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Speaker 1: Stones Touring Party is a production of iHeartRadio Welcome to Vancouver, Canada.

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Speaker 1: It's June third, nineteen seventy two, the opening night of

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Speaker 1: the Rolling Stones tour of North America. Despite months of

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Speaker 1: careful preparation, things are not going smoothly. As the Stones

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Speaker 1: take the stage inside the Pacific Colisseum, the venues besieged

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Speaker 1: by more than two thousand angry youths. They're just a

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Speaker 1: small fraction of the unlucky majority, unable to acquire highly

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Speaker 1: sought after tickets to this the hottest show on the planet.

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Speaker 1: Some have fallen victim to unscrupulous scalpers, turning up the

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Speaker 1: venue only to discover that they'd shelled out for fakes.

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Speaker 1: Regardless of circumstance, these rapacious rock fans intend to take

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Speaker 1: the venue by force. They smash plate glass windows and

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Speaker 1: fling rocks and bottles. One even tosses a Molotov cocktail.

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Speaker 1: Seven policemen are taken down before the Mounties are dispatched

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Speaker 1: to subdue the rioters. This is the stones first show

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Speaker 1: on the continent since their disastrous gig at the Ultamont

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Speaker 1: Speedway in December nineteen sixty nine, which culminated in the

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Speaker 1: stabbing death of a young fan. The last thing anyone

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Speaker 1: wanted was more violence, and now their worst paranoias were

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Speaker 1: coming true. For a time, most inside the hockey arena

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Speaker 1: were blissfully unaware of the battle raging. This is especially

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Speaker 1: true of those traveling as part of the Stones inner sanctum,

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Speaker 1: breathing the rarefied though somewhat smoky air of the backstage

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Speaker 1: brandishing their Stones touring party laminates, guarded by a failings

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Speaker 1: of security guards and watching from the wings while the

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Speaker 1: world's greatest rock and roll band performs for their pleasure

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Speaker 1: just a few feet in front of them. Trouble seemed

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Speaker 1: miles away for these fortunate few, But then trouble came knocking. Bang,

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Speaker 1: a kid hits the back door of the arena with

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Speaker 1: everything he's got. He bursts into the backstage area before

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Speaker 1: getting punched and thrown back out.

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Speaker 2: Bang.

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Speaker 1: The doors slam shut. Wham it opens again, and two

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Speaker 1: more kids try to fight their way in. Then it's

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Speaker 1: slams shut again and someone screams, Chang for the door,

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Speaker 1: Chank for the door. No sooner do they padlock the

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Speaker 1: doorway than thirty or forty kids hit the roll up

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Speaker 1: corrugated metal door. The metal buckles and starts to fold,

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Speaker 1: like an old fighter going down from a hard right

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Speaker 1: to the gut bang a bang bang. The doors are

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Speaker 1: being kicked rapidly in succession, the tattoo of boots against

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Speaker 1: metal like small arms fire. It's like an authentic battle

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Speaker 1: situation as some beleaguered outlying post. Those words come courtesy

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Speaker 1: of Robert Greenfield, the legendary rock journalist who is Rolling

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Speaker 1: Stone Magazine's anointed Stones correspondent. As a twenty something in

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Speaker 1: the early seventies, he accompanied the band on their historic

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Speaker 1: trek across the US in the summer of seventy two,

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Speaker 1: bringing tracks from their moody double disc Opus exile on

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Speaker 1: Main Street to the masses as the Country Threat and

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Speaker 1: that come Apart at the Seams. Moreover, he's also a

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Speaker 1: veteran of the Backstage Invasion in Vancouver in addition to Greenfield,

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Speaker 1: and has never before heard tapes of The Stones in

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Speaker 1: their seventies exile era. Glory will also be joined by

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Speaker 1: his friend and fellow STP tour mate Gary Stromberg, the

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Speaker 1: band's pr supremo who's represented a whole jukebox of the

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Speaker 1: twentieth century's greatest artists. Consider this show an all access

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Speaker 1: pass that takes you from the front road to backstage,

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Speaker 1: and from the private jets to the private after show affairs.

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Speaker 1: We're going on the road, but the greatest rock and

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Speaker 1: roll band in the world, on the tour that showed

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Speaker 1: us what it means to party like a rock star.

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Speaker 1: Each episode will stop in a different city, taking in

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Speaker 1: the sites, sounds, riots, bombings, drug busts, and other assorted

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Speaker 1: mayhem from this pivotal moment in American history. My name's

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Speaker 1: Jordan Runtogg and Welcome to the Stones Touring Party. June

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Speaker 1: nineteen seventy two showtime. At long last, the Stones were

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Speaker 1: off to their first STP tour stop, Vancouver, a lovely town,

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Speaker 1: to be sure, but not exactly a music industry hotbed.

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Speaker 1: You'd be forgiven for wondering why this, the largest tour

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Speaker 1: in rock history, started in Canada's fourth largest city. Well,

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Speaker 1: short answer, it's proximity to the La tour headquarters made

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Speaker 1: it just close enough but also far enough away, you know,

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Speaker 1: in case of emergencies or bad reviews. It all made

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Speaker 1: perfect sense to Robert Greenfield.

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Speaker 2: This is the brilliance of the Stones. You always go

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Speaker 2: out of town. The tryout is always in Hartford, Connecticut

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Speaker 2: before you go to Broadway. You don't open on Broadway.

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Speaker 2: And what they always did with the opening show of

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Speaker 2: every tour was play everything, we try this, we try that.

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Speaker 2: I mean, at one point the tour they played can't

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Speaker 2: you Hear Me Knocking? Once didn't work, you know, they

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Speaker 2: didn't play it again, and I don't have the set

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Speaker 2: list in front of me. They played a couple songs

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Speaker 2: that night that didn't come back in, but that's why

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Speaker 2: they opened up there. They wanted to get it right.

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Speaker 2: Seattle also was like, okay, you know, we're still in

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Speaker 2: protracted rehearsal. Once they got to San Francisco and were

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Speaker 2: at Winterline and then they knew they were coming La

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Speaker 2: It's on, and then they were in the groove. Then

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Speaker 2: they were just hitting it every night.

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Speaker 1: The two month track was twice as long as their

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Speaker 1: previous American tour in nineteen sixty nine. With an entourage

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Speaker 1: that was also doubled together, they formed a well oiled

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Speaker 1: ultra professional machine, more akin to a military campaign than

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Speaker 1: a rock and roll road show.

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Speaker 2: The thing about the first day of the tour is

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Speaker 2: it really wasn't a first day because there was so

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Speaker 2: much pre production, you know, like you were working on

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Speaker 2: the film before the first show, and so I was

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Speaker 2: living in LA, but I definitely spent at least two

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Speaker 2: weeks with the band as they were setting up what

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Speaker 2: was coming. When they toured in England, you know, it's

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Speaker 2: so informal, so relaxed, and then a year later it

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Speaker 2: becomes Sherman's March to the Sea. It's gotten so organized

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Speaker 2: and fascist in its own way. You couldn't do what

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Speaker 2: they did in England and America.

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Speaker 1: It was unseasonably cool that foggy morning in La when

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Speaker 1: the Stones touring party minus the actual Stones themselves, piled

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Speaker 1: on the bus to the airport. It felt like the

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Speaker 1: first day of summer camp, when you're thrown together with

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Speaker 1: dozens of kids you've never met, knowing full well, but

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Speaker 1: in just a few days you'll be sharing life secrets

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Speaker 1: with one another. It's peak experience time with grown ups

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Speaker 1: getting knacked like kids, all the name of the Rolling Stones.

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Speaker 1: But tour manager Peter Ruh saw it a little differently.

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Speaker 1: To him, they were heading off to battle the man

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Speaker 1: described by Keith Richards as the four star general among

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Speaker 1: the anarchists burnt off his nervous energy by bouncing in

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Speaker 1: and out of his seat and repeatedly declaring the one

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Speaker 1: and all, We're about to hit the beaches. We're about

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Speaker 1: to hit the beaches. To be sure, wearing an STP

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Speaker 1: badge is to be part of a small army, And

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Speaker 1: on second thought, it wasn't so small. The Stones entourage

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Speaker 1: had swelled to nearly forty people, an unprecedented size for

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Speaker 1: a rock tour. The supporting cast are minor players in

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Speaker 1: the tour movie. Few know their names, and the audience

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Speaker 1: never sees their faces. These are the people who would

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Speaker 1: go through the cruelest and most drastic transformation on the tour,

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Speaker 1: wooshed up from the relative normality of their everyday lives

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Speaker 1: and into the eye of the rock hurricane, close enough

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Speaker 1: to the sixth center of it all to share in

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Speaker 1: all the adulation and worship it gets directed to the Stones.

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Speaker 1: And when it was all over, the comdown was harsh,

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Speaker 1: but we'll get to that for now. They were just

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Speaker 1: getting elevated. A joint makes its way down the aisle

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Speaker 1: of the bus and back up again. It reminds Robert

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Speaker 1: Greenfield of the opening scene in a World War II

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Speaker 1: drama where the light of the last cigarette is used

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Speaker 1: to illuminate the faces and introduce the members of the platoon.

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Speaker 1: There's the makeup man, hired by Jagger eight hours before

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Speaker 1: the tour bus was scheduled to leave. And there's the

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Speaker 1: guitar maker, compulsively clad in a stetson, caring for each

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Speaker 1: of the twenty seven guitars along for the ride. And

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Speaker 1: there's the accountant. It's not actually an accountant at all,

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Speaker 1: but a twenty year old rookie who by the end

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Speaker 1: of the tour will have paid out some one hundred

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Speaker 1: and ninety two thousand dollars in cash. There's the baggage guy,

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Speaker 1: the doctor, and a few folks whose roles were a

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Speaker 1: little more nebulous. And of course there's also the stones

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Speaker 1: horn section, trumpet player Jim and sax man Bobby Keys,

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Speaker 1: the ladder of whom is mournfully studying the bag of

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Speaker 1: pot he's just been advised to ditch before hitting the airport.

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Speaker 1: The long tall Texan was a party in human form.

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Speaker 1: Here he is talking to Robert Greenfield in nineteen seventy two,

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Speaker 1: courtesy of our friends at the Northwestern University Archive.

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Speaker 3: There's never been any organization on any tour that I've

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Speaker 3: ever been on, to compare any way with the Stones,

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Speaker 3: the organization like Treble. Sometimes there's a little bit overly organized. Overly.

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Speaker 3: I know she's a Mecca. Those guys are there, you know,

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Speaker 3: good old rockers like Mecca's a good business man and

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Speaker 3: god damn, I've got drunk with Jagger, been in a

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Speaker 3: whorehouse with Jagger.

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Speaker 2: Don't know, it's really I don't care.

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Speaker 3: It's not news to anybody.

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Speaker 4: I'm sure.

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Speaker 3: Gee though, would say, really is my best friend overborn

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Speaker 3: in the same day, same year, each other.

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Speaker 4: Very strange.

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Speaker 1: The joints passed of a small man standing in the

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Speaker 1: aisle of the bus, a video camera obscuring his face.

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Speaker 1: In one smooth motion. The man takes the joint, hits it,

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Speaker 1: puts it in front of the camera, lens, films it,

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Speaker 1: then passes it on. But he's forty seven, easily the

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Speaker 1: oldest person on the tour. He's just established his STP

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Speaker 1: credentials by demonstrating the crucial ability to indulge and yet

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Speaker 1: still function. This is Robert Frank in photography and filmmaking circles.

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Speaker 1: He's on par with Mick Jagger. The stark visual images

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Speaker 1: of rural life and his landmark photo book The Americans

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Speaker 1: made him a towering figure of the visual arts, as

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Speaker 1: did his groundbreaking underground films like Pull My Daisy, which

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Speaker 1: featured the likes of Beat legends Jack Kerouac, Alan Ginsberg

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Speaker 1: and Gregory Corso. Mick himself hadn't actually seen these, but

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Speaker 1: he hired Frank Anyway as the official tour documentarian. The

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Speaker 1: Swiss board artist was also responsible for the cover art

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Speaker 1: for the Exile on Main Street album, a haunting black

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Speaker 1: and white photo collage that perfectly complimented the gritty Americana

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Speaker 1: of the Stones music. Who better to capture the sites

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Speaker 1: of the Exile tour.

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Speaker 2: Frank takes his photograph It was It was in a

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Speaker 2: barber shop where it's a wall of photos at Frank

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Speaker 2: saw on Main Street in La Exile on Main Street. Hello,

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Speaker 2: That's where the title comes from. I mean, Mick is dealing.

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Speaker 2: He's always going to other artists. He obviously had seen

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Speaker 2: The Americans, the great book of Robert's photographs, you know,

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Speaker 2: and so he puts that on the cover. It's such

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Speaker 2: an unlikely cover, you know.

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Speaker 1: The Stones gave Robert Frank Carte Blanche to shoot whatever

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Speaker 1: he liked, a shocking act of trust considering the documentary

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Speaker 1: of their last tour, the Mazels Brothers Gimme Shelter, captured

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Speaker 1: the murder at Altamont in graphic detail. If the Stones

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Speaker 1: hope this new doc would rehab the image after the

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Speaker 1: horrors of Gimme Shelter, they would be sorely mistaken. Frank

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Speaker 1: took a cinema veritae approach, dispensing handheld superrates to assorted

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Speaker 1: members of the STP crew to go off and shoot

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Speaker 1: whatever they wished in the ends. This included, but wasn't

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Speaker 1: limited to a groupie shooting up, Jagger snorting coke, Mick

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Speaker 1: Taylor spoking a joint, Keith nodding off, a likely staged

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Speaker 1: orgy on an airplane, and televisions heaved from hotel windows.

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Speaker 1: The final result was a hellishly hedonistic home movie, artily shot, sure,

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Speaker 1: but more than the Stones have bark and for in

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Speaker 1: years to come, they would do everything they could the

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Speaker 1: block its release, But on the tour relations were great.

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Speaker 1: This is all the more impressive considering Frank knew little

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Speaker 1: about rock and roll and even less about the Stones.

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Speaker 2: You know it's incredible. If you think about an artist

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Speaker 2: of the stature of Robert frank that many years ago,

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Speaker 2: it's who this tour brought out of the woodwork. He

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Speaker 2: would have probably been fifty. Then. He had a house

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Speaker 2: in Nova Scotia. You know, he was tight with Philip Glass.

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Speaker 2: He came from another world. Man.

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Speaker 1: The bonds was there from the start.

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Speaker 5: There was a good connection with Jag.

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Speaker 4: I mean, I could see that.

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Speaker 5: He would accept what I did because he respected me

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Speaker 5: for what I was.

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Speaker 6: And I was surprised how quick he made up his

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Speaker 6: mind that I should make a film. You know, you'd

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Speaker 6: never seen a film of mind. But he I think

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Speaker 6: he went much more by the personality, by the certain.

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Speaker 2: Way I work.

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Speaker 5: Well, of course, they are like a legendary, like something

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Speaker 5: dead that comes to perform, you know, it descends from

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Speaker 5: heaven to perform here and to disappear again. Besides the

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Speaker 5: performance and traveling across the country, there were two very

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Speaker 5: important things on that tour.

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Speaker 4: One was dope and one was sex. I felt there

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Speaker 4: shouldn't be a way of showing it.

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Speaker 1: Somewhere The bus dumped the STP crew at a decidedly

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Speaker 1: unrock and rolled transit terminal populated largely with elderly women

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Speaker 1: and floral blouses clutching their handbags and their husbands busy

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Speaker 1: scouring the sports page for the oakland A's score. But

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Speaker 1: heads turned when the Stones themselves arrived. Like a great

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Speaker 1: splash of watercolor and the dull and empty waiting room canvas,

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Speaker 1: they were a vision in silk, coduroy and studded blue jeans.

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Speaker 1: Keith entered first in a black and white striped suit

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Speaker 1: made out of a silvered sailcloth that must blow in

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Speaker 1: the dark. Huge silver shades hit his eyes looped around

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Speaker 1: his neck as a three foot string of bright yellow

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Speaker 1: Tibetan prayer flags. In his hand, he carries a small

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Speaker 1: black doctor's bag contanning his own private pharmacopeia. Mick followed

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Speaker 1: in a faded blue workshirt open to the waist, tight

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Speaker 1: white pants. The middle aged straights in the room were

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Speaker 1: distracted enough to lower their papers and hissed to their wives,

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Speaker 1: Good Lord, Martha, do they look like that all the time?

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Speaker 1: How the hell are they some sort of band? A

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Speaker 1: decade into their career, the Stones still knew how to

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Speaker 1: outrage with a mere entrance.

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Speaker 2: Mick always was mister Fish, you know, Chelsea you know,

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Speaker 2: he always had the boots from an yellow and David

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Speaker 2: and Brian Jones they were so hip Mick, not Keith.

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Speaker 2: I mean where Keith got his outfits? You know, I

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Speaker 2: mean he's wearing less. Well, he was wearing a Tibetan

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Speaker 2: scarf around his neck, that yellow schmata with the red

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Speaker 2: writing on it. It hung in a window. He had

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Speaker 2: an eye. He's put together combinations of clothes that no

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Speaker 2: one else would have ever thought of wearing it. At

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Speaker 2: work for.

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Speaker 7: Chris Jagger had his own designers, correct stuff.

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Speaker 1: It was all well thought out.

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Speaker 2: Everything was made to order for Mick. Yeah, and Keith

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Speaker 2: just was I going through the garbage bin looking for

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Speaker 2: something to wear.

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Speaker 1: Mick and Keith were flanked by their two imposing security chiefs,

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Speaker 1: Stan the Man More and Big Leroy Leonard. Word on

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Speaker 1: the street was the Hell's Angels had a hit out

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Speaker 1: on the Stones, specifically Mick, revenge for the murderous outcome

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Speaker 1: at Ultamont during their last tour. This was the era

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Speaker 1: of assassinations, with the deaths of Martin Luther King and

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Speaker 1: Robert Kennedy still fresh in the popular consciousness. As a

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Speaker 1: result these threats on the Stones, the little more than

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Speaker 1: rumor were taken very seriously. Over the next two months,

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Speaker 1: Stan and Leroy would be the Stone's constant shadow, scoping

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Speaker 1: out the concert venues, staying in the suite's next door,

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Speaker 1: and even sitting with them on stage just out of

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Speaker 1: the spotlight.

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Speaker 2: Leroy was a foreboding forbidding. Large man was a cop

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Speaker 2: and he was more the muscle. And Stan, who had

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Speaker 2: been an officer, a lieutenant detective.

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Speaker 1: You know, these guys were really good.

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Speaker 7: They were very quiet, but you just knew that you'd

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Speaker 7: you're not going to fuck with anybody on it.

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Speaker 2: And they were guarding, they were carrying, they were both armed,

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Speaker 2: and Stan would always show the cops you know, I'm

294
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Speaker 2: a cop, and the hotel security like arm in charge,

295
00:17:15,320 --> 00:17:15,960
Speaker 2: I'm a cop.

296
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Speaker 1: The constant supervision may have been in their best interest,

297
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Speaker 1: but it made Keith uncomfortable.

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Speaker 8: I always feel it's unnecessary to bodyguard walking right next

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Speaker 8: to you know, I always feel a bit stupid about

300
00:17:29,119 --> 00:17:32,280
Speaker 8: but I understand that I'll put up with it because

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00:17:32,400 --> 00:17:34,920
Speaker 8: other people that have been involved longer in setting the

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Speaker 8: tour up feel it's necessary. I'll give them the benefit

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Speaker 8: of the doubt that it maybe it is you know,

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Speaker 8: because it's really not my job to say whether it's necessary.

305
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Speaker 8: And you know, I can say I don't like it though,

306
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Speaker 8: but I don't want to fight them at doubt.

307
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Speaker 4: About the security thing, because they've been.

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Speaker 8: Working on the two of A not too and they

309
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Speaker 8: they've heard it out. What the as was threatened to

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Speaker 8: do is that they thought it was necessary.

311
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Speaker 1: With the exception of drummer Charlie Watt's wife Shirley, none

312
00:18:10,320 --> 00:18:12,760
Speaker 1: of the band's significant others were invited on the track.

313
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Speaker 1: You could argue this was due to safety concerns or

314
00:18:16,960 --> 00:18:21,640
Speaker 1: just garden variety sexism. Mixed wife Bianca wasn't happy about this,

315
00:18:21,960 --> 00:18:24,720
Speaker 1: but at least she was afforded one small revenge. The

316
00:18:24,800 --> 00:18:27,440
Speaker 1: couple had a habit of sharing clothes, and Mick and

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00:18:27,480 --> 00:18:30,040
Speaker 1: borrowed a scarf of hers without her knowledge, to take

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Speaker 1: with them on the road. When Bianca discovered this, she

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00:18:32,920 --> 00:18:36,040
Speaker 1: demanded it back, forcing him the rummage through each and

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Speaker 1: every one of his packed suitcases until he found it.

321
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Speaker 4: I found it very difficult to travel with anyone. I mean,

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Speaker 4: Bianca is.

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Speaker 9: Much easier than now that some people, but it's very

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Speaker 9: I mean I'm just completely alone.

325
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Speaker 4: When it comes to being on too.

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Speaker 9: And you know, it's nice to see you know, your

327
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Speaker 9: old lady and occasion, which is all I did see, but.

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Speaker 4: I just have to.

329
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Speaker 1: So far things were going great, and then suddenly they weren't.

330
00:19:11,760 --> 00:19:14,359
Speaker 1: You could sense something was amiss as the STP tour

331
00:19:14,440 --> 00:19:17,879
Speaker 1: management squad gathered like storm clouds on a sunny horizon,

332
00:19:18,560 --> 00:19:22,840
Speaker 1: all whispers and scowls. The Stones were doing Vancouver in

333
00:19:22,880 --> 00:19:25,320
Speaker 1: a matter of hours to perform their tour kickoff for

334
00:19:25,440 --> 00:19:30,280
Speaker 1: eighteen thousand fans, but now they had no way to

335
00:19:30,320 --> 00:19:46,160
Speaker 1: get there. The Rolling Stones hadn't even made it out

336
00:19:46,160 --> 00:19:48,639
Speaker 1: of La when their tour hit a major stumbling block.

337
00:19:49,359 --> 00:19:52,560
Speaker 1: Their charter jet obtained at great expense, and due to

338
00:19:52,600 --> 00:19:55,359
Speaker 1: take off in mere minutes, has been denied permission to

339
00:19:55,440 --> 00:19:59,760
Speaker 1: land in Vancouver for that night's concert. This substantial problem

340
00:20:00,280 --> 00:20:04,200
Speaker 1: sent the STP tactical squad into def Con five. Tour

341
00:20:04,240 --> 00:20:07,159
Speaker 1: manager Peter Rudge, who bore the awesome weight of the

342
00:20:07,200 --> 00:20:10,919
Speaker 1: whole venture on as increasingly tense and sweaty shoulders, circle

343
00:20:10,960 --> 00:20:13,720
Speaker 1: the wagons with associates Joe Bergman and Alan Dunn for

344
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Speaker 1: an emergency conference. What could possibly be the problem. The

345
00:20:19,880 --> 00:20:23,040
Speaker 1: front page of the day's newspapers bore lurid details of

346
00:20:23,119 --> 00:20:26,159
Speaker 1: not one, but two separate skyjackings that had occurred the

347
00:20:26,240 --> 00:20:28,800
Speaker 1: night before. Did that have something to do with it?

348
00:20:29,720 --> 00:20:33,080
Speaker 1: The real answer was more mundane. The Stone's touring party,

349
00:20:33,280 --> 00:20:36,160
Speaker 1: despite all their planning, had forgotten the file a flight

350
00:20:36,200 --> 00:20:39,959
Speaker 1: plan early enough to receive international clearance. It's a rookie

351
00:20:39,960 --> 00:20:42,480
Speaker 1: move for those dealing with private air travel, but the

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00:20:42,520 --> 00:20:46,200
Speaker 1: consequences were big. While the rest of the touring party

353
00:20:46,240 --> 00:20:50,120
Speaker 1: mills around in blissful ignorance, the stp tax squad swarms

354
00:20:50,119 --> 00:20:53,040
Speaker 1: a bank of payphones, jams the receivers in their ears,

355
00:20:53,119 --> 00:20:56,959
Speaker 1: and starts punching keys. After many minutes of moving mouths

356
00:20:56,960 --> 00:21:00,000
Speaker 1: and furrowed brows failed to solve the problem, Marshall Chess,

357
00:21:00,560 --> 00:21:04,480
Speaker 1: president of the Rolling Stones record Company and wheeler dealer extraordinaire,

358
00:21:04,960 --> 00:21:11,560
Speaker 1: decides to take a different approach. Well the others piss

359
00:21:11,560 --> 00:21:15,119
Speaker 1: around with travel bureaus and aeronautical boards, he aims straight

360
00:21:15,160 --> 00:21:19,960
Speaker 1: for the top. Yes, operator, gimme Ottawa, Pierre Trudeau, the

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00:21:20,000 --> 00:21:24,359
Speaker 1: Prime Minister. Yes, and my credit card number is Apparently

362
00:21:24,400 --> 00:21:26,520
Speaker 1: all takes is some rock and roll HUTSPA and a

363
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Speaker 1: major credit card to talk to a national leader of

364
00:21:28,880 --> 00:21:33,200
Speaker 1: your choice. Hello, this is Marshall Chess of the Rolling Stones.

365
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Speaker 1: We have a concert schedule for tonight a Vancouver. Eighteen

366
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Speaker 1: thousand people are waiting for us, and our plane has

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Speaker 1: been denied permission to land in Canada. If we don't

368
00:21:41,800 --> 00:21:47,400
Speaker 1: show up, those kids are going to be aroused. Unfortunately,

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00:21:47,440 --> 00:21:50,080
Speaker 1: the Prime Minister's hands are tied, so the crew begin

370
00:21:50,200 --> 00:21:53,639
Speaker 1: hatching alternate schemes. Ultimately, they decide to land at a

371
00:21:53,680 --> 00:21:57,000
Speaker 1: small airport in suburban Washington and then shuttle everyone over

372
00:21:57,040 --> 00:22:00,000
Speaker 1: the border and Limos. On one hand, it beats Walker,

373
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Speaker 1: but the downside of this plan means the Stones and co.

374
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Speaker 1: Have to pass through normal, everyday roadside customs, a prospect

375
00:22:07,280 --> 00:22:12,480
Speaker 1: that doesn't make Peter Rudge very happy. So they make

376
00:22:12,520 --> 00:22:16,120
Speaker 1: their way to the rented plane, a Lockheed Electra customized

377
00:22:16,160 --> 00:22:19,480
Speaker 1: with a lapping tongue emblazoned on the side, a cultural

378
00:22:19,520 --> 00:22:23,960
Speaker 1: mashup of Mick Jagger and the Hindi goddess Kylie. The

379
00:22:24,000 --> 00:22:27,080
Speaker 1: Stones first used the symbol for their nineteen seventy European

380
00:22:27,119 --> 00:22:30,479
Speaker 1: tour before adopting it as the band's permanent logo. A

381
00:22:30,520 --> 00:22:33,840
Speaker 1: rebellious answer to the McDonald's arches or the Pepsi swirl.

382
00:22:34,640 --> 00:22:38,240
Speaker 1: A cynic might say this signaled the professionalization and corporatization

383
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Speaker 1: of rock. The private jet also did a pretty good

384
00:22:41,240 --> 00:22:44,639
Speaker 1: job of this, but according to Robert Greenfield, everyone was

385
00:22:44,640 --> 00:22:47,120
Speaker 1: having far too much fun bawling out to care about

386
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Speaker 1: the implications.

387
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Speaker 2: The fund was being on a plane because everybody was

388
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Speaker 2: relaxed on the plane and everybody in my memory, the

389
00:22:57,000 --> 00:22:59,080
Speaker 2: map was at the back of the plane. It was

390
00:22:59,119 --> 00:23:01,520
Speaker 2: a map of where the were going, like World War

391
00:23:01,560 --> 00:23:04,440
Speaker 2: Two when you'd followed. I didn't do this, but you

392
00:23:04,480 --> 00:23:07,479
Speaker 2: know the pins where the Allies were, and so I

393
00:23:07,520 --> 00:23:09,879
Speaker 2: think they would track and put a pin in every city,

394
00:23:10,359 --> 00:23:12,640
Speaker 2: and you know, like keith Am, they would be standing

395
00:23:12,720 --> 00:23:15,960
Speaker 2: up a lot on which was shocking. I'd never flown

396
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Speaker 2: on a proper let. Let's be honest here. It wasn't

397
00:23:18,760 --> 00:23:22,119
Speaker 2: a small jet. You know, you didn't have to sit down.

398
00:23:22,200 --> 00:23:25,080
Speaker 2: That was shocking. You could walk around and people would

399
00:23:25,080 --> 00:23:29,160
Speaker 2: be drinking and you didn't need seat belts and smoking.

400
00:23:29,200 --> 00:23:32,040
Speaker 2: I don't remember any doping, so I'm sure dope was

401
00:23:32,040 --> 00:23:34,919
Speaker 2: smoked on the plane. And there were two stewardess for

402
00:23:35,000 --> 00:23:38,560
Speaker 2: this whole tour, the same crew and we get to

403
00:23:38,600 --> 00:23:41,400
Speaker 2: the plane like one a right at night. You didn't

404
00:23:41,400 --> 00:23:43,720
Speaker 2: want to stay in that city, you know. And again

405
00:23:43,760 --> 00:23:46,480
Speaker 2: we get whenever we arrived at the black limos are waiting,

406
00:23:46,520 --> 00:23:47,200
Speaker 2: So it doesn't matter.

407
00:23:47,280 --> 00:23:51,240
Speaker 1: Man tour manager Peter Rudge had planned everything with military

408
00:23:51,280 --> 00:23:54,960
Speaker 1: precision to accommodate the massive entourage. Aside from the flight

409
00:23:55,000 --> 00:23:58,399
Speaker 1: plan snafu, the efficiency was unlike anything that the Stones

410
00:23:58,400 --> 00:24:01,239
Speaker 1: were used to on the road. Even Keith Richards had

411
00:24:01,240 --> 00:24:02,159
Speaker 1: to marvel.

412
00:24:02,160 --> 00:24:05,200
Speaker 4: When there's so many people, it's you go to the organist.

413
00:24:05,200 --> 00:24:08,439
Speaker 8: If you're only carrying a band and a couple of people,

414
00:24:08,440 --> 00:24:10,600
Speaker 8: it doesn't matter if he is an organizer. You can

415
00:24:10,640 --> 00:24:12,760
Speaker 8: make your own plans every day and change them.

416
00:24:13,560 --> 00:24:16,720
Speaker 2: The jet didn't even land where other jets and the

417
00:24:16,760 --> 00:24:20,000
Speaker 2: limits were right on the tarmac. You came down the steps.

418
00:24:20,000 --> 00:24:23,200
Speaker 2: There are great anti photographs of people coming down those

419
00:24:23,240 --> 00:24:24,600
Speaker 2: steps into the limo.

420
00:24:26,520 --> 00:24:30,399
Speaker 1: For reasons related both to safety, luxury and PT Barnum

421
00:24:30,480 --> 00:24:33,879
Speaker 1: level showmanship, Rudge took great pains to ensure that the

422
00:24:33,920 --> 00:24:36,880
Speaker 1: band engaged with the outside world as little as possible.

423
00:24:37,640 --> 00:24:40,639
Speaker 1: This strategy was even baked into the structure of their concerts.

424
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Speaker 2: The interesting thing about the Stones not taking encourse is

425
00:24:44,640 --> 00:24:49,640
Speaker 2: here's the brilliance of Peter Rudge. Backstage at every venue

426
00:24:49,920 --> 00:24:54,040
Speaker 2: was parked a camper and I can't describe that in

427
00:24:54,480 --> 00:24:59,000
Speaker 2: current terms. This is like nineteen seventy two, a box

428
00:24:59,359 --> 00:25:04,679
Speaker 2: like Baylor camper that even your grandparents wouldn't take to Yosemite,

429
00:25:05,119 --> 00:25:09,960
Speaker 2: like so nondescript, perfect like Cia, you know, like this

430
00:25:10,040 --> 00:25:13,440
Speaker 2: is where all the stuff is. And when the Stones

431
00:25:13,480 --> 00:25:16,240
Speaker 2: had finished playing Rip dis Joint or Bye Bye Johnny,

432
00:25:16,240 --> 00:25:21,119
Speaker 2: whatever was the final number, they would run directly off stage,

433
00:25:21,640 --> 00:25:26,600
Speaker 2: go get into the camper. Because Rudge's genius. You put

434
00:25:26,640 --> 00:25:31,040
Speaker 2: them in limos, girls will be you know, spread eagle.

435
00:25:31,160 --> 00:25:33,600
Speaker 2: You see that shot from inside the limo. The girl

436
00:25:33,680 --> 00:25:36,960
Speaker 2: is screaming and then she rolls off the limo as

437
00:25:37,000 --> 00:25:41,000
Speaker 2: they accelerate. Well, you're just telling everybody, hey, Stones, they're

438
00:25:41,080 --> 00:25:46,000
Speaker 2: right here, mo mob. No. So the crowd is still screaming,

439
00:25:46,240 --> 00:25:48,600
Speaker 2: they're standing on their feet. We don't leave yet because

440
00:25:48,640 --> 00:25:52,400
Speaker 2: we're not them. They're in this camper and they're out

441
00:25:52,400 --> 00:25:57,159
Speaker 2: of there before before the house lights are up, or

442
00:25:57,240 --> 00:25:59,800
Speaker 2: before the crowd even knows they have to go home,

443
00:26:00,000 --> 00:26:01,600
Speaker 2: they're out. They're gone to back at the hotel.

444
00:26:01,680 --> 00:26:02,480
Speaker 1: We was so insular.

445
00:26:02,640 --> 00:26:05,400
Speaker 2: You have to be all in, and Gary was and

446
00:26:05,440 --> 00:26:08,560
Speaker 2: so was I. You don't do anything else? But where

447
00:26:08,600 --> 00:26:10,800
Speaker 2: are we going? How are you? What's happening now?

448
00:26:10,840 --> 00:26:11,040
Speaker 10: Hey?

449
00:26:11,080 --> 00:26:11,359
Speaker 1: Great?

450
00:26:11,359 --> 00:26:13,640
Speaker 2: What's gone? There's no other reality.

451
00:26:17,960 --> 00:26:21,119
Speaker 1: They moved like a pirate nation, doing whatever they wanted,

452
00:26:21,200 --> 00:26:25,600
Speaker 1: complete with lawyers and attendance. One of the few times

453
00:26:25,600 --> 00:26:27,880
Speaker 1: the tour bubble was punctured was when they passed through

454
00:26:27,920 --> 00:26:31,159
Speaker 1: customs into the Great White North. This was cause for

455
00:26:31,280 --> 00:26:35,000
Speaker 1: no small amount of anxiety, because, simply put, the gang

456
00:26:35,119 --> 00:26:38,960
Speaker 1: was holding big time. A bus would ensure that the

457
00:26:38,960 --> 00:26:42,040
Speaker 1: tour was basically over before it had started. But Nick

458
00:26:42,080 --> 00:26:44,359
Speaker 1: and Keith giggled like school kids as they answered the

459
00:26:44,400 --> 00:26:47,560
Speaker 1: customs hut, thoroughly freaking out the man behind the desk,

460
00:26:47,600 --> 00:26:50,280
Speaker 1: who'd never seen people look or act like this, these

461
00:26:50,359 --> 00:26:53,920
Speaker 1: visions in silk and velvet and ruffles. Keith even hams

462
00:26:53,960 --> 00:26:56,639
Speaker 1: it up, leaning oh so casually next to a poster

463
00:26:56,760 --> 00:27:01,680
Speaker 1: reading patients please, a drug free America comes first. They're cooperative,

464
00:27:01,760 --> 00:27:04,879
Speaker 1: but smirking at defiant, as if to say, we're playing

465
00:27:04,920 --> 00:27:07,680
Speaker 1: a little game here, but it doesn't really apply to us.

466
00:27:08,160 --> 00:27:11,560
Speaker 1: Even before the law, the stones are laws and to themselves.

467
00:27:12,240 --> 00:27:16,440
Speaker 2: We couldn't get into Canada. We had to land in Bellingham,

468
00:27:16,560 --> 00:27:21,359
Speaker 2: Washington to go through customs, and we all sat in

469
00:27:21,440 --> 00:27:23,520
Speaker 2: the tiny airport and then we got in limos and

470
00:27:23,520 --> 00:27:26,320
Speaker 2: they drove us across the border. That's where the great

471
00:27:26,359 --> 00:27:29,680
Speaker 2: photograph that Ethan Russell took. You know, patients, please a

472
00:27:29,800 --> 00:27:33,119
Speaker 2: drug free America and is up to you, I said, Ethan,

473
00:27:33,240 --> 00:27:36,600
Speaker 2: look at Keith. Keith was posing. I love him and

474
00:27:36,680 --> 00:27:39,639
Speaker 2: he knew it. You know how brilliant the juxtaposition was.

475
00:27:41,960 --> 00:27:44,480
Speaker 1: Last week checked in with Keith. He was fresh off

476
00:27:44,480 --> 00:27:48,800
Speaker 1: at detox in Switzerland immediately prior to the tour rehearsals.

477
00:27:48,840 --> 00:27:51,280
Speaker 1: Being hooked on heroin is less than ideal for a

478
00:27:51,320 --> 00:27:55,000
Speaker 1: cross country tour, especially in America in nineteen seventy two,

479
00:27:55,280 --> 00:27:58,360
Speaker 1: where sympathies for the devil of drug addiction were non existent.

480
00:27:59,080 --> 00:28:02,080
Speaker 1: In his twenty ten memoir Life, he wrote about the

481
00:28:02,119 --> 00:28:05,919
Speaker 1: disarmingly practical anxieties he faced each day in the depths

482
00:28:05,920 --> 00:28:08,440
Speaker 1: of his struggles. One day you wake up and there's

483
00:28:08,440 --> 00:28:11,320
Speaker 1: been a change of plans. You've got to go somewhere unexpected,

484
00:28:11,640 --> 00:28:14,439
Speaker 1: and you realize the first thing you think about is okay,

485
00:28:14,480 --> 00:28:16,800
Speaker 1: how do I handle the dope? The first thing on

486
00:28:16,840 --> 00:28:19,520
Speaker 1: your list isn't your underwear or your guitar, It's how

487
00:28:19,520 --> 00:28:21,720
Speaker 1: do I hook up? Do I carry it with me

488
00:28:21,800 --> 00:28:24,320
Speaker 1: and tempt fate, or do I have phone numbers where

489
00:28:24,359 --> 00:28:27,680
Speaker 1: I'm going, or I know that it's definitely there with

490
00:28:27,800 --> 00:28:29,720
Speaker 1: a tour coming up. It was the first time it

491
00:28:29,760 --> 00:28:31,840
Speaker 1: really hit me. I didn't want to be stuck in

492
00:28:31,840 --> 00:28:34,560
Speaker 1: the middle of nowhere with no stuff. That was the

493
00:28:34,560 --> 00:28:37,480
Speaker 1: biggest fear. I'd rather clean up before I went on

494
00:28:37,520 --> 00:28:41,840
Speaker 1: the road. This meant going through the dreaded withdrawal and

495
00:28:41,960 --> 00:28:45,520
Speaker 1: experience Keith compared to being only marginally better than having

496
00:28:45,520 --> 00:28:49,600
Speaker 1: your leg blown off or starving to death. As he writes,

497
00:28:49,880 --> 00:28:52,440
Speaker 1: the whole body just sort of turns itself inside out

498
00:28:52,440 --> 00:28:56,320
Speaker 1: and rejects itself for three days. It's going to be

499
00:28:56,320 --> 00:29:00,280
Speaker 1: the longest three days you've spent in your life. Why

500
00:29:00,320 --> 00:29:02,480
Speaker 1: you're doing this to yourself when you could be living

501
00:29:02,480 --> 00:29:05,680
Speaker 1: a perfectly normal, rich rock star life. And there you

502
00:29:05,720 --> 00:29:09,560
Speaker 1: are puking and climbing the walls, your skin crawling, your

503
00:29:09,560 --> 00:29:12,480
Speaker 1: gut's churning, and you can't stop your limbs from jerking

504
00:29:12,560 --> 00:29:15,320
Speaker 1: and moving about, and you're throwing up and shitting at

505
00:29:15,320 --> 00:29:18,320
Speaker 1: the same time. But even that doesn't stop a reasonable

506
00:29:18,320 --> 00:29:21,360
Speaker 1: man from going back on the dope. And on the

507
00:29:21,440 --> 00:29:23,880
Speaker 1: STP tour he did.

508
00:29:23,520 --> 00:29:27,959
Speaker 11: You were healthier when you came from Switzerland, La, right, Yeah,

509
00:29:28,160 --> 00:29:28,720
Speaker 11: healthier than.

510
00:29:28,680 --> 00:29:31,400
Speaker 4: You've been anathon they had been for a year.

511
00:29:31,880 --> 00:29:33,240
Speaker 2: I mean, how quick is that going?

512
00:29:34,080 --> 00:29:37,240
Speaker 8: What the hell? Yeah, well, my health stands out. I mean,

513
00:29:37,280 --> 00:29:40,640
Speaker 8: it never actually breaks down you. I mean, you see,

514
00:29:40,760 --> 00:29:43,080
Speaker 8: for people that are going up on that stage every

515
00:29:43,160 --> 00:29:45,720
Speaker 8: night and sweating it out and now you can take

516
00:29:45,760 --> 00:29:49,560
Speaker 8: a lot more of that shit. First of all, because

517
00:29:49,960 --> 00:29:53,880
Speaker 8: they're getting that constant exercise every night in sweating it

518
00:29:53,920 --> 00:29:57,320
Speaker 8: out and religiously, they're pushing themselves to that limit, and

519
00:29:57,360 --> 00:30:00,280
Speaker 8: their expections are pushing themselves to that limit. But for

520
00:30:00,400 --> 00:30:03,600
Speaker 8: people that are just hanging around and getting stoned and

521
00:30:03,760 --> 00:30:07,200
Speaker 8: just you know, watching the show getting stone, that's another thing,

522
00:30:07,240 --> 00:30:09,840
Speaker 8: because you haven't got any point of release.

523
00:30:10,560 --> 00:30:12,760
Speaker 4: It seems to go on and on, you know, without

524
00:30:12,880 --> 00:30:14,720
Speaker 4: there being a high point to the day.

525
00:30:14,800 --> 00:30:19,040
Speaker 1: You know, micking Keith breathed easy in large part because

526
00:30:19,040 --> 00:30:21,960
Speaker 1: of the presence of their own private position, who's protected

527
00:30:22,000 --> 00:30:24,880
Speaker 1: status as a medical professional made him the ideal bag

528
00:30:24,960 --> 00:30:29,040
Speaker 1: man and tricky legal situations. He's a crucial character amid

529
00:30:29,040 --> 00:30:32,200
Speaker 1: the STP cast, but he's also a shady one.

530
00:30:32,520 --> 00:30:36,280
Speaker 2: No name, no name, no name, no name, yeah, intentionally

531
00:30:36,360 --> 00:30:36,680
Speaker 2: no name.

532
00:30:36,800 --> 00:30:37,040
Speaker 4: Yeah.

533
00:30:37,080 --> 00:30:39,560
Speaker 2: Yeah, we're not naming the dark Okay.

534
00:30:39,720 --> 00:30:40,760
Speaker 1: Can I give his first name?

535
00:30:40,880 --> 00:30:44,800
Speaker 2: No, not even the first no, doctor l We're gonna

536
00:30:44,800 --> 00:30:45,960
Speaker 2: call him doctor Field Good.

537
00:30:46,400 --> 00:30:50,600
Speaker 7: Oh, doctor Field, doctor Field Good. That's how we got

538
00:30:50,640 --> 00:30:52,880
Speaker 7: away with this stuff too, because the doctor would hold

539
00:30:52,880 --> 00:30:57,520
Speaker 7: the drugs and doctors were not searched, so they wouldn't

540
00:30:57,560 --> 00:31:01,760
Speaker 7: search the doctors. He has a little black back medicine bag.

541
00:31:03,920 --> 00:31:07,040
Speaker 1: The not so good doctor's role was rooted in responsibility,

542
00:31:07,280 --> 00:31:11,000
Speaker 1: At least initially, Mick wanted a physician on hand in

543
00:31:11,040 --> 00:31:14,120
Speaker 1: case everyone's worst Nightmaress came true and the Hell's Angels

544
00:31:14,160 --> 00:31:17,480
Speaker 1: took a shot at him. Technically, emergency medicine was doctor

545
00:31:17,520 --> 00:31:20,440
Speaker 1: feel good specialty, but his real specialty was having a

546
00:31:20,440 --> 00:31:24,040
Speaker 1: good time and making sure everyone else did too. He

547
00:31:24,080 --> 00:31:27,240
Speaker 1: may have graduated from Yale, but his most important credential

548
00:31:27,320 --> 00:31:30,560
Speaker 1: was his rumored licensed to import cocaine from Merrick Labs

549
00:31:30,600 --> 00:31:34,560
Speaker 1: in Switzerland, the wagou of white powder on the off

550
00:31:34,640 --> 00:31:37,040
Speaker 1: chance that he didn't have something. In the mobile pharmacy

551
00:31:37,040 --> 00:31:39,640
Speaker 1: of his briefcase, he could simply write a prescription for

552
00:31:39,720 --> 00:31:43,280
Speaker 1: it at any time in any city. Once medication had

553
00:31:43,320 --> 00:31:46,320
Speaker 1: been properly administered, the one and all, the doctor spent

554
00:31:46,400 --> 00:31:48,719
Speaker 1: much of the concerts scouting the audience for women who

555
00:31:48,760 --> 00:31:51,800
Speaker 1: struck his fancy. To each of these lucky ladies, he

556
00:31:51,880 --> 00:31:54,560
Speaker 1: handed a business card, on which was printed his name

557
00:31:54,640 --> 00:31:57,920
Speaker 1: and the rather lofty title position to the rolling stones.

558
00:31:58,960 --> 00:32:00,320
Speaker 1: On the back he would write the the name of

559
00:32:00,320 --> 00:32:02,720
Speaker 1: their hotel and the sweet number to call, which meant

560
00:32:02,720 --> 00:32:05,960
Speaker 1: that his personal after party was all sorted. Many would

561
00:32:06,000 --> 00:32:09,520
Speaker 1: help themselves to his medicine bag when he was otherwise indisposed.

562
00:32:11,160 --> 00:32:13,480
Speaker 1: There were some who resented the doctor for being just

563
00:32:13,520 --> 00:32:16,120
Speaker 1: a bit too blatant when taking advantage of his place

564
00:32:16,160 --> 00:32:20,040
Speaker 1: in the STP chain of command. Keith Richards was not

565
00:32:20,120 --> 00:32:20,920
Speaker 1: one of those people.

566
00:32:22,240 --> 00:32:26,400
Speaker 8: He didn't bug anybody, he didn't keep anybody waiting, and

567
00:32:26,440 --> 00:32:32,720
Speaker 8: without him there would have been a few moments where

568
00:32:32,760 --> 00:32:34,840
Speaker 8: it would have been a dream, you know. I mean,

569
00:32:34,960 --> 00:32:36,959
Speaker 8: he was thrown in the deep end like a lot

570
00:32:37,000 --> 00:32:40,200
Speaker 8: of other people, you know, really just because those people

571
00:32:40,560 --> 00:32:42,680
Speaker 8: knew what to expect and knew what was going on

572
00:32:42,760 --> 00:32:45,040
Speaker 8: and been on previous to us. I don't see that

573
00:32:45,160 --> 00:32:48,120
Speaker 8: it's necessarily the reasons of bad mean somebody that has

574
00:32:48,160 --> 00:32:50,280
Speaker 8: never done it before and that's no idea of what

575
00:32:50,400 --> 00:32:51,520
Speaker 8: to expect and.

576
00:32:51,520 --> 00:32:52,440
Speaker 4: Gets carried away.

577
00:32:52,600 --> 00:32:53,520
Speaker 8: I don't really think.

578
00:32:53,400 --> 00:32:54,920
Speaker 4: It's his fault that he got crazy.

579
00:32:55,400 --> 00:32:58,320
Speaker 8: He's still kept us full of vitamins and sort pills

580
00:32:58,360 --> 00:33:01,720
Speaker 8: and things which nobody else would have thought for anything, which.

581
00:33:01,600 --> 00:33:05,200
Speaker 4: Because he was a lot more important than people realize,

582
00:33:05,200 --> 00:33:08,520
Speaker 4: because you were walking at the point with his bed.

583
00:33:08,800 --> 00:33:11,760
Speaker 8: He was very liberal in his bag, which was very nice.

584
00:33:12,560 --> 00:33:14,160
Speaker 8: I don't know that against him too.

585
00:33:14,520 --> 00:33:16,320
Speaker 4: I think a lot of people think that he used

586
00:33:16,520 --> 00:33:22,280
Speaker 4: his position but to get to get laid good luck too.

587
00:33:23,440 --> 00:33:25,240
Speaker 2: But there's one point one night. I think it's in

588
00:33:25,360 --> 00:33:27,440
Speaker 2: the STP. It's a book I wrote, you know, in

589
00:33:27,440 --> 00:33:31,520
Speaker 2: case you don't know Ava Amazon. No, I'm not selling man,

590
00:33:31,560 --> 00:33:35,960
Speaker 2: It's okay, don't have to buy it. Keith Keith like

591
00:33:36,080 --> 00:33:40,280
Speaker 2: browsing through the doctor's back Yeah, because he knew more

592
00:33:40,320 --> 00:33:44,800
Speaker 2: about He knew the PDR, pharmaceutical director, he knew. Keith

593
00:33:44,880 --> 00:33:47,640
Speaker 2: knew everything, and he was looking for what the special

594
00:33:47,840 --> 00:33:49,920
Speaker 2: was that night. You know, what do I feel like

595
00:33:50,040 --> 00:33:53,640
Speaker 2: having you know, so casually taking all the time in

596
00:33:53,640 --> 00:33:57,240
Speaker 2: the world. You're very interested taking out you know, syringes

597
00:33:57,360 --> 00:34:00,640
Speaker 2: and packets and ampuols and.

598
00:34:00,120 --> 00:34:02,440
Speaker 7: And that's where we went from Canada to the US

599
00:34:02,560 --> 00:34:06,760
Speaker 7: with doctor holding all the goods, so that customs never

600
00:34:06,840 --> 00:34:07,959
Speaker 7: even found anything.

601
00:34:11,280 --> 00:34:13,640
Speaker 1: So in the end they got into Canada just fine,

602
00:34:14,680 --> 00:34:16,440
Speaker 1: but they found a fight waiting for them when they

603
00:34:16,520 --> 00:34:16,919
Speaker 1: got there.

604
00:34:28,480 --> 00:34:30,239
Speaker 2: We might as well go to the great moment, the

605
00:34:30,280 --> 00:34:33,880
Speaker 2: opening night. Right we're in Vancouver, and Peter Rudge went

606
00:34:33,960 --> 00:34:39,279
Speaker 2: to Cambridge, brilliant human being, you know, mad driven. He

607
00:34:39,440 --> 00:34:45,239
Speaker 2: was obsessed with security and Jagger's personal safety and the

608
00:34:45,280 --> 00:34:50,000
Speaker 2: safety of the concert. So the greatness of planning as

609
00:34:50,080 --> 00:34:56,080
Speaker 2: opposed to touring is that shit happens, you know, it

610
00:34:56,360 --> 00:34:57,520
Speaker 2: absolutely does.

611
00:34:58,440 --> 00:35:01,319
Speaker 1: Stone's tour manager, Peter Budge hadn't had a good night's

612
00:35:01,360 --> 00:35:03,719
Speaker 1: sleep in months, as he did his best to plan

613
00:35:03,840 --> 00:35:07,520
Speaker 1: for every conceivable crisis on the road. Perhaps more than

614
00:35:07,560 --> 00:35:12,960
Speaker 1: anyone else, he deserved an easy opening night. Unfortunately he

615
00:35:13,040 --> 00:35:19,480
Speaker 1: wasn't going to get it. The reason was, in essence, capitalism.

616
00:35:19,640 --> 00:35:22,040
Speaker 1: Tickets to see The Rolling Stones on the nineteen seventy

617
00:35:22,040 --> 00:35:27,520
Speaker 1: two tour costs between six and seven US dollars steal today. Indeed,

618
00:35:27,520 --> 00:35:29,640
Speaker 1: it was a good deal then, but this was the

619
00:35:29,680 --> 00:35:34,400
Speaker 1: age of utopian hippie communalism. Woodstock had been free, although

620
00:35:34,400 --> 00:35:36,640
Speaker 1: that was purely because the organizers hadn't been able to

621
00:35:36,640 --> 00:35:40,800
Speaker 1: get the fences up on time. Altamont was also free,

622
00:35:40,920 --> 00:35:44,920
Speaker 1: but well, let's not talk about that. Hippies began to

623
00:35:44,920 --> 00:35:47,799
Speaker 1: feel entitled to free concerts and that just wasn't in

624
00:35:47,800 --> 00:35:50,799
Speaker 1: the cards for the Rolling Stones, who you'll remember were

625
00:35:50,840 --> 00:35:53,640
Speaker 1: still struggling to rebuild their bank balance after years of

626
00:35:53,680 --> 00:35:56,960
Speaker 1: financial mismanagement. Tours were supposed to be a big money

627
00:35:56,960 --> 00:35:59,560
Speaker 1: maker for bands, but it seldom worked out that way

628
00:35:59,600 --> 00:36:03,040
Speaker 1: for the Stone. Sometimes this was as basis Bill Wyman

629
00:36:03,120 --> 00:36:07,240
Speaker 1: points out purely for practical reasons. Here he is talking

630
00:36:07,239 --> 00:36:10,400
Speaker 1: to Robert Greenfield in nineteen seventy two, courtesy of our

631
00:36:10,440 --> 00:36:12,840
Speaker 1: friends at the Northwestern University Archives.

632
00:36:12,880 --> 00:36:16,120
Speaker 11: But as I say, on tours is the huge overhead

633
00:36:16,120 --> 00:36:20,680
Speaker 11: of taking the stage around, the crew, lights, transportation, before

634
00:36:20,800 --> 00:36:24,480
Speaker 11: even you considered the hotel bills. Thinks you know, it's

635
00:36:24,440 --> 00:36:27,280
Speaker 11: such a huge production. And these the first two Australian

636
00:36:27,320 --> 00:36:30,200
Speaker 11: tours we lost money. Well, the only place we make

637
00:36:30,239 --> 00:36:33,200
Speaker 11: money is England because of their traveling expenses alone, we

638
00:36:33,239 --> 00:36:36,680
Speaker 11: don't make much because the places are small and America.

639
00:36:38,840 --> 00:36:41,480
Speaker 1: For Keith Richards, it was less an issue of logistical

640
00:36:41,560 --> 00:36:44,320
Speaker 1: costs and more problem of poor impulse control.

641
00:36:45,200 --> 00:36:47,799
Speaker 8: So much fun, you know, just the fact that you're

642
00:36:47,840 --> 00:36:51,400
Speaker 8: on the road able to start. You're not in the

643
00:36:51,480 --> 00:36:55,160
Speaker 8: best head to work out whether you should.

644
00:36:54,960 --> 00:36:57,080
Speaker 4: Be blowing a bread on that or not. You know,

645
00:36:57,160 --> 00:37:03,640
Speaker 4: you just say yeah, yeah.

646
00:37:05,800 --> 00:37:07,919
Speaker 1: This was part of the reason why Bill Wyman's cut

647
00:37:07,960 --> 00:37:10,560
Speaker 1: for the band's recent tour of Europe was less than

648
00:37:10,560 --> 00:37:11,480
Speaker 1: one might expect.

649
00:37:11,920 --> 00:37:16,120
Speaker 11: As we did that European tour in the spring of seventy,

650
00:37:17,000 --> 00:37:20,480
Speaker 11: I came out of it with three Persian carpets.

651
00:37:20,280 --> 00:37:24,719
Speaker 4: Because that was my money. That's God's truth, man.

652
00:37:25,080 --> 00:37:25,440
Speaker 1: Total.

653
00:37:25,719 --> 00:37:28,000
Speaker 11: That is the total money I made on.

654
00:37:28,600 --> 00:37:31,480
Speaker 4: In four weeks because of the overheads that we pay.

655
00:37:32,239 --> 00:37:34,560
Speaker 4: Did everybody in the band get that same amount of money, Yeah,

656
00:37:34,560 --> 00:37:36,280
Speaker 4: I don't think they made five.

657
00:37:36,760 --> 00:37:38,360
Speaker 11: I think I got a little bit more than I

658
00:37:38,360 --> 00:37:38,799
Speaker 11: should have.

659
00:37:39,280 --> 00:37:39,840
Speaker 4: But that is it.

660
00:37:40,520 --> 00:37:41,280
Speaker 2: No cash.

661
00:37:42,120 --> 00:37:44,880
Speaker 1: Nick meanwhile, was too cool to admit to something as

662
00:37:44,880 --> 00:37:48,319
Speaker 1: bourgeois money worries, but he also didn't make out well

663
00:37:48,360 --> 00:37:49,439
Speaker 1: on the European tour.

664
00:37:50,160 --> 00:37:52,080
Speaker 9: I'm not saying we didn't make any money. We didn't

665
00:37:52,080 --> 00:37:56,919
Speaker 9: make very much, right, I made a thousand dollars. None

666
00:37:57,000 --> 00:38:00,359
Speaker 9: believes me. I mean I made a million, and there

667
00:38:00,440 --> 00:38:02,640
Speaker 9: was a cool ripoffs and that we were charging too

668
00:38:02,680 --> 00:38:04,719
Speaker 9: much to the door and we made a thousand of

669
00:38:04,880 --> 00:38:06,439
Speaker 9: fox age.

670
00:38:06,760 --> 00:38:09,560
Speaker 1: The band's year as tax exiles in France had done

671
00:38:09,640 --> 00:38:12,640
Speaker 1: little to refill their collective coffers, which is why the

672
00:38:12,640 --> 00:38:15,200
Speaker 1: primary objective of the STP tour was to be as

673
00:38:15,239 --> 00:38:19,720
Speaker 1: professional and profitable as possible. Hence, while the tickets weren't free,

674
00:38:19,760 --> 00:38:22,320
Speaker 1: this didn't sit well with many of the youths of Vancouver.

675
00:38:23,120 --> 00:38:25,120
Speaker 1: This was the era when the word ripoff was just

676
00:38:25,120 --> 00:38:27,480
Speaker 1: coming into vogue as the most vicious insult to a

677
00:38:27,520 --> 00:38:31,560
Speaker 1: band's integrity, so thousands of ticketless Stones fans descended on

678
00:38:31,600 --> 00:38:35,920
Speaker 1: the Pacific Coliseum Hockey Arena to make their displeasure known. Earlier,

679
00:38:36,280 --> 00:38:39,000
Speaker 1: Rolling Stones's record's chief, Marshall Chess, had tried to prove

680
00:38:39,040 --> 00:38:41,800
Speaker 1: a street cred by distributing his limited stack of comps

681
00:38:41,840 --> 00:38:45,200
Speaker 1: to a group of kids waiting outside. He was instantly mobbed.

682
00:38:45,760 --> 00:38:48,000
Speaker 1: They tore at his hair and eyes until a cop

683
00:38:48,040 --> 00:38:50,760
Speaker 1: had to dive into the spinning brawling whirlpool of long

684
00:38:50,800 --> 00:38:53,759
Speaker 1: hairs and wrestle them out. Marshall then simply flung the

685
00:38:53,800 --> 00:38:55,640
Speaker 1: pile of tickets into the air and made a run

686
00:38:55,680 --> 00:38:59,000
Speaker 1: for it as the kids threw elbows like peasants scraping

687
00:38:59,000 --> 00:39:02,400
Speaker 1: for the last few crust of bread. Marshall's giveaway may

688
00:39:02,440 --> 00:39:04,880
Speaker 1: have been well intentioned, but it had the effect of

689
00:39:04,960 --> 00:39:09,160
Speaker 1: blood and shark infested waters. As the show began, all

690
00:39:09,200 --> 00:39:13,440
Speaker 1: of tour manager Peter Rudge's paranoias came true. Robert Greenfield

691
00:39:13,520 --> 00:39:15,360
Speaker 1: was one of those who found themselves on the front

692
00:39:15,360 --> 00:39:16,520
Speaker 1: line of an invasion.

693
00:39:17,960 --> 00:39:20,600
Speaker 2: I'm backstage mine in my own business. I'm not doing

694
00:39:20,640 --> 00:39:25,640
Speaker 2: anything Stevie wonders on and the arena, because I've been

695
00:39:25,640 --> 00:39:28,160
Speaker 2: outside a right now I've come in. It's surrounded by

696
00:39:28,280 --> 00:39:31,240
Speaker 2: and it's Canada. You know. They all have maple leafs

697
00:39:31,280 --> 00:39:33,279
Speaker 2: on their underwear, you know, Like, I don't know what

698
00:39:33,280 --> 00:39:36,799
Speaker 2: they're upset about, but there are I don't know what

699
00:39:36,880 --> 00:39:40,520
Speaker 2: to call them. What do you call them? Malcontents? The

700
00:39:40,640 --> 00:39:45,040
Speaker 2: music should be free. They don't have tickets every show

701
00:39:45,280 --> 00:39:49,440
Speaker 2: a couple hundred maybe more. They're milling about, you know,

702
00:39:49,719 --> 00:39:52,080
Speaker 2: you know, listen, I've been to the demonstrations. I was

703
00:39:52,120 --> 00:39:54,360
Speaker 2: at Columbia when it blew up. I've seen stuff and

704
00:39:54,400 --> 00:39:56,560
Speaker 2: this stuff is roiling and going on, and then you

705
00:39:56,560 --> 00:39:59,560
Speaker 2: know find it. They're outside and we're inside. All of

706
00:39:59,600 --> 00:40:05,080
Speaker 2: a sudden, you know those big corrugated metal doors, loading

707
00:40:05,160 --> 00:40:07,799
Speaker 2: doors like in a loading dock, which is a day

708
00:40:07,920 --> 00:40:11,120
Speaker 2: you load in and the back stay, I'm like the

709
00:40:11,160 --> 00:40:14,359
Speaker 2: closest guy to it. Rudge is standing forward and close.

710
00:40:15,120 --> 00:40:19,480
Speaker 2: So they have broken the lock. They must have had crowbars.

711
00:40:19,840 --> 00:40:21,319
Speaker 1: The door flies up.

712
00:40:21,719 --> 00:40:26,040
Speaker 2: Okay, it's like a bad movie, and here are these raging,

713
00:40:26,719 --> 00:40:32,279
Speaker 2: raging youth man. Okay, and they start charging and they're

714
00:40:32,280 --> 00:40:35,160
Speaker 2: gonna overrun the show. They're gonna come in the back stay.

715
00:40:35,160 --> 00:40:39,480
Speaker 2: They're gonna set fire whatever fantasy, gonna have your worst nightmare.

716
00:40:39,840 --> 00:40:43,920
Speaker 2: And so I jump on the door, okay, the inside

717
00:40:43,920 --> 00:40:46,279
Speaker 2: of the door. I'm holding the door trying, and all

718
00:40:46,280 --> 00:40:48,880
Speaker 2: of a sudden, Rudge is next to me and he's

719
00:40:48,960 --> 00:40:51,960
Speaker 2: hanging on the effing door and he's screaming, we're.

720
00:40:51,719 --> 00:40:52,960
Speaker 1: Blind here, we're blind.

721
00:40:53,000 --> 00:40:57,000
Speaker 2: We need help, man. So we're eventually, I mean, it's

722
00:40:57,040 --> 00:41:00,719
Speaker 2: just absurd. It's like a circus scene, like five of

723
00:41:00,800 --> 00:41:04,399
Speaker 2: us all hanging on this It's like tuggle war. They're

724
00:41:04,440 --> 00:41:07,400
Speaker 2: trying to push it up, We're trying to pull it down. Okay,

725
00:41:07,640 --> 00:41:11,520
Speaker 2: I finally we get it down, and god knows what happened.

726
00:41:11,520 --> 00:41:16,920
Speaker 2: They padlock it and Rudge comes off the door, the

727
00:41:16,960 --> 00:41:19,319
Speaker 2: only one I ever saw on the whole tour, a

728
00:41:19,560 --> 00:41:26,720
Speaker 2: legitimate total meltdown, like he's been planning that, how could

729
00:41:26,760 --> 00:41:31,240
Speaker 2: this happen? Right, screaming it was nobody's fault. But after

730
00:41:31,280 --> 00:41:33,360
Speaker 2: that the ante was upped.

731
00:41:33,719 --> 00:41:36,279
Speaker 7: What's interesting, I think is the juxtaposition of what you're

732
00:41:36,360 --> 00:41:38,880
Speaker 7: just describing now, of all these events and the chaos

733
00:41:38,920 --> 00:41:41,239
Speaker 7: that is occurring at the back end of this tour,

734
00:41:41,960 --> 00:41:45,600
Speaker 7: contrasted with beginning of the tour with Rudge laying out

735
00:41:45,640 --> 00:41:47,680
Speaker 7: the game plan and how everything is going to be

736
00:41:47,719 --> 00:41:48,919
Speaker 7: planned and coordinated.

737
00:41:49,280 --> 00:41:51,719
Speaker 1: It's all under control, here's what we're gonna do.

738
00:41:51,680 --> 00:41:55,160
Speaker 7: And step by step he's got to and then it's

739
00:41:55,200 --> 00:41:58,120
Speaker 7: not only goes out of control, but so does Rudge

740
00:41:58,320 --> 00:42:01,799
Speaker 7: as it moves along, became more and more frantic and

741
00:42:01,880 --> 00:42:04,720
Speaker 7: out of control. I think as we went along, especially

742
00:42:04,760 --> 00:42:06,359
Speaker 7: in the latter parts of the tour, as I.

743
00:42:06,360 --> 00:42:13,560
Speaker 1: Recall, kids were always going to be out of control

744
00:42:13,600 --> 00:42:17,120
Speaker 1: at Rock concerts, that much was a given, but the

745
00:42:17,160 --> 00:42:20,359
Speaker 1: cops could be worse. The following night and a gig

746
00:42:20,400 --> 00:42:25,080
Speaker 1: in Seattle, Robert Greenfield witnesses police using handcuffs to hogtie

747
00:42:25,080 --> 00:42:27,560
Speaker 1: a young black teen who seems to have had one

748
00:42:27,640 --> 00:42:30,080
Speaker 1: too many. As soon as he's out of sight of

749
00:42:30,120 --> 00:42:33,279
Speaker 1: the general public, he's dragged face down more than one

750
00:42:33,360 --> 00:42:36,960
Speaker 1: hundred and fifty feet across the asphalt parking lot. Then,

751
00:42:37,400 --> 00:42:40,040
Speaker 1: in the shadow of a police fan, the cops give

752
00:42:40,120 --> 00:42:43,280
Speaker 1: him the works, beating him with feet, fists, and knees.

753
00:42:44,280 --> 00:42:47,560
Speaker 1: According to Stone's basis, Bill Wyman was an all too

754
00:42:47,600 --> 00:42:48,239
Speaker 1: common sight.

755
00:42:49,640 --> 00:42:52,399
Speaker 11: There's always thirty ounces that beat up kids for nothing,

756
00:42:52,640 --> 00:42:54,480
Speaker 11: always beat up the wrong one. There was a lot

757
00:42:54,480 --> 00:42:59,960
Speaker 11: of it on this tour to man and like palling

758
00:43:00,120 --> 00:43:03,080
Speaker 11: kids out just because they were being pushed forward from

759
00:43:03,120 --> 00:43:04,800
Speaker 11: the back, and because they were the one in front,

760
00:43:04,800 --> 00:43:06,560
Speaker 11: they would be hold off them. And because they would

761
00:43:06,560 --> 00:43:08,239
Speaker 11: hold off, all the cups in the line that were

762
00:43:08,280 --> 00:43:09,760
Speaker 11: taking them out would.

763
00:43:09,520 --> 00:43:11,200
Speaker 4: Think they've done something so that they will give them

764
00:43:11,200 --> 00:43:13,640
Speaker 4: a bang, you know, and they'd get beaten up at

765
00:43:13,640 --> 00:43:14,080
Speaker 4: the outside.

766
00:43:14,120 --> 00:43:18,640
Speaker 2: It was terrible in retrospect, the tour was really run.

767
00:43:19,120 --> 00:43:23,160
Speaker 2: It was life during wartime, right, there's enough with the

768
00:43:24,239 --> 00:43:31,560
Speaker 2: kids outside angry violent. I remember most pointedly Vancouver and Seattle.

769
00:43:31,960 --> 00:43:36,360
Speaker 2: It's interesting that there were selected cities where people kids

770
00:43:36,360 --> 00:43:39,360
Speaker 2: took this personally that they couldn't get in and wanted

771
00:43:39,400 --> 00:43:43,799
Speaker 2: to break in. But it's a constant theme. You know.

772
00:43:44,960 --> 00:43:47,880
Speaker 1: Mick, who long since abandon his pose as a street

773
00:43:47,880 --> 00:43:50,000
Speaker 1: fighting man in the wake of the global riots of

774
00:43:50,080 --> 00:43:53,120
Speaker 1: nineteen sixty eight, was less sympathetic to the plight of

775
00:43:53,200 --> 00:43:56,879
Speaker 1: unruly kids who seemingly would stop at nothing to experiences

776
00:43:56,960 --> 00:43:58,720
Speaker 1: banned live and in person.

777
00:43:59,080 --> 00:44:01,480
Speaker 9: You know that if you throw stones and smash windows

778
00:44:01,680 --> 00:44:07,319
Speaker 9: in sound colisey and tucking in wherever the police are

779
00:44:07,360 --> 00:44:07,919
Speaker 9: going to chase.

780
00:44:08,080 --> 00:44:10,160
Speaker 4: I mean, that's the idea, and that's why you do

781
00:44:10,160 --> 00:44:11,440
Speaker 4: it in the first place.

782
00:44:11,200 --> 00:44:13,480
Speaker 9: You know what I mean, you know you may not

783
00:44:13,560 --> 00:44:14,319
Speaker 9: get in, and.

784
00:44:15,040 --> 00:44:17,839
Speaker 4: You know you know for certain that your cops couldn't chase.

785
00:44:18,239 --> 00:44:20,880
Speaker 9: There was a lot of pros backstage, but in the

786
00:44:20,920 --> 00:44:24,480
Speaker 9: wholes generally, there wasn't really that many problems, considering I

787
00:44:24,520 --> 00:44:25,359
Speaker 9: don't think they were.

788
00:44:25,400 --> 00:44:27,640
Speaker 4: I mean that I'm sure that people.

789
00:44:27,360 --> 00:44:30,160
Speaker 9: Will say, oh, here, I got my smashed in by

790
00:44:30,320 --> 00:44:33,400
Speaker 9: a copy I'm sure it happened. You know, Yeah, I

791
00:44:33,440 --> 00:44:35,520
Speaker 9: don't know if Stones Copers are really that worse than

792
00:44:35,520 --> 00:44:36,440
Speaker 9: anyone else's in.

793
00:44:36,480 --> 00:44:40,560
Speaker 1: Thee But admittedly Mick at other things on his mind

794
00:44:40,600 --> 00:44:44,759
Speaker 1: besides the tense relationship between cops and fans. Despite all

795
00:44:44,840 --> 00:44:48,520
Speaker 1: the technical assistance, all the innovation and stage technique, and

796
00:44:48,560 --> 00:44:51,440
Speaker 1: all the rehearsing, not to mention the dozens of people

797
00:44:51,480 --> 00:44:53,839
Speaker 1: on hand whose primary objective was to make this the

798
00:44:53,840 --> 00:44:56,919
Speaker 1: greatest rock and roll production in the world, Mix still

799
00:44:56,960 --> 00:44:59,560
Speaker 1: face the primal fear that they'd hit the stage and

800
00:44:59,680 --> 00:45:03,520
Speaker 1: nothing what happened, the audience would just sit there stone

801
00:45:03,600 --> 00:45:06,960
Speaker 1: still like an old class photo. Despite the overwhelming ticket

802
00:45:06,960 --> 00:45:09,759
Speaker 1: demand and the avalanche of media interest, they were going

803
00:45:09,800 --> 00:45:11,759
Speaker 1: on the road with basically the same kind of show

804
00:45:11,800 --> 00:45:14,759
Speaker 1: they'd done three years earlier in nineteen sixty nine. How

805
00:45:14,800 --> 00:45:17,640
Speaker 1: would the kids react to it? The Stones were about

806
00:45:17,640 --> 00:45:21,840
Speaker 1: to be thirty or older. Their audience was would be fourteen, fifteen, sixteen,

807
00:45:22,000 --> 00:45:25,399
Speaker 1: some younger? Would they dance? Did they know who Chuck

808
00:45:25,440 --> 00:45:30,719
Speaker 1: Berry was? By the summer of seventy two, glam was

809
00:45:30,719 --> 00:45:33,839
Speaker 1: the new game in town. Lead singers were working half

810
00:45:33,960 --> 00:45:36,600
Speaker 1: naked with snakes twined around their midriffs. And their hair

811
00:45:36,680 --> 00:45:40,640
Speaker 1: dyed burnt Sienna, flaunting their OMNo sexuality as helicopters dive

812
00:45:40,719 --> 00:45:44,680
Speaker 1: bombed their audience with skyloads of paper panties. The Stones

813
00:45:44,719 --> 00:45:48,120
Speaker 1: played it straight, second generation English rock with no frills.

814
00:45:48,719 --> 00:45:51,839
Speaker 1: There was something almost punky about the sparseness of their presentation.

815
00:45:52,520 --> 00:45:55,600
Speaker 1: Fifteen songs and an hour and a half. It couldn't help,

816
00:45:55,600 --> 00:46:00,640
Speaker 1: but wonder would this be enough? This question heavily on

817
00:46:00,719 --> 00:46:03,960
Speaker 1: the band. He sequestered in their dressing room just before showtime.

818
00:46:05,440 --> 00:46:08,360
Speaker 1: They burned through their nervous energy in their own unique ways.

819
00:46:08,719 --> 00:46:12,000
Speaker 1: Keith would tune and twang his guitar, Charlie would sit

820
00:46:12,040 --> 00:46:15,239
Speaker 1: buddhas still and twirl the sticks, and Mick jack nibe

821
00:46:15,280 --> 00:46:16,400
Speaker 1: through ballet poses.

822
00:46:19,920 --> 00:46:23,759
Speaker 2: Jagger would be so nervous, Mick got stage fright. He

823
00:46:23,840 --> 00:46:26,759
Speaker 2: would be beside himself. You didn't talk to him. He

824
00:46:26,880 --> 00:46:29,560
Speaker 2: usually wouldn't come out, maybe the last one out, but

825
00:46:29,640 --> 00:46:32,279
Speaker 2: he They'd be inside. There were two dressing rooms to

826
00:46:32,320 --> 00:46:34,640
Speaker 2: be the outside dressing room. Then they'd be the musicians

827
00:46:34,680 --> 00:46:37,240
Speaker 2: where they would play together before the show. You didn't

828
00:46:37,280 --> 00:46:39,240
Speaker 2: go in there because they were all sitting and playing

829
00:46:39,960 --> 00:46:42,080
Speaker 2: a Keith. I don't think Keith could have walked in

830
00:46:42,120 --> 00:46:44,960
Speaker 2: off the street direct to the stage and picked up

831
00:46:45,000 --> 00:46:46,200
Speaker 2: the guitar and started playing.

832
00:46:46,640 --> 00:46:51,000
Speaker 7: Right before every show, Jagger would seclude himself, usually just

833
00:46:51,080 --> 00:46:54,680
Speaker 7: right alongside the stage, where he would then take as

834
00:46:54,760 --> 00:46:56,560
Speaker 7: much cocaine as he could possibly take.

835
00:46:56,560 --> 00:46:57,800
Speaker 1: In that brief moment.

836
00:46:58,280 --> 00:47:00,920
Speaker 7: It was like the band was performed the intro or

837
00:47:01,000 --> 00:47:04,880
Speaker 7: Chipmunk was making the announcement the intro, and just before

838
00:47:04,920 --> 00:47:07,920
Speaker 7: he would hit the stage, he would snort the biggest

839
00:47:07,920 --> 00:47:09,839
Speaker 7: line of cook that he could possibly get up his

840
00:47:09,920 --> 00:47:12,600
Speaker 7: nose and then jump onto stage, so that that rush,

841
00:47:13,120 --> 00:47:15,800
Speaker 7: that cocaine rush was coming on as he was getting

842
00:47:15,800 --> 00:47:18,560
Speaker 7: onto the stage. I remember really admiring him for the

843
00:47:19,280 --> 00:47:22,720
Speaker 7: ability to do that and to like not have anybody around.

844
00:47:22,719 --> 00:47:25,680
Speaker 7: He could always like isolate himself away from him because

845
00:47:25,680 --> 00:47:28,319
Speaker 7: he had handlers and people that were around him, you

846
00:47:28,360 --> 00:47:31,080
Speaker 7: know always, and right before he go on, he just

847
00:47:31,320 --> 00:47:34,120
Speaker 7: go off by himself and just do a blast and

848
00:47:34,160 --> 00:47:37,640
Speaker 7: then hit that stage voy it was just an explosion.

849
00:47:37,680 --> 00:47:40,440
Speaker 7: He would explode onto that stage and I always, I mean,

850
00:47:40,480 --> 00:47:42,400
Speaker 7: it was great to see the energy that he had to,

851
00:47:43,120 --> 00:47:45,640
Speaker 7: you know, to open a show with. It was mesmerizing.

852
00:47:51,800 --> 00:47:55,960
Speaker 1: Finally, it's time. Months of work and millions of dollars

853
00:47:56,040 --> 00:47:59,319
Speaker 1: have led to this moment. Seventeen thousand people wait in

854
00:47:59,360 --> 00:48:02,319
Speaker 1: the pitch black and it says stage manager Chipmunk, the

855
00:48:02,360 --> 00:48:06,319
Speaker 1: famous voice of Woodstock, delivers the introduction in an age

856
00:48:06,320 --> 00:48:09,719
Speaker 1: of breathless rock and roll. Hype man. It's elegantly understated,

857
00:48:10,440 --> 00:48:17,120
Speaker 1: like announcing royalty adjectives are superfluous. Ladies and gentlemen, the

858
00:48:17,239 --> 00:48:18,160
Speaker 1: Rolling Stones.

859
00:48:28,760 --> 00:48:32,600
Speaker 7: It was dark and chipped, ladies and gentlemen, the Rolling Stones,

860
00:48:32,640 --> 00:48:37,680
Speaker 7: and a downbeat of brown sugar. And then Jagger explodes

861
00:48:37,680 --> 00:48:41,840
Speaker 7: onto the stage in a spotlight and the place we're going.

862
00:48:41,680 --> 00:48:50,240
Speaker 2: Saying it was pretty theatrical.

863
00:48:49,680 --> 00:48:52,000
Speaker 7: And Jagger was high, very.

864
00:48:52,520 --> 00:48:55,160
Speaker 2: And he was wearing the white jumpsuit and.

865
00:48:55,080 --> 00:48:57,319
Speaker 1: Sparkling and spinning like a top.

866
00:48:57,800 --> 00:49:01,120
Speaker 2: Pretty good. That was good, Pretty good for a low tech,

867
00:49:02,200 --> 00:49:03,520
Speaker 2: no screens.

868
00:49:03,239 --> 00:49:04,520
Speaker 1: No pirate technics.

869
00:49:04,840 --> 00:49:06,440
Speaker 2: Yeah, it was none of the frills.

870
00:49:06,600 --> 00:49:07,440
Speaker 7: It was Jacker.

871
00:49:09,680 --> 00:49:12,600
Speaker 1: He strides across the double serpents painted on the stage,

872
00:49:12,840 --> 00:49:16,360
Speaker 1: singing amid the flicker of their tongues, illuminated by shafts

873
00:49:16,400 --> 00:49:19,200
Speaker 1: of heavenly white light from the eight super Trooper spotlights.

874
00:49:19,480 --> 00:49:22,520
Speaker 1: Mick looks both very real and surreal. He's one of

875
00:49:22,600 --> 00:49:25,719
Speaker 1: rock's greatest dramatists, teasing the audience with a blend of

876
00:49:25,760 --> 00:49:34,320
Speaker 1: alluringly afeat seduction and hyper masculine bravado. As a young performer,

877
00:49:34,520 --> 00:49:38,040
Speaker 1: his hero had been Little Richard, the androgynist, outrageous piano

878
00:49:38,080 --> 00:49:41,640
Speaker 1: punishing rock pioneer who commanded rooms with an unholy whale

879
00:49:41,840 --> 00:49:45,200
Speaker 1: and truly killer eyeshadow. Soon after joining the Stones in

880
00:49:45,239 --> 00:49:48,680
Speaker 1: nineteen sixty two, Mick was nearly fired because his endearing

881
00:49:48,800 --> 00:49:52,640
Speaker 1: enthusiasm couldn't mask his crippling lack of skill. But now

882
00:49:52,680 --> 00:49:57,040
Speaker 1: a decade later, the skills are on full display. He's

883
00:49:57,080 --> 00:50:01,160
Speaker 1: created the template for generations of frontmen. Terry Southern, one

884
00:50:01,200 --> 00:50:04,160
Speaker 1: of the famed writers covering the tour, describe to Mick

885
00:50:04,239 --> 00:50:08,200
Speaker 1: is possessing the most dramatic qualities of James Brown, Rudolph Nuriev,

886
00:50:08,600 --> 00:50:12,120
Speaker 1: Marcel Marceau. Robert Greenfield is a similar assessment.

887
00:50:13,440 --> 00:50:17,120
Speaker 2: A couple things about Mick. Absolutely the greatest onstage performer

888
00:50:17,360 --> 00:50:20,000
Speaker 2: that anyone had ever seen. If you've seen Charlie as

889
00:50:20,040 --> 00:50:24,040
Speaker 2: my darling, Mick goes to America come back, he's dancing

890
00:50:24,080 --> 00:50:27,399
Speaker 2: like James Brown, doing the exact James Brown move man.

891
00:50:27,520 --> 00:50:29,520
Speaker 2: I saw it every night at the Apollo when I

892
00:50:29,600 --> 00:50:34,720
Speaker 2: was there. He's doing that like sideways pony that James

893
00:50:34,719 --> 00:50:38,719
Speaker 2: did and the Ronettes could do. And he's a great mimetic.

894
00:50:39,239 --> 00:50:42,879
Speaker 2: He's a mime. He can do other people. And if

895
00:50:42,880 --> 00:50:46,600
Speaker 2: you look and you can see the photographs, he's already

896
00:50:46,640 --> 00:50:50,360
Speaker 2: well aware of David Bowie America, isn't you know. I

897
00:50:50,360 --> 00:50:54,760
Speaker 2: think he's made hunky dory, but he's known in London

898
00:50:54,760 --> 00:50:57,600
Speaker 2: and McK knows him. Mick always has an eye for

899
00:50:57,680 --> 00:51:01,160
Speaker 2: the competition. He's always looking sideways and backwards, so who's

900
00:51:01,200 --> 00:51:05,360
Speaker 2: coming after me? And so on that tour, Mick is

901
00:51:05,400 --> 00:51:07,480
Speaker 2: wearing I don't know what to call it. You know,

902
00:51:08,080 --> 00:51:11,960
Speaker 2: the revealing jumpsuit, you know, the white showing a lot

903
00:51:11,960 --> 00:51:12,719
Speaker 2: of cleavage.

904
00:51:12,920 --> 00:51:16,160
Speaker 1: You know, Mick warr selection of a lur jumpsuits on

905
00:51:16,200 --> 00:51:20,239
Speaker 1: the STP tour, crafted by designer Ozzie Clark, frequently left

906
00:51:20,280 --> 00:51:23,000
Speaker 1: open to his navel. The stage uniform was skin tight.

907
00:51:23,760 --> 00:51:25,719
Speaker 1: The audience would be shocked to learn that he was

908
00:51:25,760 --> 00:51:27,600
Speaker 1: in fact wearing underwear underneath.

909
00:51:27,640 --> 00:51:32,160
Speaker 2: He's working the unisex, unisex leotard. And I've said this

910
00:51:32,200 --> 00:51:35,640
Speaker 2: before to other people. Uh, just a bozo on the

911
00:51:35,680 --> 00:51:38,720
Speaker 2: bus I'm just on tour. I'm writing down what I see.

912
00:51:39,239 --> 00:51:43,040
Speaker 2: We get to Minneapolis and I see all these seventeen

913
00:51:43,239 --> 00:51:49,280
Speaker 2: year old Scandinavian blonde guys wearing dresses, and I think, oh,

914
00:51:49,520 --> 00:51:53,799
Speaker 2: there's something going on here, Like dude wearing Minnesota. It

915
00:51:53,800 --> 00:51:57,080
Speaker 2: can be hip not running down Minnesota. But I was

916
00:51:57,080 --> 00:51:58,960
Speaker 2: blown away. It wasn't New York, it was on the

917
00:51:58,960 --> 00:52:04,520
Speaker 2: Lower East Side. It wasn't CBGB's. And yet Jagger has

918
00:52:04,560 --> 00:52:08,759
Speaker 2: already anticipated that's a big change in rock and roll.

919
00:52:09,320 --> 00:52:13,080
Speaker 2: Boys looking like girls. Yeah, and Jagger's doing it. He's

920
00:52:13,120 --> 00:52:15,480
Speaker 2: doing it on that tour. He had his own makeup

921
00:52:15,560 --> 00:52:19,600
Speaker 2: artists on the tour who there were great photographs that

922
00:52:19,719 --> 00:52:25,280
Speaker 2: and he's taken Bianca watching as Steve Goki makes Jagger

923
00:52:25,360 --> 00:52:31,359
Speaker 2: look a movie star esque. Yeah, like glittery. I would

924
00:52:31,480 --> 00:52:34,400
Speaker 2: venture to say that no other rock band ever toured

925
00:52:34,440 --> 00:52:38,000
Speaker 2: with a makeup artist before this Kiss. No, they weren't

926
00:52:38,040 --> 00:52:40,360
Speaker 2: out yet. I mean, Jagger's like so far ahead in

927
00:52:40,440 --> 00:52:45,040
Speaker 2: terms of theater cinema production. He sees the bigger picture

928
00:52:45,160 --> 00:52:49,600
Speaker 2: and that androgynist look too, well, that came more naturally to.

929
00:52:49,640 --> 00:52:51,840
Speaker 7: Him and Bowie and Mark Bowling.

930
00:52:52,239 --> 00:52:54,600
Speaker 2: Yeah, this is happening in England, but not so much

931
00:52:54,600 --> 00:52:57,920
Speaker 2: in America yet. And I don't think people were conscious

932
00:52:57,920 --> 00:53:00,719
Speaker 2: of it during the tour because the music was so good.

933
00:53:01,600 --> 00:53:05,040
Speaker 2: But he's affecting that's what's incredible, you know, he's affecting

934
00:53:05,120 --> 00:53:08,640
Speaker 2: the way people look at each concert.

935
00:53:09,000 --> 00:53:11,480
Speaker 1: Mick consisted that the first Batcher rows were filled with

936
00:53:11,520 --> 00:53:16,080
Speaker 1: everyday fans rather than VIPs or photographers. This was partially

937
00:53:16,080 --> 00:53:18,640
Speaker 1: to ensure that John and JANEQ public got a good

938
00:53:18,640 --> 00:53:21,719
Speaker 1: look at his still slender physique maintained through his new

939
00:53:21,800 --> 00:53:25,319
Speaker 1: daily jogging regimen. But more importantly, he wanted to make

940
00:53:25,320 --> 00:53:28,440
Speaker 1: eye contact with his audience. He fed off their energy

941
00:53:28,440 --> 00:53:31,560
Speaker 1: and their responses or sometimes lack thereof.

942
00:53:32,080 --> 00:53:35,279
Speaker 2: So the genius of me still but back then so

943
00:53:35,440 --> 00:53:38,400
Speaker 2: sensitive to the house. I saw it in small arenas

944
00:53:38,400 --> 00:53:41,040
Speaker 2: in England on the English tour. You know, they played

945
00:53:41,040 --> 00:53:44,319
Speaker 2: before eight hundred people two shows a night. Jagger could

946
00:53:44,360 --> 00:53:47,080
Speaker 2: see twenty five rows back and if he saw somebody

947
00:53:47,080 --> 00:53:49,959
Speaker 2: who wasn't up, he'd work to get that person up.

948
00:53:50,360 --> 00:53:52,120
Speaker 2: I mean, he was a genius and he would do

949
00:53:52,239 --> 00:53:55,560
Speaker 2: different things on stage every night. It wasn't always the

950
00:53:55,640 --> 00:53:59,360
Speaker 2: same stuff, but you know, physically a performer when they

951
00:53:59,360 --> 00:54:03,799
Speaker 2: would do a mid Nightbler, he was acting out psychodrama.

952
00:54:04,800 --> 00:54:08,280
Speaker 1: Off their nineteen sixty nine album Let It Bleed. Midnight

953
00:54:08,360 --> 00:54:11,080
Speaker 1: Rambler was the show piece of the STP tour set,

954
00:54:11,280 --> 00:54:14,400
Speaker 1: as Mick went into full body theatrics, reaching for his

955
00:54:14,480 --> 00:54:18,280
Speaker 1: black hinestone studded built to whip the stage. The punishing

956
00:54:18,320 --> 00:54:22,120
Speaker 1: physicality would overwhelm lesser front man. Even Mick admitted that

957
00:54:22,160 --> 00:54:24,840
Speaker 1: it could sometimes be difficult to transform himself from that

958
00:54:24,920 --> 00:54:28,120
Speaker 1: nervous guy in the dressing room to a superhuman singing

959
00:54:28,160 --> 00:54:29,280
Speaker 1: shaman on command.

960
00:54:30,040 --> 00:54:32,439
Speaker 4: Well, yeah, but that's all.

961
00:54:32,360 --> 00:54:34,640
Speaker 9: Right because you after a why you can It's all right,

962
00:54:34,719 --> 00:54:37,000
Speaker 9: you can do it, and when you get up there,

963
00:54:37,080 --> 00:54:37,520
Speaker 9: you really.

964
00:54:37,400 --> 00:54:39,280
Speaker 4: Do have to fake an the time you get.

965
00:54:39,120 --> 00:54:41,600
Speaker 9: On stage, you feel like all right, you know, because

966
00:54:41,600 --> 00:54:43,680
Speaker 9: if you can't, if you can't get up by that,

967
00:54:44,520 --> 00:54:46,719
Speaker 9: then you aren't going to get up by anything so

968
00:54:46,960 --> 00:54:48,760
Speaker 9: much as we'll forget it and start living.

969
00:54:48,840 --> 00:54:56,480
Speaker 2: You know, they are performers and once you hit the stage,

970
00:54:56,760 --> 00:55:01,160
Speaker 2: the energy comes to you off the house. Keith always

971
00:55:01,160 --> 00:55:04,200
Speaker 2: talked about this, and so did Mick, that you are

972
00:55:04,360 --> 00:55:09,080
Speaker 2: interactive with the crowd and they push you, they make

973
00:55:09,480 --> 00:55:13,960
Speaker 2: also you take everything personally. I mean, if you're not up,

974
00:55:14,320 --> 00:55:16,279
Speaker 2: if I haven't gotten you out of your seat, like

975
00:55:16,320 --> 00:55:18,800
Speaker 2: why aren't you dancing? And that's the way the Stones

976
00:55:18,800 --> 00:55:21,120
Speaker 2: always were. I mean I saw shows in England where

977
00:55:21,160 --> 00:55:23,680
Speaker 2: they were pissed off and they played harder and they

978
00:55:23,760 --> 00:55:27,280
Speaker 2: got people to react. In America, the reaction was there

979
00:55:27,480 --> 00:55:30,520
Speaker 2: because it's group think, like every you know, you've seen

980
00:55:30,600 --> 00:55:33,440
Speaker 2: it all of a sudden, why is everybody standing now?

981
00:55:33,480 --> 00:55:36,520
Speaker 2: When you go like, dude, nothing happened yet, well, everybody's up.

982
00:55:36,600 --> 00:55:40,040
Speaker 2: You know, they didn't have to work to get people up.

983
00:55:40,400 --> 00:55:43,680
Speaker 2: But I think it goes back and forth. That's the difference,

984
00:55:43,800 --> 00:55:47,080
Speaker 2: you know, and that becomes the real addiction. You know,

985
00:55:47,239 --> 00:55:52,040
Speaker 2: the rush of being on stage. It's bigger than any

986
00:55:52,120 --> 00:55:55,800
Speaker 2: drug for if this is what you do for your living,

987
00:55:56,040 --> 00:55:59,840
Speaker 2: that's your joy and you're you know, and you're a musician.

988
00:56:00,440 --> 00:56:02,120
Speaker 2: I mean, this is the point to be made is

989
00:56:03,040 --> 00:56:05,240
Speaker 2: they played their asses off every night.

990
00:56:08,480 --> 00:56:10,839
Speaker 1: And we'd remiss if we didn't mention the human riff.

991
00:56:11,160 --> 00:56:13,000
Speaker 1: Keith Richardson, there.

992
00:56:12,880 --> 00:56:16,040
Speaker 2: Aren't that many guys who are as You have to

993
00:56:16,080 --> 00:56:18,360
Speaker 2: have a right hand to be a rhythm guy. You

994
00:56:18,400 --> 00:56:21,040
Speaker 2: have to understand that music in a deeper part of

995
00:56:21,080 --> 00:56:23,759
Speaker 2: yourself that you can play that without having to think

996
00:56:23,800 --> 00:56:26,840
Speaker 2: about it, you just feel it. And then playing leads

997
00:56:26,840 --> 00:56:28,919
Speaker 2: are a whole different issue. But he could do both

998
00:56:28,960 --> 00:56:32,200
Speaker 2: and did. Mick Taylor came in, So Mick was handling

999
00:56:32,200 --> 00:56:36,080
Speaker 2: the leads some, but on the real songs, the old songs,

1000
00:56:36,200 --> 00:56:39,600
Speaker 2: oh it was Keith. He's playing Satisfaction. That's his riff.

1001
00:56:39,680 --> 00:56:40,880
Speaker 2: You know, he invented it.

1002
00:56:45,200 --> 00:56:48,359
Speaker 1: For guitarist. Mick Taylor still considered the new guy after

1003
00:56:48,440 --> 00:56:51,800
Speaker 1: joining three years earlier. The STP tour marked the point

1004
00:56:51,800 --> 00:56:55,200
Speaker 1: where the band truly started to coalesce as one musical unit.

1005
00:56:55,440 --> 00:56:58,879
Speaker 10: Yes, it's more enjoyments on stage on the sixty nine

1006
00:56:58,960 --> 00:57:02,560
Speaker 10: to it was literally a new band.

1007
00:57:03,880 --> 00:57:06,160
Speaker 4: None of us have played together. We were all a

1008
00:57:06,160 --> 00:57:06,720
Speaker 4: bit sort.

1009
00:57:06,520 --> 00:57:08,440
Speaker 5: Of timid, and we were feeling our way.

1010
00:57:08,239 --> 00:57:12,240
Speaker 10: Thereas only reason to. Everybody was much looser and more

1011
00:57:12,360 --> 00:57:15,160
Speaker 10: trump You. Once you get up on stage and start.

1012
00:57:14,960 --> 00:57:16,880
Speaker 9: Playing, you know that's why you're doing it.

1013
00:57:17,320 --> 00:57:19,520
Speaker 10: Who leads up to that moment when you're actually going

1014
00:57:20,280 --> 00:57:23,360
Speaker 10: up on stage to play for an audience.

1015
00:57:23,960 --> 00:57:30,240
Speaker 2: Back then, no backup singers correct think about this. Nineteen

1016
00:57:30,280 --> 00:57:35,280
Speaker 2: seventy two tour, Keith singing harmony. Nobody else, Jim Price

1017
00:57:35,320 --> 00:57:39,200
Speaker 2: playing trumpet, Bobby Keith's playing saxophone. The music you heard

1018
00:57:39,400 --> 00:57:44,760
Speaker 2: was Charlie Bill Wyman, Keith and Meck and Mick Taylor

1019
00:57:45,320 --> 00:57:48,320
Speaker 2: and Nicky Hopkins too. We forgot the great Nicky Hopkins

1020
00:57:49,080 --> 00:57:51,520
Speaker 2: was Ian Stewart would be playing the blue stuff and

1021
00:57:51,560 --> 00:57:55,080
Speaker 2: honky Tonk women, and then Nicky would take over for

1022
00:57:55,160 --> 00:57:59,960
Speaker 2: the complicated stuff. And Stu, who was an incredible phrase maker.

1023
00:58:01,120 --> 00:58:04,680
Speaker 2: He called a lot of what NICKI played diamond tiaras,

1024
00:58:05,760 --> 00:58:08,520
Speaker 2: and he had a Scottish accent, you know. Now, Nicky

1025
00:58:08,640 --> 00:58:11,280
Speaker 2: was to my mind, the greatest piano player in rock

1026
00:58:11,320 --> 00:58:15,320
Speaker 2: and roll. Astonishing musician. Yeah, and they're killing it, I mean,

1027
00:58:15,720 --> 00:58:18,959
Speaker 2: and they're playing eighteen thousand seed arenas and the acoustic set,

1028
00:58:19,320 --> 00:58:22,400
Speaker 2: the house would be dead silent. You could hear every note.

1029
00:58:22,480 --> 00:58:26,360
Speaker 2: They're sitting there playing these three lovely guitars. Pretty intense,

1030
00:58:26,560 --> 00:58:26,720
Speaker 2: you know.

1031
00:58:30,320 --> 00:58:30,480
Speaker 9: Well.

1032
00:58:30,520 --> 00:58:33,680
Speaker 1: Ostensibly promoting Exile on Main Street, the set list was

1033
00:58:33,720 --> 00:58:36,840
Speaker 1: a mud of material. They opened with two titles from

1034
00:58:36,880 --> 00:58:40,880
Speaker 1: their previous album, Sticky Fingers, Brown Sugar and Bitch, giving

1035
00:58:40,880 --> 00:58:43,560
Speaker 1: those tracks their American debut, with an unbeatable one to

1036
00:58:43,640 --> 00:58:46,920
Speaker 1: two punch. Tracks from their nineteen sixty nine album, Let

1037
00:58:46,920 --> 00:58:49,680
Speaker 1: It Bleed, Gotta Workout, And they also stacked the set

1038
00:58:49,720 --> 00:58:52,680
Speaker 1: list with instant standards like jumping Jack Flash, you can't

1039
00:58:52,680 --> 00:58:54,640
Speaker 1: always get what you want, and Gimme shelter.

1040
00:58:55,560 --> 00:58:58,080
Speaker 2: If you look at the set lists from the tour,

1041
00:58:58,760 --> 00:59:03,840
Speaker 2: they did two or three unks from Eggxile on stage.

1042
00:59:04,400 --> 00:59:07,800
Speaker 2: And the point, the reason that was legitimate was they

1043
00:59:07,840 --> 00:59:11,400
Speaker 2: had never toured behind Sticky Fingers in America, so America

1044
00:59:11,480 --> 00:59:14,560
Speaker 2: deserved to hear Bitch and Brown Sugar and the greatness

1045
00:59:14,600 --> 00:59:16,240
Speaker 2: that was in the Sticky Fingers.

1046
00:59:17,400 --> 00:59:18,360
Speaker 1: Here's what setless.

1047
00:59:18,400 --> 00:59:20,600
Speaker 7: What do you got, Kara, tell me Brown Sugar, Bitch

1048
00:59:20,760 --> 00:59:24,480
Speaker 7: rocks Off, gimme shelter, Happy Tumbling Dice, Love in Vain,

1049
00:59:24,600 --> 00:59:27,320
Speaker 7: Sweet Virginia, you can't always get what you want? Down

1050
00:59:27,360 --> 00:59:30,640
Speaker 7: the line, Midnight Rambler, Bye Bye, Johnny, Rip this joint,

1051
00:59:30,640 --> 00:59:31,960
Speaker 7: and jumping Jack Flash.

1052
00:59:31,880 --> 00:59:34,440
Speaker 2: The Hankonky Talk women always got people up dancing. It

1053
00:59:34,520 --> 00:59:38,680
Speaker 2: was irresistible, and so listen. Part of rock is the

1054
00:59:38,720 --> 00:59:42,400
Speaker 2: brilliance of your set. Construction wise, you have to go up,

1055
00:59:42,480 --> 00:59:45,120
Speaker 2: you have to go down, and them doing the acoustic

1056
00:59:45,160 --> 00:59:47,800
Speaker 2: thing in the middle, calm the house down. Then you

1057
00:59:47,840 --> 00:59:50,520
Speaker 2: bring them up slightly and then when you three songs

1058
00:59:50,520 --> 00:59:53,000
Speaker 2: from the end, you go to the next level so

1059
00:59:53,040 --> 00:59:55,600
Speaker 2: that they're screaming for you to come back, and you'll

1060
00:59:55,640 --> 00:59:58,040
Speaker 2: there were masters at that. Yeah, yeah, they knew how

1061
00:59:58,040 --> 01:00:01,760
Speaker 2: to do that. Yeah. It' the crowd. Yeah, it killed,

1062
01:00:01,880 --> 01:00:04,440
Speaker 2: It killed. Coming out of the box, the.

1063
01:00:04,440 --> 01:00:07,720
Speaker 1: Band barreled on like a runaway train, playing faster and

1064
01:00:07,760 --> 01:00:11,520
Speaker 1: fiercer than ever before. After the acoustic interlude, it was

1065
01:00:11,560 --> 01:00:14,680
Speaker 1: all rock, all the time. Keith ripped through a cover

1066
01:00:14,760 --> 01:00:16,960
Speaker 1: of Bye Bye Johnny like a long lost cousin of

1067
01:00:17,040 --> 01:00:20,920
Speaker 1: Chuck Berry. Allward, faster and harder, with all down the line,

1068
01:00:21,080 --> 01:00:24,280
Speaker 1: Rip this joint and jumping Jack Flash. It all builds

1069
01:00:24,360 --> 01:00:27,360
Speaker 1: the street fighting man as Chipmunk's rig works its magic,

1070
01:00:27,640 --> 01:00:30,800
Speaker 1: dissolving the stage into a shower of light and rose petals.

1071
01:00:31,240 --> 01:00:34,520
Speaker 1: With that, the stones vanish and a haze of feet back.

1072
01:00:47,680 --> 01:00:51,960
Speaker 2: They weren't awful. They didn't dog it. You know. It

1073
01:00:52,000 --> 01:00:54,280
Speaker 2: wasn't like Jack. Oh yeah, saw Mick. You couldn't sing.

1074
01:00:55,400 --> 01:00:58,840
Speaker 2: That's why they're the quote unquote greatest rock band in noise.

1075
01:00:58,920 --> 01:01:02,520
Speaker 2: They show up and they kill it, and you have

1076
01:01:02,640 --> 01:01:05,720
Speaker 2: gotten your money's worth and you go home thinking I

1077
01:01:05,840 --> 01:01:07,680
Speaker 2: just saw the greatest show of the tour.

1078
01:01:08,560 --> 01:01:10,840
Speaker 1: The audience may have felt that way, but the Stones

1079
01:01:10,840 --> 01:01:14,280
Speaker 1: are perfectionists. They always consider the first show a dress rehearsal,

1080
01:01:14,720 --> 01:01:18,480
Speaker 1: one final opportunity to work out the Kinks. Keith blows

1081
01:01:18,480 --> 01:01:22,080
Speaker 1: out two guitars and is immensely frustrated. There's also a

1082
01:01:22,120 --> 01:01:25,800
Speaker 1: heated discussion of a production designer, Chipmunk's innovative new mirrored

1083
01:01:25,880 --> 01:01:30,080
Speaker 1: lighting design, which some feel improperly illuminates Mick, who is,

1084
01:01:30,160 --> 01:01:33,320
Speaker 1: after all, the very reason for the show. The bands

1085
01:01:33,320 --> 01:01:35,840
Speaker 1: stay up until four am making changes to the set,

1086
01:01:36,240 --> 01:01:38,880
Speaker 1: discussing which songs to drop, which to keep, and what

1087
01:01:39,040 --> 01:01:41,440
Speaker 1: order to play them in so much for after parties.

1088
01:01:42,000 --> 01:01:45,080
Speaker 1: As Bill Wyman a tests, they definitely put in the work.

1089
01:01:45,320 --> 01:01:47,000
Speaker 11: But this is the first tour I've ever come off

1090
01:01:47,040 --> 01:01:50,280
Speaker 11: stage the night after night, he just could not even

1091
01:01:50,840 --> 01:01:54,280
Speaker 11: sitting order a capeteo be I just out on the

1092
01:01:54,320 --> 01:01:57,080
Speaker 11: bed in a stranger.

1093
01:01:58,880 --> 01:02:02,240
Speaker 1: The next morning or manager Peter Rudge reaches for the papers.

1094
01:02:02,760 --> 01:02:06,400
Speaker 1: He finds a three column bold type headline Stones fans

1095
01:02:06,480 --> 01:02:09,840
Speaker 1: battle police. The wire service has picked up the story

1096
01:02:09,880 --> 01:02:13,160
Speaker 1: and suddenly it's national news. The phone calls come flooding

1097
01:02:13,160 --> 01:02:16,160
Speaker 1: in what the hell is going on? Up there, Peter, geez,

1098
01:02:16,200 --> 01:02:18,600
Speaker 1: that's only Vancouver, and already the damn thing's out of

1099
01:02:18,600 --> 01:02:22,400
Speaker 1: control and on the front page. Garnering headlines have been

1100
01:02:22,400 --> 01:02:25,600
Speaker 1: the primary objective, But as far as Keith Richards was concerned,

1101
01:02:25,960 --> 01:02:28,880
Speaker 1: the papers had missed the point. There is something far

1102
01:02:28,920 --> 01:02:32,400
Speaker 1: more special going on inside the arena. The tour was

1103
01:02:32,440 --> 01:02:35,200
Speaker 1: off and running now, no telling what type of mayhem

1104
01:02:35,280 --> 01:02:38,600
Speaker 1: might ensue. There would be a lot of that, But

1105
01:02:38,680 --> 01:02:42,120
Speaker 1: to Keith, the music trumped all funnily enough.

1106
01:02:43,000 --> 01:02:47,760
Speaker 8: To the musicians, the most important thing is the show,

1107
01:02:48,160 --> 01:02:50,760
Speaker 8: which I mean isn't bullshit.

1108
01:02:50,880 --> 01:02:54,280
Speaker 4: I mean anybody can say that. But thinking the band's

1109
01:02:54,280 --> 01:02:55,520
Speaker 4: playing better than ever.

1110
01:02:59,240 --> 01:03:02,040
Speaker 8: UTIs is keep getting bigger and better, and the shows

1111
01:03:02,120 --> 01:03:03,560
Speaker 8: keep getting bigger and better.

1112
01:03:03,520 --> 01:03:03,680
Speaker 3: And.

1113
01:03:05,960 --> 01:03:06,680
Speaker 4: So why quit?

1114
01:03:06,840 --> 01:03:09,160
Speaker 8: You know, mean, nobody's just got the designs to quit

1115
01:03:09,920 --> 01:03:13,360
Speaker 8: because you're still getting the satisfaction out of it.

1116
01:03:13,400 --> 01:03:17,120
Speaker 4: But you need to produce and create and keep going.

1117
01:03:17,200 --> 01:03:22,160
Speaker 8: You know, it's an all mighty asswoman to keep this show.

1118
01:03:21,920 --> 01:03:26,439
Speaker 4: On the road, you know, because yeah, you know it's

1119
01:03:26,480 --> 01:03:28,760
Speaker 4: all but I mean, can't quit now.

1120
01:03:39,720 --> 01:03:42,600
Speaker 7: Stone's Touring Party is written and hosted by Jordan Runtalk

1121
01:03:42,960 --> 01:03:46,360
Speaker 7: co executive produced by Noel Brown and Jordan Runtalk. Edited

1122
01:03:46,360 --> 01:03:49,040
Speaker 7: and sound designed by Noel Brown and Michael Older June.

1123
01:03:49,400 --> 01:03:52,640
Speaker 7: Original music composed and performed by Michael Older June and

1124
01:03:52,680 --> 01:03:56,120
Speaker 7: Noel Brown, with additional instruments performed by Chris Suarez, Nick

1125
01:03:56,200 --> 01:03:57,520
Speaker 7: Johns Cooper and Josh Than.

1126
01:03:58,080 --> 01:04:01,640
Speaker 2: Vintage Rolling Stones audio Curtis of the Robert Greenfield Archive

1127
01:04:01,800 --> 01:04:03,840
Speaker 2: at the Charles Dering McCormick.

1128
01:04:03,360 --> 01:04:08,400
Speaker 7: Library of Special Collections in Northwestern University Libraries. Stone's Touring

1129
01:04:08,400 --> 01:04:12,040
Speaker 7: Party is a production of iHeartRadio.

1130
01:04:19,120 --> 01:04:23,520
Speaker 1: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1131
01:04:23,600 --> 01:04:25,880
Speaker 1: or wherever you get your favorite shows.