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Hey everybody, it is Friday, May 6, 2005.

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Coming to you from Curry Cottage, a special Friday edition of the Daily Source Code, with a...

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I don't know where my guest go, my guest has removed himself from the studio chair.

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Oh yeah, we've set it up as a studio, it almost looks like one and makes me sound better than the guest.

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Oh yeah, look, I have one good microphone and then I have the other one, which is a radio

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shack, Mike, you know.

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And guests who get the microphone.

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This is my special guest, Steve Leeds, we've talked about him lots before on the Daily Source

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Code and certainly several times during the MTV Chronicles that I do with Ken Clark.

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And Steve is in town visiting and I was able to convince him to hop on a train and come

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down to Lovely Gilford to the cottage to see the wife, kiss the baby who'll be here after school,

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and to talk about, I don't know, radio, records, stuff like that.

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So now it's going to be really hard, Steve, because this is your first podcast, I think.

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With a crummy microphone.

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Oh come on, let me boost the volume a little bit there, say something.

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I noticed the resonance on the host's microphone as opposed to the guest,

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usually the guest is supposed to be treated better than the host.

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Yeah, but that's not the way.

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Why have you ever watched the Letterman or Lennon, don't you see that they get like the microphone

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on the desk and they get the chair that's a little bit hot, well, Letterman doesn't need that,

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but Lennon gets his chairs a little higher and stuff like that, you never noticed that.

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I mean, this microphone is really weird because it got, uh, maybe that's just the headphones you're wearing.

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Doesn't sound that bad here.

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I mean, the microphone has these faults in it because they're so often, oh, really?

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Oh, I don't feel that.

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I'm, hey.

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Yeah, that's just you mucking around, stop doing that.

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So, Steve is actually in the, almost like, my position myself a little bit,

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or Steve is in the big green thing today, and uh, I'm over by the controls.

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I've got the sensei of standing by, Steve, okay, I know you're going to be silly for like the

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first 10 minutes because, you know, it's just because you're not used to it.

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Oh, I like the green thing.

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So, uh, Steve is, um, without a, without a doubt, a legend in New York,

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radio and music, and probably far beyond, but, you know, New York is like,

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anywhere you go, anyone you speak to, everybody knows Steve leads.

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Now, you can just post a cough into the mic on the podcast.

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Actually, yeah, thank you.

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What was that?

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What happened?

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I took control.

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You just blew the mic out. Did you hear that?

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No. Yeah, no, it sounds much better.

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I'm telling you, the microphone cleared its throat.

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It's like the, wait, but not on here myself. Hold on, where am I?

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I'm over here, now you say something.

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I'm over here.

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I'm telling you, the mic, what's, did you hear that, the difference?

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It cleared its throat.

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That's amazing.

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Mm-hmm.

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Thank you very much. See, I was wondering, I thought that radio shack might really

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sounds like shit. I'm embarrassed about it, but,

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yeah, but you get the windscreen.

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No, you got a windscreen. There we go. Now, see, this is much better.

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Okay, hold on.

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Let me just turn you down a bit there.

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Perfect. Okay. Thank you.

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No, thank you. Thank you.

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That's much appreciated. Okay.

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So, I first heard of Steve Leads in,

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I'm going to say it was about this time. No, no, no, no, it was,

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when was it, Steve? It was, uh, back in the,

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it was 1987, I think. 87.

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Yeah, but it was, you were at Radio Veronica.

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Yeah, and I got a call at the desk downstairs.

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Actually, I was walking up to my desk in the reception and I said, oh,

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there's a call for you.

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And, uh, so I took it and it was this guy, Steve Leads.

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And I think we had a, like, a five-minute conversation.

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Yes. You said, hey, you want to come and work for us at MTV in America?

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Would you be interested in coming to New York and working for MTV?

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And what did I say? Actually, I'm an American,

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I'm transplanted over here in Holland. That would be

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not such a terrible thing. Yeah.

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And you were interested. Yeah, that's right.

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And we had the deal done in, like, two weeks?

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Yeah, it was fast. And that your, your representative did a fine job,

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but he was talking to the time with Lee Masters.

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Oh, that's right. Lee Masters. Yeah.

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A-K-A-Y-R-O-Mone. Who?

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His real name is Y-R-O-Mone. No way.

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Lee Masters isn't his real name? I didn't know that.

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Well, is Adam Curry real name? Yes, that's my real name.

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That's not a stage name? No, you know, come on. You know that.

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You know, that's my real name. Okay. Yeah, you know, you know, I thought your last name was Bloom.

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Yeah, right. Oh, how you doing? Y'all?

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Y'all? Shalom? Shalom? It's Adam Bloom here.

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And so that's the way we first met. Now, how did that work, Steve?

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I don't think it would actually ask you how that came here there.

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Lots of people claim claim that they brought me to MTV,

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but I know you're the guy that called me, so.

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Um, Steve Lieber of the famous Lieber Krebs.

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Lieber Krebs? Aerosmith Management.

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ACDC, Bellamy Brothers, Def Leopard.

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Steve Lieber had shown me a video tape of Adam and said,

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here's your next VJ.

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And I said, okay, that's nice, but my relationship with Steve had always been very

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one-sided. And so I kind of didn't follow through.

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And then I was reading Media Week, which was an international music trade,

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and there was a picture in Media Week? Yes, a view with doing some interview on Radio Veronica.

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Really? And there was the in the American Media Week?

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No, no, no, no, no, no. It was the, it was the European sort of billboard.

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Oh, no, that was music and media. Music and media?

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That's it. That's it, that's it.

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T-O-Rose, who owns all the Genesis publishing. That's guy.

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Ah, really? I owe him a thanks then.

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Yeah, so there was your picture, and it had Radio Veronica.

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And I went, you know what? I just want to call this guy out.

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And so somehow I fomphered my way through the international codes,

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the directory assistance, got the phone number for Radio Veronica.

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And I think the first time I left the message for you with the switchboard.

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Yeah, that's possible. And then the second time I got the switch,

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that switchboard when the call came in. Right.

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So that's how that happened. Is that you were me feeding back? I can't quite tell.

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Well, I've lowered my cans. Okay. He just used me.

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You're such a professional baby. I love it.

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That's probably me. So yeah, and that started.

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By the way, his cans today are white.

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Very sexy. All of the iPod cans. What yours are mine? Yours. Yeah, well, these are actually my,

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I can't stand. There's no atom. His very sexy cans.

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My creative labs headphones. You know, can you buy replacement iPod headphones at the Apple

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store? Have you tried that? That's a good question. I'm sure you can. I mean, you should be able to.

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One would think. Yeah, because they probably wouldn't allow that because then people could have other MP3 players.

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I have an iPod. I don't like having headphones.

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So you actually have the the white ones, which are the creative labs. So they kind of look like iPod

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headphones, but they aren't really. And I don't use them on my iPod. Now they're using them on the

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I River. Now they are telling people in New York City if you take the subway, do not use your iPod

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headphones. They were just saying that last week when we were there. Cellphones and iPods, right?

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That's what gets ripped off the most. But the dead giveaway is white, wired earphones.

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You hear Patricia Latham? Yes, things are really rocking here today to carry out your boyfriend finally showed up.

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So Steve, tell us just one. Tell us a little bit about your background. And then I want to talk

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about, you know, because you were here for the cream concert. I was talking about it. I was talking about it.

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Small. I had a roommate in college and we shared a room in the dormitory and he preferred to have

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his girlfriend come over and spend Friday nights with him rather than me. And I wonder why that is.

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So I had no place to go. You know, the old tie was hung on the door knob. Oh, that was the signal.

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That was the signal like we're getting busy. So I wandered over to the campus radio station

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and no one else was stupid enough on a Friday night to want to rip and read news. Back then,

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you had a news tell a type. Right. Right. I came off the wall. Back in the old. Back in the old.

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That's the wire, baby. That's right. The wire. As opposed to the source. To what school was this?

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That was a American University in Washington, D.C. in Asia's capital.

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Okay. So that's how you got, so you got to Friday night shift on the...

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Well, that eventually was said way into becoming a disjockey there.

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And eventually worn my way up from music director to station manager in my senior year.

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On the same time, I produced foreign language broadcast in Arabic and in Vietnamese and Cambodian

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for the U.S. Information Agency. So I had a low level government. You're like a spook man?

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Yes. I was. Cool. I was. And then I applied for a job as a golfer production assistant for

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New York legendary radio district. He Murray the K. Murray the K. He broke thousands of

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acts. Didn't he wasn't he the the man to go to back in the day? Yes. He was the end of his heyday then.

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This was when he moved down to D.C. and decided to sort of go into a slower lifestyle.

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He worked at a adult contemporary station in Silver Spring, Maryland. And he wanted somebody to help him

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program the Bobby Gullsboro records. What do you mean program the Bobby Gullsboro records? What does that mean?

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Well, he was allowed to program his show within the constraints of the format. So he needed somebody to

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put together the playlists. Oh, you're just saying Bobby Gullsboro is an example of the whole station.

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Yes, that would be yes. That's really cool because that's a talent that that fewer people have

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because it's all relegated down to automated systems like selector and profit and it comes off of playlists.

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It's kind of a science consultants tell you what to what to play and when to play it, right?

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Right. And at the time there was a program director there and a music director.

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But Marie they said, you know, you're going to do after noon drive. And okay, you got this guy here and he can

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help you out. And of course, we opened up with the obligatory Frank Sinatra record every day.

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And Marie taught me a lot. He taught me a lot about the business. I mean, he was he was the guy and

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he was the man and he brought me to with him to New York at the time. He was doing syndicated radio

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on weekends for the NBC radio network was called Monde. Oh, I remember that. Sure.

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And then that's segue into a special weekend.

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Marie the K's New York on WNB WNB and NBC and that eventually led to a full-time gig. And so

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summer after my senior year, I was working with him there.

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And that was Marie the K on drugs and strung out like a typical DJ and it's no, I like no, he was it was

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funny. I probably in responsible for turning on to his first marriage of Anna. No, Steve, you

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don't say you don't you don't smoke the holy herb. No, I don't. But I anymore. And no, it was funny.

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He was on President Nixon's anti drug council. So, and he was smoking, though.

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Yeah, that's great. Yeah, it was it was it was wild. He was with a moved in to DC with his

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hot young woman model down there who was much younger than he and he was was the tie on the door

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knob there too. Oh, I'm sure it was. And he left WWDCA and bought afternoons drives at WHFS.

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Let me bought. They sold in the four-hour block. Really? Yes. Oh, that sounds like an atom curry move.

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And he was allowed to do it every one that four hours and sold his own advertising.

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Excellent. Excellent. And I became then his real full-time producer and my roommate at the time

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became his board engineer. Okay. And we had a lot of fun. We started up a bit. It was a little

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incongruous with the rest of the station sound because Marie would play hits. Now, this was early,

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this must have been early 80s or even 70s. This is early 70s. Early 70s. Oh, this is 71.

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How old are you now, Steve? 48? Um, you know, oh no, no, it's actually maybe 51 something like that.

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I'm a child of the 50s. Thank you. Thank you. Thank you. Later.

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Child of the 50s. Yeah. Patricia's 49. So, you got your younger than she. Number nine. Yeah. Number nine.

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Number nine. So, the time it must have been crazy in the record business because this was the

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beginning of really FM radio. Right. And what was the vibe about FM radio when it just started?

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What were people saying about it? Because I've heard stories, but was it really analogous to what

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we're, you know, what we've seen. It was, it was called free form progressive radio. And you could be

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as loose or as open as you wanted to. And you do things. I remember I then did the overnight

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CWHFS. And I remember one night, station broadcast in stereo. Actually, WHFS brought it.

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That was, it was a quad. That was, oh, quad sure. Yeah. So, you had to read your own transmitter

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engineers. You had to have your third class license and all that. Yeah. And there was a red button

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you pushed. If you were going to play music more than a certain length, it was in mono.

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Because you weren't allowed to have the stereo generator on. If you were broadcasting a mono, it was

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as an FCC regulation. It's just like that. So I'd go, okay. Now, I'm inside your receiver right now.

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Right. Left speaker. Okay. Now, watch this. That little red dot on your stereo system.

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It's about to come on. It's going to go off. Oh, my god. I can troll you radio.

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What used to do stupid messed up stuff like that? You know, and if you didn't feel like,

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you know, segueing records, then it was records. Put on the side of Bob Dylan, you know,

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sad-eyed lady of the low land, which went on for low land. 14 minutes. It was more like 20. Really.

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Or play a side of John Lennon and the mother's invention at the film more. You know, doing scumbag,

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which went on for, wasn't it, Frank's app on the mother's invention? No, but it was John Lennon

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from live piece in New York. Oh, okay. So that's before my time, man. That's okay. That's okay.

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So, you know, you could anything went? You know, what was AM radio doing?

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Were they tightly formatted? Were they doing news and music as well? Well, still the bigger stations were

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in DC at the time the big station was weamed 1390. The weamed team red coats, the big 1390.

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Everybody. Good afternoon. So still, it was a transition. Don't we hear a team?

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If you were an audio file, you had this great Mac daddy stereo system with the gold, gold plugs,

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gold connectors. No, those, no, that was pre-gold. Yeah, it was just one one. Yeah,

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if you're KLH speakers. Oh, that was the shit. That was the state of the art. You know, your thorns

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turn table perhaps. Yeah. Yeah. And, and, you know, you listen to that. Oh, baby. Like the headphones on,

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too. Oh, we used to do, oh, we just had to have said an hour every night, music for headphones.

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And you'd find that the trippiest records, whether it was Pink Floyd or Jimmy Hendricks,

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racing that phased back and forth. Back and forth. Wow. Wow. Okay. So it was, so you could totally

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do whatever, what was the ratio of talk and music? Was it like WKRP kind of like Dr. Johnny fever?

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You could do whatever you want it. I mean, we, we did a lot, we're there a lot, there was a lot of talk as

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well. It could be. It was like, hey, brother Dave, it's not feeling too well today. So we're going to play some

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tunes in the key of D next hour. And you play an hours worth of music in the key of D all segue

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together. And you come out and I have to do, you know, 10 minutes of commercials. And of course,

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I would love breaking them up with like little vignettes from the fire sign theater just to mess

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with people. You're Steve Gilmore used to produce some of the fire sign theater stuff.

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You know, they have a wonderful podcast, uh, site too. Yeah. Yeah. The fire sign. Yeah. After,

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they were on the Gilmore gang. And after that, then they started up the whole podcast, uh,

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stuff that they're doing. Yeah. Yeah. Totally. So so anyway, so that all went fine except,

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you know, I was doing overnight. It's a WHFS and making $60 a week, sleeping all day, eating

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Roy Rogers hamburgers, ruining my health. And I said this sucks. So I got accepted at grad school,

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at Syracuse Newhouse School of Communications and went there, got my master's degree. And then I

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came back and I needed a job. Okay. So, so, so, so, so, so, so, so, so, so, so, so this new

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fangled thing, cable TV. So, I go to the Warner Communications Building, learning a suit.

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Now, this was, this was what year was this? This is going to be 73. Had you gotten laid

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about that point? Um, maybe once. Okay. All right. Just checking. And so, um, I ran to a promotion

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person who said, what do you don't want to wear in his suit? That's time I saw you. You were like,

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a bowl of fur, smoking a big fatty with cactus. And I was like, yeah, well, I got to find a

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job. So, we might have one for you. And lo and behold, I found myself Columbus Day 73

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employed at $250 a week as the local New York City rep for Atlantic Records. Really? Which was

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really cool because back then Atlantic had the wrong stones. And they have the left one. Yeah, let's

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take a little longer. I'm spinners, a wreath of Franklin, et cetera, et cetera. Oh my god, that's awesome.

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So, I didn't know what I was doing. So, you had to promote the local radio stations. So,

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is my job to suck up to the air talent because then, for example, WNWFM, which was a big

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Macdaddy station in New York City, the jocks had told discretion to play or not play whatever

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they wanted. So, this was, this is really important to know this history because this is where a lot

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of stuff, you know, it's important what we're doing right now with pod save music. Yes, it is.

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Um, so was this in the payload days, or pre the scandals, or that was after the pills. No,

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man, there was nobody know that people wasn't about, like, getting the stuff. It was like

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appealing to a higher authority. Like, this was the cool shit to play. So, it's like, if you wanted

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to play that track from, yes, you'd play it. Or if you didn't like, yes, and you preferred midler,

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you'd play that. Right. Or I'm just trying to set the timeline history, pay all the scandals that

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already happened, I think, right? Yeah, I mean, and that was almost, that was a different kind of music

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and a format where rotation and repetition mattered. And FM was like, you want to play the same song.

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That was my point. So, we had a revolution really. People were tired of the repetition and all the

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crap on AM radio. FM radio came along. It was basically loser like you and me who had perfect

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faces for radio sitting up there talking shit, right? You should be so self deprivating about that.

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No, this is our time. This is the geeks and nerds are winning now. That's the geeks. But you were

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on television. So, you did it all hair and makeup on. You come on. You know how that works.

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So, it was a great, and it was a fun time, and, you know, people would play things and do things

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because they liked it. And it was about the music and the passion. And I excelled in that and got promoted

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and clawed my way up the corporate ladder until I exceeded my own expectations and found myself on

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employed. Well, whoa, whoa, whoa, whoa, whoa, whoa. Wait a minute, first of all. So, you're promoting

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all these bands. You got to take these bands up to the station sometimes if they were in town?

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Yeah, okay. So, here, all right, one here. Brian Ferrie, rock scene music. Okay, Brian Ferrie's first

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U.S. solo album. I drive, I'm driving around in a 1968 yellow Volkswagen convertible. Yeah.

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And we go up to the radio station, W R and W and Breyer Cliff Manor in New York. And this is the

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station where Howard Stern started? No. Yes, yes. But he wasn't there at the time. This was before Howard.

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All right. And the honor of talent is a guy named Jeff Beck. And Jeff Beck's going to interview Brian Ferrie.

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Now you have to understand rock scene music and Brian Ferrie are huge act overseas. And the states

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they mean absolutely nothing. I mean, here's this good looking guy with his slick back hair doing

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a version of it's my party. No way. Yeah. So, it's like it's strange. Yeah, work this one too.

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Love is a drug. Yeah. I'm just going to play a little background. Okay. So, we're driving up the

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Henry Hudson where Westchester and I put the top down and it's, all right. So, he gets up there

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and the interview sucks. The guy on the air has no idea who rock scene music is. It has no idea

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Brian Ferrie's. But we model through it. And then drive Brian back. Well, Brian goes storming

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it to omit Irrigan's office and says, you're putting a damn convertible. My hair's blown up. The guy

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doesn't even know who I am. Oh, no way. If you were to fold a whole attitude trip. Yes. Because he was a big star.

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Not in England in the UK, right? All right. Or the time Mick Jagger delivered the tumbling dice record

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to Atlantic. And I scurry over to WNW and give it to Scott Muni, the late great Scott Muni. Who plays

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it on the air? And then Mick Jagger swagger's into omits office. How's it sound on the radio?

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He says, well, I like to hear it on the radio. Get leads on the phone. Leeds,

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mix and he wants to hear the song. He just played it 10 minutes ago. I don't care.

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Got it. So, you had to call up Scott Muni. So, I call, I hotline Scott Muni. Listen,

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fats, I know you just played this. But Mick Jagger's listening to the radio right now and he

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wants you to play it again. And he did, of course, right? Because Scott was that kind of guy.

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Now, the payback was, Scott would read live radio, come up spots. At the time, the big retailer

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in New York City discount, retailer for records, was E.J. Corfets. So, they'd give him live copy.

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And it'd be this week, he's exciting Atlantic albums on sale at E.J. Corfets. Emerson Lake and

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Palmer. Batman, the spinners, the Rolling Stones, Led Zeppelin, Blubber, and Heathrow in

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your name. And you say Steve Leeds? Right. And if you didn't call him,

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you wouldn't listen and you got into deep doo doo. Oh, my god. What a power trip. Oh, no.

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That was bad. But I would, I would be a good boy and I usually catch him.

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But yeah, but lots of, this Jockey Scott Shannon would do that too. And, you know, when he knew

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people were in town, he'd, he'd mentioned them on the radio. That's right. Yeah, he said,

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well, I have everybody who has a good morning there. I think they'd be DJ Adam Curry.

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And they'd be the DJ. Yeah. I did kind of like those days. They were kind of cool. Yes.

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But then I guess, I mean, it kind of went away. Steve, what was the turning point when it

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turned to the consultants? Is that the, is that what did it? The consultants really? The consultants

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came in and commercialized and made a business out of the format and would come in with their

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catalog on index cards, right, with a second set of index cards that had all the liners,

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where like more of the music you want to hear or more music from dead guys, you know, 13 dead

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guys in hour. And so, but why did the consultants get brought in? That's because there were a lot of

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me. They were stations in markets where the owners wanted to try this newfangled format

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playing that music that for them, though, young kids was the long hair. But they didn't

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have to do it. And they were scared of their license and they needed a comfort zone. So if a guy

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came in with a suit and a box of records within index cards, well, he must know because look at his

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track record. So we bring him in. And so it, it bred this new breed of people who knew how to read

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cards. Yeah. G. No time references ever allowed. No date. No weather. It was this vacuum where

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you were so never supposed to leave. And if you told people 10 minutes on the uphill side of

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eight o'clock, it's like, oh, well, people are going to leave it eight o'clock because they got to go

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somewhere. Right. Which is kind of what your front on the radio should be to helping you do. I had this

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horrible nightmarish fantasy and it happened to me. I was somewhere in the Carolinas and I woke up and

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put the radio on and I didn't know where I was. I didn't have a clock in the room. I forgot my clock.

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Right. Right. And the radio is not telling you the day. It's just a generic,

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could-top 40-session. Where how am I? I had to open the window and look out and see that there was

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sun. But that was what radio was supposed to be doing back then according to the concerns.

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And who were these independent consultants? What were their backgrounds? How, how did the

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someone must have gotten started with something? Must have been some seminal station that got

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it all going. Well, funny enough, the guy who's the head of programming at XM,

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guy named Lea Abrams. Yeah. And he really was the guy who, he was the young,

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wonderful, wonderful, who had had some success in the Midwest in Chicago and he partnered up with

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the guy named Kent Burkhard out of Atlanta and Kent was the sales guy who had much success in the

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world of top 40 CHR and he brought this young kid in and they were just rolling because it was

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the format was called Superstars. Hey, everybody, Superstars, Superstars. And it, you know,

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really for a while was the thing. That was the format. It was almost like a national playlist almost.

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Right. Was that, was that time that radio and records became important as the-

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later, the play- because that's really- so if we shuttle forward, and this is just fascinating.

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So in podcasting, I'm just trying to draw analogies that you can well understand.

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The commercialization came with the consultant. So it was really fucking with the content.

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But then big business became involved because the music and the record industries could generate

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huge amounts of sales. If all these Superstar stations started playing tracks from albums,

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there was this massive, you know, effort of sales that would be- we'd come out of the exposure.

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And then the concert business would, you know, follow with that because they would begin the

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roots of the dreaded radio concerts. And so you could break a band on that format,

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bring the band in and so you develop the following. So like, always honky Dorian, everybody's

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having a lot of fun making a lot of money. But it was, again, short-term thinking.

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Because it all came crashing down, you know, and then it was like, we've developed nothing.

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We've built no careers or bands. We've got a bunch of faceless songs. We've mentored no air talent.

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And there's no training ground. You know, then you can go to the broadcasting school.

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But no one knows how to pick a grade. I've had all these guys who had great sounding voices,

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great sounding names, and they could read better than anybody.

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But they had the personality of a dish rag.

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Well, there was no personality.

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Yeah. You know, I- I'm a graduate of the Connecticut School of Broadcasting.

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Did you know that?

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I have certificate.

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Well, you could always go back there and be a faculty member now.

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That's always plan B. Oh, no. That's why you moved to the curry cottage to Guildford.

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Well, I want to start my new, my Guildford School of Broadcasting School of Broadcasting.

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That'll be perfect, wouldn't it? So it has a nice ring to it.

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So what do we have to do this time? There are some key differences. One is,

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you know, we don't have to try and ram 13 songs into an hour because we have no defined time.

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And we have infinite number of frequencies. The spectrum is infinite.

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Compared to fragmentation, opportunities, or for immense playgrounds, audio playgrounds for people

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to develop their craft. And expose new unfamiliar things. There's no stinking playlist. There's no stinking consultant.

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All there is is this wide open pallet. And each one of you an artist with a paintbrush, and you can just, you know,

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it's not about moving things around. It's like taking something brand new and opening and exposing it.

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And it's basically where underground FM free form radio was back in the late 60s, early 70s.

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Podcasting offers that amazing opportunity. Freedom. Right on.

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Now there's a lot of talk about the commercialization of podcasting. Well, I think we all are

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capitalists. At the end of the day, we all have to have a roof over our head and food in our

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tummies, low fat foods, cholesterol free. No cheese. She's not listening. Okay. This is not brought to you

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by the American area association. No, not this time. Not this time. But so, yes. So, you know what?

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So, we can all stay in that cool ethos of non commercial world and fantasy. But, you know what?

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We all are maturing. We have families. We have personal needs. We all want to have the new iPod.

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We all want to have super fast computers and connections in that cost money. So, you know what?

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We have to deal with that. And there are people who want to reach this audience. And you know what?

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So, it's not about playing eight minutes of gibberish every hour. There may be somewhere in there

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a few minutes of information that you might find useful and helpful in your world. Or you could choose

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to fast forward, you know, or not listen or go away. I mean, the beauty of the media today is no one's

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forcing you to do anything. If you don't like what you hear, do something else. Go change the channel.

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Switch the frequency. How up to another playlist. It's all about, you know, choices and freedom.

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And so, if something isn't your cup of tea, move on. But there's nothing wrong with bring some

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Monet into it and monetizing it because you guys need to be monetizing it rather than big

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brother coming down and saying, okay, here's what we're going to monetize it. Right. Right on.

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Right on. Well, I'm really excited about the the music angle of it, the pod safe music angle.

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Because I think we're building our own music industry. In many ways, very analogous to what you just

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spoke about, only again, you know, the the amount of choice and the amount of freedom that the

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artists have, particularly to do their own sales. I mean, that's what I think is really cool.

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And their own distribution. However, it's still limited online. You know, it's still just

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is a limitation compared to what you can do with the distribution Starbucks. You know, I mean,

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Jesus, those guys sell some fucking records. You know, like that puts some of the majors to shame

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these days how well they're doing. So there's going to be alternative forms of distribution that

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will also tap into. Maybe it will be the next Starbucks. You know, it could be maybe the next time

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you go to Starbucks, it's an iPod filling station wireless or something like that. You know,

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stuff like that could happen. So I think we just have to kind of grow into it. I think that's

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what I feel is all these opportunities are here. And we have to figure out what the new ways

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are going to be. You know, we still have to be developed. Personally, what I find interesting would be

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the critical mass of music exposure of pod safe music. That is stuff that is not

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put out by any international music company, but is receiving a lot of airplane exposure through

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the world of podcasting and the challenge I raise is I wonder if someone can put together a pod safe

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airplane chart of the most spun spun terrible work. Well, most played pod safe music. It's

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interesting. You say that because that's exactly what part of the pod safe music network is going to

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be unbelievable. Did I tell you that? I don't know. No, because I mean, this is, I'm not saying

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you well, thank you anyway. That's exactly what we're doing. You know, it's going to be

389
00:31:30,240 --> 00:31:37,680
you come on to the site and there's a place for artists to set up their sales to put up their

390
00:31:37,680 --> 00:31:43,040
demo material to make whatever they want available to podcasters and or regular listeners.

391
00:31:43,040 --> 00:31:46,560
You know, some licensing options. You know, basically creative comments. You can say how it can

392
00:31:46,560 --> 00:31:51,440
be used, but the point would be you let it, you let your songs be played on podcasts. And then

393
00:31:51,440 --> 00:31:55,680
there's a place where podcasters to log in. And there's a whole bunch of statistics there, obviously

394
00:31:55,680 --> 00:31:59,600
most downloaded, you know, all kinds of charts. But one of those charts, of course, is going to be

395
00:31:59,600 --> 00:32:04,000
most played. You know, that's going to be really interesting because then we, I mean, then you basically

396
00:32:04,000 --> 00:32:13,200
close the loop, right? Totally, totally awesome, dude. No, it's all the way. We never finished. We're

397
00:32:13,200 --> 00:32:16,800
like, wait, we're not, let's play some music for a second. Let's play, uh, what do we play?

398
00:32:16,800 --> 00:32:20,800
I'm going to play that mashup that I played earlier for you. Oh, this is awesome. Yeah,

399
00:32:20,880 --> 00:32:26,880
this is, uh, this came into the mashup at podshow.com email address for the series show

400
00:32:26,880 --> 00:32:31,920
exclusive on the source. The goes that feeds Ray Parker Jr.

401
00:32:33,750 --> 00:35:36,250
[ Music ]

402
00:35:38,800 --> 00:35:46,800
Ray Parker, Jr. versus nine inch nails on the daily source code sent to us by Craig Maloney says he

403
00:35:46,800 --> 00:35:54,800
don't know who the original person is who mixed it. He's just a carrier. Good enough for me. I love that. Awesome.

404
00:35:54,800 --> 00:36:00,800
So, you know Steve, we can have to do another one of these because it is just no way we can ever get to all the

405
00:36:00,800 --> 00:36:04,800
all the cool stuff, all the history. You got a lot of knowledge about just how things work and you

406
00:36:04,800 --> 00:36:09,200
work with some amazing people. Just give me a couple of the names of the people that you work with

407
00:36:09,200 --> 00:36:13,040
that you've either through promotion or just working with them and you're some of your favorites.

408
00:36:13,040 --> 00:36:20,800
You really hung out with that you really met. Like Joan Jet, I mean, you really were

409
00:36:20,800 --> 00:36:28,000
closely with Joan. She was at my wedding. Oh, there you go. Before I forget. Yes, sir.

410
00:36:28,720 --> 00:36:34,000
Do you know who is the hugest Joan Jet fan and would really want to interview her

411
00:36:34,080 --> 00:36:42,240
just like the most fucking enormous, huge fan? No, who rock and roll geek, Michael Butler.

412
00:36:42,880 --> 00:36:46,480
So, we should hook that up. Can you hook them up with a phone or something like that? I think he'll be

413
00:36:46,480 --> 00:36:51,440
required to play the eyeliner CD and exchange for that. Well, as long as she gives him the rights to do it.

414
00:36:52,160 --> 00:36:57,680
Well, I think it's on black hard records. I think I can do that, right? Yeah, I think I believe so.

415
00:36:57,680 --> 00:37:02,560
Yeah, could you hook that up, sir? Yes, you'll give me his contact information. I will call Lenny Kuhuna.

416
00:37:04,240 --> 00:37:08,240
Michael Butler will freak out. But he'll be good. And he said he only want, you know, it'll just be

417
00:37:08,240 --> 00:37:18,000
what happens when a geek freaks out. He's the rock and roll geek, man. He's not just a geek. He's

418
00:37:18,000 --> 00:37:22,560
rock and roll geek, man. Okay, thank you. So, Joan, he's what I'm feeling. I'm feeling yeah.

419
00:37:23,840 --> 00:37:28,080
Well, I've been blessed and privileged to work with a lot of people on both sides of the fence,

420
00:37:28,160 --> 00:37:37,600
super executives, you know, like Chris Blackwell and Doug Morris. So, you know, those are people who,

421
00:37:37,600 --> 00:37:46,640
you know, you feel blessed to work with. And then the artists, you know, George Thurgood,

422
00:37:47,040 --> 00:37:53,680
when I was on my own, the first album on round of records was something important and going out

423
00:37:54,000 --> 00:37:59,920
with the stones and their 78 to or same thing with Emerson Lake and Palmer in their heyday

424
00:38:02,240 --> 00:38:07,040
Robert Plant, like convinced him to do his first interview in the, you know, in the Led Zeppelin's

425
00:38:07,040 --> 00:38:13,520
heyday back in the 75 with New York legend Allison Steele, the night bird, right? And he'd never ever

426
00:38:13,520 --> 00:38:22,320
done, you know, an interview like that, you know, or, let's see, you two have been over the

427
00:38:22,320 --> 00:38:32,560
years so kind to me, really. I actually work the octane baby. So those guys are including

428
00:38:32,560 --> 00:38:36,960
Bono, they're all really nice. Yeah, I mean Bono pulled a little out of two on the ones. That's

429
00:38:36,960 --> 00:38:40,160
why. Maybe I just, I don't know, maybe I pissed him off and was unaware of it, but

430
00:38:40,400 --> 00:38:46,480
well, they, you know, they were very cognizant of what a record promotion person does. And when

431
00:38:46,480 --> 00:38:52,480
their record was knocked out of number one at the radio airplane chart by Blind Millen for one week.

432
00:38:54,480 --> 00:38:59,200
It pissed me off because capital records pulled a fast one at the time and what is that being?

433
00:38:59,760 --> 00:39:05,840
They actually paid a station to play the song like a million times in the overnight. But that's

434
00:39:05,840 --> 00:39:13,680
illegal. No, it's not as long as it's disclosed. Wait a minute. So it's legal to pay a station to have

435
00:39:13,680 --> 00:39:18,800
that station to play a song as long as you disclose that information. If you disclose it on the air,

436
00:39:18,800 --> 00:39:23,040
yeah, and, and you have no personal gain and the station's getting paid. Well, first of

437
00:39:23,040 --> 00:39:29,200
personal gain. No, no, no, no, no. The station is selling advertising. The following version of

438
00:39:29,920 --> 00:39:34,640
Blind Millen is brought to you by capital records is perfectly legal, really. Yes. Well, why don't

439
00:39:34,720 --> 00:39:38,480
they just do that then? Well, there's a lot of stations that do do that in overnight. They offer

440
00:39:38,480 --> 00:39:42,800
rather than selling a four minute block of four different commercials to sell a four minute hitting

441
00:39:42,800 --> 00:39:46,720
me. No, I don't know. That goes on all the time. Oh, really? Well, that's stuff won't happen in

442
00:39:46,720 --> 00:39:52,240
podcasts. Can they just do their own? Well, why is it? Well, okay. There you go. Do your own. Do

443
00:39:52,240 --> 00:39:55,600
you want to thank him. But when you hear someone talking passionately about record, that's something

444
00:39:55,600 --> 00:40:00,000
else. But anyway, that's pretty amazing. So, so they saw the record back to number one. Wait,

445
00:40:00,080 --> 00:40:04,480
wait, hold on a second. I'm sorry. I'm not even understands how this works. Sorry. So, you buy the

446
00:40:04,480 --> 00:40:09,680
time that plays the record and then multiple times. Multiple times. So, they got enough additional

447
00:40:09,680 --> 00:40:15,840
airplay. It jumped over, chemically. The number of spins. You too, Dr. Justin. Just so you understand

448
00:40:15,840 --> 00:40:20,880
because the top 40 charts that compiled partially. Well, this was the modern rock chart. Okay.

449
00:40:20,880 --> 00:40:24,720
So, but all charts, I think, are still compiled partially through cumulative number of

450
00:40:25,680 --> 00:40:31,360
impressions, aka spins. How many times it's played in a given time period? Interesting. You

451
00:40:31,360 --> 00:40:34,720
use the word impressions because that's something that shows up in the banner world as well.

452
00:40:34,720 --> 00:40:41,040
That's pretty interesting. So, okay. So, that's basically buying your spot in the chart. Right.

453
00:40:41,040 --> 00:40:46,240
So, I was, but I thought, but now that they do sound scan isn't that the way that the chart's

454
00:40:46,240 --> 00:40:51,840
compiled now, or that's still no sound scan is the sales sales. Right. What we're talking about

455
00:40:51,840 --> 00:40:58,720
is either media base or BDS. What the fuck does that mean? There's two competing services that

456
00:40:58,720 --> 00:41:03,920
record companies and radio guys look at. There's BDS, which is broadcast data systems, which is

457
00:41:03,920 --> 00:41:10,480
owned by the fine Dutch company, VNU, Yahoo, who owned Nielsen. They own Nielsen correct. And they

458
00:41:10,480 --> 00:41:14,960
have computers that are hooked up to all major market radio stations and secondary markets

459
00:41:14,960 --> 00:41:20,080
and monitor 24 hours, day seven days with every single frigging song they're playing. And that's

460
00:41:20,160 --> 00:41:26,720
tabulated into million different subsets depending on what information you're looking for. Media base

461
00:41:26,720 --> 00:41:31,600
is owned by premier networks, which is owned by clear channel. Right. And they have a similar

462
00:41:31,600 --> 00:41:38,320
service, except there's up until several months ago was human monitored. And there would be a

463
00:41:38,320 --> 00:41:43,760
skimmer tape developed fed down your internet connection. And then somebody's sitting there

464
00:41:43,760 --> 00:41:49,120
and going through the songs. And there are people actually out there in radio and who can

465
00:41:49,200 --> 00:41:53,200
listen to a five second snippet and know what that is. And they type up a playlist. It's called

466
00:41:53,200 --> 00:41:59,040
the hit test. By the way, obviously, you would never be able to be employed by media base

467
00:41:59,040 --> 00:42:06,560
given on your averages on that. Sorry. But he's still a guy. He's still a good guy. So okay. So

468
00:42:06,560 --> 00:42:12,880
those are the two monitoring services that the industry is used to reflect what's going on in

469
00:42:12,880 --> 00:42:18,960
radio land. Interesting. All right. So those guys should be fucking frightened of us because,

470
00:42:18,960 --> 00:42:23,600
you know, that's what DRM, what that actually does is they, you know, within, I know it's within

471
00:42:23,600 --> 00:42:27,760
every Microsoft player, probably within every, or Microsoft base, you know, like all the other MP3

472
00:42:27,760 --> 00:42:33,680
players. But also probably on the iPod is they can track when you play, you know, when you press

473
00:42:33,680 --> 00:42:39,040
play and when you stop, they can track exactly the device can track exactly, you know, what you

474
00:42:39,120 --> 00:42:45,120
listen to. And we're not feeding it back. I guess. I mean, who knows what what Apple and my,

475
00:42:45,120 --> 00:42:50,080
well, you know about grace note, right? No. Okay. When you put a song in your computer,

476
00:42:50,080 --> 00:42:54,640
that was CD in your computer. Yeah. And it pops up. It tells you what the, what it is. It identifies.

477
00:42:54,640 --> 00:43:00,400
It's already sent that to home base. No. When you start listening to that, it sends it to grace note.

478
00:43:00,400 --> 00:43:05,280
And they actually, if you go to gracenote.com, publish, not publish. It's wrong word. They make

479
00:43:05,280 --> 00:43:12,480
available international charts of the most listen to songs. Sorry, correction. Most listen to CDs

480
00:43:12,480 --> 00:43:18,800
or albums by artists internationally. Really. They don't, they, they do have the availability

481
00:43:18,800 --> 00:43:23,200
and the technology to drill it down to. Here's the most listen to music and gilfirding one. Right.

482
00:43:23,200 --> 00:43:28,080
They could do that. But they have to be incentivized to be able to do that. But that database is already

483
00:43:28,960 --> 00:43:34,080
evolved and they're fabulous. So those are the guys that bought CDDB, I think. They are.

484
00:43:34,080 --> 00:43:39,360
Yeah. They are. You know that I was one week late of buying that. I wanted to buy it and I,

485
00:43:39,360 --> 00:43:43,040
and I, and I called the guy said we just sold it to someone else. Like a ridiculous amount. Like,

486
00:43:43,040 --> 00:43:46,880
you know, 75 grand or something. I knew it was, I knew that was going to be fabulous.

487
00:43:47,920 --> 00:43:51,600
Interesting. So are they using that data? Are they selling that to anyone yet?

488
00:43:51,600 --> 00:43:55,360
They haven't figured out how to monetize it. Oh, man. What have some ideas?

489
00:43:55,360 --> 00:44:00,240
Well, they know they know, but they haven't found people who want to pay for it. And they have no

490
00:44:00,240 --> 00:44:05,120
idea with the economic where it'll be. And I'm derelict in my responsibilities because somebody

491
00:44:05,120 --> 00:44:10,960
there has offered that research information on trial basis to me to share with folks up at one

492
00:44:10,960 --> 00:44:15,760
of my clients. Yeah. We should look at that. We should look at that. Yes. So you just said clients.

493
00:44:15,760 --> 00:44:21,920
Because now interestingly enough, Steve, you're a consultant. I, I'm an consultant. That. Okay.

494
00:44:21,920 --> 00:44:27,680
I'll take that. And we should talk about your MTV years and stuff. But let's do that on the,

495
00:44:27,680 --> 00:44:32,480
on the next time in New York. Oh, because we're like 44 minutes. I still want to get your

496
00:44:32,480 --> 00:44:37,600
cream review. Oh, yes. Yes. Well, the reason, the reason I'm here. Yeah. So that's not a

497
00:44:37,600 --> 00:44:42,480
kill for it. Did you, I mean, did you see if you weasel these tickets? How do you hook up with all this?

498
00:44:42,480 --> 00:44:48,240
Sure. I have a very good friend in London who has been involved in the music industry for

499
00:44:48,240 --> 00:44:52,960
the last 20 some odd years. And when I'd heard that there was a possibility that cream

500
00:44:53,040 --> 00:44:56,800
we're going to reunion constant royal Albert Hall. I called him up and I said, listen, if this

501
00:44:56,800 --> 00:45:02,480
happens, can you cop a pair of tickets for us? And he said, yeah, that's no big deal. Who's this? You

502
00:45:02,480 --> 00:45:08,960
want to tell us who this? No, it's my friend Peter Price. Peter Price, Peter Price, the pick of Pickle

503
00:45:08,960 --> 00:45:14,400
Pipper Puppers. I can pop my piece. I'm very careful. Yeah, it's perfect. Yes, it's perfectly

504
00:45:14,400 --> 00:45:20,000
really. Radio, shack. Everybody. It's a handy mic. Not handy, but handy. Really. I'm Peter. Peter,

505
00:45:20,000 --> 00:45:24,640
I met Peter when he was managing musical youth and passed the dog. He asked the Dutchy by the

506
00:45:24,640 --> 00:45:29,040
left. And so I bet you. That's not hard safe. Can't do that. I bet you haven't no matter what.

507
00:45:29,040 --> 00:45:33,040
By the mighty diamonds. No. No, you got the, the, the, I bet you. I bet you that I have the musical

508
00:45:33,040 --> 00:45:38,800
youth first. And Peter had done promotion at Virgin Records UK. He had done international.

509
00:45:38,800 --> 00:45:43,520
He was the managing director of W. E. A. Ireland. He came back to work.

510
00:45:43,680 --> 00:45:56,960
Yep. That was a big hit. Remember the huge hit. All right. So all these pop radio stations

511
00:45:56,960 --> 00:46:01,760
are playing this song and they don't really know what's a Dutchy. What back of the time you

512
00:46:01,760 --> 00:46:05,440
mean? Yeah. Yeah. I think most people understood it's Steve.

513
00:46:06,640 --> 00:46:13,440
I don't think so. No. Okay. So anyway, so Peter, that's how I met Peter.

514
00:46:13,440 --> 00:46:18,480
Over that song. And over the years, he's worked for Stockhaken and Waterman. Now he's doing some

515
00:46:18,480 --> 00:46:26,640
international work for Universal. And he's just a friend and a guy who I've worked with over the

516
00:46:26,640 --> 00:46:31,840
years. We've known each other. And you know, in fact, I'm staying with him in this trip in London.

517
00:46:31,840 --> 00:46:37,920
Yeah. All done. We have an intermission. Hello, dear. Hello. Yeah. Good. We're just winding up. Steve's

518
00:46:37,920 --> 00:46:45,360
going to do his cream review. Cream, something very filled with rich, fat, dairy product. Very unhealthy.

519
00:46:45,360 --> 00:46:50,400
Finally some cream today. Cream. By the way, in England, they have this thing called

520
00:46:50,400 --> 00:46:56,880
clotted cream. Yeah. You might as well just like inject fat into your arteries. It's the most unhealthy

521
00:46:56,880 --> 00:47:00,080
thing. Yeah. It's a heart attack. Get in front of the mic, huh? If you're going to talk it's

522
00:47:00,080 --> 00:47:05,280
sort of a heart attack on A. What is it? It's sort of a heart attack on a bone. Yeah. Right.

523
00:47:05,280 --> 00:47:10,240
Heart attack on a bone. Heart attack on a bone. But it's good. Sounds like a recipe. This is what

524
00:47:10,240 --> 00:47:14,800
we didn't talk about this because Steve, do you know what August 5th is? Is that someone's

525
00:47:14,800 --> 00:47:20,240
anniversary? Yeah. That's right. Because Patricia and I decided to get married in New York.

526
00:47:20,240 --> 00:47:27,040
Yeah. And was it kind of like a 988? 88. Yeah. We said, uh, how about Friday, right? Did we?

527
00:47:27,040 --> 00:47:30,720
Was it something like that? How about Friday? Yeah. It's okay. It's good. We had to go to

528
00:47:30,720 --> 00:47:37,120
down the city hall and we needed a witness. Can't I get a witness? Yeah. You remember Steve?

529
00:47:37,120 --> 00:47:43,440
Yes, I do recall that moment in city hall where the act was committed. Yeah. That was cool.

530
00:47:43,440 --> 00:47:49,520
It does. How many years ago? It'll be 18. 18 years folks and they haven't fought a day.

531
00:47:50,080 --> 00:47:56,880
18 blessed years. No one's drawn blood. Let's put it that way. And by the way, they both look as

532
00:47:56,880 --> 00:48:03,360
happy as youthful and young and fresh as the day you married us, Steve. Actually, the only difference

533
00:48:03,360 --> 00:48:09,280
is Adam's hair is differently clothed. That's true. Maybe there was a couple in front of us,

534
00:48:09,280 --> 00:48:12,720
like some punk rock and they were getting married and they needed a witness and I was there

535
00:48:12,720 --> 00:48:20,960
witness. Yeah. Oh, yeah. And I don't have that thing you may be growing the back of my hair.

536
00:48:20,960 --> 00:48:24,880
What? Appreciate you kept telling me I needed to have a ponytail? No.

537
00:48:25,840 --> 00:48:31,760
Hair on your shoulders? No. What do you? A little braid? No, I had that. But no, you kept telling me,

538
00:48:31,760 --> 00:48:38,160
let the hair grow in the back. It should go down in the back longer. Oh, okay. She was my stylist.

539
00:48:38,160 --> 00:48:44,400
That was my stylist. She did Adams hair. Adam went on the roadie. We had to send a hair stylist

540
00:48:44,400 --> 00:48:49,200
with him. No, no one, the MTV never paid for a freaking hair. No, they didn't pay for it. They had

541
00:48:49,200 --> 00:48:54,080
to have one. And let's see, we tried getting him corporate endorsements for hair products.

542
00:48:54,160 --> 00:48:59,120
Just never worked. I wish someone had done that. No one ever approached me about a hair endorsement.

543
00:48:59,120 --> 00:49:04,800
You could have been the first pearl guy. Oh, no. I think they went for the short cut gay guy. Look.

544
00:49:04,800 --> 00:49:11,520
That's true. Pearl. They call you the big hair guy. Yeah. They still call me for so many years.

545
00:49:11,520 --> 00:49:17,920
You don't have any big hair. No. No. No. No. But it's just like the bluffed one and the material girl.

546
00:49:17,920 --> 00:49:22,080
Yeah. Exactly. Exactly. That's right. That's right. Madonna, Michael and Nate.

547
00:49:22,080 --> 00:49:26,720
He's a good company. Yeah. A really good company. It was. And that's how he can walk around.

548
00:49:26,720 --> 00:49:32,160
Michael Jackson now didn't do anything. Michael Jackson. I think he didn't do this. I think he's

549
00:49:32,160 --> 00:49:35,920
being fucking. He's being fucked. Did you do this? There was an article on the New York Post. It showed

550
00:49:35,920 --> 00:49:42,160
his, he has a hair weave in the front. Yeah. I wonder. And it was like, can you imagine

551
00:49:42,160 --> 00:49:48,000
with all the plastic surgery? And now he, like, has hair implants? I don't know. I've never had

552
00:49:48,080 --> 00:49:53,520
a contemplate that. We see just. I thought he was a whole week. But answer the question.

553
00:49:53,520 --> 00:49:59,840
Michael Jackson, did he do it or not? Is he guilty? What is it? Child malestation?

554
00:50:00,640 --> 00:50:05,760
But what does that mean? What is, when you see child malestation, he's slept. It's it's clear.

555
00:50:05,760 --> 00:50:09,840
He slept with no, that's not child malestation. No. No. So you're talking touch.

556
00:50:10,560 --> 00:50:14,880
You did. You graved robbed. Every man. No, no, no. That's not what you got me.

557
00:50:14,880 --> 00:50:16,780
That's great, great, really.

558
00:50:16,780 --> 00:50:18,680
Never's feelings, what I did.

559
00:50:18,680 --> 00:50:21,380
And you can't edit on podcast,

560
00:50:21,380 --> 00:50:22,880
wait, no, I don't even think that's the same trouble

561
00:50:22,880 --> 00:50:25,780
when I got it in the Realize of Nicor Filiac.

562
00:50:25,780 --> 00:50:27,880
Yes, what are you doing?

563
00:50:27,880 --> 00:50:29,880
Yeah, wait, how old is he when you stole his heart?

564
00:50:29,880 --> 00:50:30,880
But you've met Michael Jackson.

565
00:50:30,880 --> 00:50:31,880
I've met him.

566
00:50:31,880 --> 00:50:32,880
You've met Michael.

567
00:50:32,880 --> 00:50:35,380
I've never had touched the glove one.

568
00:50:35,380 --> 00:50:36,880
I've never touched him.

569
00:50:36,880 --> 00:50:40,880
Wasn't there a story about him and Tommy Matola and Alimo?

570
00:50:40,880 --> 00:50:43,880
Oh, that's, no, that wasn't Tommy Matola that was,

571
00:50:43,880 --> 00:50:45,880
that's for another episode.

572
00:50:45,880 --> 00:50:47,880
In fact, you'll have to interview Harvey Leeds for that.

573
00:50:47,880 --> 00:50:48,880
Will he tell the story?

574
00:50:48,880 --> 00:50:50,880
Is he going to chicken shit like you just didn't?

575
00:50:50,880 --> 00:50:51,880
No, no, he don't.

576
00:50:51,880 --> 00:50:52,880
He'll tell the story.

577
00:50:52,880 --> 00:50:55,880
Yeah, he has the specifics much more graphically than I do.

578
00:50:55,880 --> 00:50:56,880
I would love to hear that.

579
00:50:56,880 --> 00:50:57,880
Yeah.

580
00:50:57,880 --> 00:50:58,880
Well, he got our Harvey's trip to Neverland,

581
00:50:58,880 --> 00:51:00,880
tune in for that particular episode.

582
00:51:00,880 --> 00:51:01,880
Okay.

583
00:51:01,880 --> 00:51:02,880
What I'm in New York.

584
00:51:02,880 --> 00:51:03,880
Are you good looking?

585
00:51:03,880 --> 00:51:06,880
Is that, you'll have to ask him.

586
00:51:06,880 --> 00:51:09,880
Just check out, both all the Leeds boys are good looking.

587
00:51:09,880 --> 00:51:11,880
Yeah, all two of them.

588
00:51:12,880 --> 00:51:13,880
Yeah, they are, they are.

589
00:51:13,880 --> 00:51:16,880
She said as we stare at the Star Sisters photo outside the door.

590
00:51:16,880 --> 00:51:17,880
No.

591
00:51:19,880 --> 00:51:22,880
Um, all right, so anyway, so Peter Price.

592
00:51:22,880 --> 00:51:24,880
Oh, so he got us tickets.

593
00:51:24,880 --> 00:51:25,880
We're almost done, huh?

594
00:51:25,880 --> 00:51:26,880
All right, we'll be down in a bit.

595
00:51:26,880 --> 00:51:27,880
All right.

596
00:51:27,880 --> 00:51:28,880
Okay.

597
00:51:28,880 --> 00:51:29,880
Good bye.

598
00:51:29,880 --> 00:51:31,880
And then could you turn the red light back on again over the studio door?

599
00:51:31,880 --> 00:51:33,880
So people know not to just come in.

600
00:51:33,880 --> 00:51:34,880
No, just come in.

601
00:51:37,880 --> 00:51:40,880
So we got tickets for Royal Albert Hall for the third night of four.

602
00:51:41,880 --> 00:51:42,880
Right on.

603
00:51:42,880 --> 00:51:44,880
And got very good seats.

604
00:51:44,880 --> 00:51:46,880
Not ever been to Royal Albert Hall.

605
00:51:46,880 --> 00:51:49,880
Not knowing what a nice place it is to enjoy music.

606
00:51:49,880 --> 00:51:51,880
Do you know how many holes it takes to fill the Albert Hall?

607
00:51:51,880 --> 00:51:53,880
No one really knows.

608
00:51:53,880 --> 00:51:56,880
But it's surprising to you that.

609
00:51:56,880 --> 00:51:57,880
I could.

610
00:51:57,880 --> 00:51:58,880
I could.

611
00:51:58,880 --> 00:52:00,880
So how was it, dude?

612
00:52:00,880 --> 00:52:02,880
So is Ginger Baker like ancient now?

613
00:52:02,880 --> 00:52:03,880
He's only 65.

614
00:52:03,880 --> 00:52:05,880
But he looks ancient, doesn't he?

615
00:52:05,880 --> 00:52:06,880
Well, he looked ancient back in 60.

616
00:52:06,880 --> 00:52:08,880
That's like Charlie Watts, like his drummers man.

617
00:52:08,880 --> 00:52:10,880
They always look old when they get going.

618
00:52:10,880 --> 00:52:11,880
They do.

619
00:52:11,880 --> 00:52:12,880
They do.

620
00:52:12,880 --> 00:52:14,880
But the audience last night was amazing for me.

621
00:52:14,880 --> 00:52:15,880
It was the audience.

622
00:52:15,880 --> 00:52:18,880
Because there was nobody there under 40.

623
00:52:18,880 --> 00:52:19,880
Right.

624
00:52:19,880 --> 00:52:25,880
And the merchandising booths where they're selling, you know, 20 pound t-shirts and eight pound

625
00:52:25,880 --> 00:52:31,880
coffee mugs and $60 jackets if you want to go that way or a $35 loan.

626
00:52:31,880 --> 00:52:33,880
A little bit of the ground pound.

627
00:52:33,880 --> 00:52:34,880
Yeah.

628
00:52:34,880 --> 00:52:35,880
So for us dollar guys.

629
00:52:36,880 --> 00:52:37,880
Yeah.

630
00:52:37,880 --> 00:52:38,880
Yeah.

631
00:52:38,880 --> 00:52:39,880
That's right.

632
00:52:39,880 --> 00:52:40,880
But then.

633
00:52:40,880 --> 00:52:41,880
Okay.

634
00:52:41,880 --> 00:52:42,880
So, you know, the audience was.

635
00:52:42,880 --> 00:52:44,880
So how many t-shirts did you buy?

636
00:52:44,880 --> 00:52:49,880
Well, funny enough they're having, they have a website wwwcream2005.com.

637
00:52:49,880 --> 00:52:53,880
But they're not selling anything there yet because.

638
00:52:53,880 --> 00:52:56,880
And of course, brother Harvey had to have a t-shirt.

639
00:52:56,880 --> 00:52:58,880
So I got a t-shirt.

640
00:52:58,880 --> 00:52:59,880
A t-shirt.

641
00:52:59,880 --> 00:53:01,880
And only one for you for your bro, not one for yourself.

642
00:53:01,880 --> 00:53:02,880
I'm not.

643
00:53:02,880 --> 00:53:04,880
I have enough t-shirts and that's true.

644
00:53:04,880 --> 00:53:07,880
And I asked you where your CDs are or my t-shirts.

645
00:53:07,880 --> 00:53:08,880
Yeah.

646
00:53:08,880 --> 00:53:09,880
Exactly.

647
00:53:09,880 --> 00:53:10,880
So, okay.

648
00:53:10,880 --> 00:53:12,880
So, we're allowed with a haul.

649
00:53:12,880 --> 00:53:13,880
They don't dim the lights.

650
00:53:13,880 --> 00:53:14,880
They keep the lights on the whole time.

651
00:53:14,880 --> 00:53:15,880
Really?

652
00:53:15,880 --> 00:53:16,880
Yes.

653
00:53:16,880 --> 00:53:17,880
And the audience was a trip.

654
00:53:17,880 --> 00:53:18,880
Why is that?

655
00:53:18,880 --> 00:53:19,880
That's funky.

656
00:53:19,880 --> 00:53:20,880
It was cool.

657
00:53:20,880 --> 00:53:21,880
It worked.

658
00:53:21,880 --> 00:53:22,880
It worked.

659
00:53:22,880 --> 00:53:23,880
It felt much more intimate that way.

660
00:53:23,880 --> 00:53:24,880
Like chandelier lighting.

661
00:53:24,880 --> 00:53:25,880
Is that kind of the deal?

662
00:53:25,880 --> 00:53:26,880
Or is it just really house lights?

663
00:53:26,880 --> 00:53:27,880
House lights.

664
00:53:27,880 --> 00:53:29,880
So, some of your friends from MTV were there.

665
00:53:29,880 --> 00:53:31,880
I saw Tom Freston.

666
00:53:31,880 --> 00:53:32,880
Yeah.

667
00:53:32,880 --> 00:53:35,880
I mean, now like the co-head mother fucking hauncho of Iacom.

668
00:53:35,880 --> 00:53:36,880
Yes.

669
00:53:36,880 --> 00:53:37,880
Yes.

670
00:53:37,880 --> 00:53:38,880
Unbelievable.

671
00:53:38,880 --> 00:53:40,880
Van Toffler.

672
00:53:40,880 --> 00:53:41,880
Who's president of MTV?

673
00:53:41,880 --> 00:53:42,880
Right.

674
00:53:42,880 --> 00:53:44,880
He used to be the lawyer who sued me.

675
00:53:44,880 --> 00:53:45,880
Ah.

676
00:53:45,880 --> 00:53:46,880
Okay.

677
00:53:46,880 --> 00:53:48,880
So, the weather here in Guilford today is cloudy.

678
00:53:48,880 --> 00:53:49,880
Very nice.

679
00:53:49,880 --> 00:53:50,880
No.

680
00:53:50,880 --> 00:53:51,880
I had respect for Van.

681
00:53:51,880 --> 00:53:52,880
No problem.

682
00:53:52,880 --> 00:53:53,880
Juan Sikes was there.

683
00:53:53,880 --> 00:53:54,880
I said Gary Gursch.

684
00:53:54,880 --> 00:53:55,880
There.

685
00:53:55,880 --> 00:53:56,880
I don't know who that is.

686
00:53:56,880 --> 00:53:57,880
He's a president of Strummer Records.

687
00:53:57,880 --> 00:53:59,880
They put out the Mars Volta album.

688
00:54:00,880 --> 00:54:02,880
I saw what the fuck that is.

689
00:54:02,880 --> 00:54:04,880
I had no idea what the Mars Volta records.

690
00:54:04,880 --> 00:54:05,880
Well, so you were living in America?

691
00:54:05,880 --> 00:54:06,880
No.

692
00:54:06,880 --> 00:54:07,880
Okay.

693
00:54:07,880 --> 00:54:08,880
Living in America.

694
00:54:08,880 --> 00:54:11,880
James Brown written by Dan Hartman and Q.

695
00:54:11,880 --> 00:54:13,880
And what's his name?

696
00:54:13,880 --> 00:54:14,880
Charlie Midnight.

697
00:54:14,880 --> 00:54:15,880
Charlie Midnight.

698
00:54:15,880 --> 00:54:16,880
Charlie Midnight.

699
00:54:16,880 --> 00:54:17,880
Charlie Midnight.

700
00:54:17,880 --> 00:54:18,880
Charlie Midnight.

701
00:54:18,880 --> 00:54:19,880
Wow.

702
00:54:19,880 --> 00:54:20,880
There's a reference.

703
00:54:20,880 --> 00:54:23,880
And so sitting right next to me is this young kid.

704
00:54:23,880 --> 00:54:25,880
And sitting next to him is somebody looks really familiar.

705
00:54:25,880 --> 00:54:26,880
Look over.

706
00:54:26,880 --> 00:54:27,880
It's Steve Windwood.

707
00:54:27,880 --> 00:54:29,880
Now, how bizarre is that.

708
00:54:29,880 --> 00:54:32,880
Steve Windwood watching Eric Clapton.

709
00:54:32,880 --> 00:54:34,880
Jack Bruce and Ginger Baker.

710
00:54:34,880 --> 00:54:37,880
I mean, if you substitute Rick Gretch, you had blind faith.

711
00:54:37,880 --> 00:54:38,880
Unbelievable.

712
00:54:38,880 --> 00:54:41,880
By the way, Steve was actually bought merch.

713
00:54:41,880 --> 00:54:42,880
Frisk.

714
00:54:42,880 --> 00:54:43,880
Yeah.

715
00:54:43,880 --> 00:54:44,880
I was shot.

716
00:54:44,880 --> 00:54:45,880
So his kid must be like 20.

717
00:54:45,880 --> 00:54:46,880
No, no.

718
00:54:46,880 --> 00:54:47,880
I was kidding.

719
00:54:47,880 --> 00:54:48,880
I'm very young.

720
00:54:48,880 --> 00:54:49,880
Oh, he has a really young new wife.

721
00:54:49,880 --> 00:54:50,880
I don't know.

722
00:54:50,880 --> 00:54:51,880
Yeah, whatever.

723
00:54:51,880 --> 00:54:52,880
I don't know.

724
00:54:52,880 --> 00:54:53,880
So that was.

725
00:54:53,880 --> 00:54:54,880
So that was a lot of.

726
00:54:54,880 --> 00:54:55,880
A lot of fun.

727
00:54:55,880 --> 00:54:56,880
That's cool.

728
00:54:57,880 --> 00:55:02,880
Actually, I introduced him because he had just met my brother last week,

729
00:55:02,880 --> 00:55:06,880
because he's looks like he's going to sign with epic.

730
00:55:06,880 --> 00:55:07,880
Yeah.

731
00:55:07,880 --> 00:55:08,880
Really?

732
00:55:08,880 --> 00:55:09,880
Yes.

733
00:55:09,880 --> 00:55:12,880
Based upon his newfound transit.

734
00:55:12,880 --> 00:55:15,880
Well, I think that records the shit, by the way.

735
00:55:15,880 --> 00:55:16,880
Well, that's a great record.

736
00:55:16,880 --> 00:55:19,880
His last album came out on the same label,

737
00:55:19,880 --> 00:55:20,880
The Jam Band String Cheese.

738
00:55:20,880 --> 00:55:21,880
I forgot the name of the label.

739
00:55:21,880 --> 00:55:22,880
It came out.

740
00:55:22,880 --> 00:55:24,880
But he decided he wanted to, you know,

741
00:55:24,880 --> 00:55:28,880
to the corporate, you know, universe of records.

742
00:55:28,880 --> 00:55:29,880
Yeah.

743
00:55:29,880 --> 00:55:30,880
Fuck, man.

744
00:55:30,880 --> 00:55:33,880
So, you know, it was cool watching Steve Windwood, you know, there.

745
00:55:33,880 --> 00:55:38,880
And so, the, you know, I was lucky.

746
00:55:38,880 --> 00:55:40,880
Here's the Murray, the K connection again.

747
00:55:40,880 --> 00:55:42,880
When I was a, we,

748
00:55:42,880 --> 00:55:45,880
uh, led back in 1967.

749
00:55:45,880 --> 00:55:47,880
Cream played their first show ever in New York City.

750
00:55:47,880 --> 00:55:48,880
Excuse me.

751
00:55:48,880 --> 00:55:49,880
First shows.

752
00:55:49,880 --> 00:55:51,880
For nine days straight,

753
00:55:51,880 --> 00:55:55,880
they played five shows a day at the RKO theater.

754
00:55:55,880 --> 00:55:57,880
For the Murray, the K Easter review.

755
00:55:57,880 --> 00:55:58,880
No way.

756
00:55:58,880 --> 00:56:00,880
And who else was on the bill?

757
00:56:00,880 --> 00:56:03,880
Because they were probably were forced onto the bill

758
00:56:03,880 --> 00:56:04,880
by one of the agents saying,

759
00:56:04,880 --> 00:56:06,880
well, if you want such and such,

760
00:56:06,880 --> 00:56:07,880
you have to take this new band.

761
00:56:07,880 --> 00:56:08,880
Five shows a day.

762
00:56:08,880 --> 00:56:09,880
Five shows.

763
00:56:09,880 --> 00:56:10,880
And if you got there before,

764
00:56:10,880 --> 00:56:11,880
and you got a free album.

765
00:56:11,880 --> 00:56:13,880
So, the who were on the show,

766
00:56:13,880 --> 00:56:14,880
the cream,

767
00:56:14,880 --> 00:56:17,880
and the headliner was Wilson Pickett and Mitch Ryder.

768
00:56:17,880 --> 00:56:18,880
No way.

769
00:56:18,880 --> 00:56:19,880
So, this is amazing.

770
00:56:19,880 --> 00:56:20,880
This is amazing.

771
00:56:20,880 --> 00:56:21,880
It was probably four or five bucks or something.

772
00:56:21,880 --> 00:56:22,880
It was amazing.

773
00:56:22,880 --> 00:56:23,880
And when people saw a cream,

774
00:56:23,880 --> 00:56:24,880
they were like,

775
00:56:24,880 --> 00:56:25,880
it was arrested the band.

776
00:56:25,880 --> 00:56:26,880
Because there were only three guys.

777
00:56:26,880 --> 00:56:27,880
Right.

778
00:56:27,880 --> 00:56:28,880
And I remember the marquee outside.

779
00:56:28,880 --> 00:56:29,880
So vividly,

780
00:56:29,880 --> 00:56:31,880
it's three little mountains of cream.

781
00:56:31,880 --> 00:56:32,880
I said,

782
00:56:32,880 --> 00:56:33,880
debut cream.

783
00:56:33,880 --> 00:56:34,880
I was like,

784
00:56:34,880 --> 00:56:35,880
what the heck is that?

785
00:56:35,880 --> 00:56:36,880
Yeah.

786
00:56:36,880 --> 00:56:37,880
And they did two songs.

787
00:56:37,880 --> 00:56:38,880
They did,

788
00:56:38,880 --> 00:56:39,880
um,

789
00:56:39,880 --> 00:56:40,880
I feel free.

790
00:56:40,880 --> 00:56:42,880
And I'm so glad.

791
00:56:42,880 --> 00:56:43,880
Which, by the way,

792
00:56:43,880 --> 00:56:45,880
is the song they opened up with last night.

793
00:56:45,880 --> 00:56:46,880
I'm so glad.

794
00:56:46,880 --> 00:56:47,880
Interesting opener.

795
00:56:47,880 --> 00:56:48,880
Yes.

796
00:56:48,880 --> 00:56:49,880
Yeah.

797
00:56:49,880 --> 00:56:51,880
So the show was really,

798
00:56:51,880 --> 00:56:52,880
um,

799
00:56:52,880 --> 00:56:53,880
interesting.

800
00:56:53,880 --> 00:56:55,880
Because the rumors around are that they,

801
00:56:55,880 --> 00:56:56,880
the only reason this is going on,

802
00:56:56,880 --> 00:56:58,880
is Eric Clapton wants to help out Jack and Ginger

803
00:56:58,880 --> 00:57:00,880
and put some money in their pocket.

804
00:57:00,880 --> 00:57:01,880
Is that, well,

805
00:57:01,880 --> 00:57:02,880
you know what?

806
00:57:02,880 --> 00:57:03,880
That would probably make a lot of sense.

807
00:57:03,880 --> 00:57:05,880
I even see Ringo Star doing,

808
00:57:05,880 --> 00:57:06,880
infomercials for time,

809
00:57:06,880 --> 00:57:07,880
life records.

810
00:57:07,880 --> 00:57:08,880
So I guess the,

811
00:57:08,880 --> 00:57:10,880
the might of the last forever.

812
00:57:10,880 --> 00:57:11,880
You know,

813
00:57:11,880 --> 00:57:14,880
rumor has it that Ginger is not in the best of health.

814
00:57:14,880 --> 00:57:15,880
Yeah.

815
00:57:15,880 --> 00:57:17,880
Well, I think he's been sick for a while, hasn't he?

816
00:57:17,880 --> 00:57:18,880
I don't know.

817
00:57:18,880 --> 00:57:21,880
I remember these rumors from 20 years ago, even.

818
00:57:21,880 --> 00:57:23,880
So Eric certainly doesn't need the money,

819
00:57:23,880 --> 00:57:25,880
nor the exposure at this point in his career.

820
00:57:25,880 --> 00:57:29,880
So he agreed to do these four shows with a DVD committed

821
00:57:29,880 --> 00:57:31,880
to coming out this fall.

822
00:57:31,880 --> 00:57:32,880
That's really sweet.

823
00:57:32,880 --> 00:57:33,880
Yes.

824
00:57:33,880 --> 00:57:34,880
That's really sweet of him.

825
00:57:34,880 --> 00:57:37,880
And there's talk that if the music is approved,

826
00:57:37,880 --> 00:57:40,880
that they will allow a CD to be made from it as well.

827
00:57:40,880 --> 00:57:42,880
Does that mean there might be a tour to fall along?

828
00:57:42,880 --> 00:57:43,880
No.

829
00:57:43,880 --> 00:57:45,880
Because Ron Delzner,

830
00:57:45,880 --> 00:57:48,880
the people's promoter in New York City.

831
00:57:48,880 --> 00:57:51,880
Is that, do I, do I know the hint of sarcasm there,

832
00:57:51,880 --> 00:57:52,880
Mr. Leads?

833
00:57:52,880 --> 00:57:53,880
Not at all.

834
00:57:53,880 --> 00:57:55,880
Uh, has offered them a boatload of money to play

835
00:57:55,880 --> 00:57:57,880
Madison Square Garden, and they've turned it down.

836
00:57:57,880 --> 00:57:59,880
And then I heard that,

837
00:57:59,880 --> 00:58:01,880
well, then it can't be about money.

838
00:58:01,880 --> 00:58:02,880
Why did turn it down?

839
00:58:02,880 --> 00:58:04,880
Well, then I heard that it's driving the price up.

840
00:58:04,880 --> 00:58:05,880
No, no, no.

841
00:58:05,880 --> 00:58:08,880
A, Eric has some tour plans,

842
00:58:08,880 --> 00:58:10,880
and B, equally, or more important,

843
00:58:10,880 --> 00:58:11,880
probably in the reality world,

844
00:58:11,880 --> 00:58:13,880
is that Ginger has some issues

845
00:58:13,880 --> 00:58:15,880
and can't come back into the states.

846
00:58:15,880 --> 00:58:16,880
Oh, man.

847
00:58:16,880 --> 00:58:17,880
No, that's a rumor.

848
00:58:17,880 --> 00:58:18,880
I want to clarify.

849
00:58:18,880 --> 00:58:19,880
That's probably a taxation rumor.

850
00:58:19,880 --> 00:58:20,880
No, no, no.

851
00:58:20,880 --> 00:58:22,880
I don't think it's something like that.

852
00:58:22,880 --> 00:58:23,880
Really?

853
00:58:23,880 --> 00:58:24,880
Is it drugged there?

854
00:58:24,880 --> 00:58:25,880
I don't know.

855
00:58:25,880 --> 00:58:26,880
Come on.

856
00:58:26,880 --> 00:58:27,880
Not from 100,000 years ago.

857
00:58:27,880 --> 00:58:29,880
The US government has a long memory.

858
00:58:29,880 --> 00:58:30,880
By the way, folks,

859
00:58:30,880 --> 00:58:34,880
in the Curry Broadcast studios here in Gilford,

860
00:58:34,880 --> 00:58:37,880
there's a photo of Adam and W on the wall.

861
00:58:37,880 --> 00:58:39,880
It's a good one, isn't it?

862
00:58:39,880 --> 00:58:40,880
Yes.

863
00:58:40,880 --> 00:58:41,880
Yes.

864
00:58:41,880 --> 00:58:43,880
I know what he's doing all those years in Holland.

865
00:58:43,880 --> 00:58:45,880
Oh, I just want, not equal, equal opportunity.

866
00:58:45,880 --> 00:58:47,880
If you haven't listened to it,

867
00:58:47,880 --> 00:58:49,880
check out that John Kerry podcast.

868
00:58:49,880 --> 00:58:51,880
Oh, yeah, that was cool.

869
00:58:51,880 --> 00:58:53,880
Well, can I just, I just want to, I just want to play one,

870
00:58:53,880 --> 00:58:54,880
one snippet.

871
00:58:54,880 --> 00:58:55,880
Just listen to this part, Steve.

872
00:58:55,880 --> 00:58:56,880
I didn't play this for you.

873
00:58:56,880 --> 00:58:57,880
Listen to this.

874
00:58:57,880 --> 00:59:00,880
By the way, we are podcasting today on top of

875
00:59:00,880 --> 00:59:02,880
Jack's blanket.

876
00:59:02,880 --> 00:59:03,880
Listen to me.

877
00:59:03,880 --> 00:59:06,880
And we're having to be really careful because

878
00:59:06,880 --> 00:59:09,880
Elizabeth has her dot coat sitting on this.

879
00:59:09,880 --> 00:59:10,880
This is great stuff.

880
00:59:10,880 --> 00:59:11,880
I like it.

881
00:59:11,880 --> 00:59:12,880
I have my dad.

882
00:59:12,880 --> 00:59:13,880
Listen to what she said.

883
00:59:13,880 --> 00:59:15,880
Zero sitting on Jack's blanket, which, by the way,

884
00:59:15,880 --> 00:59:17,880
is really important because she has a great,

885
00:59:17,880 --> 00:59:19,880
I'm not drinking that coat anymore.

886
00:59:19,880 --> 00:59:23,880
And it is like a huge change for me.

887
00:59:23,880 --> 00:59:24,880
First, how long has it been there?

888
00:59:24,880 --> 00:59:26,880
Cold turkey for like three months?

889
00:59:26,880 --> 00:59:27,880
Yeah.

890
00:59:27,880 --> 00:59:28,880
Three months?

891
00:59:28,880 --> 00:59:29,880
You're still drinking it there.

892
00:59:29,880 --> 00:59:30,880
I am.

893
00:59:30,880 --> 00:59:32,880
But I'm finding out that I'm not drinking quite a lot.

894
00:59:32,880 --> 00:59:34,880
It's not quite as much as I thought it was.

895
00:59:34,880 --> 00:59:35,880
That you were drinking mussels.

896
00:59:35,880 --> 00:59:36,880
That you were drinking mussels.

897
00:59:36,880 --> 00:59:37,880
It's like John and Drew.

898
00:59:37,880 --> 00:59:39,880
It's one of those things to death.

899
00:59:39,880 --> 00:59:41,880
I don't even waste the blood on the blanket.

900
00:59:41,880 --> 00:59:43,880
I don't think it's the worst thing that I've ever gotten on this blanket.

901
00:59:43,880 --> 00:59:45,880
That's it.

902
00:59:45,880 --> 00:59:47,880
Didn't need to know that.

903
00:59:47,880 --> 00:59:50,880
Was that the line of the, of the whole podcast?

904
00:59:50,880 --> 00:59:52,880
No, is that product placement for Diet Coke?

905
00:59:52,880 --> 00:59:55,880
No, for sprite zero, whatever it is.

906
00:59:55,880 --> 01:00:01,880
No, but that's, you know, this is, if I, if I listen to this guy talking,

907
01:00:01,880 --> 01:00:04,880
instead of that long-head jackass, you know,

908
01:00:04,880 --> 01:00:06,880
I would have had different feelings about,

909
01:00:06,880 --> 01:00:08,880
about the outcome of, of the election.

910
01:00:08,880 --> 01:00:09,880
This is really good.

911
01:00:09,880 --> 01:00:12,880
And she's talking about her life and the radiation that she's going through.

912
01:00:12,880 --> 01:00:14,880
It's interesting shit.

913
01:00:14,880 --> 01:00:17,880
Well, podcasting will change the politics of the world soon.

914
01:00:17,880 --> 01:00:18,880
Did better.

915
01:00:18,880 --> 01:00:19,880
Okay, I'm sorry.

916
01:00:19,880 --> 01:00:22,880
Back to the, back to the, back to the cream reunion.

917
01:00:22,880 --> 01:00:23,880
Okay.

918
01:00:23,880 --> 01:00:24,880
So they opened up with, I'm so glad.

919
01:00:24,880 --> 01:00:25,880
I didn't need it.

920
01:00:25,880 --> 01:00:26,880
It's spoonful.

921
01:00:26,880 --> 01:00:29,880
Then clapped and sang outside woman blues.

922
01:00:29,880 --> 01:00:30,880
Then changed her.

923
01:00:30,880 --> 01:00:33,880
Did pressed rat and wart ag.

924
01:00:34,880 --> 01:00:36,880
It was remind me of like an eanduri thing.

925
01:00:36,880 --> 01:00:37,880
It's almost like a rap thing.

926
01:00:37,880 --> 01:00:38,880
It was pretty wild.

927
01:00:38,880 --> 01:00:39,880
Did you do a drum solo?

928
01:00:39,880 --> 01:00:40,880
Did you?

929
01:00:40,880 --> 01:00:41,880
Well, we'll get to that.

930
01:00:41,880 --> 01:00:42,880
Okay.

931
01:00:42,880 --> 01:00:43,880
Then we did sleepy time.

932
01:00:43,880 --> 01:00:44,880
NSU.

933
01:00:44,880 --> 01:00:47,880
Erica did badge.

934
01:00:47,880 --> 01:00:49,880
You know, singing on that.

935
01:00:49,880 --> 01:00:54,880
And of course now, today is the morning after the British election.

936
01:00:54,880 --> 01:00:55,880
Right.

937
01:00:55,880 --> 01:00:56,880
And Tony Blair won.

938
01:00:56,880 --> 01:00:57,880
He won.

939
01:00:57,880 --> 01:00:59,880
But he got his ass woke, because everybody expressed their

940
01:00:59,880 --> 01:01:02,880
displeasure with him being W Junior.

941
01:01:02,880 --> 01:01:06,880
Well, and, and in this parliament, you know, and I figured out how it works.

942
01:01:06,880 --> 01:01:08,880
Now, it's, it's, it's number of seats in the house.

943
01:01:08,880 --> 01:01:12,880
So, um, labor still has a majority, but only by 66 votes.

944
01:01:12,880 --> 01:01:14,880
Or that's projected, I think, at this time.

945
01:01:14,880 --> 01:01:15,880
But it's almost over.

946
01:01:15,880 --> 01:01:16,880
So that's pretty much what's going to be.

947
01:01:16,880 --> 01:01:18,880
So, how ironic the day of the British election.

948
01:01:18,880 --> 01:01:20,880
Cream do politician.

949
01:01:20,880 --> 01:01:21,880
Yeah, of course.

950
01:01:21,880 --> 01:01:22,880
Of course.

951
01:01:22,880 --> 01:01:24,880
Sweet wine, Roland and Tumblin.

952
01:01:24,880 --> 01:01:27,880
Uh, we're, we're Jack didn't play base.

953
01:01:27,880 --> 01:01:29,880
He just, like, jammed on the harmonic of the whole time.

954
01:01:29,880 --> 01:01:34,880
Uh, now they did one non cream song, Stormy Monday, which is, like, a

955
01:01:34,880 --> 01:01:36,880
Clapton, you know, Evergreen.

956
01:01:36,880 --> 01:01:38,880
So that was interesting.

957
01:01:38,880 --> 01:01:39,880
They did deserted cities.

958
01:01:39,880 --> 01:01:40,880
One under bed sign.

959
01:01:40,880 --> 01:01:41,880
We're going wrong.

960
01:01:41,880 --> 01:01:42,880
Eric did it.

961
01:01:42,880 --> 01:01:44,880
You know, jammed up version of Crossroads.

962
01:01:44,880 --> 01:01:47,880
And this little girl, one of the youngsters in the audience, go.

963
01:01:47,880 --> 01:01:48,880
Screams.

964
01:01:48,880 --> 01:01:49,880
You're my hero.

965
01:01:49,880 --> 01:01:51,880
Don't you crossroads?

966
01:01:51,880 --> 01:01:52,880
Yeah.

967
01:01:52,880 --> 01:01:54,880
So that was cool.

968
01:01:54,880 --> 01:01:55,880
It's in on top.

969
01:01:55,880 --> 01:01:56,880
White room.

970
01:01:56,880 --> 01:01:58,880
And then the piece that exists.

971
01:01:58,880 --> 01:02:00,880
They opened up.

972
01:02:00,880 --> 01:02:02,880
And then Jack and ginger.

973
01:02:02,880 --> 01:02:03,880
Sorry.

974
01:02:03,880 --> 01:02:07,880
Jack and Eric walk off stage and let ginger just go wild for about 10 minutes.

975
01:02:07,880 --> 01:02:08,880
Oh, really?

976
01:02:08,880 --> 01:02:09,880
Hold.

977
01:02:09,880 --> 01:02:11,880
Now, here's, here's the culpa.

978
01:02:11,880 --> 01:02:15,880
As soon as he breaks in drum solo, people start rushing the stage.

979
01:02:15,880 --> 01:02:16,880
Really?

980
01:02:16,880 --> 01:02:17,880
See, he's, like, 40 year old.

981
01:02:17,880 --> 01:02:20,880
Oh, push it up to this stage with his no security guard.

982
01:02:20,880 --> 01:02:21,880
No.

983
01:02:21,880 --> 01:02:23,880
And adult concert elite event.

984
01:02:23,880 --> 01:02:24,880
Right.

985
01:02:24,880 --> 01:02:25,880
So it was, it was pretty funny.

986
01:02:25,880 --> 01:02:27,880
Oh, and why were people dressed?

987
01:02:27,880 --> 01:02:29,880
Oh, you know, lots of denim.

988
01:02:29,880 --> 01:02:31,880
But there were, you know, it was a very subdued crowd.

989
01:02:31,880 --> 01:02:33,880
There wasn't a lot of body piercings.

990
01:02:33,880 --> 01:02:34,880
Let's put it that.

991
01:02:34,880 --> 01:02:35,880
How about dope smoking?

992
01:02:35,880 --> 01:02:36,880
Must have been some pleased.

993
01:02:36,880 --> 01:02:37,880
Didn't see any of it.

994
01:02:37,880 --> 01:02:38,880
Didn't see it.

995
01:02:38,880 --> 01:02:40,880
I think that went on before.

996
01:02:40,880 --> 01:02:42,880
I think people arrived with that.

997
01:02:42,880 --> 01:02:44,880
And, oh, so the, sort of the, the,

998
01:02:44,880 --> 01:02:46,880
with the stage is covered by this white psych.

999
01:02:46,880 --> 01:02:49,880
And projected on it is a light show.

1000
01:02:49,880 --> 01:02:50,880
I love the old film more.

1001
01:02:50,880 --> 01:02:53,880
But it's not with the liquids and stuff.

1002
01:02:53,880 --> 01:02:54,880
Yeah.

1003
01:02:54,880 --> 01:02:55,880
It's just, right.

1004
01:02:55,880 --> 01:02:56,880
It's like an orange.

1005
01:02:56,880 --> 01:02:58,880
It's an animated, an animated.

1006
01:02:58,880 --> 01:02:59,880
I was like, okay.

1007
01:02:59,880 --> 01:03:00,880
And he's going off on to it.

1008
01:03:00,880 --> 01:03:03,880
I mean, it's just like, it's out.

1009
01:03:03,880 --> 01:03:05,880
Was it was the animated stuff, okay?

1010
01:03:05,880 --> 01:03:07,880
Or was it kind of lame?

1011
01:03:07,880 --> 01:03:08,880
It worked.

1012
01:03:08,880 --> 01:03:11,880
But if you saw, if you lived to that, it was lame.

1013
01:03:11,880 --> 01:03:12,880
The house lights on too.

1014
01:03:12,880 --> 01:03:13,880
That was an infunky.

1015
01:03:13,880 --> 01:03:14,880
It was weird.

1016
01:03:14,880 --> 01:03:17,880
But you won't be able to see it in DVD coming out this fall on.

1017
01:03:17,880 --> 01:03:18,880
One over home video.

1018
01:03:18,880 --> 01:03:19,880
I don't know.

1019
01:03:19,880 --> 01:03:20,880
Yeah.

1020
01:03:20,880 --> 01:03:21,880
It definitely will.

1021
01:03:21,880 --> 01:03:22,880
And so that was it.

1022
01:03:22,880 --> 01:03:23,880
And told and they come back and finish the few notes.

1023
01:03:23,880 --> 01:03:24,880
And I'm sorry.

1024
01:03:24,880 --> 01:03:25,880
I'm boring.

1025
01:03:25,880 --> 01:03:26,880
Go.

1026
01:03:26,880 --> 01:03:28,880
It's just, it's a long, it's a long podcast.

1027
01:03:28,880 --> 01:03:29,880
Like a box of gin.

1028
01:03:29,880 --> 01:03:30,880
No, no, no.

1029
01:03:30,880 --> 01:03:31,880
Take no note of that.

1030
01:03:31,880 --> 01:03:32,880
This is fascinating, Steve.

1031
01:03:32,880 --> 01:03:34,880
I wish we could play some of these songs, which we can't.

1032
01:03:34,880 --> 01:03:35,880
Yeah.

1033
01:03:35,880 --> 01:03:36,880
That's the bummer here.

1034
01:03:36,880 --> 01:03:37,880
Yeah.

1035
01:03:37,880 --> 01:03:38,880
It's not pot safe.

1036
01:03:38,880 --> 01:03:39,880
Yeah.

1037
01:03:39,880 --> 01:03:40,880
Fucking bummer.

1038
01:03:40,880 --> 01:03:41,880
So, towed finishes.

1039
01:03:41,880 --> 01:03:42,880
Grand finale.

1040
01:03:42,880 --> 01:03:43,880
Boom.

1041
01:03:43,880 --> 01:03:44,880
Everybody's screaming.

1042
01:03:44,880 --> 01:03:45,880
They walk off stage.

1043
01:03:45,880 --> 01:03:46,880
And the three of them joined together for the first time

1044
01:03:46,880 --> 01:03:48,880
or leading in bow.

1045
01:03:48,880 --> 01:03:51,880
Because to me, they started off like a house on fire.

1046
01:03:52,880 --> 01:03:54,880
It was almost like going through the mechanical motions.

1047
01:03:54,880 --> 01:03:55,880
Eric just didn't seem.

1048
01:03:55,880 --> 01:03:58,880
He was like Mr. Cash will out there with his sneakers.

1049
01:03:58,880 --> 01:04:01,880
And his, you know, turquoise blue shirt.

1050
01:04:01,880 --> 01:04:03,880
And he was just like, he was like doing it.

1051
01:04:03,880 --> 01:04:04,880
Because he was just doing it.

1052
01:04:04,880 --> 01:04:05,880
Right.

1053
01:04:05,880 --> 01:04:07,880
And so it kind of was at the end.

1054
01:04:07,880 --> 01:04:08,880
I felt it was lackluster.

1055
01:04:08,880 --> 01:04:09,880
And they came back.

1056
01:04:09,880 --> 01:04:11,880
And they're not going right.

1057
01:04:11,880 --> 01:04:12,880
Well, white room.

1058
01:04:12,880 --> 01:04:14,880
I've heard Clapton do as a solo performance.

1059
01:04:14,880 --> 01:04:15,880
But you said they already played that.

1060
01:04:15,880 --> 01:04:16,880
Right.

1061
01:04:16,880 --> 01:04:17,880
But it was, it was great live.

1062
01:04:17,880 --> 01:04:19,880
But last night it was just like so mechanical.

1063
01:04:19,880 --> 01:04:20,880
You know.

1064
01:04:20,880 --> 01:04:21,880
You know.

1065
01:04:21,880 --> 01:04:22,880
You know.

1066
01:04:22,880 --> 01:04:23,880
You know.

1067
01:04:23,880 --> 01:04:24,880
You know.

1068
01:04:24,880 --> 01:04:25,880
Anyway, so toad.

1069
01:04:25,880 --> 01:04:26,880
That's the end.

1070
01:04:26,880 --> 01:04:27,880
People rush off.

1071
01:04:27,880 --> 01:04:28,880
And then they come back for an encore.

1072
01:04:28,880 --> 01:04:30,880
And what do you think their encore would be?

1073
01:04:30,880 --> 01:04:32,880
White room again.

1074
01:04:32,880 --> 01:04:33,880
Sunshine of your love.

1075
01:04:33,880 --> 01:04:34,880
Ah, that's pretty cool.

1076
01:04:34,880 --> 01:04:37,880
And of course, that, you know.

1077
01:04:37,880 --> 01:04:40,880
Again, I was like hoping for the heavens to open.

1078
01:04:40,880 --> 01:04:41,880
It didn't happen.

1079
01:04:41,880 --> 01:04:42,880
But you know what?

1080
01:04:42,880 --> 01:04:43,880
These guys were in their 60s.

1081
01:04:43,880 --> 01:04:44,880
It was a fantasy.

1082
01:04:44,880 --> 01:04:45,880
It was fun.

1083
01:04:45,880 --> 01:04:46,880
They did.

1084
01:04:46,880 --> 01:04:47,880
Sorry about that.

1085
01:04:48,880 --> 01:04:50,880
We're just going to go a little background ambience.

1086
01:04:50,880 --> 01:04:53,880
And this was the finale last night.

1087
01:04:53,880 --> 01:04:58,880
And it will be the finale tonight as the fourth consecutive night of Cremes reunion.

1088
01:04:58,880 --> 01:04:59,880
Royal Albert Hall.

1089
01:04:59,880 --> 01:05:01,880
You're talking it up Steve.

1090
01:05:01,880 --> 01:05:02,880
You're talking up the record.

1091
01:05:02,880 --> 01:05:04,880
Hey, we got 10 on the uphill side of wherever you are.

1092
01:05:04,880 --> 01:05:05,880
Whatever time you're listening.

1093
01:05:05,880 --> 01:05:06,880
This is ever coming.

1094
01:05:06,880 --> 01:05:07,880
Did you break a jack bruise?

1095
01:05:07,880 --> 01:05:08,880
On the ancorate.

1096
01:05:12,880 --> 01:05:14,880
See, I need the digital clocks.

1097
01:05:14,880 --> 01:05:15,880
I can tell.

1098
01:05:15,880 --> 01:05:16,880
Yeah.

1099
01:05:16,880 --> 01:05:17,880
Hard for sure.

1100
01:05:17,880 --> 01:05:19,880
That liner reader card for sure.

1101
01:05:19,880 --> 01:05:21,880
No, that would be somebody else.

1102
01:05:21,880 --> 01:05:24,880
Oh, and Sean Penn was in the audience last night too.

1103
01:05:24,880 --> 01:05:25,880
So it was, he's right.

1104
01:05:25,880 --> 01:05:28,880
He was a festive evening from start to finish.

1105
01:05:28,880 --> 01:05:29,880
You know, I Sean Penn story.

1106
01:05:29,880 --> 01:05:31,880
I told you my Sean Penn story, didn't I?

1107
01:05:31,880 --> 01:05:33,880
No, but you must know Michael Penn.

1108
01:05:33,880 --> 01:05:34,880
No, him too.

1109
01:05:34,880 --> 01:05:36,880
But it was Sean Penn.

1110
01:05:36,880 --> 01:05:37,880
Where is that?

1111
01:05:37,880 --> 01:05:39,880
It was, that was his musical brother.

1112
01:05:39,880 --> 01:05:41,880
But Chris Penn.

1113
01:05:41,880 --> 01:05:42,880
Chris.

1114
01:05:42,880 --> 01:05:44,880
That was the, the tubby one.

1115
01:05:44,880 --> 01:05:45,880
Come on man.

1116
01:05:45,880 --> 01:05:47,880
Don't you remember he got in all kinds of fights and shit.

1117
01:05:47,880 --> 01:05:50,880
He was like the Billy Carter of the Penn Brothers.

1118
01:05:50,880 --> 01:05:51,880
Wow.

1119
01:05:51,880 --> 01:05:53,880
I didn't know the Penn Brothers.

1120
01:05:53,880 --> 01:05:55,880
And he did a little bit of acting.

1121
01:05:55,880 --> 01:05:56,880
Yeah.

1122
01:05:56,880 --> 01:05:57,880
It was obnoxious.

1123
01:05:57,880 --> 01:05:59,880
So I remember the MGM grand.

1124
01:05:59,880 --> 01:06:00,880
Yes.

1125
01:06:00,880 --> 01:06:03,880
MGM grand was the airline between Los Angeles and JFK.

1126
01:06:03,880 --> 01:06:07,880
And it was all first class, like 737 with state rooms.

1127
01:06:07,880 --> 01:06:09,880
The preferred airliner of the Jays.

1128
01:06:09,880 --> 01:06:10,880
Yeah.

1129
01:06:10,880 --> 01:06:11,880
Of course.

1130
01:06:11,880 --> 01:06:12,880
Well, it was still around and it was golden toilets.

1131
01:06:12,880 --> 01:06:13,880
And it was just fucking great.

1132
01:06:13,880 --> 01:06:16,880
And it was all movie stars and record execs and celebrities.

1133
01:06:16,880 --> 01:06:17,880
And it was like our private little airline.

1134
01:06:17,880 --> 01:06:18,880
And how many seats were?

1135
01:06:18,880 --> 01:06:19,880
How many people?

1136
01:06:19,880 --> 01:06:21,880
The whole plane was maybe like 50 or something like that.

1137
01:06:21,880 --> 01:06:22,880
And that was it.

1138
01:06:22,880 --> 01:06:24,880
And so I was flying out by myself.

1139
01:06:24,880 --> 01:06:25,880
And I had a state room.

1140
01:06:25,880 --> 01:06:27,880
So it was, you know, just like in a train.

1141
01:06:27,880 --> 01:06:28,880
We closed and there's three on each side.

1142
01:06:28,880 --> 01:06:30,880
And the table can levitate up in the middle.

1143
01:06:30,880 --> 01:06:32,880
So you can have your meals facing each other.

1144
01:06:32,880 --> 01:06:35,880
And I was there with Sean Penn.

1145
01:06:35,880 --> 01:06:37,880
Chris Penn.

1146
01:06:37,880 --> 01:06:38,880
And his mom.

1147
01:06:38,880 --> 01:06:42,880
And we're sitting there the four of us in the state room for like five and a half hours.

1148
01:06:42,880 --> 01:06:46,880
And you know, it was really uncomfortable because, you know, it's like dude.

1149
01:06:46,880 --> 01:06:47,880
You know, this is like Sean Penn.

1150
01:06:47,880 --> 01:06:51,880
And at the time he just, you know, the big messy divorce from Madonna and everything.

1151
01:06:51,880 --> 01:06:52,880
So first Chris Penn is there.

1152
01:06:52,880 --> 01:06:56,880
You know, taking off his shirt, he's walking around with, you know, with a bear.

1153
01:06:56,880 --> 01:06:59,880
He's a bear chest drinking beer.

1154
01:06:59,880 --> 01:07:03,880
You know, burping and farting all over the place about the whole plane.

1155
01:07:03,880 --> 01:07:05,880
So he's just an embarrassment by himself.

1156
01:07:05,880 --> 01:07:07,880
And then, you know, finally, so Sean Penn says,

1157
01:07:07,880 --> 01:07:08,880
Yeah, how you doing?

1158
01:07:08,880 --> 01:07:09,880
Are you the guy from VH1, right?

1159
01:07:09,880 --> 01:07:11,880
So of course immediately, I'm shattered.

1160
01:07:11,880 --> 01:07:13,880
It's just fucking shattered.

1161
01:07:13,880 --> 01:07:15,880
And say, uh, wrong channel.

1162
01:07:15,880 --> 01:07:17,880
So I said, hey, dude.

1163
01:07:17,880 --> 01:07:19,880
Uh, what was it like?

1164
01:07:19,880 --> 01:07:20,880
I don't know.

1165
01:07:20,880 --> 01:07:22,880
He says,

1166
01:07:22,880 --> 01:07:25,880
Hell have no fury, my friend.

1167
01:07:25,880 --> 01:07:28,880
That's what his response was.

1168
01:07:28,880 --> 01:07:29,880
Hell have no fury.

1169
01:07:29,880 --> 01:07:30,880
And we didn't talk about anything.

1170
01:07:30,880 --> 01:07:32,880
And he's got issues, right?

1171
01:07:32,880 --> 01:07:33,880
I think I like him.

1172
01:07:33,880 --> 01:07:34,880
He's a fucking bitch.

1173
01:07:34,880 --> 01:07:35,880
What do you say at the Academy of Worts?

1174
01:07:35,880 --> 01:07:38,880
He was trashing that I didn't see the Academy of Worts.

1175
01:07:38,880 --> 01:07:39,880
I like Sean Penn.

1176
01:07:39,880 --> 01:07:40,880
He's a great actor.

1177
01:07:40,880 --> 01:07:42,880
Who was the male actor in Alphi?

1178
01:07:42,880 --> 01:07:43,880
I don't know.

1179
01:07:43,880 --> 01:07:44,880
I haven't seen Alphi.

1180
01:07:44,880 --> 01:07:47,880
Oh, he keeps, he can't make nasty references.

1181
01:07:47,880 --> 01:07:48,880
So.

1182
01:07:48,880 --> 01:07:49,880
No.

1183
01:07:49,880 --> 01:07:50,880
Don't know.

1184
01:07:50,880 --> 01:07:51,880
Well, he always has some issues.

1185
01:07:51,880 --> 01:07:52,880
Oh, whatever.

1186
01:07:52,880 --> 01:07:53,880
Yes.

1187
01:07:53,880 --> 01:07:54,880
Whatever.

1188
01:07:54,880 --> 01:07:56,880
Hey, Steve, was any more you want to say about the cream stuff?

1189
01:07:56,880 --> 01:07:57,880
Um, no.

1190
01:07:57,880 --> 01:08:00,880
Did it, did it fulfill your fantasy?

1191
01:08:00,880 --> 01:08:02,880
Listen, I went to the first show in America.

1192
01:08:02,880 --> 01:08:04,880
I have some, you know, in your life,

1193
01:08:04,880 --> 01:08:06,880
you don't get too many chances to have closure.

1194
01:08:06,880 --> 01:08:09,880
Yeah, because you went to the first one and kind of the last one.

1195
01:08:09,880 --> 01:08:10,880
That's closure.

1196
01:08:10,880 --> 01:08:14,880
So in the final days of my life, I can look up and go, okay.

1197
01:08:14,880 --> 01:08:17,880
I spent enough time doing the things I needed to do.

1198
01:08:17,880 --> 01:08:20,880
And one of those was, I got to see cream.

1199
01:08:20,880 --> 01:08:23,880
The entire career from beginning to end.

1200
01:08:23,880 --> 01:08:24,880
That's true.

1201
01:08:24,880 --> 01:08:25,880
Oh, my God.

1202
01:08:25,880 --> 01:08:26,880
That's so beautiful.

1203
01:08:26,880 --> 01:08:29,880
Oh, that's a rock and roll lifestyle.

1204
01:08:29,880 --> 01:08:31,880
And I'm not a rock and roll geek.

1205
01:08:31,880 --> 01:08:32,880
And now what you hate, man?

1206
01:08:32,880 --> 01:08:33,880
Hook that up for my boy.

1207
01:08:33,880 --> 01:08:34,880
No, hold on.

1208
01:08:35,880 --> 01:08:37,880
Right on time.

1209
01:08:37,880 --> 01:08:38,880
Right on time.

1210
01:08:38,880 --> 01:08:40,880
This is almost ready, isn't it?

1211
01:08:40,880 --> 01:08:41,880
Whatever.

1212
01:08:41,880 --> 01:08:42,880
Oh, you know what?

1213
01:08:42,880 --> 01:08:43,880
That's Jeremy.

1214
01:08:43,880 --> 01:08:44,880
Hello.

1215
01:08:44,880 --> 01:08:45,880
Okay.

1216
01:08:45,880 --> 01:08:47,880
Well, Adam is having this conversation.

1217
01:08:47,880 --> 01:08:50,880
And boring you to hear listening to that conversation.

1218
01:08:50,880 --> 01:08:52,880
Even I just doing a podcast.

1219
01:08:52,880 --> 01:08:55,880
So we're going to close out this special edition.

1220
01:08:55,880 --> 01:08:56,880
What give you a call?

1221
01:08:56,880 --> 01:08:57,880
From the curry cottage.

1222
01:08:57,880 --> 01:08:58,880
Okay.

1223
01:08:58,880 --> 01:09:00,880
In Guilford, England.

1224
01:09:00,880 --> 01:09:02,880
The Saturn Curry was Jeremy.

1225
01:09:02,880 --> 01:09:05,880
He was finishing his cell phone call, which he has now terminated.

1226
01:09:05,880 --> 01:09:06,880
Yeah.

1227
01:09:06,880 --> 01:09:07,880
All right.

1228
01:09:07,880 --> 01:09:08,880
You know what?

1229
01:09:08,880 --> 01:09:09,880
I need one more bit from you.

1230
01:09:09,880 --> 01:09:10,880
Because what we didn't talk about is that you.

1231
01:09:10,880 --> 01:09:11,880
The Adam.

1232
01:09:11,880 --> 01:09:12,880
You.

1233
01:09:12,880 --> 01:09:13,880
Yes.

1234
01:09:13,880 --> 01:09:14,880
This is the Adam.

1235
01:09:14,880 --> 01:09:15,880
I hope people listen to this because that was a lesson.

1236
01:09:15,880 --> 01:09:16,880
You had some great stories, man.

1237
01:09:16,880 --> 01:09:17,880
I love listening to that.

1238
01:09:17,880 --> 01:09:18,880
This would be good for people over the weekend.

1239
01:09:18,880 --> 01:09:21,880
They can carry it through like an hour and nine minutes already.

1240
01:09:21,880 --> 01:09:22,880
So let's.

1241
01:09:22,880 --> 01:09:24,880
It's a lot of treadmill time to be listening.

1242
01:09:24,880 --> 01:09:25,880
Yeah, no shit.

1243
01:09:25,880 --> 01:09:28,880
Well, maybe they already checked out who knows.

1244
01:09:28,880 --> 01:09:31,880
You hooked up the serious deal.

1245
01:09:31,880 --> 01:09:32,880
Yeah.

1246
01:09:32,880 --> 01:09:33,880
You're to blame.

1247
01:09:33,880 --> 01:09:34,880
I'm to blame.

1248
01:09:34,880 --> 01:09:35,880
Okay.

1249
01:09:35,880 --> 01:09:36,880
Go ahead and tell us what's the ability.

1250
01:09:36,880 --> 01:09:38,880
Tell us what happened, man.

1251
01:09:38,880 --> 01:09:39,880
Well, it's not.

1252
01:09:39,880 --> 01:09:40,880
It's not.

1253
01:09:40,880 --> 01:09:41,880
You know, it's not very exciting.

1254
01:09:41,880 --> 01:09:42,880
It's not as enticing as.

1255
01:09:42,880 --> 01:09:43,880
No, I know.

1256
01:09:43,880 --> 01:09:44,880
MTV story.

1257
01:09:44,880 --> 01:09:45,880
That's what.

1258
01:09:45,880 --> 01:09:46,880
Well, man.

1259
01:09:46,880 --> 01:09:47,880
It's almost as right.

1260
01:09:47,880 --> 01:09:50,880
But to me to bring closure Steve, we started with the MTV story.

1261
01:09:50,880 --> 01:09:51,880
But there's no closure.

1262
01:09:51,880 --> 01:09:52,880
This is a continuing epoch.

1263
01:09:52,880 --> 01:09:53,880
That's right.

1264
01:09:53,880 --> 01:09:54,880
So Adam is.

1265
01:09:54,880 --> 01:09:58,880
You know, on the front page of the New York friggin times.

1266
01:09:58,880 --> 01:10:00,880
This was a couple weeks ago.

1267
01:10:01,880 --> 01:10:03,880
And he's everywhere.

1268
01:10:03,880 --> 01:10:06,880
And I hear his podcast.

1269
01:10:06,880 --> 01:10:08,880
He's going to be in New York.

1270
01:10:08,880 --> 01:10:10,880
See the power of podcasts.

1271
01:10:10,880 --> 01:10:11,880
Yeah.

1272
01:10:11,880 --> 01:10:12,880
You know what?

1273
01:10:12,880 --> 01:10:13,880
I got to look him up.

1274
01:10:13,880 --> 01:10:17,880
I haven't seen his post since the days at MTV.

1275
01:10:17,880 --> 01:10:20,880
I kind of missed his whole dot com.

1276
01:10:20,880 --> 01:10:23,880
That chapter of the book sort of fell out of my.

1277
01:10:23,880 --> 01:10:26,880
Per view because I was immersed in my own.

1278
01:10:26,880 --> 01:10:28,880
Misha Goss.

1279
01:10:28,880 --> 01:10:33,880
So, um, I said, you know, I got to find him tracking down and I tracked him down.

1280
01:10:33,880 --> 01:10:36,880
And I said, you, uh, being in New York.

1281
01:10:36,880 --> 01:10:37,880
Yeah.

1282
01:10:37,880 --> 01:10:39,880
Hey, why don't you come up to serious.

1283
01:10:39,880 --> 01:10:43,880
Since you're a toy geek and a technology geek, you might like this.

1284
01:10:43,880 --> 01:10:48,880
And of course, I at the time mentioned it to Scott Greenstein, who's president of serious

1285
01:10:48,880 --> 01:10:50,880
music sports and entertainment.

1286
01:10:50,880 --> 01:10:52,880
And he said, oh, we got to get him here.

1287
01:10:52,880 --> 01:10:53,880
We got to get him here.

1288
01:10:53,880 --> 01:10:54,880
I said, no, no, he'll be here.

1289
01:10:54,880 --> 01:10:56,880
Oh, we got to get this podcasting thing going here.

1290
01:10:56,880 --> 01:10:59,880
And I said, you know, that's exactly what everyone envisioned.

1291
01:10:59,880 --> 01:11:00,880
So, we love their go.

1292
01:11:00,880 --> 01:11:02,880
I'm going to get him here.

1293
01:11:02,880 --> 01:11:04,880
I said, oh, well, you know, I'll feel be here.

1294
01:11:04,880 --> 01:11:06,880
You can talk to him.

1295
01:11:06,880 --> 01:11:08,880
Oh, great.

1296
01:11:08,880 --> 01:11:09,880
So, um, that's not fair.

1297
01:11:09,880 --> 01:11:10,880
He doesn't talk like that.

1298
01:11:10,880 --> 01:11:12,880
But anyways, he does talk like a radio guy kind of.

1299
01:11:12,880 --> 01:11:14,880
He's absolutely no radio.

1300
01:11:14,880 --> 01:11:18,880
He's a, he's a, he's a, he's a, he's a, he's a, he's a, he's a, he's a film

1301
01:11:18,880 --> 01:11:19,880
and an attorney.

1302
01:11:19,880 --> 01:11:20,880
He's a lawyer.

1303
01:11:20,880 --> 01:11:21,880
Oh yeah, low but low is there.

1304
01:11:21,880 --> 01:11:24,880
Yes, but he, if you ask him a legal question, I don't know.

1305
01:11:24,880 --> 01:11:25,880
I don't know.

1306
01:11:25,880 --> 01:11:32,600
Yeah, that's done great so invited Adam up and showed him all the toys because it's a pretty

1307
01:11:32,760 --> 01:11:40,200
interesting place when 50 fucking full-blown studios is like the entire podcast universe could fit in there

1308
01:11:40,200 --> 01:11:45,000
and happily live for the next 10 years cranking out great shit. Mind you it's in Midtown Manhattan

1309
01:11:45,720 --> 01:11:52,200
in a sexy location all the studios are all glass because the guy who designed this this Canadian

1310
01:11:52,280 --> 01:11:57,480
guy David Margolis had this vision and that's how he did it and back then in those days apparently

1311
01:11:57,480 --> 01:12:01,240
there was the resources to do it. Oh yeah that was dot com money to build that shit right and

1312
01:12:01,960 --> 01:12:06,440
I wasn't there I assumed so but you know in this in this day in age it would be you know

1313
01:12:07,160 --> 01:12:11,160
somewhere else and not a high rent district and it wouldn't be a sexy looking. Yeah

1314
01:12:11,160 --> 01:12:15,560
But all the toys and bells and whistles and tools and digital studios and work stations

1315
01:12:15,560 --> 01:12:19,160
and this people buzzing all over the place there's a positive

1316
01:12:19,160 --> 01:12:22,600
I emphasize that because in the entertainment business and a lot of not a lot of positive

1317
01:12:22,600 --> 01:12:28,360
there's a lot of positive young energy running around much probably like MTV was prior to Adam and I

1318
01:12:28,920 --> 01:12:33,880
you know art tour of duty through there but there's also a lot of old radio guys run I mean not old but you know

1319
01:12:33,880 --> 01:12:40,360
guys are doing radio shows who harking back and and are looking for the holy grail and want to be able

1320
01:12:40,360 --> 01:12:44,920
play things and talk about things and not be confined by because liner cuts that's right because it's

1321
01:12:45,000 --> 01:12:50,760
totally open format right or not or is it totally or did not totally open or does it depend on the channel

1322
01:12:51,560 --> 01:12:58,680
you know there there it is a commercial money making entity so there is that need the money making

1323
01:12:58,680 --> 01:13:08,440
part maybe not yet perhaps so you know there need to be successful in in that way and so

1324
01:13:09,160 --> 01:13:14,840
there is a desire need to find out what what response and feedback is the good part is there's no

1325
01:13:14,840 --> 01:13:20,440
parent company there's no you know big brother you know looking down upon you and say

1326
01:13:20,440 --> 01:13:26,760
via com on MTV you mean or any any big it's you know it's a publicly traded stock it's

1327
01:13:26,760 --> 01:13:32,440
yeah it's yeah it's you know you make your own bed you lay in it right so they're on their strategy

1328
01:13:32,440 --> 01:13:38,680
and they're moving it along so it was it was a moment where Scott had wanted to meet Adam and Adam came

1329
01:13:38,680 --> 01:13:45,960
up and I brought him into the office and the two of them started talking and you know Scott made

1330
01:13:47,720 --> 01:13:54,280
a podcasting overture that I guess Adam felt had some value to it and he and the gentleman you've

1331
01:13:54,280 --> 01:14:03,000
heard on on this show before or this podcast rather Ron struck a deal and I said well you know

1332
01:14:03,000 --> 01:14:10,280
I fucked up your life twice now yep so what are we going to do Steve on this show so there's

1333
01:14:10,280 --> 01:14:14,760
going to be a daily show on no what I fucked that what what that's the press release what are we going

1334
01:14:14,760 --> 01:14:20,520
to do what are we going to do what should we do I mean I I'm saying just sending your shit I'll put it on

1335
01:14:22,520 --> 01:14:28,760
well yeah I mean I think if anyone out there who's listening has something that is compelling

1336
01:14:29,480 --> 01:14:37,400
interesting left of center different unique tasty flavorful that's basically anything that is

1337
01:14:37,400 --> 01:14:43,240
an on regular radio they need to let Adam at the source code know about that and that's but there's

1338
01:14:43,240 --> 01:14:47,400
a special email drop where you could yeah well there's a couple and that that's for the daily

1339
01:14:47,400 --> 01:14:52,520
source code as well it's like that you know like the mashup today I got off with the so that's

1340
01:14:52,520 --> 01:14:59,000
mashup at podcast dot pod show dot com we have pod safe at pod show dot com and submit

1341
01:14:59,880 --> 01:15:06,680
so let's be a promo as your shows whatever you know like the newspaper USA today or some of you

1342
01:15:06,680 --> 01:15:13,960
might recall in school my weekly reader or even go back to readers digest not everybody has or

1343
01:15:13,960 --> 01:15:20,840
readers digest condensed books not everybody has the discretionary time to go to the source and

1344
01:15:20,840 --> 01:15:27,000
feel and and participate but they hear about it we want to be part of it and how do you do that

1345
01:15:27,000 --> 01:15:32,040
in this day of electronic choices where you're over mediated from all sides so there's this

1346
01:15:32,040 --> 01:15:37,560
going to be a daily for our program that satellite subscribers we have listened to where

1347
01:15:38,360 --> 01:15:43,720
Adam will act as the editor the filter of of turning you want to interesting things

1348
01:15:44,120 --> 01:15:48,440
that rather than you if you don't have the discretionary downtime which some people don't believe

1349
01:15:48,760 --> 01:15:52,840
or not of surfing and finding things out he'll be able to turn you on and be like the

1350
01:15:52,840 --> 01:15:59,000
canary in the coal mine the early adapter detector I like that I'll be the canary in the coal mine

1351
01:15:59,000 --> 01:16:03,720
because you know that when the carbon dioxide levels too high that's what the canaries for right

1352
01:16:03,720 --> 01:16:10,760
yes if he kills over so it would be great after that I guess it's time to say bye bye

1353
01:16:10,760 --> 01:16:15,640
hey you should have you should put us a bit of podcast for the show we'll see I need somebody

1354
01:16:15,640 --> 01:16:21,880
like you to help produce help no no not help produce but help me figure out the technical

1355
01:16:23,080 --> 01:16:29,880
way of putting it this 50 fucking studios there oh no no I would do this from from from from home

1356
01:16:29,880 --> 01:16:34,440
from the Chickaway studios in in suburban northern New Jersey you can you can sit on

1357
01:16:34,440 --> 01:16:40,520
John Elizabeth carries blanket there and talk about what other scum stains are like so with that

1358
01:16:40,520 --> 01:16:46,040
go into the museum with Monica Lewinsky's dress make it make a play stained records

1359
01:16:47,320 --> 01:16:51,320
all right Steve thank you very much man that was great let's do this again sure let's tell

1360
01:16:51,320 --> 01:16:55,320
it now but there's so many more stories three minutes on the train from Waterloo station

1361
01:16:55,320 --> 01:17:00,840
from the curry cottage an hour and 16 minutes on your MP3 player so we've overstayed our welcome

1362
01:17:00,920 --> 01:17:12,600
I'm sure sorry oops all right feedback Adam at curry dot com you can get the podcast feed

1363
01:17:12,600 --> 01:17:17,880
at daily source code dot com as we can find the latest episode of the archives remember this

1364
01:17:17,880 --> 01:17:22,360
weekend Patricia and I are hijacking the daily source code feed for a special Dutch addition from

1365
01:17:22,360 --> 01:17:31,640
the cottage and we'll be back Monday with more daily source code take care y'all bye bye