker 3: Rusk Gid went out on the line, played the tape

1276
01:10:43,240 --> 01:10:46,840
Speaker 3: every fifteen minutes at his show. We had to fly

1277
01:10:47,000 --> 01:10:49,240
Speaker 3: Dennis down there with their shoe box full of tickets.

1278
01:10:49,800 --> 01:10:53,920
Speaker 3: You know, there's no computers. It was like people. Every

1279
01:10:54,000 --> 01:10:57,360
Speaker 3: ticket in Detroit Windsor was bought up in like after

1280
01:10:57,520 --> 01:10:59,639
Speaker 3: the first hour of Rusk get being on the radio,

1281
01:11:00,320 --> 01:11:02,080
Speaker 3: and Dennis had to fly down the next day with

1282
01:11:02,160 --> 01:11:05,599
Speaker 3: a shoe box full of tickets packed thousands.

1283
01:11:06,439 --> 01:11:10,519
Speaker 2: And when did schum finally say okay? They never said okay,

1284
01:11:11,520 --> 01:11:12,720
Speaker 2: So they never went on it.

1285
01:11:12,920 --> 01:11:14,360
Speaker 3: Oh yeah, they went on it. Let me tell you

1286
01:11:14,439 --> 01:11:15,880
Speaker 3: when they went on it, and it didn't get in

1287
01:11:15,960 --> 01:11:18,000
Speaker 3: the movie. And you know what, I brought this up

1288
01:11:18,040 --> 01:11:20,040
Speaker 3: with Ron Schoppman, the director. I love him to death,

1289
01:11:20,360 --> 01:11:22,360
Speaker 3: but this was something that was missed and I gave

1290
01:11:22,400 --> 01:11:26,439
Speaker 3: it to them in my interviews. When John Lennon finally

1291
01:11:26,479 --> 01:11:31,120
Speaker 3: gets to Heathrow, and you know, Eric Clapton had been

1292
01:11:31,160 --> 01:11:34,160
Speaker 3: there for a while, and Eric Clapton was highly recognizable,

1293
01:11:34,200 --> 01:11:36,439
Speaker 3: and the media people that were circling around there, just

1294
01:11:36,479 --> 01:11:40,240
Speaker 3: because at any major airport there's always media people. Eric

1295
01:11:40,280 --> 01:11:42,519
Speaker 3: wouldn't talk to them. But John Lennon rolls up and

1296
01:11:42,640 --> 01:11:45,760
Speaker 3: gives a press conference at the curb that he's out

1297
01:11:45,800 --> 01:11:48,960
Speaker 3: his way to Toronto to play a rock show with

1298
01:11:49,200 --> 01:11:53,120
Speaker 3: Chuck Berry and Little Richard and all the great rockers.

1299
01:11:53,840 --> 01:11:56,439
Speaker 3: And this goes out on the teletype all over the world,

1300
01:11:56,520 --> 01:11:59,120
Speaker 3: and then Chum at nine in the morning, because this

1301
01:11:59,240 --> 01:12:01,240
Speaker 3: is two in the after it comes up on the

1302
01:12:01,439 --> 01:12:05,920
Speaker 3: telemachine whatever those things were, Chik Chuck and I guess

1303
01:12:06,000 --> 01:12:09,360
Speaker 3: the guy in the newsroom looked at it and runs

1304
01:12:09,400 --> 01:12:11,960
Speaker 3: it into the program director who was ever calling the

1305
01:12:12,040 --> 01:12:16,080
Speaker 3: shots at nine o'clock on Saturday morning, and they went

1306
01:12:16,120 --> 01:12:20,520
Speaker 3: on the air with it immediately. Chump Presents Worldwide Exclusive.

1307
01:12:20,560 --> 01:12:23,519
Speaker 3: They took credit for everything, and they blasted it out

1308
01:12:23,600 --> 01:12:27,479
Speaker 3: every fifteen minutes. By one in the afternoon, we had

1309
01:12:27,520 --> 01:12:30,720
Speaker 3: pretty much sold out the stadium. People were pouring down

1310
01:12:30,800 --> 01:12:35,160
Speaker 3: there because this spread you know what we call now virally,

1311
01:12:35,479 --> 01:12:38,040
Speaker 3: people calling each other. I just heard on Chump. John

1312
01:12:38,120 --> 01:12:40,280
Speaker 3: Lennon is the airport. He's on his way to Toronto.

1313
01:12:40,479 --> 01:12:43,120
Speaker 3: They're playing at that show, and I mean, you know,

1314
01:12:43,320 --> 01:12:45,439
Speaker 3: Geddy Lee and them thing. You know. His friend said

1315
01:12:45,479 --> 01:12:47,320
Speaker 3: to him that morning, it sounds like a good idea,

1316
01:12:47,439 --> 01:12:50,400
Speaker 3: Let's go down there. They didn't have plans to go there.

1317
01:12:50,560 --> 01:12:53,040
Speaker 3: They went down there then it sounded like a good idea.

1318
01:12:54,240 --> 01:12:56,920
Speaker 3: So it was all last minute and Chump sold the

1319
01:12:56,960 --> 01:12:59,439
Speaker 3: show up. That's how I had somebody say to me,

1320
01:12:59,520 --> 01:13:02,800
Speaker 3: what didn't people come from? Get? Two thousand tickets sold

1321
01:13:03,000 --> 01:13:07,280
Speaker 3: well between Russ, Gibb and Chum in two chunks. That

1322
01:13:07,439 --> 01:13:09,599
Speaker 3: place sold out. In fact, I had to let fifteen

1323
01:13:09,680 --> 01:13:12,280
Speaker 3: hundred people in at the Northwest gate because we had

1324
01:13:12,360 --> 01:13:15,320
Speaker 3: no more tickets to solve the stadium. People were going,

1325
01:13:15,560 --> 01:13:18,760
Speaker 3: we have nothing to sell them, and the police were

1326
01:13:18,840 --> 01:13:21,320
Speaker 3: on horseback and that was the gate where the bikes

1327
01:13:21,360 --> 01:13:24,080
Speaker 3: are going to come in, and I just said, open

1328
01:13:24,160 --> 01:13:26,320
Speaker 3: the gates and let them in. We already sold out

1329
01:13:26,400 --> 01:13:29,479
Speaker 3: who cares and we could go with your bankrupt are

1330
01:13:29,560 --> 01:13:33,120
Speaker 3: going to be let them in. And then that really

1331
01:13:33,280 --> 01:13:36,280
Speaker 3: raised the vibe in the crowd. When fifteen hundred people

1332
01:13:36,360 --> 01:13:38,040
Speaker 3: came in. It was very exciting.

1333
01:13:39,000 --> 01:13:43,519
Speaker 2: Okay, it's four in the morning. You say you can't cancel.

1334
01:13:44,280 --> 01:13:47,840
Speaker 2: What's your next communication with Lenin or Lenin's team.

1335
01:13:48,400 --> 01:13:51,160
Speaker 3: Well, Faucett calls back and tells me that, you know,

1336
01:13:51,720 --> 01:13:54,439
Speaker 3: Eric Clapton's on board and on our way to the airport,

1337
01:13:54,760 --> 01:13:57,880
Speaker 3: and John is now on and they're getting in the

1338
01:13:58,160 --> 01:14:01,840
Speaker 3: limo and they got to get the next plane and

1339
01:14:02,000 --> 01:14:04,000
Speaker 3: he said, you know, I'll let you know when that is.

1340
01:14:04,479 --> 01:14:07,400
Speaker 3: And then I guess he was, you know, dealing with

1341
01:14:07,479 --> 01:14:09,639
Speaker 3: some paperwork somebody did. Okay, it's going to be five

1342
01:14:09,680 --> 01:14:11,200
Speaker 3: o'clock instead of two o'clock.

1343
01:14:18,640 --> 01:14:21,160
Speaker 2: Okay, what time does the show start?

1344
01:14:22,000 --> 01:14:25,080
Speaker 3: Oh, probably started at like eleven in the morning or

1345
01:14:25,200 --> 01:14:28,519
Speaker 3: noon with early local bands.

1346
01:14:30,080 --> 01:14:33,120
Speaker 2: Okay, what time is the first real band?

1347
01:14:34,160 --> 01:14:38,679
Speaker 3: Well, I think the first real band was Bo Diddley,

1348
01:14:39,680 --> 01:14:42,400
Speaker 3: but I may be wrong. You know, I was not

1349
01:14:42,800 --> 01:14:46,200
Speaker 3: on stage putting bands on stage. That was Rolly Paklin

1350
01:14:47,640 --> 01:14:50,080
Speaker 3: and Dennis Hill. That's what those guys did. They got

1351
01:14:50,160 --> 01:14:52,839
Speaker 3: the show going. They were the producers of the stage

1352
01:14:52,920 --> 01:14:56,479
Speaker 3: itself and who's coming on and when all of that stuff,

1353
01:14:57,400 --> 01:14:59,960
Speaker 3: I'm still dealing with money. People need to get paid.

1354
01:15:00,680 --> 01:15:03,920
Speaker 3: Kenny Walker and the lawyers are dealing with Pennybaker, and

1355
01:15:04,040 --> 01:15:07,000
Speaker 3: that's a whole not good story. But we finally I

1356
01:15:07,080 --> 01:15:10,360
Speaker 3: got that sorted out. They were wanting Pennybaker to give

1357
01:15:10,479 --> 01:15:13,280
Speaker 3: us twenty five thousand dollars or they couldn't start filming.

1358
01:15:13,960 --> 01:15:15,960
Speaker 3: And when I found that out, I had a meltdown

1359
01:15:16,000 --> 01:15:17,840
Speaker 3: and went up to where the meeting was and start

1360
01:15:17,920 --> 01:15:21,160
Speaker 3: screaming and yelling, and so the lawyers and Kenny backed off,

1361
01:15:21,280 --> 01:15:24,080
Speaker 3: and Pennybaker went and started shooting. But that's why the

1362
01:15:24,120 --> 01:15:27,800
Speaker 3: footage of Bo Diddley doesn't capture his whole performance, because

1363
01:15:27,800 --> 01:15:30,439
Speaker 3: they weren't allowed to start shooting until about halfway through

1364
01:15:30,840 --> 01:15:32,880
Speaker 3: or close to the end, and they caught the encore.

1365
01:15:33,680 --> 01:15:35,680
Speaker 3: That was a kerfuffle that I did not like.

1366
01:15:36,439 --> 01:15:38,200
Speaker 2: How did Penny Baker even get involved.

1367
01:15:39,600 --> 01:15:44,360
Speaker 3: Amazingly enough, Pennybaker called up and said, I'd like to

1368
01:15:44,439 --> 01:15:46,280
Speaker 3: come up and shoot your show. I mean, the word

1369
01:15:46,520 --> 01:15:49,960
Speaker 3: was out in New York that the show was happening.

1370
01:15:51,040 --> 01:15:53,600
Speaker 3: It was off, it was on, the doors were on.

1371
01:15:53,840 --> 01:15:57,920
Speaker 3: Now they were going to be on the show. And then,

1372
01:15:58,400 --> 01:16:01,960
Speaker 3: you know, that was enough, Pennybaker. It was enough to

1373
01:16:02,080 --> 01:16:04,559
Speaker 3: have those four guys up there, That's what he meant.

1374
01:16:04,720 --> 01:16:07,920
Speaker 3: Not those four guys meaning maybe the Beatles, Chuck Berry,

1375
01:16:08,000 --> 01:16:13,040
Speaker 3: Little Richard, Jerry Lee Lewis and Bo Diddley. Those are

1376
01:16:13,080 --> 01:16:15,240
Speaker 3: the four guys that he knew about. I don't even

1377
01:16:15,280 --> 01:16:18,320
Speaker 3: think Geene Vincent was involved in the promotion. He came

1378
01:16:18,439 --> 01:16:21,240
Speaker 3: up as a last minute thing that Kim Fowley got

1379
01:16:21,320 --> 01:16:23,560
Speaker 3: him added, and he was available, and he flew in

1380
01:16:23,960 --> 01:16:26,400
Speaker 3: and he needed a band, and that's how Alice became

1381
01:16:26,520 --> 01:16:31,880
Speaker 3: that band. So Kim Fowley again, if he hadn't brought

1382
01:16:34,400 --> 01:16:38,120
Speaker 3: Geene Vincent up, Alice Cooper might have played in the daytime,

1383
01:16:38,160 --> 01:16:40,000
Speaker 3: in the morning or something like that. See, that was

1384
01:16:40,080 --> 01:16:43,280
Speaker 3: the magic for Alice was that Jean Vincent got to

1385
01:16:43,320 --> 01:16:46,800
Speaker 3: play at night after Chuck Berry with the lights and

1386
01:16:46,920 --> 01:16:49,400
Speaker 3: so Alice got to have the magic of the lighting

1387
01:16:50,040 --> 01:16:52,960
Speaker 3: and the energy at night. I mean that's when the

1388
01:16:53,200 --> 01:16:56,800
Speaker 3: energy really was buzzing, and so it all just worked

1389
01:16:56,840 --> 01:16:59,799
Speaker 3: out and cheffing the chicken, I mean, it was crazy,

1390
01:17:00,360 --> 01:17:02,960
Speaker 3: It was crazy, but it was fortuous for Alice that

1391
01:17:03,120 --> 01:17:05,160
Speaker 3: they backed up Jean Vincent, or they'd have been on

1392
01:17:05,280 --> 01:17:05,759
Speaker 3: in the morning.

1393
01:17:06,800 --> 01:17:10,200
Speaker 2: Okay, are you checking with Heathrow whether Lennon and Posse

1394
01:17:10,680 --> 01:17:11,880
Speaker 2: actually get on the plane?

1395
01:17:12,160 --> 01:17:14,880
Speaker 3: No, no, no idea, And I'm not never a thought

1396
01:17:14,960 --> 01:17:19,040
Speaker 3: of that, never, Just like whatever, get the bikes out

1397
01:17:19,080 --> 01:17:19,719
Speaker 3: to the airport.

1398
01:17:20,400 --> 01:17:21,719
Speaker 2: Okay, so what's the plan.

1399
01:17:21,960 --> 01:17:24,920
Speaker 3: They're going to land, And well, they're going to land

1400
01:17:25,080 --> 01:17:27,160
Speaker 3: and we're going to get them into limos and they're

1401
01:17:27,200 --> 01:17:30,160
Speaker 3: going to come down the service road where Edgo has

1402
01:17:30,240 --> 01:17:33,320
Speaker 3: left enough space between all these bikes for the limos.

1403
01:17:34,000 --> 01:17:37,280
Speaker 3: As it turned out, that wasn't the way it was done.

1404
01:17:37,720 --> 01:17:40,360
Speaker 3: They realized that many bikes in front of the limos

1405
01:17:40,479 --> 01:17:42,840
Speaker 3: was going to be chaos. So Edgo and a couple

1406
01:17:42,920 --> 01:17:45,240
Speaker 3: of bikes rode in front and then the rest of

1407
01:17:45,320 --> 01:17:47,760
Speaker 3: them road behind. But nobody cared. There was a thrill

1408
01:17:47,840 --> 01:17:53,720
Speaker 3: to be riding escorting these limos. That was it, and

1409
01:17:53,880 --> 01:17:56,840
Speaker 3: of course, you know after they were delayed, like I

1410
01:17:56,960 --> 01:17:58,800
Speaker 3: had to call Edge in the morning and go, look,

1411
01:17:58,840 --> 01:18:02,760
Speaker 3: there's been a slight delay, and he goes, that's not good,

1412
01:18:03,960 --> 01:18:07,000
Speaker 3: and I go, look, I know they're on next plane. Okay,

1413
01:18:07,240 --> 01:18:11,559
Speaker 3: John's at the airport. I know that much. So Edro

1414
01:18:11,680 --> 01:18:14,720
Speaker 3: says to me, when are the doors coming in? And

1415
01:18:14,840 --> 01:18:17,360
Speaker 3: I said, they're coming in around the same time John

1416
01:18:17,479 --> 01:18:21,479
Speaker 3: was supposed to. He goes, okay, we'll go and do

1417
01:18:21,640 --> 01:18:25,280
Speaker 3: a dry run with the doors. That'll keep my guys cool.

1418
01:18:25,600 --> 01:18:28,439
Speaker 3: I start to tell them now there's a delay. That's

1419
01:18:28,520 --> 01:18:30,879
Speaker 3: not going to be good. Some of them are already

1420
01:18:31,160 --> 01:18:34,240
Speaker 3: accusing me of being a sucker and that there's going

1421
01:18:34,320 --> 01:18:36,960
Speaker 3: to be no John Lennon. I go, okay, well there's

1422
01:18:37,000 --> 01:18:39,040
Speaker 3: going to be John Lennon, so you're no sucker, So

1423
01:18:39,280 --> 01:18:42,360
Speaker 3: go escort the doors. Well, the doors thought they were

1424
01:18:42,400 --> 01:18:45,160
Speaker 3: being kidnapped by the bikers. There was no organization. Nobody

1425
01:18:45,240 --> 01:18:47,880
Speaker 3: told their doors anything. They leave the airport and they're

1426
01:18:47,960 --> 01:18:53,120
Speaker 3: swarmed by motorcycles like a hornet's nest, and they're in

1427
01:18:53,200 --> 01:18:55,200
Speaker 3: the cars. They don't know what's going on. Robbie told

1428
01:18:55,280 --> 01:18:59,120
Speaker 3: me Laterry said, we were terrified. Nobody warned us. There

1429
01:18:59,240 --> 01:19:02,880
Speaker 3: was no nothing build and know anything sittings and whatever.

1430
01:19:03,080 --> 01:19:07,519
Speaker 3: So that was just the bikers having fun, roaring down

1431
01:19:07,600 --> 01:19:09,760
Speaker 3: and then they roared back, and they still had to

1432
01:19:09,840 --> 01:19:14,680
Speaker 3: wait like another two hours for Lannon or more. But

1433
01:19:14,880 --> 01:19:17,519
Speaker 3: ed Joe knew, let these guys ride the doors, you know,

1434
01:19:17,680 --> 01:19:22,799
Speaker 3: let them get at their mojo here, at their excitement

1435
01:19:22,880 --> 01:19:25,720
Speaker 3: level up. And you can see in the film. By

1436
01:19:25,720 --> 01:19:28,760
Speaker 3: the way, this is a whole other thing. I've hat

1437
01:19:28,800 --> 01:19:30,800
Speaker 3: people say to me, how in God's name were all

1438
01:19:30,840 --> 01:19:33,600
Speaker 3: those bikers able to be drinking and smoking drugs in

1439
01:19:33,720 --> 01:19:37,200
Speaker 3: nineteen sixty nine in public, out at the airport like they,

1440
01:19:37,520 --> 01:19:41,760
Speaker 3: you know, any other place. They'd all been arrested, I said,

1441
01:19:42,120 --> 01:19:47,320
Speaker 3: because the Eatons were involved, hands were off everything. The

1442
01:19:47,479 --> 01:19:52,639
Speaker 3: police were told to stand down, okay, And I knew

1443
01:19:52,720 --> 01:19:55,719
Speaker 3: that was happening because I was told, don't worry about

1444
01:19:55,720 --> 01:19:57,160
Speaker 3: the bikers, they'll be fine.

1445
01:19:58,560 --> 01:20:01,240
Speaker 2: People south of the border off familiar with the Eatons,

1446
01:20:01,280 --> 01:20:02,400
Speaker 2: tell us who the Eatons were.

1447
01:20:02,600 --> 01:20:06,000
Speaker 3: Well. Timothy Eaton was the man that coined the phrase

1448
01:20:06,120 --> 01:20:09,800
Speaker 3: good satisfactory or money refunded. He's the first person to

1449
01:20:09,920 --> 01:20:13,599
Speaker 3: say that back in nineteen sixty nine. The Eaton's catalog

1450
01:20:13,840 --> 01:20:17,360
Speaker 3: was doing one billion dollars a year for twenty five

1451
01:20:17,479 --> 01:20:20,800
Speaker 3: or thirty years. People bought ninety percent of everything they

1452
01:20:20,920 --> 01:20:26,120
Speaker 3: bought from Eaton's catalog. It was famous, okay, and it

1453
01:20:26,280 --> 01:20:30,799
Speaker 3: became Eaton stores all across the country, and so the Eatons.

1454
01:20:30,880 --> 01:20:34,439
Speaker 3: When the Queen came in the fifties, she stayed at

1455
01:20:34,520 --> 01:20:36,840
Speaker 3: Lady Eaton's estate, which is where we put John and

1456
01:20:36,920 --> 01:20:40,080
Speaker 3: Yogo up. Thor was able to ask his mom, and

1457
01:20:40,160 --> 01:20:43,800
Speaker 3: his mom said, yeah, okay, no problem. That's why that

1458
01:20:43,920 --> 01:20:46,320
Speaker 3: classic picture of the band by the swimming pool, that's

1459
01:20:46,360 --> 01:20:50,600
Speaker 3: the swimming pool at the Eaton estate. So there it

1460
01:20:50,760 --> 01:20:53,719
Speaker 3: was hands off. The biker's got a free free pass

1461
01:20:53,840 --> 01:20:54,200
Speaker 3: that day.

1462
01:20:55,880 --> 01:20:58,160
Speaker 2: So John and Yoko and their band land.

1463
01:20:58,680 --> 01:21:01,320
Speaker 3: Then what happens get into the limos and we pulled

1464
01:21:01,360 --> 01:21:02,360
Speaker 3: down the service road.

1465
01:21:02,720 --> 01:21:03,720
Speaker 2: Are you there now?

1466
01:21:04,240 --> 01:21:06,720
Speaker 3: I'm in the car with John Roddy Banheimer and I

1467
01:21:06,840 --> 01:21:09,120
Speaker 3: went to meet him. So Rodney and I and Johnny Yoko.

1468
01:21:09,720 --> 01:21:12,519
Speaker 3: So we see the bikes and John reached down and

1469
01:21:12,560 --> 01:21:14,680
Speaker 3: pushes down the two door locks and looks at me

1470
01:21:14,800 --> 01:21:17,280
Speaker 3: kind of like you know, okay, and I go, look John.

1471
01:21:17,320 --> 01:21:19,160
Speaker 3: I didn't want to say anything till we got here,

1472
01:21:19,439 --> 01:21:23,000
Speaker 3: but this is your escort in Toronto. And we pulled

1473
01:21:23,040 --> 01:21:26,560
Speaker 3: into the space. Edgoe left and John was like, you know,

1474
01:21:26,640 --> 01:21:28,759
Speaker 3: he looked at Yoko and he was like, holy should

1475
01:21:29,760 --> 01:21:33,240
Speaker 3: So of course Edgoe has to see that this is

1476
01:21:33,360 --> 01:21:36,880
Speaker 3: not some Hollywood double in a wig, and so we

1477
01:21:37,040 --> 01:21:39,000
Speaker 3: have to put the window down and Edgoe comes up

1478
01:21:39,080 --> 01:21:41,439
Speaker 3: and you know, as Edgoe says, you know, we saw

1479
01:21:41,600 --> 01:21:44,160
Speaker 3: that's the real people. He kind of looked at me like,

1480
01:21:44,280 --> 01:21:46,040
Speaker 3: I don't know how you did it, man, that's the

1481
01:21:46,160 --> 01:21:51,320
Speaker 3: real people, okay, And so window goes up and Edgoe

1482
01:21:51,439 --> 01:21:53,800
Speaker 3: does like this with his thing, and eighty bikes fire

1483
01:21:53,920 --> 01:21:56,040
Speaker 3: up like firecrackers and off we go.

1484
01:21:58,880 --> 01:22:02,519
Speaker 2: Okay, you directly to the venue. What's happening at the

1485
01:22:02,640 --> 01:22:06,160
Speaker 2: venue when Lenin arrives, Well.

1486
01:22:06,040 --> 01:22:09,200
Speaker 3: It's it's pandemonium because they limos have to come in

1487
01:22:09,600 --> 01:22:12,479
Speaker 3: and pull right up to the tunnel and you know

1488
01:22:12,720 --> 01:22:16,679
Speaker 3: tent area that connects the dressing rooms with the stage,

1489
01:22:17,280 --> 01:22:20,719
Speaker 3: pull right up to that. And of course the crowd

1490
01:22:20,880 --> 01:22:25,439
Speaker 3: by now has been told throughout the day somebody specials company,

1491
01:22:25,560 --> 01:22:29,760
Speaker 3: somebody bigs coming. Well, once Lenin landed Kim Fowley was

1492
01:22:29,840 --> 01:22:32,960
Speaker 3: telling people John Lennon and Eric Clapton are here, and

1493
01:22:33,000 --> 01:22:34,600
Speaker 3: they're going to be here soon and they're going to

1494
01:22:34,640 --> 01:22:37,760
Speaker 3: play tonight. So now it's madness. And now when these

1495
01:22:37,840 --> 01:22:41,000
Speaker 3: limos come in. No other bands came in limos that

1496
01:22:41,120 --> 01:22:43,559
Speaker 3: came into the stadium, they might have got dropped off

1497
01:22:43,640 --> 01:22:46,320
Speaker 3: outside if there were even any other bands that had

1498
01:22:46,400 --> 01:22:52,320
Speaker 3: limos other than the doors. So there was pandemonium. It

1499
01:22:52,479 --> 01:22:54,720
Speaker 3: was excitement level as I say in a movie. I mean,

1500
01:22:54,760 --> 01:22:56,519
Speaker 3: this was like the thrill of a lifetime. I mean

1501
01:22:56,560 --> 01:22:59,920
Speaker 3: it was amazing. From panic at four in the morning

1502
01:23:00,560 --> 01:23:03,080
Speaker 3: where I see my life pass before my eyes in Edge,

1503
01:23:03,120 --> 01:23:06,000
Speaker 3: you're putting these flowers on my grave. Now I'm riding

1504
01:23:06,040 --> 01:23:11,120
Speaker 3: with John Lennon and this chariot into a sold out

1505
01:23:11,320 --> 01:23:15,759
Speaker 3: packed stadium and it's all happening. It's like, you know, crazy,

1506
01:23:15,840 --> 01:23:19,800
Speaker 3: It's better than any acid trip or mushrooms or anything else.

1507
01:23:20,240 --> 01:23:23,080
Speaker 3: That was like the real deal. That was like just

1508
01:23:23,200 --> 01:23:25,520
Speaker 3: pure adrenaline, pure incredible.

1509
01:23:25,920 --> 01:23:32,400
Speaker 2: Wow. Okay, The original pitch was he's going to be

1510
01:23:32,560 --> 01:23:36,240
Speaker 2: there with all these heritage acts. Did Lennon even go

1511
01:23:36,360 --> 01:23:39,040
Speaker 2: to look at the axe on stage? Did he hang

1512
01:23:39,160 --> 01:23:41,760
Speaker 2: with anybody backstage? Or it was just like he was

1513
01:23:41,800 --> 01:23:43,559
Speaker 2: here to headline. The rest didn't matter.

1514
01:23:44,280 --> 01:23:48,360
Speaker 3: No, he did come up on stage for a couple

1515
01:23:48,439 --> 01:23:51,280
Speaker 3: of things. I think he actually had contact with Little

1516
01:23:51,360 --> 01:23:56,880
Speaker 3: Richard and they had conversation together. There was a kerfuffle

1517
01:23:56,960 --> 01:24:00,400
Speaker 3: with Little Richard and the Doors and Lennon. That's not

1518
01:24:00,560 --> 01:24:05,479
Speaker 3: in the movie. But Bill Siddons and the Doors knew

1519
01:24:05,680 --> 01:24:09,559
Speaker 3: that the show was about to be canceled because the agents,

1520
01:24:09,640 --> 01:24:11,679
Speaker 3: you know, were calling every day, what's the ticket count?

1521
01:24:11,760 --> 01:24:15,200
Speaker 3: What's the ticket count? And on Monday, you know, a

1522
01:24:15,280 --> 01:24:17,040
Speaker 3: couple of them were told it looks like this is

1523
01:24:17,120 --> 01:24:21,040
Speaker 3: going to be canceled. So now Lennon is coming. So

1524
01:24:23,000 --> 01:24:25,439
Speaker 3: Bill Siddons asked me, if you know, can we talk

1525
01:24:25,479 --> 01:24:28,479
Speaker 3: to John and you and would you get him out

1526
01:24:28,479 --> 01:24:30,000
Speaker 3: of the dressing room. So I get John to come

1527
01:24:30,040 --> 01:24:33,120
Speaker 3: out in the hall and the Suddents goes, listen, John,

1528
01:24:33,240 --> 01:24:36,719
Speaker 3: you know, we'd like you to close the show because

1529
01:24:36,760 --> 01:24:40,400
Speaker 3: they thought if Lennon plays before them, everybody will leave

1530
01:24:40,600 --> 01:24:42,760
Speaker 3: because the show would have sold out if they were

1531
01:24:42,800 --> 01:24:47,240
Speaker 3: coming to see us. So John like a verge of

1532
01:24:47,320 --> 01:24:51,880
Speaker 3: a meltdown, is like you're the headliners. John's nervous enough anyway. Now,

1533
01:24:51,960 --> 01:24:54,880
Speaker 3: the Doors wanted him to close the show, like are

1534
01:24:54,920 --> 01:24:57,560
Speaker 3: you kidding me? And Siddons just laid this out. He

1535
01:24:57,640 --> 01:24:59,439
Speaker 3: didn't tell me in advance what he was going to

1536
01:24:59,479 --> 01:25:05,160
Speaker 3: ask John, So I was like, you know, I didn't

1537
01:25:05,160 --> 01:25:07,400
Speaker 3: know what to say. But Little Richard had been very

1538
01:25:07,479 --> 01:25:10,760
Speaker 3: close by and heard this, and he comes over and

1539
01:25:10,800 --> 01:25:13,280
Speaker 3: he goes, I will close the show the way it

1540
01:25:13,320 --> 01:25:16,120
Speaker 3: should be closed by me, the king. And he looks

1541
01:25:16,160 --> 01:25:18,360
Speaker 3: at Lennin and he goes, you know that, mister Lennon.

1542
01:25:18,720 --> 01:25:20,320
Speaker 3: He looks at me and he goes, you know that,

1543
01:25:20,479 --> 01:25:23,040
Speaker 3: mister promoter. And he looks at Jim Morrison. He goes,

1544
01:25:23,120 --> 01:25:25,640
Speaker 3: you know that, mister Doores. And he didn't know his

1545
01:25:25,800 --> 01:25:29,760
Speaker 3: name right, And John and Jim were like dumbfounded. Here's

1546
01:25:29,760 --> 01:25:32,840
Speaker 3: little Richard's banking them. And I said, listen, Richard, you're

1547
01:25:32,880 --> 01:25:34,799
Speaker 3: going on next. And I said, you know that piano

1548
01:25:34,960 --> 01:25:36,560
Speaker 3: was my personal one. I brought it for you. He

1549
01:25:36,640 --> 01:25:38,960
Speaker 3: was bitching about the piano, wanted just to get him

1550
01:25:38,960 --> 01:25:42,160
Speaker 3: another one, right, and I said it's mine. It's perfectly tuned.

1551
01:25:42,200 --> 01:25:43,519
Speaker 3: He goes, okay, thank you, thank you.

1552
01:25:44,080 --> 01:25:45,920
Speaker 2: So he walks in, which was a lie.

1553
01:25:46,160 --> 01:25:51,600
Speaker 3: Right. Another lie is you know, Live of Convenience. So

1554
01:25:52,640 --> 01:25:56,639
Speaker 3: promoters get like elephants. Elephants get to never forget. Promoters

1555
01:25:56,720 --> 01:25:58,920
Speaker 3: get to get off with a few lies once in

1556
01:25:58,960 --> 01:26:01,760
Speaker 3: a while. Nobody got hurt, nobody was shot, nobody costs

1557
01:26:01,800 --> 01:26:04,320
Speaker 3: them any money. But somebody moved on to where they

1558
01:26:04,400 --> 01:26:07,840
Speaker 3: needed to be. They needed their ego something a little massaging.

1559
01:26:08,280 --> 01:26:12,640
Speaker 3: So I said to John, I said, just go in

1560
01:26:12,680 --> 01:26:16,280
Speaker 3: their dressing room. And I said to Siddons and Jim Morrison, look,

1561
01:26:16,400 --> 01:26:17,960
Speaker 3: I said, if you don't want to close the show,

1562
01:26:18,680 --> 01:26:20,840
Speaker 3: I will let little Richard Clark the show. You guys

1563
01:26:20,920 --> 01:26:23,080
Speaker 3: don't even have to play. I got to tell you honestly,

1564
01:26:23,439 --> 01:26:26,360
Speaker 3: like I can't have any kerfuffles here. If John Lennon

1565
01:26:27,080 --> 01:26:29,280
Speaker 3: does not want to close the show, John Lennon is

1566
01:26:29,320 --> 01:26:31,080
Speaker 3: going to play when he wants to play. Today is

1567
01:26:31,120 --> 01:26:36,000
Speaker 3: about John Lennon, and that's it. And Siddons looked at

1568
01:26:36,400 --> 01:26:39,040
Speaker 3: Jim Morrison, and Morrison looks at me and goes, okay,

1569
01:26:39,320 --> 01:26:42,160
Speaker 3: we'll close, but we got to be on stage for

1570
01:26:42,280 --> 01:26:44,640
Speaker 3: John and Eric. They got to be going. That's what

1571
01:26:44,800 --> 01:26:47,840
Speaker 3: Morrison wanted. As long as you promised me that we

1572
01:26:47,960 --> 01:26:50,720
Speaker 3: can be on stage to watch John and Eric. I

1573
01:26:50,880 --> 01:26:54,160
Speaker 3: was like, okay, no problem, man, that's easy.

1574
01:26:56,800 --> 01:27:00,400
Speaker 2: So tell me about John and the band going on.

1575
01:27:02,240 --> 01:27:05,080
Speaker 3: Well, you know, John was very nervous and he did

1576
01:27:05,120 --> 01:27:08,840
Speaker 3: a lot of coke that day, and it was very

1577
01:27:08,880 --> 01:27:10,599
Speaker 3: good coke because I gave it to him. I got

1578
01:27:10,640 --> 01:27:12,479
Speaker 3: it off a guy in the audience that I knew

1579
01:27:12,800 --> 01:27:15,120
Speaker 3: had that stuff. I'd never done any made up for

1580
01:27:15,200 --> 01:27:17,439
Speaker 3: it in the eighties. But that's not the point. Back then,

1581
01:27:18,360 --> 01:27:21,840
Speaker 3: I was terrified holding this vial of like these little

1582
01:27:21,920 --> 01:27:26,679
Speaker 3: crystals and little powder and shit. And as Eric Clapton

1583
01:27:26,680 --> 01:27:28,600
Speaker 3: said a couple months after the show, I don't know

1584
01:27:28,640 --> 01:27:30,920
Speaker 3: how John even played. He was so coked out because

1585
01:27:31,479 --> 01:27:34,920
Speaker 3: that coke went directly to John and Yoko and they

1586
01:27:34,960 --> 01:27:37,200
Speaker 3: were alone in the dressing room and they asked me

1587
01:27:37,320 --> 01:27:40,000
Speaker 3: to ask Eric to come in. Now, remember later on

1588
01:27:40,200 --> 01:27:42,680
Speaker 3: it became, you know, public knowledge that they were all,

1589
01:27:43,240 --> 01:27:46,360
Speaker 3: you know, on heroin and kicking heroin. So that was

1590
01:27:46,520 --> 01:27:49,640
Speaker 3: probably another reason why without Eric coming along, John did

1591
01:27:49,720 --> 01:27:51,840
Speaker 3: not want to go. And that's why when Eric said

1592
01:27:51,840 --> 01:27:53,519
Speaker 3: all go, it was like, okay, we'll all do the

1593
01:27:53,600 --> 01:27:56,680
Speaker 3: Monkey danced together. But as soon as they got in

1594
01:27:56,760 --> 01:27:58,720
Speaker 3: the dressing room and I said, you know, can I

1595
01:27:58,800 --> 01:28:01,240
Speaker 3: get you or anything? That's what the wanted. And of

1596
01:28:01,320 --> 01:28:03,719
Speaker 3: course fool that I was thought they wanted Coca Cola.

1597
01:28:03,760 --> 01:28:06,639
Speaker 3: I mean, a complete fool of myself. But regardless got

1598
01:28:06,720 --> 01:28:07,040
Speaker 3: them that.

1599
01:28:09,040 --> 01:28:10,200
Speaker 2: And that was that.

1600
01:28:10,400 --> 01:28:11,760
Speaker 3: Now I did not see a lot of them. I

1601
01:28:11,880 --> 01:28:14,040
Speaker 3: was not in and out of the dressing room hobnobbing

1602
01:28:14,120 --> 01:28:17,200
Speaker 3: with them or bands or anything else. I mean there

1603
01:28:17,320 --> 01:28:20,560
Speaker 3: was business and money, and there was coordinating and the

1604
01:28:20,640 --> 01:28:24,880
Speaker 3: filming people, and there was always little problems. There's platform

1605
01:28:25,040 --> 01:28:27,800
Speaker 3: for the camera or getting up on stage. Too many

1606
01:28:27,840 --> 01:28:30,160
Speaker 3: people on stage, you know, got to get them off

1607
01:28:30,200 --> 01:28:33,120
Speaker 3: the stage. Not not a froom for the cameras. I

1608
01:28:33,200 --> 01:28:35,680
Speaker 3: mean that stage was, you know, not much bigger than

1609
01:28:36,320 --> 01:28:39,040
Speaker 3: you'd have for your kids, you know, birthday party or

1610
01:28:39,120 --> 01:28:40,960
Speaker 3: something if they had a band. I mean, this was

1611
01:28:41,040 --> 01:28:45,639
Speaker 3: not Woodstock, This was not Strawberry Fields the next year

1612
01:28:45,800 --> 01:28:49,680
Speaker 3: that I did. No, this was like a few rock

1613
01:28:49,720 --> 01:28:52,400
Speaker 3: and roll bands. That's how it started. And even Steppenwolf

1614
01:28:52,479 --> 01:28:54,439
Speaker 3: and Sly in the family Stone in June they played

1615
01:28:54,439 --> 01:28:58,600
Speaker 3: in the same stage. I don't know. Maybe the Woodstock

1616
01:28:58,640 --> 01:29:02,439
Speaker 3: stage got everything Jack, But back in the day, a

1617
01:29:02,520 --> 01:29:04,479
Speaker 3: stage was a stage if there was room for the

1618
01:29:04,600 --> 01:29:07,280
Speaker 3: band and the roadies and a couple of people and

1619
01:29:07,400 --> 01:29:07,800
Speaker 3: that was it.

1620
01:29:10,160 --> 01:29:15,479
Speaker 2: Okay, was the first time the audience saw Lenin when

1621
01:29:15,560 --> 01:29:16,679
Speaker 2: he came out with the band?

1622
01:29:17,439 --> 01:29:20,320
Speaker 3: Yeah, I would say absolutely. I do not ever recall

1623
01:29:20,439 --> 01:29:23,880
Speaker 3: John Lennon standing on the stage even the doors were

1624
01:29:23,960 --> 01:29:27,280
Speaker 3: behind the amplifiers, or Jim was on the stairs. I

1625
01:29:27,320 --> 01:29:29,720
Speaker 3: don't think Jim wanted to go up and be on

1626
01:29:29,880 --> 01:29:33,439
Speaker 3: the stage. He was on the stairs watching. In the

1627
01:29:33,560 --> 01:29:38,000
Speaker 3: Chuck Berry scenes there you can see him. And again,

1628
01:29:38,160 --> 01:29:40,080
Speaker 3: I was not spending a lot of time on stage.

1629
01:29:40,200 --> 01:29:43,400
Speaker 3: That's not my gig. It's not me standing there, you know,

1630
01:29:43,520 --> 01:29:44,240
Speaker 3: watching the band.

1631
01:29:44,800 --> 01:29:47,960
Speaker 2: Okay, gay, I guess what I'm asking is when Lenin

1632
01:29:48,280 --> 01:29:51,759
Speaker 2: actually hits the stage, what is the audience reaction.

1633
01:29:52,600 --> 01:29:55,160
Speaker 3: I think it's overwhelming because Kim had asked them to

1634
01:29:55,280 --> 01:29:57,680
Speaker 3: light matches and lighters, and there was a sea of

1635
01:29:57,800 --> 01:30:01,479
Speaker 3: lights and there was a lot of you know, you know,

1636
01:30:01,760 --> 01:30:04,320
Speaker 3: screaming and like, oh my god, you know, and there

1637
01:30:04,360 --> 01:30:07,760
Speaker 3: he is. It's real, you know, he's unmistakable in his

1638
01:30:07,880 --> 01:30:11,160
Speaker 3: white suit. And I think it was just, you know,

1639
01:30:11,720 --> 01:30:12,519
Speaker 3: it was magic.

1640
01:30:13,640 --> 01:30:15,840
Speaker 2: So you were watching the show or were not?

1641
01:30:17,240 --> 01:30:19,799
Speaker 3: Oh, I was watching that show. Yeah, I was watching

1642
01:30:19,880 --> 01:30:20,479
Speaker 3: that show.

1643
01:30:21,560 --> 01:30:25,519
Speaker 2: Okay, And what was the vibe as they played thrilling,

1644
01:30:25,840 --> 01:30:27,479
Speaker 2: disappointing shock.

1645
01:30:28,640 --> 01:30:34,439
Speaker 3: Well, I think it was fabulous until they did Cold Turkey,

1646
01:30:34,560 --> 01:30:38,080
Speaker 3: which was, you know, like a bringing a dead fish

1647
01:30:38,160 --> 01:30:41,840
Speaker 3: to a birthday party, and Yoko got in the bag.

1648
01:30:42,160 --> 01:30:45,640
Speaker 3: And now I think people started to wonder what was

1649
01:30:45,720 --> 01:30:48,560
Speaker 3: going on. There wasn't any Beatles songs. Your Blues is

1650
01:30:48,680 --> 01:30:54,200
Speaker 3: not a recognizable Beatles song. Okay, it's so obscure, it's unbelievable,

1651
01:30:54,240 --> 01:30:58,720
Speaker 3: and it's not even a good song. So I think

1652
01:30:58,800 --> 01:31:01,080
Speaker 3: people wanted to hear a Beatles song. There's one of

1653
01:31:01,120 --> 01:31:04,360
Speaker 3: the Beatles, it's John Lennon, you know, plain Norwegian Wood

1654
01:31:04,479 --> 01:31:07,439
Speaker 3: or something. But John was determined not to play a

1655
01:31:07,479 --> 01:31:12,719
Speaker 3: Beatles song. I'm surprised he played Your Blues Give Piece

1656
01:31:12,760 --> 01:31:17,280
Speaker 3: of Chance. Everybody came back to life and that was

1657
01:31:17,360 --> 01:31:20,080
Speaker 3: a beautiful time. But it was a very pedantic version

1658
01:31:20,240 --> 01:31:24,519
Speaker 3: compared to the recording in the hotel in Montreal. It

1659
01:31:24,640 --> 01:31:29,840
Speaker 3: kind of slogged along, but nonetheless people had the peace

1660
01:31:29,920 --> 01:31:31,560
Speaker 3: sign that were waving it up in the air. That

1661
01:31:31,680 --> 01:31:33,600
Speaker 3: was one of the things John told Kleine on the

1662
01:31:34,200 --> 01:31:36,880
Speaker 3: plane on the way back. I never felt so good

1663
01:31:36,920 --> 01:31:40,040
Speaker 3: in my life. People were jumping up and down, waving

1664
01:31:40,120 --> 01:31:42,320
Speaker 3: the peace sign and I want to do my own

1665
01:31:42,439 --> 01:31:45,840
Speaker 3: songs with my own band. That moment I think was

1666
01:31:45,920 --> 01:31:47,240
Speaker 3: the transfixing moment.

1667
01:31:54,800 --> 01:31:57,880
Speaker 2: So you say, Kline on the plane back, did Alan

1668
01:31:57,960 --> 01:31:59,240
Speaker 2: Klein actually come to town?

1669
01:31:59,320 --> 01:32:02,000
Speaker 3: Oh my god. Ellen Climb flew in on Saturday morning

1670
01:32:02,080 --> 01:32:06,679
Speaker 3: on the first plane. When he heard, however, that John

1671
01:32:06,760 --> 01:32:10,240
Speaker 3: Lennon was at the airport. Maybe John said, Anthony, possit,

1672
01:32:10,320 --> 01:32:12,120
Speaker 3: call Alan, let him know, tell him to come out.

1673
01:32:13,040 --> 01:32:16,560
Speaker 3: And because Klein Kleine, what a dog he was, so

1674
01:32:16,760 --> 01:32:20,760
Speaker 3: Clin grabs me backstage right and he goes, listen, can

1675
01:32:20,840 --> 01:32:23,200
Speaker 3: we talk? So I go, yeah, sure, Well it's pretty noisy.

1676
01:32:23,240 --> 01:32:25,040
Speaker 3: We'll go in the men's room. So we go in

1677
01:32:25,080 --> 01:32:27,200
Speaker 3: the men's room and he goes, listen, looks like he

1678
01:32:27,280 --> 01:32:28,880
Speaker 3: got a lot of people out there. He said, I'd

1679
01:32:28,960 --> 01:32:31,519
Speaker 3: like to get something for John. I said, like what,

1680
01:32:32,880 --> 01:32:36,240
Speaker 3: and he goes, well, you know, maybe ten thousand dollars.

1681
01:32:36,479 --> 01:32:40,280
Speaker 3: He said, look, I don't know what we've spent or

1682
01:32:40,360 --> 01:32:42,360
Speaker 3: what we owe or whatever. But I said, you know,

1683
01:32:43,560 --> 01:32:46,600
Speaker 3: I can't do anything like that right now anyway, And

1684
01:32:46,720 --> 01:32:47,600
Speaker 3: he said, well, I don't know.

1685
01:32:47,600 --> 01:32:48,360
Speaker 2: I have to talk to me.

1686
01:32:48,400 --> 01:32:50,040
Speaker 3: He might not want to play. And I said, well,

1687
01:32:50,080 --> 01:32:52,080
Speaker 3: I know he'll play because he signed a contract at

1688
01:32:52,120 --> 01:32:56,400
Speaker 3: the airport. But Clapton had come in, had gone to

1689
01:32:56,520 --> 01:32:59,479
Speaker 3: the urino, and Kleine said to him out, no, no,

1690
01:32:59,520 --> 01:33:01,280
Speaker 3: I aren't they know they don't want to pay you,

1691
01:33:01,400 --> 01:33:04,880
Speaker 3: and clamp And goes, well, piss on them as he's pissing. Okay.

1692
01:33:04,920 --> 01:33:08,880
Speaker 3: It was hilarious, classic moment, I said, Well, Tony Joseph

1693
01:33:08,880 --> 01:33:11,960
Speaker 3: Fido from the Musicians Union, who I used to take

1694
01:33:12,040 --> 01:33:14,840
Speaker 3: bass lessons from, came out to the airport with a

1695
01:33:14,880 --> 01:33:17,479
Speaker 3: contract for John to sign so he could play, and

1696
01:33:17,600 --> 01:33:19,719
Speaker 3: he signed it for two hundred and sixty five dollars.

1697
01:33:19,760 --> 01:33:22,439
Speaker 3: I think we have a check for him somewhere. Klein

1698
01:33:22,520 --> 01:33:26,479
Speaker 3: looked at me and he goes, you're good, kid, You're good, okay,

1699
01:33:27,200 --> 01:33:29,280
Speaker 3: and that was it. I never heard from him again

1700
01:33:29,320 --> 01:33:32,080
Speaker 3: about any money, but he did try to put a

1701
01:33:32,120 --> 01:33:34,679
Speaker 3: little scare into me. Well maybe he won't play. Yeah,

1702
01:33:34,680 --> 01:33:37,400
Speaker 3: I don't think so. I think I'll play, Okay.

1703
01:33:38,400 --> 01:33:41,760
Speaker 2: Lennon leaves the stage. What does Lenin then do?

1704
01:33:42,920 --> 01:33:45,360
Speaker 3: Gets into a limo and they go up to Lady

1705
01:33:45,400 --> 01:33:48,880
Speaker 3: Eaton's estate, which is, you know, like forty minutes north

1706
01:33:48,960 --> 01:33:54,080
Speaker 3: of town out in King so you know, they were

1707
01:33:54,120 --> 01:33:56,280
Speaker 3: in the limo together. He and Yoko have no idea

1708
01:33:56,320 --> 01:33:58,920
Speaker 3: what they said. I think it was a fabulous experience

1709
01:33:59,040 --> 01:34:01,519
Speaker 3: for the two of them. The Oko's face when you

1710
01:34:01,600 --> 01:34:03,880
Speaker 3: see her when he finally got her off the mic,

1711
01:34:05,080 --> 01:34:08,160
Speaker 3: she was blissed out. I mean, she had done her

1712
01:34:08,400 --> 01:34:13,400
Speaker 3: thing and that's what she wanted to do. I love

1713
01:34:13,479 --> 01:34:17,120
Speaker 3: Klaus form going. She came down the plane said can

1714
01:34:17,200 --> 01:34:19,519
Speaker 3: we do my song now? And John gets up the steers,

1715
01:34:19,560 --> 01:34:21,880
Speaker 3: your back up for a cup of tea. He didn't

1716
01:34:21,920 --> 01:34:25,040
Speaker 3: want anybody to know what was coming, you know, he

1717
01:34:25,200 --> 01:34:27,320
Speaker 3: really didn't. He was smart enough to know, like, we'll

1718
01:34:27,439 --> 01:34:30,439
Speaker 3: just roll with it, just you know, follow me. Put

1719
01:34:30,520 --> 01:34:35,080
Speaker 3: your aunt guitars up against the amplifiers. It was definitely

1720
01:34:35,280 --> 01:34:40,160
Speaker 3: cinema verite and it was flying. They were just flying

1721
01:34:40,360 --> 01:34:42,280
Speaker 3: by the seat of their pants. Like Klaus said, we

1722
01:34:42,360 --> 01:34:43,479
Speaker 3: didn't know what was coming next.

1723
01:34:44,640 --> 01:34:46,960
Speaker 2: So they go to the estate. When do they go

1724
01:34:47,120 --> 01:34:47,839
Speaker 2: back to England?

1725
01:34:47,960 --> 01:34:51,640
Speaker 3: They go back Monday. The Sunday was spent there on Sunday.

1726
01:34:51,360 --> 01:34:54,160
Speaker 2: Night And did you go visit them at the end.

1727
01:34:54,240 --> 01:34:56,040
Speaker 3: Yeah, yeah, there was a big dinner party. It was

1728
01:34:56,160 --> 01:34:57,479
Speaker 3: like a whole huge thing.

1729
01:34:59,320 --> 01:35:05,000
Speaker 2: Okay, now the date is played you make international news,

1730
01:35:05,200 --> 01:35:08,519
Speaker 2: you make history. What is going through your brain?

1731
01:35:09,280 --> 01:35:11,480
Speaker 3: Well, first of all, I don't think we made international

1732
01:35:11,640 --> 01:35:15,320
Speaker 3: news on any level that they had any impact.

1733
01:35:16,120 --> 01:35:18,599
Speaker 2: I think you're wrong. There. Everybody knew that John Lennon

1734
01:35:18,640 --> 01:35:19,839
Speaker 2: played in Toronto.

1735
01:35:19,920 --> 01:35:24,400
Speaker 3: Okay, Okay, well I'm glad to hear that in Toronto.

1736
01:35:26,200 --> 01:35:29,200
Speaker 3: It was great. It was like, you know, I don't

1737
01:35:29,200 --> 01:35:31,479
Speaker 3: think we could believe what happened. To be honest with you,

1738
01:35:32,560 --> 01:35:36,960
Speaker 3: it was stunning. It was successful, It was financially successful.

1739
01:35:37,640 --> 01:35:39,840
Speaker 3: I do know one thing. We weren't sitting around going

1740
01:35:39,920 --> 01:35:43,000
Speaker 3: what's our next show? I mean, the film had been shot.

1741
01:35:43,800 --> 01:35:46,840
Speaker 3: I think there was dealings with Penny Baker. But what

1742
01:35:47,000 --> 01:35:51,759
Speaker 3: happened is Alan Klein again comes in and convinces Penny

1743
01:35:51,800 --> 01:35:56,000
Speaker 3: Baker to give him the tapes, the recording tapes that

1744
01:35:56,160 --> 01:36:01,000
Speaker 3: Penny Baker had paid for Wali Hyder, and he agreed

1745
01:36:01,560 --> 01:36:04,080
Speaker 3: to sign a film release, and he reneged on that

1746
01:36:04,280 --> 01:36:06,599
Speaker 3: and instead took the tapes and put the album out.

1747
01:36:07,400 --> 01:36:10,839
Speaker 3: And it wasn't for quite some time that he actually

1748
01:36:10,920 --> 01:36:13,840
Speaker 3: got to put out this Sweet Toronto movie. And that

1749
01:36:14,120 --> 01:36:17,439
Speaker 3: was just a you know, a few glimpses of these bands.

1750
01:36:18,320 --> 01:36:22,439
Speaker 3: No narration, no nothing, and you know, then John and

1751
01:36:22,560 --> 01:36:25,000
Speaker 3: Yoka's performance. You know, that was like in the eighties.

1752
01:36:25,080 --> 01:36:28,320
Speaker 3: This was after John was gone, and then Yoko of

1753
01:36:28,400 --> 01:36:30,920
Speaker 3: course had to be in the opening of it talking

1754
01:36:31,000 --> 01:36:33,800
Speaker 3: about it from an art gallery. It was not a

1755
01:36:33,920 --> 01:36:37,400
Speaker 3: movie that Pennybaker wanted to make. It was a desperate

1756
01:36:37,920 --> 01:36:41,080
Speaker 3: attempt to get something out of that footage. That's why

1757
01:36:41,120 --> 01:36:44,640
Speaker 3: when Ron Chapmin came along, and Ron Chapman has credibility,

1758
01:36:44,720 --> 01:36:48,760
Speaker 3: He's made some award winning movies, they went, oh my god,

1759
01:36:48,920 --> 01:36:52,759
Speaker 3: here here comes the you know, resurrection of this footage.

1760
01:36:53,240 --> 01:36:56,320
Speaker 3: And this guy's got a great idea. Brower's still alive.

1761
01:36:57,040 --> 01:36:59,240
Speaker 3: You know. They had to do their interviews with me,

1762
01:36:59,280 --> 01:37:03,360
Speaker 3: and by the way, people said to me, man, you'll

1763
01:37:03,400 --> 01:37:05,400
Speaker 3: get rough in that movie, you know, And I go, well,

1764
01:37:06,200 --> 01:37:11,479
Speaker 3: that was years ago, and you know we were like drinking, smoking,

1765
01:37:11,560 --> 01:37:13,000
Speaker 3: having a good time, and all of a sudden, I

1766
01:37:13,040 --> 01:37:14,799
Speaker 3: get a call, you have to be on camera tomorrow.

1767
01:37:15,640 --> 01:37:17,600
Speaker 3: I wasn't ready. There was no hair and makeup, there

1768
01:37:17,680 --> 01:37:20,559
Speaker 3: was no nothing. I needed three days to detox before

1769
01:37:20,600 --> 01:37:24,400
Speaker 3: I should have been on film. But Ron couldn't raise

1770
01:37:24,439 --> 01:37:26,880
Speaker 3: any money unless he got me on film because they said,

1771
01:37:26,920 --> 01:37:29,880
Speaker 3: no one else is alive. If you don't get Brawer

1772
01:37:30,160 --> 01:37:32,960
Speaker 3: on camera, then what are you going to do? What

1773
01:37:33,040 --> 01:37:34,720
Speaker 3: if he dies while you think you're going to get

1774
01:37:34,760 --> 01:37:38,160
Speaker 3: on my camera in three four years? So that became

1775
01:37:39,200 --> 01:37:42,160
Speaker 3: him having to get me on camera for several hours

1776
01:37:43,120 --> 01:37:46,560
Speaker 3: sweating under lights in a velvet jacket. I don't know

1777
01:37:46,680 --> 01:37:50,760
Speaker 3: why it wore. And that's how that happened. That was

1778
01:37:50,840 --> 01:37:54,559
Speaker 3: what really triggered the beginning of getting the thing funded.

1779
01:37:56,200 --> 01:38:02,000
Speaker 2: According to Ron Okay, what happens in your promotion career

1780
01:38:02,120 --> 01:38:02,519
Speaker 2: after that?

1781
01:38:04,280 --> 01:38:08,720
Speaker 3: Well, I went to his stan Bull to buy sheepskin

1782
01:38:08,840 --> 01:38:11,559
Speaker 3: coats in November and the Eatons were going to sell

1783
01:38:11,600 --> 01:38:15,559
Speaker 3: them in every store of the country, And of course

1784
01:38:15,880 --> 01:38:19,519
Speaker 3: I got there with another guy and found that all

1785
01:38:19,560 --> 01:38:22,120
Speaker 3: the sheepskin coats had been paid for the year before.

1786
01:38:22,520 --> 01:38:25,240
Speaker 3: If you wanted sheepskin coats, buy them now, we'll deliver

1787
01:38:25,360 --> 01:38:27,719
Speaker 3: them next year. So we bought a few at the market.

1788
01:38:28,520 --> 01:38:31,360
Speaker 3: My friend had bought some hash, a few kilos of it,

1789
01:38:32,000 --> 01:38:33,960
Speaker 3: and I strapped it on to take it back to

1790
01:38:33,960 --> 01:38:38,680
Speaker 3: Toronto to figure it'll cover the expenses of the of

1791
01:38:38,800 --> 01:38:41,720
Speaker 3: the debacle of being istan Bull for a month not

1792
01:38:41,840 --> 01:38:45,040
Speaker 3: being able to get coats well, I almost got busted

1793
01:38:45,080 --> 01:38:47,519
Speaker 3: at Heathrow coming in. I didn't my health card. They

1794
01:38:47,600 --> 01:38:49,519
Speaker 3: sent me over to go to a doctor. Take your

1795
01:38:49,600 --> 01:38:53,640
Speaker 3: shirt off, they'll look at your vaccination marks. And of

1796
01:38:53,680 --> 01:38:56,040
Speaker 3: course if I took my shirt off, either the person

1797
01:38:56,120 --> 01:38:59,000
Speaker 3: looking at it would have to be a hash smoker,

1798
01:38:59,080 --> 01:39:00,840
Speaker 3: that I could give some of it too, and they

1799
01:39:00,880 --> 01:39:03,320
Speaker 3: would green lightning, or I'd be in jail. But my

1800
01:39:03,439 --> 01:39:05,479
Speaker 3: friend had the health cards. He waved them in. They

1801
01:39:05,520 --> 01:39:07,040
Speaker 3: called them in, they looked at them, and they let

1802
01:39:07,080 --> 01:39:09,400
Speaker 3: me go. So I was too traumatized to get on

1803
01:39:09,479 --> 01:39:11,599
Speaker 3: the plane to go to Toronto. I got a hotel room,

1804
01:39:11,960 --> 01:39:14,640
Speaker 3: sent my friend on, grabbed the sheepskin coat off him

1805
01:39:14,640 --> 01:39:17,600
Speaker 3: because it was November. Woke up in the morning and

1806
01:39:17,680 --> 01:39:20,040
Speaker 3: realized I'm in London and the last thing John lyn

1807
01:39:20,080 --> 01:39:22,519
Speaker 3: And said to me was you know my number? So

1808
01:39:22,640 --> 01:39:24,960
Speaker 3: I called Apple and got him on the phone. He

1809
01:39:25,000 --> 01:39:27,479
Speaker 3: came on the phone right away. I said, look, I'm

1810
01:39:27,520 --> 01:39:29,479
Speaker 3: in London. I got a present for you. He goes,

1811
01:39:29,520 --> 01:39:32,080
Speaker 3: we have a surprise for you. Come right over. So

1812
01:39:33,280 --> 01:39:37,120
Speaker 3: I rolled some of this hash up. I put the

1813
01:39:37,200 --> 01:39:39,280
Speaker 3: rest of it under the mattress in the hotel room,

1814
01:39:39,360 --> 01:39:41,800
Speaker 3: smoked a couple of cigarettes in there that covered the stink,

1815
01:39:41,800 --> 01:39:44,439
Speaker 3: because it was like waking up in a barn and

1816
01:39:45,280 --> 01:39:47,599
Speaker 3: come over to Apple with this big chunk of hash

1817
01:39:48,520 --> 01:39:51,400
Speaker 3: and you know, I just said, I come back from

1818
01:39:51,400 --> 01:39:53,880
Speaker 3: Miss Dan Bull. I jomped that I was a drug

1819
01:39:53,960 --> 01:39:56,840
Speaker 3: smuggler or whatever, it didn't matter back in those days.

1820
01:39:57,400 --> 01:40:01,439
Speaker 3: And he said, look, yo, go a Turkish golf ball

1821
01:40:01,680 --> 01:40:04,400
Speaker 3: and he rolls across the desk. So we smoked some

1822
01:40:04,560 --> 01:40:07,120
Speaker 3: of it, and of course he goes over to the

1823
01:40:07,200 --> 01:40:09,600
Speaker 3: record player and takes a record and puts it on

1824
01:40:09,840 --> 01:40:12,800
Speaker 3: and it's the live piece in Toronto Record and he

1825
01:40:12,880 --> 01:40:15,360
Speaker 3: says Capitol didn't want to put it out, but Alan

1826
01:40:15,439 --> 01:40:18,120
Speaker 3: made them. And he said, I'm really excited about it.

1827
01:40:18,160 --> 01:40:20,720
Speaker 3: You're the first person to hear it. Well, when I

1828
01:40:20,880 --> 01:40:25,719
Speaker 3: heard the beginning Toronto Presents, Broward Walker Present, our names

1829
01:40:25,760 --> 01:40:29,600
Speaker 3: were on this record, man, I was like floored. I

1830
01:40:29,720 --> 01:40:31,600
Speaker 3: thought I was going to faint or something, you know,

1831
01:40:32,040 --> 01:40:33,439
Speaker 3: and he kind of looked at me. I think he

1832
01:40:33,520 --> 01:40:37,439
Speaker 3: picked up on that, you know, like yeah, he's tripping. Yeah,

1833
01:40:37,520 --> 01:40:41,200
Speaker 3: he's definitely tripping here in that. So we talked about

1834
01:40:41,280 --> 01:40:44,600
Speaker 3: doing a peace festival and that's when he, you know,

1835
01:40:44,800 --> 01:40:47,240
Speaker 3: having been at Woodstock. That's the thing I didn't tell

1836
01:40:47,240 --> 01:40:51,559
Speaker 3: you during that story is on that stage after Jimmy played,

1837
01:40:52,200 --> 01:40:54,360
Speaker 3: I had this feeling that I said to you, we

1838
01:40:54,520 --> 01:40:56,720
Speaker 3: need to do one of these in Canada. We need

1839
01:40:56,800 --> 01:40:59,360
Speaker 3: to do a big festival. This is a real festival,

1840
01:40:59,680 --> 01:41:03,000
Speaker 3: not a football stadium. This is real. And I ended

1841
01:41:03,080 --> 01:41:06,439
Speaker 3: up doing the Strawberry Fields Festival one year exactly to

1842
01:41:06,520 --> 01:41:09,800
Speaker 3: the weekend of Woodstock, after trying to do a peace

1843
01:41:09,880 --> 01:41:15,719
Speaker 3: festival with John. Toronto Peace Festival probably considered the biggest

1844
01:41:15,800 --> 01:41:19,240
Speaker 3: non event in show business history. Rolling Stone thought five

1845
01:41:19,320 --> 01:41:21,960
Speaker 3: million people wanted to come. But John and I were

1846
01:41:22,479 --> 01:41:24,760
Speaker 3: very naive and we didn't realize the power of the

1847
01:41:24,880 --> 01:41:27,760
Speaker 3: Nixon White House. And I didn't realize the power of

1848
01:41:27,800 --> 01:41:30,200
Speaker 3: the Eatons because when I showed up back in Toronto,

1849
01:41:30,760 --> 01:41:33,240
Speaker 3: Kenny and Thoris served me with papers instead, we're throwing

1850
01:41:33,280 --> 01:41:36,400
Speaker 3: you out of the company, and they voted me out

1851
01:41:36,479 --> 01:41:38,280
Speaker 3: and I didn't even tell them I'd met with John

1852
01:41:38,360 --> 01:41:41,280
Speaker 3: Lennon and he went to a peace festival. I said, okay,

1853
01:41:41,400 --> 01:41:43,639
Speaker 3: and I like, literally, you know, you see in the movies,

1854
01:41:43,680 --> 01:41:46,160
Speaker 3: you clean your desk out and you leave. And I

1855
01:41:46,240 --> 01:41:48,640
Speaker 3: went home and I got kicked out. But I have

1856
01:41:48,720 --> 01:41:52,400
Speaker 3: John Lennon, you know my wife, because John Lennon is better.

1857
01:41:52,720 --> 01:41:55,760
Speaker 3: I like him better than Kenny A. Richie York and

1858
01:41:55,840 --> 01:41:58,680
Speaker 3: I and Chef's partner Richie Miller went back a few

1859
01:41:58,760 --> 01:42:02,360
Speaker 3: weeks later and made a normal presentation to John and

1860
01:42:02,880 --> 01:42:06,400
Speaker 3: got letters from him authorizing us to request a meeting

1861
01:42:06,479 --> 01:42:09,600
Speaker 3: with the Prime Minister and to launch a festival. And

1862
01:42:09,720 --> 01:42:11,479
Speaker 3: then we brought him back a week and a half

1863
01:42:11,600 --> 01:42:14,360
Speaker 3: later for a press conference at the Science Center when

1864
01:42:14,400 --> 01:42:17,120
Speaker 3: we also launched the Wars Over campaign around the world,

1865
01:42:17,400 --> 01:42:20,720
Speaker 3: and Toronto was the biggest of the campaigns because having

1866
01:42:20,800 --> 01:42:23,400
Speaker 3: come back with a letter from John Lennon, I was

1867
01:42:23,439 --> 01:42:26,360
Speaker 3: able to raise fast hundred thousand dollars and we probably

1868
01:42:26,400 --> 01:42:29,679
Speaker 3: spent half of it. People thought there was a Nike campaign.

1869
01:42:29,760 --> 01:42:33,639
Speaker 3: We had more billboards. Even Sean Lennon in his ode

1870
01:42:33,720 --> 01:42:37,559
Speaker 3: to the Little Movie about War Is Over, makes note

1871
01:42:37,600 --> 01:42:40,600
Speaker 3: of the fact that Toronto was the biggest War Is

1872
01:42:40,680 --> 01:42:43,479
Speaker 3: Over in the world. Other cities had a billboard. We

1873
01:42:43,600 --> 01:42:46,280
Speaker 3: had at least fifteen or twenty, and I had at

1874
01:42:46,400 --> 01:42:49,200
Speaker 3: least five hundred kids from Roussdale College out on the

1875
01:42:49,240 --> 01:42:52,160
Speaker 3: street with handbills. So we really kicked it off and

1876
01:42:52,280 --> 01:42:54,519
Speaker 3: John was very excited and he gave a great press

1877
01:42:54,560 --> 01:42:58,719
Speaker 3: conference and then everything sort of began to go downhill.

1878
01:42:59,840 --> 01:43:05,400
Speaker 3: Tragic experience watching politics and money and power crush culture.

1879
01:43:07,240 --> 01:43:10,439
Speaker 2: A little bit more detail there well.

1880
01:43:13,080 --> 01:43:15,800
Speaker 3: From the press conference. Of course, everyone in the world

1881
01:43:15,840 --> 01:43:17,880
Speaker 3: wanted to be part of the festival, and we wanted

1882
01:43:17,880 --> 01:43:21,519
Speaker 3: it to be at Mostport Ground Prix Racetrack, and that's

1883
01:43:21,600 --> 01:43:23,400
Speaker 3: where it was announced by Jean there it would be,

1884
01:43:24,320 --> 01:43:27,360
Speaker 3: and it was going to be a wonderful thing until

1885
01:43:28,080 --> 01:43:32,160
Speaker 3: Harvey Heudis, the park owner, called me and said there

1886
01:43:32,240 --> 01:43:35,280
Speaker 3: was an emergency meeting called by the town council. I

1887
01:43:35,439 --> 01:43:38,639
Speaker 3: wasn't allowed to go, but the opp that's the Ontario

1888
01:43:38,760 --> 01:43:42,200
Speaker 3: Provincial Police, made a presentation to them, I understand. They

1889
01:43:42,280 --> 01:43:45,600
Speaker 3: showed pictures of people frolicking nude and fornicating in the

1890
01:43:45,680 --> 01:43:49,640
Speaker 3: woods at Woodstock and mounds of garbage and told them

1891
01:43:49,720 --> 01:43:53,200
Speaker 3: this is what's coming to your community, and your permit

1892
01:43:53,439 --> 01:43:58,000
Speaker 3: was revoked. All right. That repeated itself four or five

1893
01:43:58,160 --> 01:44:01,240
Speaker 3: times over the next couple of months in the province

1894
01:44:01,320 --> 01:44:07,120
Speaker 3: of Ontario until we found out through somebody that our

1895
01:44:07,240 --> 01:44:11,599
Speaker 3: festival was never going to happen Ontario. John David Eaton

1896
01:44:11,760 --> 01:44:15,080
Speaker 3: was claiming at the Toronto Club with a whiskey glass

1897
01:44:15,160 --> 01:44:18,160
Speaker 3: up in the air, that festival will never happen in

1898
01:44:18,360 --> 01:44:21,760
Speaker 3: my province. That's who the Eatons were, and they were

1899
01:44:21,840 --> 01:44:24,400
Speaker 3: my former partners, and now it became a war that

1900
01:44:24,520 --> 01:44:27,519
Speaker 3: they declared when they found out that I had come

1901
01:44:27,600 --> 01:44:29,840
Speaker 3: back with Lennon and didn't tell them, well, yeah, what

1902
01:44:29,920 --> 01:44:31,439
Speaker 3: I'm going to tell you, I just get kicked out

1903
01:44:31,439 --> 01:44:36,240
Speaker 3: of my company. So that became very distressing to John

1904
01:44:36,439 --> 01:44:40,040
Speaker 3: because he's one that said I'm going to ask everybody

1905
01:44:40,120 --> 01:44:44,639
Speaker 3: that's anybody to play. But every week we are losing

1906
01:44:44,680 --> 01:44:48,320
Speaker 3: another site every week in rolling Stone park Hill site

1907
01:44:48,439 --> 01:44:55,400
Speaker 3: you know, canceled or this site canceled. And so John also,

1908
01:44:55,720 --> 01:44:58,240
Speaker 3: you know, was upset by Clin because Clin had called

1909
01:44:58,280 --> 01:45:00,719
Speaker 3: me to come to New York and he and Steve

1910
01:45:00,800 --> 01:45:04,040
Speaker 3: Lieber were in his office and Steve I knew I

1911
01:45:04,200 --> 01:45:07,880
Speaker 3: bought bands from him. He later on went to do Beatlemania,

1912
01:45:08,080 --> 01:45:11,880
Speaker 3: but he was a respectable agent head of ICM, I think.

1913
01:45:12,479 --> 01:45:14,479
Speaker 3: And he's sitting there with Klein, who's telling me there's

1914
01:45:14,479 --> 01:45:17,880
Speaker 3: a world Beatles tour and your festival is screwing it

1915
01:45:18,000 --> 01:45:20,200
Speaker 3: up because promoters they're scared you're going to take all

1916
01:45:20,240 --> 01:45:23,960
Speaker 3: the people, and I need you to cancel your festival

1917
01:45:24,000 --> 01:45:26,639
Speaker 3: and I'll give you all the Canadian dates, five cities.

1918
01:45:27,600 --> 01:45:29,320
Speaker 3: So I go, wow, I look at Steve, I said,

1919
01:45:29,360 --> 01:45:32,880
Speaker 3: you know, and Steve, yep, I'm booking it. Steve was

1920
01:45:32,920 --> 01:45:35,080
Speaker 3: full of shit, but for Alan Kline, he'd do anything,

1921
01:45:35,160 --> 01:45:39,040
Speaker 3: I guess, as most people would. So I go home

1922
01:45:39,080 --> 01:45:40,960
Speaker 3: and call John and tell him this, and he goes,

1923
01:45:41,360 --> 01:45:44,120
Speaker 3: oh my god, he's freaked out. He's full of bullshit.

1924
01:45:44,280 --> 01:45:47,920
Speaker 3: That's all bollocks. We're not doing any Beatles World tour.

1925
01:45:47,960 --> 01:45:51,439
Speaker 3: And at out of Day's Yelliott Yoko Klins screwing everything

1926
01:45:51,520 --> 01:45:57,040
Speaker 3: up in the festival. So he said, you guys need

1927
01:45:57,120 --> 01:45:59,639
Speaker 3: to get me the dirt on Cline. Well, Richie Yorke

1928
01:46:00,040 --> 01:46:04,240
Speaker 3: own journalists and used to asking tough questions and he

1929
01:46:04,439 --> 01:46:06,960
Speaker 3: prepared Adarcier and what people thought of Klein and there

1930
01:46:07,080 --> 01:46:13,080
Speaker 3: wasn't much good in it, if any. So then Lennon

1931
01:46:13,160 --> 01:46:15,760
Speaker 3: calls me and he wants me to get a guy

1932
01:46:15,880 --> 01:46:19,200
Speaker 3: named Don Hamrick to come over to Albert, Denmark. This

1933
01:46:19,400 --> 01:46:23,360
Speaker 3: is like in February, close to March, and he's going

1934
01:46:23,439 --> 01:46:28,080
Speaker 3: to get them off smoking cigarettes. And because they've changed

1935
01:46:28,120 --> 01:46:32,320
Speaker 3: smoked Galway cigarettes. And so we get him a ticket

1936
01:46:32,360 --> 01:46:34,400
Speaker 3: to go over there, because remember the Beatles have no money.

1937
01:46:34,439 --> 01:46:38,759
Speaker 3: I was paying for everything, you know, Chatau Laurio, hotel, airflights, trains,

1938
01:46:38,800 --> 01:46:41,120
Speaker 3: private railway car to meet Trudeau. I forgot to tell

1939
01:46:41,160 --> 01:46:44,000
Speaker 3: you that yet. You know, in Toronto we did get

1940
01:46:44,000 --> 01:46:47,000
Speaker 3: a meeting with the Prime Minister Greenlit. We rented a

1941
01:46:47,040 --> 01:46:50,160
Speaker 3: private railway car with an observation car and two sleeping

1942
01:46:50,240 --> 01:46:53,040
Speaker 3: cars went to Montreal so the press wouldn't know we

1943
01:46:53,120 --> 01:46:56,840
Speaker 3: were going to Ottawa. Ended up in Ottawa and it

1944
01:46:57,000 --> 01:46:59,240
Speaker 3: was a different visit than bringing the Beatles movie there

1945
01:46:59,280 --> 01:47:01,960
Speaker 3: because I was bringing and a beadle and Trudeau met

1946
01:47:02,040 --> 01:47:03,880
Speaker 3: with him only he and Yoko. None of us got

1947
01:47:03,960 --> 01:47:07,400
Speaker 3: to go in there, and it was a very highlight.

1948
01:47:07,479 --> 01:47:08,880
Speaker 3: It was for John. It was the first time a

1949
01:47:08,920 --> 01:47:13,040
Speaker 3: world leader ever received a rock star. It was unbelievable, unprecedented.

1950
01:47:13,600 --> 01:47:18,160
Speaker 3: So he wanted us to come to Denmark and give

1951
01:47:18,240 --> 01:47:20,880
Speaker 3: us a report on the festival. I need you know,

1952
01:47:20,960 --> 01:47:23,680
Speaker 3: a report, Amy, you know what's going on, and you

1953
01:47:23,760 --> 01:47:25,400
Speaker 3: better have a site. You better show up here of

1954
01:47:25,479 --> 01:47:27,360
Speaker 3: a site. Well, we didn't have a site, but we

1955
01:47:27,479 --> 01:47:34,360
Speaker 3: came Anyway, Richie brought the dossier on Kleine, so we

1956
01:47:34,479 --> 01:47:36,479
Speaker 3: had a good time in London. We met some stewardess

1957
01:47:36,600 --> 01:47:38,200
Speaker 3: is on the way over there and they were off

1958
01:47:38,240 --> 01:47:40,479
Speaker 3: for the weekend, so we changed our flights, booked the

1959
01:47:40,560 --> 01:47:43,320
Speaker 3: penthouse at the Playboy Club and had a few days

1960
01:47:43,400 --> 01:47:46,800
Speaker 3: in London just to cool out. And we get to

1961
01:47:46,880 --> 01:47:50,719
Speaker 3: Alberg and Anthony Fossett tells us, you know what, things

1962
01:47:50,760 --> 01:47:54,680
Speaker 3: are really bad here. John has not invited me out there,

1963
01:47:55,320 --> 01:47:57,479
Speaker 3: and he just keeps wanting me to get stuff from

1964
01:47:57,520 --> 01:48:00,519
Speaker 3: the office and telex and sent out a cab and

1965
01:48:01,520 --> 01:48:04,320
Speaker 3: that guy Hamrick you sent over here is still here,

1966
01:48:04,640 --> 01:48:07,720
Speaker 3: and John wants you to go meet him. Now. What

1967
01:48:07,760 --> 01:48:09,920
Speaker 3: I'm going to tell you right now is written and

1968
01:48:10,000 --> 01:48:14,320
Speaker 3: documented in Albert Goldman's book The Lives of John Lennon.

1969
01:48:14,400 --> 01:48:16,400
Speaker 3: So this is not new information, but it might be

1970
01:48:16,520 --> 01:48:21,519
Speaker 3: newer to your audience. So we go to our hotel room,

1971
01:48:21,600 --> 01:48:23,160
Speaker 3: Ritchie York and I and there's a note on the

1972
01:48:23,200 --> 01:48:26,720
Speaker 3: door says blue piece to you and love. It's kind

1973
01:48:26,720 --> 01:48:28,320
Speaker 3: of weird. We just checked in. We come up in

1974
01:48:28,360 --> 01:48:30,120
Speaker 3: the elevator. How can there be a note on the door.

1975
01:48:30,880 --> 01:48:33,400
Speaker 3: The hotel was kind of full. There was a convention

1976
01:48:33,560 --> 01:48:39,080
Speaker 3: of some sort there. So Anthony says, you know, you

1977
01:48:39,200 --> 01:48:41,200
Speaker 3: need to go meet the guy Hammrick. Well, John wants

1978
01:48:41,240 --> 01:48:44,439
Speaker 3: you to go meet Hammerck now. So we go up

1979
01:48:44,479 --> 01:48:48,120
Speaker 3: to Hamrick's room and knocking the door, and the door

1980
01:48:48,160 --> 01:48:50,120
Speaker 3: opens and it was like spider webs came out. It

1981
01:48:50,240 --> 01:48:53,760
Speaker 3: was really weird, like this whole energy came out. And

1982
01:48:53,880 --> 01:48:56,040
Speaker 3: the door opens and here's this guy six foot two,

1983
01:48:56,360 --> 01:49:00,720
Speaker 3: long stringy hair in his underwear and he's motioning us

1984
01:49:00,800 --> 01:49:03,640
Speaker 3: to come in. Boys, come in. So he turns and

1985
01:49:03,680 --> 01:49:05,559
Speaker 3: walks in. He's got a hole in his back size

1986
01:49:05,600 --> 01:49:07,640
Speaker 3: of a mango, and there's stitches and everything, and you

1987
01:49:07,680 --> 01:49:10,160
Speaker 3: can see something moving like a lung or. I don't

1988
01:49:10,160 --> 01:49:10,439
Speaker 3: know why.

1989
01:49:10,479 --> 01:49:11,360
Speaker 2: It was terrifying.

1990
01:49:11,920 --> 01:49:13,840
Speaker 3: And he goes, oh, don't worry about that, boys, I

1991
01:49:13,840 --> 01:49:16,519
Speaker 3: had a little operation. I'll heel myself better than them.

1992
01:49:17,320 --> 01:49:19,519
Speaker 3: So we come in this room. It's dark, the blinds

1993
01:49:19,520 --> 01:49:22,840
Speaker 3: are pulled, there's a light on in the corner, and

1994
01:49:22,960 --> 01:49:25,599
Speaker 3: he starts to tell us that John has been chosen

1995
01:49:25,640 --> 01:49:28,720
Speaker 3: as an emissary between an alien race and Earth, and

1996
01:49:28,960 --> 01:49:31,960
Speaker 3: that he's been on a space ship in Norway, and

1997
01:49:32,640 --> 01:49:37,200
Speaker 3: that's what's happening right now. So he had a little

1998
01:49:37,320 --> 01:49:40,320
Speaker 3: plastic city of toy looked like a toy from Toys

1999
01:49:40,400 --> 01:49:43,360
Speaker 3: r US but it was floating above the dresser and

2000
01:49:43,439 --> 01:49:45,240
Speaker 3: he goes and runs his hand of her and he says,

2001
01:49:45,520 --> 01:49:49,000
Speaker 3: we have the secret of anti gravity and we're building

2002
01:49:49,040 --> 01:49:52,880
Speaker 3: a city in the clouds above Brazil. Well, my first

2003
01:49:52,920 --> 01:49:55,400
Speaker 3: thought was I want my mom. I was scared to

2004
01:49:55,520 --> 01:49:58,439
Speaker 3: get I mean, this was like too much, Matt, you know,

2005
01:49:58,600 --> 01:50:01,400
Speaker 3: this was too much. I mean I was terrified. And

2006
01:50:01,560 --> 01:50:03,280
Speaker 3: so he said, you know, come and do it. Well,

2007
01:50:03,320 --> 01:50:05,000
Speaker 3: I you know, I wanted I want to put my

2008
01:50:05,120 --> 01:50:07,160
Speaker 3: arm into there. There's nothing there and that could have

2009
01:50:07,200 --> 01:50:10,439
Speaker 3: been magnets underneath the drawer whatever. It was some kind

2010
01:50:10,479 --> 01:50:14,000
Speaker 3: of weird thing there. But so Richie Yorke goes, what's

2011
01:50:14,080 --> 01:50:16,599
Speaker 3: John's part in this? And he goes, John knows his part.

2012
01:50:16,640 --> 01:50:18,880
Speaker 3: And I said, well, look here's the deal. We'll do

2013
01:50:19,000 --> 01:50:23,080
Speaker 3: the festival thing, you do all that stuff. And I said,

2014
01:50:23,120 --> 01:50:25,080
Speaker 3: but I got to go, and we backed out Richie

2015
01:50:25,080 --> 01:50:26,439
Speaker 3: and I backed out of the room. I didn't want

2016
01:50:26,479 --> 01:50:28,720
Speaker 3: to turn my back on this guy. So we come

2017
01:50:28,800 --> 01:50:30,840
Speaker 3: running down to Faucet's room and go, oh my god,

2018
01:50:30,920 --> 01:50:32,720
Speaker 3: you're not going to believe what happened. This guy is

2019
01:50:32,840 --> 01:50:37,759
Speaker 3: crazy and he's talking about you know, space people and everything,

2020
01:50:37,800 --> 01:50:39,439
Speaker 3: and Anthony goes, I don't know what to do.

2021
01:50:39,600 --> 01:50:39,920
Speaker 2: I don't know.

2022
01:50:40,720 --> 01:50:43,720
Speaker 3: So anyway, we go decide to go have dinner up

2023
01:50:43,800 --> 01:50:49,200
Speaker 3: at the roof Top restaurant. It's nighttime now and we're

2024
01:50:49,200 --> 01:50:52,320
Speaker 3: having dinner, beautiful dinner, you know, a lovely restaurant, probably

2025
01:50:52,360 --> 01:50:56,160
Speaker 3: the best one in Aulberg. And the matre d comes

2026
01:50:56,200 --> 01:50:58,040
Speaker 3: over to the table and he says, mister Brower, which

2027
01:50:58,040 --> 01:51:02,320
Speaker 3: you signed the chip for the barber, and you know,

2028
01:51:02,720 --> 01:51:07,240
Speaker 3: like like the what he goes, mister Lennon ordered the

2029
01:51:07,280 --> 01:51:09,320
Speaker 3: barber this morning to go out to where they're staying

2030
01:51:09,360 --> 01:51:12,080
Speaker 3: and cut everyone's hair. And he said to charge it

2031
01:51:12,120 --> 01:51:15,639
Speaker 3: to your room. So I said, well, of course, where's

2032
01:51:15,680 --> 01:51:18,040
Speaker 3: the barber And he points to this dominion of young

2033
01:51:18,120 --> 01:51:21,640
Speaker 3: woman over at the matre d e stand. I said, well,

2034
01:51:21,680 --> 01:51:23,280
Speaker 3: ask her to come over. I said, yeah, of course,

2035
01:51:23,320 --> 01:51:26,040
Speaker 3: I'll have no problem to sign him. So we asked

2036
01:51:26,040 --> 01:51:28,200
Speaker 3: her to sit down. Her name's Renata and she's very

2037
01:51:28,280 --> 01:51:31,639
Speaker 3: shy and you mirror maybe in her late twenties, early thirties.

2038
01:51:32,720 --> 01:51:35,439
Speaker 3: And Richie Yorke goes tell us what happened, you know

2039
01:51:35,560 --> 01:51:38,519
Speaker 3: what's going on? And she goes, well, no, I go

2040
01:51:38,600 --> 01:51:40,479
Speaker 3: out there. I won't do her accent the whole way,

2041
01:51:40,560 --> 01:51:43,200
Speaker 3: but she's got a little accent. I go out and

2042
01:51:43,360 --> 01:51:45,880
Speaker 3: it's very far out. It's past the edge of the

2043
01:51:45,960 --> 01:51:49,479
Speaker 3: city where the roads are now not paved, and there's

2044
01:51:49,520 --> 01:51:53,880
Speaker 3: a farmhouse and I come in. The taxi waits for me,

2045
01:51:54,880 --> 01:51:58,200
Speaker 3: and I am told to cut everyone's hair, like Mia Farrow,

2046
01:51:58,720 --> 01:52:01,519
Speaker 3: and mister Cox has a magazine cover with a picture

2047
01:52:01,560 --> 01:52:03,280
Speaker 3: of me at Pharaoh. Now she had just had her

2048
01:52:03,320 --> 01:52:08,880
Speaker 3: haircut as thin as you know, like makeer marines look long.

2049
01:52:09,760 --> 01:52:13,200
Speaker 3: And so they proceeded to have all their haircut. Kyoko,

2050
01:52:13,240 --> 01:52:15,880
Speaker 3: the little child, they cut her hair, then they cut

2051
01:52:16,000 --> 01:52:19,519
Speaker 3: Melinda Cox, Tony's wife. Then they cut Tony Cox, then

2052
01:52:19,560 --> 01:52:22,240
Speaker 3: they cut Yoko. And when they cut John, she said,

2053
01:52:22,280 --> 01:52:25,000
Speaker 3: everybody started to cry. And Yoka took his hair and

2054
01:52:25,040 --> 01:52:28,680
Speaker 3: put it in a bag. Okay, So this is like

2055
01:52:28,960 --> 01:52:32,840
Speaker 3: between the guy in the room with his space story,

2056
01:52:33,040 --> 01:52:37,519
Speaker 3: and now I'm starting to feel like, you know what,

2057
01:52:37,840 --> 01:52:41,880
Speaker 3: there's something afoot here. So I said, look, guys, do

2058
01:52:41,880 --> 01:52:43,920
Speaker 3: you see what's going on? You know, the space guy

2059
01:52:44,320 --> 01:52:46,600
Speaker 3: now her and the haircuts. They're trying to freak us

2060
01:52:46,640 --> 01:52:49,360
Speaker 3: out before the meeting because a meeting, you know, was

2061
01:52:49,360 --> 01:52:53,960
Speaker 3: supposedly coming, so literally on cue, I couldn't believe it.

2062
01:52:54,200 --> 01:52:56,400
Speaker 3: The matreat comes over and says, we just got a

2063
01:52:56,439 --> 01:52:59,240
Speaker 3: message from mister Lennon and it says, please be here

2064
01:52:59,240 --> 01:53:03,160
Speaker 3: tomorrow at eleven in the morning. Bring Anthony. So that's

2065
01:53:03,240 --> 01:53:05,960
Speaker 3: our meeting. I said, see this our meetings tomorrow with them.

2066
01:53:06,320 --> 01:53:09,240
Speaker 3: They're trying to freak us out. I said, look, we'll

2067
01:53:09,280 --> 01:53:11,599
Speaker 3: freak them out. Let's get all her haircut. She's right here.

2068
01:53:12,960 --> 01:53:15,519
Speaker 3: Can you cut three haircuts if I pay you doubles? Yeah.

2069
01:53:16,040 --> 01:53:18,040
Speaker 3: So we go out down to one of the rooms

2070
01:53:18,439 --> 01:53:20,120
Speaker 3: and I get all my haircut out, and it was

2071
01:53:20,200 --> 01:53:22,559
Speaker 3: longer than this, and I got the mere Faraoh aircut.

2072
01:53:22,600 --> 01:53:24,840
Speaker 3: There's a picture of me in Rolling Stone looking with

2073
01:53:24,960 --> 01:53:29,760
Speaker 3: that aircut for posterity. And of course Richie York and

2074
01:53:29,760 --> 01:53:32,320
Speaker 3: Anthony Faucet say no, no, no, we're not doing it.

2075
01:53:32,360 --> 01:53:34,080
Speaker 3: They got like an inch cut off. So now we

2076
01:53:34,200 --> 01:53:35,800
Speaker 3: have to go out the next morning and I've got

2077
01:53:35,840 --> 01:53:38,960
Speaker 3: all my haircut off. We come in. Tony Cox gives

2078
01:53:39,000 --> 01:53:40,920
Speaker 3: me a weird look when he sees all my hair off,

2079
01:53:42,880 --> 01:53:47,400
Speaker 3: and there's Johnny, Yoko and Kyoko and Melinda Cox and

2080
01:53:47,520 --> 01:53:52,960
Speaker 3: Tony and she's handing out this stuff they called mar June,

2081
01:53:53,040 --> 01:53:55,000
Speaker 3: which when I had a bite of it, it was

2082
01:53:55,120 --> 01:53:57,080
Speaker 3: like there was something in it. I did like that

2083
01:53:57,240 --> 01:53:59,600
Speaker 3: to Richie because Richie smoke a joint fall over. I

2084
01:53:59,720 --> 01:54:02,160
Speaker 3: don't go near this stuff. I took a bite of it.

2085
01:54:03,560 --> 01:54:06,200
Speaker 3: John was eating it, and everybody was eating it, and

2086
01:54:06,600 --> 01:54:10,200
Speaker 3: Belinda was eating the crackers like full of it. And

2087
01:54:10,720 --> 01:54:14,560
Speaker 3: John is very upset. And but first of all, he

2088
01:54:14,640 --> 01:54:16,680
Speaker 3: looked at me and goes, had your haircut? You had

2089
01:54:16,720 --> 01:54:20,200
Speaker 3: your haircut? And I realized then that that was not

2090
01:54:20,320 --> 01:54:23,160
Speaker 3: a setup the night before sending me the bill wanting

2091
01:54:23,240 --> 01:54:25,160
Speaker 3: us to know they had their haircuts John, that was

2092
01:54:25,240 --> 01:54:29,080
Speaker 3: just John charging me normal stop. He was shocked and

2093
01:54:29,160 --> 01:54:30,640
Speaker 3: I said, yeah, I heard it is the latest thing,

2094
01:54:30,680 --> 01:54:33,840
Speaker 3: and he goes, we did too, And I was thinking,

2095
01:54:33,920 --> 01:54:37,640
Speaker 3: oh man, this is really easy getting crazy. Okay, good. Yeah,

2096
01:54:38,360 --> 01:54:42,000
Speaker 3: So he got very upset. You know, the sixties are over,

2097
01:54:42,120 --> 01:54:44,560
Speaker 3: Prime ministers are over. You got to have a site,

2098
01:54:44,600 --> 01:54:46,560
Speaker 3: this festival, have a site. How can you expect me

2099
01:54:46,640 --> 01:54:49,680
Speaker 3: to call bands when every time I talk to anybody

2100
01:54:49,760 --> 01:54:52,080
Speaker 3: they tell me, you just lost the last sight and

2101
01:54:52,200 --> 01:54:55,200
Speaker 3: I'm way out on this thing, and you know I've

2102
01:54:55,240 --> 01:55:00,840
Speaker 3: stood up for it. Knocking the door, Tony Cox goes

2103
01:55:00,920 --> 01:55:04,880
Speaker 3: downs it. Oh, by the way, Richie had given John

2104
01:55:05,040 --> 01:55:08,120
Speaker 3: the dossier on Klein, which he kind of looked at

2105
01:55:09,360 --> 01:55:13,200
Speaker 3: in walks Allen Klein, and I was like, oh my god,

2106
01:55:13,320 --> 01:55:17,360
Speaker 3: this is like unbelievable. So John introduces him all around,

2107
01:55:17,440 --> 01:55:19,280
Speaker 3: and then John takes the dossier and hands it to

2108
01:55:19,360 --> 01:55:21,240
Speaker 3: him and is here, Allan, here's what people think of you.

2109
01:55:21,840 --> 01:55:25,560
Speaker 3: John and Richie put it together for us. I thought

2110
01:55:25,600 --> 01:55:28,520
Speaker 3: Client's probably got guys outside with shovels waiting to dig

2111
01:55:28,640 --> 01:55:32,720
Speaker 3: us into the frozen ground. Because we had called Ronnie Hawkins,

2112
01:55:34,240 --> 01:55:37,360
Speaker 3: our mentor, from the hotel room after we came back

2113
01:55:37,400 --> 01:55:41,400
Speaker 3: from seeing the spaceship guy, and told him, and Ronnie said, boys,

2114
01:55:41,480 --> 01:55:43,320
Speaker 3: I don't think you should go back to that room.

2115
01:55:43,800 --> 01:55:47,720
Speaker 3: Doesn't sound good. He said. I talked to Morris, meaning

2116
01:55:47,800 --> 01:55:51,640
Speaker 3: Morris leaving. He said. Morris said, Klein is on the

2117
01:55:51,720 --> 01:55:54,640
Speaker 3: war path for you boys. You were getting too close

2118
01:55:54,720 --> 01:55:58,520
Speaker 3: to his fatted calf. I'd be very careful out there.

2119
01:55:58,920 --> 01:56:01,400
Speaker 3: So now here's Kla Right there after we hear this

2120
01:56:01,480 --> 01:56:06,160
Speaker 3: from Ronnie Hawkins. So Klein looks at the Dosier and

2121
01:56:06,280 --> 01:56:09,960
Speaker 3: you kind of like he would say that, yeah, you know,

2122
01:56:10,480 --> 01:56:13,080
Speaker 3: I took a band from this guy. And he made

2123
01:56:13,120 --> 01:56:14,360
Speaker 3: kind of light of it. And then he looked at

2124
01:56:14,400 --> 01:56:16,879
Speaker 3: me right in the eyes and he said, I wouldn't

2125
01:56:16,880 --> 01:56:19,400
Speaker 3: have thought you'd have time for all this, all the

2126
01:56:19,560 --> 01:56:22,960
Speaker 3: problems you're having with your little festival. And that was

2127
01:56:23,080 --> 01:56:25,400
Speaker 3: like cold. It was like he had us nailed. I mean,

2128
01:56:25,520 --> 01:56:28,240
Speaker 3: you know what I mean, yeah, exactly, how do you

2129
01:56:28,320 --> 01:56:30,880
Speaker 3: have time for any of this? Well, Baba John asked

2130
01:56:30,960 --> 01:56:33,280
Speaker 3: us to whatever. I don't know. All I want to

2131
01:56:33,320 --> 01:56:36,160
Speaker 3: do is get out of there. So we promised to

2132
01:56:36,240 --> 01:56:40,920
Speaker 3: have a sight within two weeks, three weeks, and we

2133
01:56:40,960 --> 01:56:42,680
Speaker 3: would get back to them. And we got out of there,

2134
01:56:42,800 --> 01:56:45,640
Speaker 3: left Anthony there, got the cab that was waiting for us,

2135
01:56:46,320 --> 01:56:50,120
Speaker 3: and got backpacked and split went back to Toronto and

2136
01:56:50,280 --> 01:56:54,080
Speaker 3: got to work trying to get another festival site. So

2137
01:56:54,240 --> 01:56:57,960
Speaker 3: now John calls in tells us that they've met us

2138
01:56:58,000 --> 01:57:01,040
Speaker 3: some people that are friends with Tony Cox and they

2139
01:57:01,120 --> 01:57:05,680
Speaker 3: really get the vibe of the festival and he wants

2140
01:57:05,720 --> 01:57:08,560
Speaker 3: to send them to Toronto and work out of our office.

2141
01:57:08,920 --> 01:57:12,880
Speaker 3: So I'm like, fine, no problem. So these two guys

2142
01:57:12,920 --> 01:57:15,520
Speaker 3: show up. One of them, Leonard Hollihan, long red hair,

2143
01:57:15,880 --> 01:57:18,800
Speaker 3: wears a purple suit, tells me he's from the Plates

2144
01:57:19,680 --> 01:57:22,400
Speaker 3: and he's got picture of an aircar. The other one

2145
01:57:22,560 --> 01:57:25,800
Speaker 3: is David Britton. Tells me his name's Britain. No it's not.

2146
01:57:25,920 --> 01:57:28,720
Speaker 3: His name's David Snyderman. He's the guy that I went

2147
01:57:28,840 --> 01:57:31,240
Speaker 3: to the microphone for John for the cocaine at the

2148
01:57:31,320 --> 01:57:35,400
Speaker 3: revival and said, doctor Snyderman. Plays to the backstage area,

2149
01:57:35,600 --> 01:57:39,080
Speaker 3: doctor Snyderman, because I knew he was there, because everybody

2150
01:57:39,160 --> 01:57:41,080
Speaker 3: we knew in the world and everyone they knew was there.

2151
01:57:41,160 --> 01:57:45,600
Speaker 3: We probably gave out thousands of free tickets. And he

2152
01:57:45,800 --> 01:57:49,800
Speaker 3: had this stuff called cocaine. Jazz musicians had it.

2153
01:57:49,880 --> 01:57:50,040
Speaker 2: You know.

2154
01:57:50,040 --> 01:57:52,160
Speaker 3: I was married with a kid. We were hash smokers.

2155
01:57:52,720 --> 01:57:56,160
Speaker 3: So he comes to the back stage snow fence and

2156
01:57:56,280 --> 01:57:57,200
Speaker 3: he's like, going, what is it?

2157
01:57:57,280 --> 01:57:57,400
Speaker 1: Man?

2158
01:57:57,520 --> 01:57:59,920
Speaker 3: Is it a Boston I go listen, John Lennon want

2159
01:58:01,480 --> 01:58:03,640
Speaker 3: can you have some? Go? Yeah? I did, I did,

2160
01:58:03,680 --> 01:58:05,320
Speaker 3: but I put it in the grass. I thought it

2161
01:58:05,400 --> 01:58:09,200
Speaker 3: was a bust. Could you please go get it? So

2162
01:58:09,320 --> 01:58:11,400
Speaker 3: he comes back in a couple of minutes literally, and

2163
01:58:11,480 --> 01:58:13,920
Speaker 3: he's holding this thing. I got Denis my roady next

2164
01:58:13,960 --> 01:58:15,640
Speaker 3: to me, and he's got one of the other guys,

2165
01:58:16,320 --> 01:58:17,720
Speaker 3: and I said, look, give it to me. I'll give

2166
01:58:17,720 --> 01:58:19,680
Speaker 3: you money, dinner next week, whenever you want. He goes, no,

2167
01:58:20,360 --> 01:58:22,200
Speaker 3: I have to give it to John lenn and myself.

2168
01:58:23,040 --> 01:58:26,120
Speaker 3: I look at Dennis. Get it, grab his arm and

2169
01:58:26,240 --> 01:58:28,720
Speaker 3: rip his hand open, get the vial. Give it to me.

2170
01:58:29,080 --> 01:58:30,880
Speaker 3: I go, you can't come in here. I'm sorry. I'll

2171
01:58:30,920 --> 01:58:33,880
Speaker 3: take care of this later. I was terrified coming walk

2172
01:58:33,960 --> 01:58:37,320
Speaker 3: and there's police everywhere all over the place, policeman in uniform.

2173
01:58:38,120 --> 01:58:41,360
Speaker 3: I'm walking in with this vial which I kind of

2174
01:58:41,400 --> 01:58:43,840
Speaker 3: looked at and it was all shiny rocks and everything.

2175
01:58:43,880 --> 01:58:46,040
Speaker 3: I knew that was good. Whatever it was, that was

2176
01:58:46,120 --> 01:58:49,080
Speaker 3: the stuff. And that's why when I gave it to John,

2177
01:58:49,720 --> 01:58:52,160
Speaker 3: he looked at me like I was Jesus, because he

2178
01:58:52,320 --> 01:58:56,880
Speaker 3: knew that is bad, bad shit, that's the stuff. That's

2179
01:58:56,920 --> 01:58:59,160
Speaker 3: why he said, ask Eric to come in. So now

2180
01:58:59,240 --> 01:59:02,200
Speaker 3: here's the same guy back from meeting with Lennon telling

2181
01:59:02,280 --> 01:59:06,960
Speaker 3: me his names, David Britten. Now well, let's jump ahead

2182
01:59:07,000 --> 01:59:10,160
Speaker 3: a little bit to Keith Richards book and Witness X

2183
01:59:10,280 --> 01:59:15,080
Speaker 3: that busted the Stones was David Schneiderman from Toronto, who

2184
01:59:15,160 --> 01:59:18,200
Speaker 3: we find out had been busted by customs with ten

2185
01:59:18,280 --> 01:59:21,600
Speaker 3: thousand tabs of acid in like nineteen sixty three and

2186
01:59:21,760 --> 01:59:26,560
Speaker 3: had been ratting people out ever since. So that's that guy,

2187
01:59:28,000 --> 01:59:29,400
Speaker 3: all right. So now we get out of there and

2188
01:59:29,440 --> 01:59:31,680
Speaker 3: come back to Toronto, and it's like, okay, Now these

2189
01:59:31,720 --> 01:59:34,000
Speaker 3: two guys arrive and we have to give them an office,

2190
01:59:34,720 --> 01:59:37,800
Speaker 3: and they want to make an announcement about the air cars,

2191
01:59:37,800 --> 01:59:40,440
Speaker 3: and I go, no, it's not time for that right now.

2192
01:59:40,960 --> 01:59:44,240
Speaker 3: Festival's not ready for that kind of publicity. Just slow down.

2193
01:59:45,080 --> 01:59:48,960
Speaker 3: Because also what was happening was Rolling Stone had turned

2194
01:59:49,000 --> 01:59:53,440
Speaker 3: against us. Obviously Alan Klein and by the way, Yan

2195
01:59:53,520 --> 01:59:56,800
Speaker 3: Winner was not a mogul publisher. He was putting a

2196
01:59:58,320 --> 02:00:01,720
Speaker 3: magazine together with Bailing Wire in Scotch tape every two weeks.

2197
02:00:02,360 --> 02:00:06,280
Speaker 3: So ads were critical, and I was led to believe

2198
02:00:06,320 --> 02:00:08,760
Speaker 3: the client had basically told them, look, you're not getting

2199
02:00:08,760 --> 02:00:11,600
Speaker 3: any more Beetles or Stones, ads or anything from their

2200
02:00:11,640 --> 02:00:15,280
Speaker 3: record companies if you don't start winding down this festival.

2201
02:00:16,160 --> 02:00:18,440
Speaker 3: So they had gotten a guy named John Carr who

2202
02:00:18,520 --> 02:00:21,880
Speaker 3: had been interviewing us, and in one of them, I

2203
02:00:22,000 --> 02:00:24,560
Speaker 3: had made a stupid mistake. And when I've been in

2204
02:00:24,760 --> 02:00:28,280
Speaker 3: La Jogive, Jean had been driving me, my driver, and

2205
02:00:28,840 --> 02:00:30,800
Speaker 3: he had told me that in India they had these

2206
02:00:30,880 --> 02:00:33,600
Speaker 3: massive festivals with millions of people, and they had pits

2207
02:00:34,160 --> 02:00:36,240
Speaker 3: where you would defecate and then they would you know,

2208
02:00:36,400 --> 02:00:39,320
Speaker 3: cover the pits up because they never get enough portable toilets.

2209
02:00:40,080 --> 02:00:42,400
Speaker 3: So I told John Carr that. So the next week

2210
02:00:42,440 --> 02:00:44,960
Speaker 3: in Rolling Stone has said John Brower wants your shit

2211
02:00:45,600 --> 02:00:46,280
Speaker 3: in headlines.

2212
02:00:46,360 --> 02:00:46,800
Speaker 2: No less.

2213
02:00:46,960 --> 02:00:50,640
Speaker 3: Okay. This was like the beginning of the Rolling Stone,

2214
02:00:50,800 --> 02:00:56,320
Speaker 3: you know, winding down their support of the festival. At

2215
02:00:56,360 --> 02:01:01,720
Speaker 3: that point, we were in a disastrous chaos situation. There

2216
02:01:01,800 --> 02:01:03,560
Speaker 3: was no way to get a site. Everywhere you went,

2217
02:01:03,680 --> 02:01:07,720
Speaker 3: the opp came with the same movies. Finally, jan Winner

2218
02:01:07,800 --> 02:01:10,320
Speaker 3: asks us to come to California to talk to the

2219
02:01:10,680 --> 02:01:15,560
Speaker 3: dead and the airplane, and Lennon insisted on these two

2220
02:01:15,600 --> 02:01:19,680
Speaker 3: guys coming with me, Snyderman and Britain and this Leonard guy.

2221
02:01:20,920 --> 02:01:23,160
Speaker 3: So like John Lennon, Man, what am I gonna tell them?

2222
02:01:23,200 --> 02:01:23,240
Speaker 1: No?

2223
02:01:23,800 --> 02:01:27,000
Speaker 3: You know, okay, okay, we'll take them. So in the

2224
02:01:27,080 --> 02:01:30,080
Speaker 3: meeting it's like been documented in Rolling Stone as well.

2225
02:01:30,600 --> 02:01:32,760
Speaker 3: The airplanes, there are some of them Grace is there,

2226
02:01:33,200 --> 02:01:36,520
Speaker 3: Jack Cassidy's there, the Couple of the Dead or their

2227
02:01:37,080 --> 02:01:40,760
Speaker 3: Ralph Gleason's there. There's a lot of very heavy, respectable

2228
02:01:40,840 --> 02:01:45,040
Speaker 3: people from the music community. And before I even speak,

2229
02:01:45,120 --> 02:01:47,880
Speaker 3: this guy, David jumps out and starts giving giving them

2230
02:01:47,960 --> 02:01:49,960
Speaker 3: this whole story of like the space guy gave in

2231
02:01:50,040 --> 02:01:53,000
Speaker 3: the hotel room, and Grace Slick just looked at him

2232
02:01:53,000 --> 02:01:54,680
Speaker 3: and goes, you know what, if that's what John lenn

2233
02:01:54,760 --> 02:01:57,240
Speaker 3: is into, then fuck John Lennon and fuck the festival.

2234
02:01:57,480 --> 02:01:59,360
Speaker 3: We don't want to be part of it, and walked out,

2235
02:01:59,440 --> 02:02:02,080
Speaker 3: and everybody walked out with her, and jan Winner looked

2236
02:02:02,080 --> 02:02:04,040
Speaker 3: at me hopelessly and goes, you guys are ruining me.

2237
02:02:05,000 --> 02:02:07,640
Speaker 3: And my buddy Jerry that was with me said you

2238
02:02:07,800 --> 02:02:10,200
Speaker 3: just lost control of your deal and that was it.

2239
02:02:10,440 --> 02:02:12,240
Speaker 3: So I told these two guys out on the street,

2240
02:02:12,280 --> 02:02:14,680
Speaker 3: I'm not flying you back to Toronto. Get John Lennon

2241
02:02:14,760 --> 02:02:17,560
Speaker 3: to fly you back. So that's when Joan Wnder called

2242
02:02:17,600 --> 02:02:19,480
Speaker 3: John and said, look, man, this is out of control.

2243
02:02:20,000 --> 02:02:22,720
Speaker 3: Like these guys show up here. John must have realized,

2244
02:02:22,760 --> 02:02:25,560
Speaker 3: oh my god, Allan was right, it's all going to

2245
02:02:25,600 --> 02:02:27,880
Speaker 3: blow back on me. And so they pulled out and

2246
02:02:27,920 --> 02:02:31,360
Speaker 3: that was the end of it. And two weeks later

2247
02:02:31,440 --> 02:02:33,680
Speaker 3: I meet a guy that's just inherited ten million dollars

2248
02:02:33,720 --> 02:02:35,640
Speaker 3: and he gives me two to put on the Strawberry

2249
02:02:35,720 --> 02:02:39,040
Speaker 3: Fields Festival. And that began another battle. But we went

2250
02:02:39,080 --> 02:02:42,960
Speaker 3: to another province. We got the Prime Minister's lawyer who

2251
02:02:43,040 --> 02:02:47,360
Speaker 3: told us, get a motorcycle sanctioned, have a motorcycle race

2252
02:02:47,400 --> 02:02:50,680
Speaker 3: at Mostport with added entertainment, and you'll go to court

2253
02:02:50,760 --> 02:02:54,000
Speaker 3: and my lawyers will win. And that's what happened. We

2254
02:02:54,120 --> 02:02:56,600
Speaker 3: put on one hundred and fifty thousand people at Mostport

2255
02:02:56,680 --> 02:03:00,400
Speaker 3: Brown Free Racetrack three days and it was beautiful. People

2256
02:03:00,400 --> 02:03:03,200
Speaker 3: could drive under the track and then park and camp

2257
02:03:03,320 --> 02:03:06,200
Speaker 3: with the car, so it's no woodstock parking and like,

2258
02:03:06,280 --> 02:03:09,120
Speaker 3: I don't know if dude, where's my car? No, I

2259
02:03:09,160 --> 02:03:12,520
Speaker 3: mean there was, you know, forty thousand cars parked on

2260
02:03:12,600 --> 02:03:16,560
Speaker 3: the site, bonfires at night, campfires. It was an incredible show.

2261
02:03:16,920 --> 02:03:20,480
Speaker 3: Sly in the family Stone. Of course Alice Cooper came

2262
02:03:20,520 --> 02:03:22,480
Speaker 3: in headlined as well. They were big by then a

2263
02:03:22,600 --> 02:03:29,320
Speaker 3: year later Mountain. Ten years after Bonnie Delaney and Friends,

2264
02:03:29,840 --> 02:03:32,800
Speaker 3: Melanie I can't remember a lot. Ten years after a

2265
02:03:32,880 --> 02:03:35,280
Speaker 3: lot of incredible bands. It was an amazing three day

2266
02:03:35,360 --> 02:03:41,080
Speaker 3: show and that became me resolving the whole thing with

2267
02:03:41,240 --> 02:03:43,880
Speaker 3: the Peace Festival. It was like we did Canada's Woodstock,

2268
02:03:43,960 --> 02:03:45,880
Speaker 3: that's what they call it. That's what I wanted to

2269
02:03:45,960 --> 02:03:49,040
Speaker 3: do in the beginning. And we called the Strawberry Fields

2270
02:03:49,080 --> 02:03:52,040
Speaker 3: because we moved to Shetty Act, New Brunswick and we

2271
02:03:52,120 --> 02:03:55,040
Speaker 3: got a site right on the ocean. There were sheddy acts,

2272
02:03:55,960 --> 02:04:00,120
Speaker 3: strawberry Capital of Canada, and so I said, well we

2273
02:04:00,200 --> 02:04:03,040
Speaker 3: call Strawberry Feels Festival because we were looking at all

2274
02:04:03,080 --> 02:04:06,560
Speaker 3: these strawberries in this field, and Jerry, my buddy, goes,

2275
02:04:06,640 --> 02:04:10,280
Speaker 3: that's a good idea. So when we moved it back

2276
02:04:10,320 --> 02:04:14,720
Speaker 3: to Toronto with Trudeau's lawyers in this new plan, because

2277
02:04:14,760 --> 02:04:17,720
Speaker 3: we were told by her contact in the RCMP that

2278
02:04:17,880 --> 02:04:20,280
Speaker 3: Trudeau was not happy with John Lennon and he wasn't

2279
02:04:20,320 --> 02:04:23,920
Speaker 3: happy with John David Eaton and this was payback and

2280
02:04:24,120 --> 02:04:27,840
Speaker 3: so we basically got tipped in by the Prime Minister

2281
02:04:27,960 --> 02:04:30,120
Speaker 3: and his lawyers to pull this off and we did.

2282
02:04:30,320 --> 02:04:31,000
Speaker 3: It was amazing.

2283
02:04:32,560 --> 02:04:36,240
Speaker 2: So how much longer did you promote concerts? Well?

2284
02:04:36,480 --> 02:04:39,120
Speaker 3: I moved to Laguna Beach and Larry Weinstein and I

2285
02:04:39,320 --> 02:04:42,880
Speaker 3: formed Laguna Concerts under the Sky. We took over the

2286
02:04:43,680 --> 02:04:46,840
Speaker 3: Laguna Bowl, which had never had a concert. He brought

2287
02:04:46,840 --> 02:04:51,120
Speaker 3: beautiful acts like Emmy, Lua Harris and different country bands,

2288
02:04:51,240 --> 02:04:55,000
Speaker 3: very gentle stuff. And then we did the Tubes with

2289
02:04:55,080 --> 02:04:57,280
Speaker 3: Bill Grahame. He gave us all their dates down in

2290
02:04:57,440 --> 02:05:03,000
Speaker 3: South we did some rush dates. I did not do

2291
02:05:03,200 --> 02:05:06,560
Speaker 3: anything significant along the lines of a festival until I

2292
02:05:06,640 --> 02:05:09,960
Speaker 3: had moved back to Toronto and did the heat Wave

2293
02:05:10,080 --> 02:05:14,320
Speaker 3: Festival again at Mostport, which was now sanctioned because now

2294
02:05:14,400 --> 02:05:16,800
Speaker 3: they saw that there was no nudity, there was no

2295
02:05:16,920 --> 02:05:19,040
Speaker 3: mouths at Garbage. It was like okay. And this was

2296
02:05:19,120 --> 02:05:22,800
Speaker 3: ten years later. Music had become the big business by now,

2297
02:05:23,760 --> 02:05:27,200
Speaker 3: and I was very proud of doing the first, last

2298
02:05:27,240 --> 02:05:30,440
Speaker 3: and only punk festival. But as David Byrne said, we

2299
02:05:30,480 --> 02:05:33,720
Speaker 3: would never play a festival ever. And then we heard

2300
02:05:33,720 --> 02:05:35,920
Speaker 3: about this crazy guy in Toronto that was willing to

2301
02:05:35,960 --> 02:05:39,080
Speaker 3: get us seventy five thousand dollars for one show, and

2302
02:05:39,200 --> 02:05:42,360
Speaker 3: we didn't make that much all last year, so we said, okay,

2303
02:05:42,520 --> 02:05:46,160
Speaker 3: let's take the money, and Jake took money for Elvis.

2304
02:05:48,120 --> 02:05:52,760
Speaker 3: We got to B fifty two's Rumor Rock Pile Pretenders.

2305
02:05:52,880 --> 02:05:56,200
Speaker 3: It was an incredible show. The clash canceled, my investors

2306
02:05:56,240 --> 02:05:58,320
Speaker 3: went around behind my back tried to sign them to

2307
02:05:58,400 --> 02:06:01,240
Speaker 3: a movie deal so they could take over the deal.

2308
02:06:01,320 --> 02:06:03,760
Speaker 3: Investors are always trying to take over deals. I can't

2309
02:06:03,840 --> 02:06:06,760
Speaker 3: understand why they can't just leave well enough. But they

2310
02:06:06,840 --> 02:06:10,160
Speaker 3: get producer itis where they want to be the producers.

2311
02:06:10,160 --> 02:06:13,160
Speaker 3: They're not happy to just be investors or lawyers whatever.

2312
02:06:14,360 --> 02:06:17,640
Speaker 3: They're all necessary investors and lawyers, but you know, sometimes

2313
02:06:17,680 --> 02:06:20,760
Speaker 3: they get these visions they see their name up in lights,

2314
02:06:20,880 --> 02:06:25,200
Speaker 3: like a brightly lit marquee. Any event, we managed to

2315
02:06:25,400 --> 02:06:30,280
Speaker 3: fight past that assault and put on an incredible, beautiful show.

2316
02:06:30,480 --> 02:06:34,360
Speaker 3: Was hotest day of the summer. And Dan Aykroyd came

2317
02:06:34,400 --> 02:06:36,600
Speaker 3: out there and did an interview with me as Elwood

2318
02:06:36,640 --> 02:06:40,600
Speaker 3: Blues and Danny really on a Danny. He's incredible. I've

2319
02:06:40,640 --> 02:06:42,920
Speaker 3: known him so many years, but he never fails to

2320
02:06:42,960 --> 02:06:47,360
Speaker 3: surprise me. He did the imitation on the radio interview

2321
02:06:47,400 --> 02:06:49,840
Speaker 3: as Elwood and he goes to John, I'd like to

2322
02:06:50,320 --> 02:06:51,960
Speaker 3: ask you a favor. I go what, And he goes,

2323
02:06:52,000 --> 02:06:54,000
Speaker 3: I'd like to invite everybody listening to be on my

2324
02:06:54,160 --> 02:06:58,080
Speaker 3: guest list. I go, sure, no problem. So like this

2325
02:06:58,240 --> 02:07:01,760
Speaker 3: isn't late in the afternoon. Less than an hour later,

2326
02:07:01,880 --> 02:07:04,160
Speaker 3: Harvey Pewdis, the park owner, calls me. He goes, John,

2327
02:07:04,200 --> 02:07:06,040
Speaker 3: where are all these people coming from? What's going on?

2328
02:07:06,960 --> 02:07:09,880
Speaker 3: I said, Oh, they're on Dan Ackroy's guest list. He said,

2329
02:07:09,880 --> 02:07:13,240
Speaker 3: we don't have any tickets left. He said, it's all

2330
02:07:13,280 --> 02:07:15,840
Speaker 3: been done. The count's over. I said, they're on his

2331
02:07:16,000 --> 02:07:19,640
Speaker 3: guest list. They're coming in for free. He goes, oh, damn.

2332
02:07:19,720 --> 02:07:22,040
Speaker 3: I said, well, sell them hot dogs. You got the concession,

2333
02:07:22,240 --> 02:07:25,120
Speaker 3: sell them some food whatever. They're coming in free, and

2334
02:07:25,280 --> 02:07:30,800
Speaker 3: they well, the audience up significantly. Justice Talking Heads was

2335
02:07:30,880 --> 02:07:33,320
Speaker 3: coming on with their nine piece band, and David Byrne

2336
02:07:33,440 --> 02:07:41,320
Speaker 3: was so nervous his voice was croaking. That's one of

2337
02:07:41,360 --> 02:07:43,960
Speaker 3: the moments, Bob, that that cheers me up. Is the

2338
02:07:44,080 --> 02:07:46,680
Speaker 3: magic of some of these moments, you know that I

2339
02:07:46,840 --> 02:07:49,680
Speaker 3: recall and I don't recall them often, but once in

2340
02:07:49,760 --> 02:07:52,320
Speaker 3: a while a guy like you will pull them out

2341
02:07:52,360 --> 02:07:54,760
Speaker 3: of me and I have to just have that moment

2342
02:07:54,880 --> 02:07:57,440
Speaker 3: to just remember that, Like being in the limo with

2343
02:07:57,560 --> 02:08:01,240
Speaker 3: John coming in. I was too busy then, but on

2344
02:08:01,480 --> 02:08:03,920
Speaker 3: stage at heat Wave, you know, I was like, really,

2345
02:08:04,440 --> 02:08:07,720
Speaker 3: I just couldn't believe that it was happening anyway, Let's

2346
02:08:07,760 --> 02:08:08,760
Speaker 3: get back to your question.

2347
02:08:08,960 --> 02:08:11,080
Speaker 2: Sorry, So when was the last show you did?

2348
02:08:13,200 --> 02:08:14,920
Speaker 3: A heat wave? Was the last show I did? That

2349
02:08:15,080 --> 02:08:17,280
Speaker 3: was it? That was my swan song. I went out

2350
02:08:17,360 --> 02:08:18,640
Speaker 3: on a high note. That was the end.

2351
02:08:20,480 --> 02:08:23,720
Speaker 2: So you're happy with the movie, you know, I.

2352
02:08:23,760 --> 02:08:27,280
Speaker 3: Mean, I'm overjoyed with the movie. I'm a little there's

2353
02:08:27,320 --> 02:08:29,880
Speaker 3: a couple of things in the movie that kind of

2354
02:08:30,040 --> 02:08:33,320
Speaker 3: like are over the top. Like when it comes on

2355
02:08:33,480 --> 02:08:37,280
Speaker 3: on the screen, you know John Brower, I say, the producer, Yeah,

2356
02:08:37,360 --> 02:08:39,320
Speaker 3: John Brower, the producer. Was that him in the phone?

2357
02:08:39,360 --> 02:08:42,000
Speaker 3: John Brower? When my name comes up four times on

2358
02:08:42,120 --> 02:08:44,840
Speaker 3: the screen around some card, Like, I was like, that's

2359
02:08:44,920 --> 02:08:47,360
Speaker 3: over the top, man, I mean that's like, really, that's

2360
02:08:47,440 --> 02:08:49,800
Speaker 3: not who I am. I'm not like all about t

2361
02:08:49,960 --> 02:08:53,520
Speaker 3: shirts with John Brower on them. That was a little

2362
02:08:53,760 --> 02:08:56,160
Speaker 3: you know, overwhelming for me. Like I was kind of

2363
02:08:56,200 --> 02:08:59,280
Speaker 3: embarrassed by that. It was flattering, and I guess, you know,

2364
02:08:59,400 --> 02:09:02,000
Speaker 3: the director wanted to do that, and yes they were

2365
02:09:02,080 --> 02:09:07,640
Speaker 3: saying those things. That was on the tape. But you know,

2366
02:09:07,840 --> 02:09:10,120
Speaker 3: I will tell you that I was very glad in

2367
02:09:10,160 --> 02:09:12,920
Speaker 3: the beginning. I had an agreement with these guys that

2368
02:09:13,120 --> 02:09:16,800
Speaker 3: I was an executive producer and Ron Chapman came to

2369
02:09:16,920 --> 02:09:19,960
Speaker 3: me before anything went down and said, look, I need

2370
02:09:20,000 --> 02:09:22,640
Speaker 3: to ask you a favor. I want you to give

2371
02:09:22,760 --> 02:09:26,320
Speaker 3: up that executive producer title. He said, I'm going to

2372
02:09:26,400 --> 02:09:28,120
Speaker 3: make this movie. It's going to be your movie and

2373
02:09:28,200 --> 02:09:30,920
Speaker 3: everyone else is in it, but if you're an executive producer,

2374
02:09:31,160 --> 02:09:34,720
Speaker 3: it's going to look like a vanity movie. And I went, Okay,

2375
02:09:35,040 --> 02:09:37,000
Speaker 3: I get it. I see what you're saying. And when

2376
02:09:37,040 --> 02:09:39,120
Speaker 3: I saw the movie, I was very glad my name

2377
02:09:39,200 --> 02:09:41,640
Speaker 3: was not on the screen as an executive producer. That

2378
02:09:41,760 --> 02:09:44,160
Speaker 3: had just said the producers wished to thank John Brower

2379
02:09:44,360 --> 02:09:47,480
Speaker 3: for sharing his story. That was enough, because that's was

2380
02:09:47,560 --> 02:09:51,960
Speaker 3: what it was. And I am, you know, a little

2381
02:09:52,000 --> 02:09:55,879
Speaker 3: overwhelmed by the fact that the movie is being received

2382
02:09:55,920 --> 02:09:59,880
Speaker 3: so well, and by you especially. I cannot tell you

2383
02:10:00,240 --> 02:10:04,640
Speaker 3: how many times I've read that I don't want to

2384
02:10:04,640 --> 02:10:09,520
Speaker 3: embarrasue it. Probably ten times I've read your review, making

2385
02:10:09,600 --> 02:10:13,560
Speaker 3: sure that I didn't hallucinate this, that bob Lefsits really

2386
02:10:13,640 --> 02:10:18,040
Speaker 3: wrote that. Yeah, so there's been other reviews, et ceter

2387
02:10:18,280 --> 02:10:21,680
Speaker 3: but no, there's been nothing like yours. And in the industry,

2388
02:10:21,720 --> 02:10:24,240
Speaker 3: there's no one like you, and so that review and

2389
02:10:24,400 --> 02:10:27,920
Speaker 3: your love of that movie, that's beyond anything I think

2390
02:10:28,000 --> 02:10:29,800
Speaker 3: anybody expected. So thank you.

2391
02:10:31,880 --> 02:10:34,840
Speaker 2: Well for those people who have not seen the movie,

2392
02:10:34,920 --> 02:10:37,920
Speaker 2: the movie is really that good and I lived through.

2393
02:10:38,040 --> 02:10:41,240
Speaker 2: And remember my friend bought the you know, the live

2394
02:10:41,360 --> 02:10:43,880
Speaker 2: in Toronto ahilbum with a cloud in the sky, as

2395
02:10:43,960 --> 02:10:48,080
Speaker 2: I say international news. I certainly was following the whole thing.

2396
02:10:49,040 --> 02:10:51,880
Speaker 2: It was amazing that it happened in Toronto, and we

2397
02:10:52,000 --> 02:10:55,160
Speaker 2: didn't know all the backstory until the movie, but the

2398
02:10:55,240 --> 02:10:59,920
Speaker 2: fact you got John Lennon was unbelievable. So John, John,

2399
02:11:00,720 --> 02:11:03,080
Speaker 2: I want to thank you so much for sharing your

2400
02:11:03,280 --> 02:11:04,720
Speaker 2: story with my audience.

2401
02:11:05,240 --> 02:11:07,120
Speaker 3: Well, Bob, I want to thank you. It's an honor

2402
02:11:07,280 --> 02:11:09,760
Speaker 3: to be on your show to have finally gotten to

2403
02:11:09,840 --> 02:11:12,840
Speaker 3: meet you, even though it's electronically. I'll look forward to

2404
02:11:12,920 --> 02:11:15,080
Speaker 3: the first time that I can shake your hand and

2405
02:11:15,200 --> 02:11:17,400
Speaker 3: give you a hug, and I hope it's this year.

2406
02:11:19,120 --> 02:11:23,480
Speaker 2: Sounds good job until next time. This is Bob Left

2407
02:11:23,560 --> 02:11:23,760
Speaker 2: said