WEBVTT

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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.

07:31.440 --> 07:37.040
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.

09:45.600 --> 09:52.160
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.

11:22.800 --> 11:30.080
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.

11:49.120 --> 11:55.760
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.

11:59.680 --> 12:06.880
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.

12:43.520 --> 12:46.560
Number nine. So, the time it
must have been crazy in the
record business because this was
the

12:46.640 --> 12:52.480
beginning of really FM radio.
Right. And what was the vibe
about FM radio when it just
started?

12:52.480 --> 12:56.160
What were people saying about
it? Because I've heard stories,
but was it really analogous to
what

12:56.160 --> 13:03.040
we're, you know, what we've
seen. It was, it was called free
form progressive radio. And you
could be

13:03.040 --> 13:09.920
as loose or as open as you
wanted to. And you do things. I
remember I then did the
overnight

13:09.920 --> 13:16.640
CWHFS. And I remember one night,
station broadcast in stereo.
Actually, WHFS brought it.

13:16.640 --> 13:22.560
That was, it was a quad. That
was, oh, quad sure. Yeah. So,
you had to read your own
transmitter

13:22.560 --> 13:26.640
engineers. You had to have your
third class license and all
that. Yeah. And there was a red
button

13:26.640 --> 13:31.040
you pushed. If you were going to
play music more than a certain
length, it was in mono.

13:31.040 --> 13:34.640
Because you weren't allowed to
have the stereo generator on. If
you were broadcasting a mono, it
was

13:35.200 --> 13:41.280
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.

13:47.680 --> 13:53.840
It's about to come on. It's
going to go off. Oh, my god. I
can troll you radio.

13:54.480 --> 13:58.720
What used to do stupid messed up
stuff like that? You know, and
if you didn't feel like,

13:59.680 --> 14:05.680
you know, segueing records, then
it was records. Put on the side
of Bob Dylan, you know,

14:05.680 --> 14:10.800
sad-eyed lady of the low land,
which went on for low land. 14
minutes. It was more like 20.
Really.

14:10.800 --> 14:16.160
Or play a side of John Lennon
and the mother's invention at
the film more. You know, doing
scumbag,

14:16.160 --> 14:20.560
which went on for, wasn't it,
Frank's app on the mother's
invention? No, but it was John
Lennon

14:20.560 --> 14:26.400
from live piece in New York. Oh,
okay. So that's before my time,
man. That's okay. That's okay.

14:26.480 --> 14:30.240
So, you know, you could anything
went? You know, what was AM
radio doing?

14:30.240 --> 14:35.600
Were they tightly formatted?
Were they doing news and music
as well? Well, still the bigger
stations were

14:36.720 --> 14:41.760
in DC at the time the big
station was weamed 1390. The
weamed team red coats, the big
1390.

14:41.760 --> 14:45.920
Everybody. Good afternoon. So
still, it was a transition.
Don't we hear a team?

14:46.800 --> 14:52.320
If you were an audio file, you
had this great Mac daddy stereo
system with the gold, gold
plugs,

14:52.400 --> 14:56.240
gold connectors. No, those, no,
that was pre-gold. Yeah, it was
just one one. Yeah,

14:56.240 --> 15:01.920
if you're KLH speakers. Oh, that
was the shit. That was the state
of the art. You know, your
thorns

15:01.920 --> 15:07.920
turn table perhaps. Yeah. Yeah.
And, and, you know, you listen
to that. Oh, baby. Like the
headphones on,

15:07.920 --> 15:12.960
too. Oh, we used to do, oh, we
just had to have said an hour
every night, music for
headphones.

15:12.960 --> 15:16.960
And you'd find that the
trippiest records, whether it
was Pink Floyd or Jimmy
Hendricks,

15:16.960 --> 15:26.640
racing that phased back and
forth. Back and forth. Wow. Wow.
Okay. So it was, so you could
totally

15:26.640 --> 15:32.240
do whatever, what was the ratio
of talk and music? Was it like
WKRP kind of like Dr. Johnny
fever?

15:32.800 --> 15:36.880
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

15:36.880 --> 15:42.320
well. It could be. It was like,
hey, brother Dave, it's not
feeling too well today. So we're
going to play some

15:42.320 --> 15:47.520
tunes in the key of D next hour.
And you play an hours worth of
music in the key of D all segue

15:47.520 --> 15:51.200
together. And you come out and I
have to do, you know, 10 minutes
of commercials. And of course,

15:51.200 --> 15:55.360
I would love breaking them up
with like little vignettes from
the fire sign theater just to
mess

15:55.360 --> 15:59.200
with people. You're Steve
Gilmore used to produce some of
the fire sign theater stuff.

16:00.080 --> 16:04.640
You know, they have a wonderful
podcast, uh, site too. Yeah.
Yeah. The fire sign. Yeah.
After,

16:04.640 --> 16:08.640
they were on the Gilmore gang.
And after that, then they
started up the whole podcast,
uh,

16:09.520 --> 16:15.280
stuff that they're doing. Yeah.
Yeah. Totally. So so anyway, so
that all went fine except,

16:15.280 --> 16:20.800
you know, I was doing overnight.
It's a WHFS and making $60 a
week, sleeping all day, eating

16:20.800 --> 16:26.000
Roy Rogers hamburgers, ruining
my health. And I said this
sucks. So I got accepted at grad
school,

16:26.000 --> 16:31.280
at Syracuse Newhouse School of
Communications and went there,
got my master's degree. And then
I

16:31.280 --> 16:36.080
came back and I needed a job.
Okay. So, so, so, so, so, so,
so, so, so, so, so, so this new

16:36.080 --> 16:41.280
fangled thing, cable TV. So, I
go to the Warner Communications
Building, learning a suit.

16:41.280 --> 16:46.960
Now, this was, this was what
year was this? This is going to
be 73. Had you gotten laid

16:46.960 --> 16:55.280
about that point? Um, maybe
once. Okay. All right. Just
checking. And so, um, I ran to a
promotion

16:55.280 --> 17:00.160
person who said, what do you
don't want to wear in his suit?
That's time I saw you. You were
like,

17:00.160 --> 17:05.840
a bowl of fur, smoking a big
fatty with cactus. And I was
like, yeah, well, I got to find
a

17:05.840 --> 17:10.880
job. So, we might have one for
you. And lo and behold, I found
myself Columbus Day 73

17:10.880 --> 17:16.720
employed at $250 a week as the
local New York City rep for
Atlantic Records. Really? Which
was

17:16.720 --> 17:20.160
really cool because back then
Atlantic had the wrong stones.
And they have the left one.
Yeah, let's

17:20.160 --> 17:25.760
take a little longer. I'm
spinners, a wreath of Franklin,
et cetera, et cetera. Oh my god,
that's awesome.

17:25.760 --> 17:29.520
So, I didn't know what I was
doing. So, you had to promote
the local radio stations. So,

17:29.520 --> 17:34.480
is my job to suck up to the air
talent because then, for
example, WNWFM, which was a big

17:34.480 --> 17:39.360
Macdaddy station in New York
City, the jocks had told
discretion to play or not play
whatever

17:39.360 --> 17:42.960
they wanted. So, this was, this
is really important to know this
history because this is where a
lot

17:42.960 --> 17:46.800
of stuff, you know, it's
important what we're doing right
now with pod save music. Yes, it
is.

17:46.800 --> 17:52.240
Um, so was this in the payload
days, or pre the scandals, or
that was after the pills. No,

17:52.240 --> 17:56.320
man, there was nobody know that
people wasn't about, like,
getting the stuff. It was like

17:57.280 --> 18:02.160
appealing to a higher authority.
Like, this was the cool shit to
play. So, it's like, if you
wanted

18:02.160 --> 18:08.080
to play that track from, yes,
you'd play it. Or if you didn't
like, yes, and you preferred
midler,

18:08.080 --> 18:12.960
you'd play that. Right. Or I'm
just trying to set the timeline
history, pay all the scandals
that

18:12.960 --> 18:18.480
already happened, I think,
right? Yeah, I mean, and that
was almost, that was a different
kind of music

18:18.480 --> 18:24.080
and a format where rotation and
repetition mattered. And FM was
like, you want to play the same
song.

18:24.080 --> 18:28.560
That was my point. So, we had a
revolution really. People were
tired of the repetition and all
the

18:28.640 --> 18:35.440
crap on AM radio. FM radio came
along. It was basically loser
like you and me who had perfect

18:35.440 --> 18:42.000
faces for radio sitting up there
talking shit, right? You should
be so self deprivating about
that.

18:42.000 --> 18:46.000
No, this is our time. This is
the geeks and nerds are winning
now. That's the geeks. But you
were

18:46.000 --> 18:49.520
on television. So, you did it
all hair and makeup on. You come
on. You know how that works.

18:51.520 --> 18:57.120
So, it was a great, and it was a
fun time, and, you know, people
would play things and do things

18:57.120 --> 19:02.560
because they liked it. And it
was about the music and the
passion. And I excelled in that
and got promoted

19:02.560 --> 19:09.040
and clawed my way up the
corporate ladder until I
exceeded my own expectations and
found myself on

19:09.040 --> 19:14.800
employed. Well, whoa, whoa,
whoa, whoa, whoa, whoa. Wait a
minute, first of all. So, you're
promoting

19:14.800 --> 19:18.400
all these bands. You got to take
these bands up to the station
sometimes if they were in town?

19:18.400 --> 19:22.960
Yeah, okay. So, here, all right,
one here. Brian Ferrie, rock
scene music. Okay, Brian
Ferrie's first

19:23.040 --> 19:29.760
U.S. solo album. I drive, I'm
driving around in a 1968 yellow
Volkswagen convertible. Yeah.

19:30.560 --> 19:35.520
And we go up to the radio
station, W R and W and Breyer
Cliff Manor in New York. And
this is the

19:35.520 --> 19:42.000
station where Howard Stern
started? No. Yes, yes. But he
wasn't there at the time. This
was before Howard.

19:42.000 --> 19:47.440
All right. And the honor of
talent is a guy named Jeff Beck.
And Jeff Beck's going to
interview Brian Ferrie.

19:47.440 --> 19:51.680
Now you have to understand rock
scene music and Brian Ferrie are
huge act overseas. And the
states

19:51.680 --> 19:56.000
they mean absolutely nothing. I
mean, here's this good looking
guy with his slick back hair
doing

19:56.000 --> 20:02.240
a version of it's my party. No
way. Yeah. So, it's like it's
strange. Yeah, work this one
too.

20:02.240 --> 20:06.240
Love is a drug. Yeah. I'm just
going to play a little
background. Okay. So, we're
driving up the

20:06.240 --> 20:11.280
Henry Hudson where Westchester
and I put the top down and it's,
all right. So, he gets up there

20:11.280 --> 20:16.080
and the interview sucks. The guy
on the air has no idea who rock
scene music is. It has no idea

20:16.160 --> 20:20.960
Brian Ferrie's. But we model
through it. And then drive Brian
back. Well, Brian goes storming

20:20.960 --> 20:27.040
it to omit Irrigan's office and
says, you're putting a damn
convertible. My hair's blown up.
The guy

20:27.040 --> 20:32.640
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.

20:32.640 --> 20:39.200
Not in England in the UK, right?
All right. Or the time Mick
Jagger delivered the tumbling
dice record

20:39.200 --> 20:45.440
to Atlantic. And I scurry over
to WNW and give it to Scott
Muni, the late great Scott Muni.
Who plays

20:45.440 --> 20:52.240
it on the air? And then Mick
Jagger swagger's into omits
office. How's it sound on the
radio?

20:52.240 --> 21:03.040
He says, well, I like to hear it
on the radio. Get leads on the
phone. Leeds,

21:03.040 --> 21:06.400
mix and he wants to hear the
song. He just played it 10
minutes ago. I don't care.

21:06.400 --> 21:09.840
Got it. So, you had to call up
Scott Muni. So, I call, I
hotline Scott Muni. Listen,

21:10.400 --> 21:14.560
fats, I know you just played
this. But Mick Jagger's
listening to the radio right now
and he

21:14.640 --> 21:21.440
wants you to play it again. And
he did, of course, right?
Because Scott was that kind of
guy.

21:21.440 --> 21:27.360
Now, the payback was, Scott
would read live radio, come up
spots. At the time, the big
retailer

21:27.360 --> 21:33.760
in New York City discount,
retailer for records, was E.J.
Corfets. So, they'd give him
live copy.

21:33.760 --> 21:38.720
And it'd be this week, he's
exciting Atlantic albums on sale
at E.J. Corfets. Emerson Lake
and

21:38.720 --> 21:42.320
Palmer. Batman, the spinners,
the Rolling Stones, Led
Zeppelin, Blubber, and Heathrow
in

21:42.320 --> 21:47.120
your name. And you say Steve
Leeds? Right. And if you didn't
call him,

21:47.120 --> 21:53.920
you wouldn't listen and you got
into deep doo doo. Oh, my god.
What a power trip. Oh, no.

21:53.920 --> 21:58.720
That was bad. But I would, I
would be a good boy and I
usually catch him.

21:58.720 --> 22:03.600
But yeah, but lots of, this
Jockey Scott Shannon would do
that too. And, you know, when he
knew

22:03.600 --> 22:07.760
people were in town, he'd, he'd
mentioned them on the radio.
That's right. Yeah, he said,

22:07.840 --> 22:13.200
well, I have everybody who has a
good morning there. I think
they'd be DJ Adam Curry.

22:13.200 --> 22:18.640
And they'd be the DJ. Yeah. I
did kind of like those days.
They were kind of cool. Yes.

22:18.640 --> 22:23.440
But then I guess, I mean, it
kind of went away. Steve, what
was the turning point when it

22:23.440 --> 22:28.400
turned to the consultants? Is
that the, is that what did it?
The consultants really? The
consultants

22:28.400 --> 22:33.920
came in and commercialized and
made a business out of the
format and would come in with
their

22:34.640 --> 22:40.160
catalog on index cards, right,
with a second set of index cards
that had all the liners,

22:40.160 --> 22:48.000
where like more of the music you
want to hear or more music from
dead guys, you know, 13 dead

22:48.000 --> 22:53.520
guys in hour. And so, but why
did the consultants get brought
in? That's because there were a
lot of

22:53.520 --> 22:59.600
me. They were stations in
markets where the owners wanted
to try this newfangled format

22:59.680 --> 23:04.160
playing that music that for
them, though, young kids was the
long hair. But they didn't

23:04.160 --> 23:08.720
have to do it. And they were
scared of their license and they
needed a comfort zone. So if a
guy

23:08.720 --> 23:14.400
came in with a suit and a box of
records within index cards,
well, he must know because look
at his

23:14.400 --> 23:20.560
track record. So we bring him
in. And so it, it bred this new
breed of people who knew how to
read

23:20.640 --> 23:29.840
cards. Yeah. G. No time
references ever allowed. No
date. No weather. It was this
vacuum where

23:29.840 --> 23:34.400
you were so never supposed to
leave. And if you told people 10
minutes on the uphill side of

23:34.400 --> 23:37.760
eight o'clock, it's like, oh,
well, people are going to leave
it eight o'clock because they
got to go

23:37.760 --> 23:43.040
somewhere. Right. Which is kind
of what your front on the radio
should be to helping you do. I
had this

23:43.040 --> 23:48.400
horrible nightmarish fantasy and
it happened to me. I was
somewhere in the Carolinas and I
woke up and

23:48.400 --> 23:54.160
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.

23:54.160 --> 23:57.840
Right. Right. And the radio is
not telling you the day. It's
just a generic,

23:57.840 --> 24:01.920
could-top 40-session. Where how
am I? I had to open the window
and look out and see that there
was

24:01.920 --> 24:07.680
sun. But that was what radio was
supposed to be doing back then
according to the concerns.

24:07.680 --> 24:11.360
And who were these independent
consultants? What were their
backgrounds? How, how did the

24:11.360 --> 24:15.760
someone must have gotten started
with something? Must have been
some seminal station that got

24:15.760 --> 24:21.040
it all going. Well, funny
enough, the guy who's the head
of programming at XM,

24:21.040 --> 24:26.240
guy named Lea Abrams. Yeah. And
he really was the guy who, he
was the young,

24:26.240 --> 24:32.720
wonderful, wonderful, who had
had some success in the Midwest
in Chicago and he partnered up
with

24:32.720 --> 24:38.240
the guy named Kent Burkhard out
of Atlanta and Kent was the
sales guy who had much success
in the

24:38.240 --> 24:44.320
world of top 40 CHR and he
brought this young kid in and
they were just rolling because
it was

24:44.320 --> 24:50.880
the format was called
Superstars. Hey, everybody,
Superstars, Superstars. And it,
you know,

24:50.880 --> 24:56.880
really for a while was the
thing. That was the format. It
was almost like a national
playlist almost.

24:56.880 --> 25:00.320
Right. Was that, was that time
that radio and records became
important as the-

25:00.320 --> 25:05.920
later, the play- because that's
really- so if we shuttle
forward, and this is just
fascinating.

25:05.920 --> 25:10.240
So in podcasting, I'm just
trying to draw analogies that
you can well understand.

25:10.880 --> 25:17.360
The commercialization came with
the consultant. So it was really
fucking with the content.

25:18.160 --> 25:24.400
But then big business became
involved because the music and
the record industries could
generate

25:24.400 --> 25:28.960
huge amounts of sales. If all
these Superstar stations started
playing tracks from albums,

25:28.960 --> 25:34.400
there was this massive, you
know, effort of sales that would
be- we'd come out of the
exposure.

25:35.040 --> 25:40.320
And then the concert business
would, you know, follow with
that because they would begin
the

25:40.320 --> 25:45.120
roots of the dreaded radio
concerts. And so you could break
a band on that format,

25:46.160 --> 25:51.360
bring the band in and so you
develop the following. So like,
always honky Dorian, everybody's

25:51.360 --> 25:55.600
having a lot of fun making a lot
of money. But it was, again,
short-term thinking.

25:56.240 --> 26:02.160
Because it all came crashing
down, you know, and then it was
like, we've developed nothing.

26:02.240 --> 26:08.640
We've built no careers or bands.
We've got a bunch of faceless
songs. We've mentored no air
talent.

26:08.640 --> 26:12.800
And there's no training ground.
You know, then you can go to the
broadcasting school.

26:12.800 --> 26:16.480
But no one knows how to pick a
grade. I've had all these guys
who had great sounding voices,

26:16.480 --> 26:19.280
great sounding names, and they
could read better than anybody.

26:19.280 --> 26:21.040
But they had the personality of
a dish rag.

26:21.040 --> 26:22.400
Well, there was no personality.

26:22.400 --> 26:26.800
Yeah. You know, I- I'm a
graduate of the Connecticut
School of Broadcasting.

26:28.400 --> 26:29.040
Did you know that?

26:29.440 --> 26:31.680
I have certificate.

26:32.720 --> 26:34.880
Well, you could always go back
there and be a faculty member
now.

26:37.120 --> 26:42.560
That's always plan B. Oh, no.
That's why you moved to the
curry cottage to Guildford.

26:42.560 --> 26:48.400
Well, I want to start my new, my
Guildford School of Broadcasting
School of Broadcasting.

26:48.400 --> 26:52.640
That'll be perfect, wouldn't it?
So it has a nice ring to it.

26:52.640 --> 26:57.520
So what do we have to do this
time? There are some key
differences. One is,

26:58.240 --> 27:03.760
you know, we don't have to try
and ram 13 songs into an hour
because we have no defined time.

27:03.760 --> 27:08.720
And we have infinite number of
frequencies. The spectrum is
infinite.

27:08.720 --> 27:15.760
Compared to fragmentation,
opportunities, or for immense
playgrounds, audio playgrounds
for people

27:15.760 --> 27:24.640
to develop their craft. And
expose new unfamiliar things.
There's no stinking playlist.
There's no stinking consultant.

27:24.720 --> 27:31.360
All there is is this wide open
pallet. And each one of you an
artist with a paintbrush, and
you can just, you know,

27:32.160 --> 27:37.760
it's not about moving things
around. It's like taking
something brand new and opening
and exposing it.

27:37.760 --> 27:45.600
And it's basically where
underground FM free form radio
was back in the late 60s, early
70s.

27:45.600 --> 27:50.880
Podcasting offers that amazing
opportunity. Freedom. Right on.

27:51.840 --> 27:58.080
Now there's a lot of talk about
the commercialization of
podcasting. Well, I think we all
are

27:58.080 --> 28:02.880
capitalists. At the end of the
day, we all have to have a roof
over our head and food in our

28:02.880 --> 28:10.560
tummies, low fat foods,
cholesterol free. No cheese.
She's not listening. Okay. This
is not brought to you

28:10.560 --> 28:16.560
by the American area
association. No, not this time.
Not this time. But so, yes. So,
you know what?

28:16.560 --> 28:24.400
So, we can all stay in that cool
ethos of non commercial world
and fantasy. But, you know what?

28:24.400 --> 28:32.000
We all are maturing. We have
families. We have personal
needs. We all want to have the
new iPod.

28:32.000 --> 28:38.960
We all want to have super fast
computers and connections in
that cost money. So, you know
what?

28:38.960 --> 28:45.360
We have to deal with that. And
there are people who want to
reach this audience. And you
know what?

28:45.360 --> 28:52.320
So, it's not about playing eight
minutes of gibberish every hour.
There may be somewhere in there

28:52.320 --> 28:58.560
a few minutes of information
that you might find useful and
helpful in your world. Or you
could choose

28:58.560 --> 29:05.680
to fast forward, you know, or
not listen or go away. I mean,
the beauty of the media today is
no one's

29:05.680 --> 29:10.080
forcing you to do anything. If
you don't like what you hear, do
something else. Go change the
channel.

29:10.720 --> 29:16.880
Switch the frequency. How up to
another playlist. It's all
about, you know, choices and
freedom.

29:16.880 --> 29:24.480
And so, if something isn't your
cup of tea, move on. But there's
nothing wrong with bring some

29:24.480 --> 29:30.080
Monet into it and monetizing it
because you guys need to be
monetizing it rather than big

29:30.080 --> 29:35.920
brother coming down and saying,
okay, here's what we're going to
monetize it. Right. Right on.

29:36.000 --> 29:41.360
Right on. Well, I'm really
excited about the the music
angle of it, the pod safe music
angle.

29:42.080 --> 29:47.040
Because I think we're building
our own music industry. In many
ways, very analogous to what you
just

29:47.040 --> 29:55.440
spoke about, only again, you
know, the the amount of choice
and the amount of freedom that
the

29:55.440 --> 29:59.600
artists have, particularly to do
their own sales. I mean, that's
what I think is really cool.

30:00.480 --> 30:04.960
And their own distribution.
However, it's still limited
online. You know, it's still
just

30:04.960 --> 30:09.360
is a limitation compared to what
you can do with the distribution
Starbucks. You know, I mean,

30:09.360 --> 30:15.040
Jesus, those guys sell some
fucking records. You know, like
that puts some of the majors to
shame

30:15.040 --> 30:20.480
these days how well they're
doing. So there's going to be
alternative forms of
distribution that

30:20.480 --> 30:25.520
will also tap into. Maybe it
will be the next Starbucks. You
know, it could be maybe the next
time

30:25.520 --> 30:30.400
you go to Starbucks, it's an
iPod filling station wireless or
something like that. You know,

30:30.400 --> 30:34.560
stuff like that could happen. So
I think we just have to kind of
grow into it. I think that's

30:34.560 --> 30:41.360
what I feel is all these
opportunities are here. And we
have to figure out what the new
ways

30:41.360 --> 30:47.200
are going to be. You know, we
still have to be developed.
Personally, what I find
interesting would be

30:48.000 --> 30:54.400
the critical mass of music
exposure of pod safe music. That
is stuff that is not

30:55.440 --> 31:02.720
put out by any international
music company, but is receiving
a lot of airplane exposure
through

31:02.800 --> 31:08.400
the world of podcasting and the
challenge I raise is I wonder if
someone can put together a pod
safe

31:09.280 --> 31:15.520
airplane chart of the most spun
spun terrible work. Well, most
played pod safe music. It's

31:15.520 --> 31:19.200
interesting. You say that
because that's exactly what part
of the pod safe music network is
going to

31:19.200 --> 31:24.960
be unbelievable. Did I tell you
that? I don't know. No, because
I mean, this is, I'm not saying

31:24.960 --> 31:29.280
you well, thank you anyway.
That's exactly what we're doing.
You know, it's going to be

31:30.240 --> 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

31:37.680 --> 31:43.040
demo material to make whatever
they want available to
podcasters and or regular
listeners.

31:43.040 --> 31:46.560
You know, some licensing
options. You know, basically
creative comments. You can say
how it can

31:46.560 --> 31:51.440
be used, but the point would be
you let it, you let your songs
be played on podcasts. And then

31:51.440 --> 31:55.680
there's a place where podcasters
to log in. And there's a whole
bunch of statistics there,
obviously

31:55.680 --> 31:59.600
most downloaded, you know, all
kinds of charts. But one of
those charts, of course, is
going to be

31:59.600 --> 32:04.000
most played. You know, that's
going to be really interesting
because then we, I mean, then
you basically

32:04.000 --> 32:13.200
close the loop, right? Totally,
totally awesome, dude. No, it's
all the way. We never finished.
We're

32:13.200 --> 32:16.800
like, wait, we're not, let's
play some music for a second.
Let's play, uh, what do we play?

32:16.800 --> 32:20.800
I'm going to play that mashup
that I played earlier for you.
Oh, this is awesome. Yeah,

32:20.880 --> 32:26.880
this is, uh, this came into the
mashup at podshow.com email
address for the series show

32:26.880 --> 32:31.920
exclusive on the source. The
goes that feeds Ray Parker Jr.

32:33.750 --> 35:36.250
[ Music ]

35:38.800 --> 35:46.800
Ray Parker, Jr. versus nine inch
nails on the daily source code
sent to us by Craig Maloney says
he

35:46.800 --> 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.

35:54.800 --> 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

36:00.800 --> 36:04.800
all the cool stuff, all the
history. You got a lot of
knowledge about just how things
work and you

36:04.800 --> 36:09.200
work with some amazing people.
Just give me a couple of the
names of the people that you
work with

36:09.200 --> 36:13.040
that you've either through
promotion or just working with
them and you're some of your
favorites.

36:13.040 --> 36:20.800
You really hung out with that
you really met. Like Joan Jet, I
mean, you really were

36:20.800 --> 36:28.000
closely with Joan. She was at my
wedding. Oh, there you go.
Before I forget. Yes, sir.

36:28.720 --> 36:34.000
Do you know who is the hugest
Joan Jet fan and would really
want to interview her

36:34.080 --> 36:42.240
just like the most fucking
enormous, huge fan? No, who rock
and roll geek, Michael Butler.

36:42.880 --> 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

36:46.480 --> 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.

36:52.160 --> 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.

36:57.680 --> 37:02.560
Yeah, could you hook that up,
sir? Yes, you'll give me his
contact information. I will call
Lenny Kuhuna.

37:04.240 --> 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

37:08.240 --> 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

37:18.000 --> 37:22.560
rock and roll geek, man. Okay,
thank you. So, Joan, he's what
I'm feeling. I'm feeling yeah.

37:23.840 --> 37:28.080
Well, I've been blessed and
privileged to work with a lot of
people on both sides of the
fence,

37:28.160 --> 37:37.600
super executives, you know, like
Chris Blackwell and Doug Morris.
So, you know, those are people
who,

37:37.600 --> 37:46.640
you know, you feel blessed to
work with. And then the artists,
you know, George Thurgood,

37:47.040 --> 37:53.680
when I was on my own, the first
album on round of records was
something important and going
out

37:54.000 --> 37:59.920
with the stones and their 78 to
or same thing with Emerson Lake
and Palmer in their heyday

38:02.240 --> 38:07.040
Robert Plant, like convinced him
to do his first interview in
the, you know, in the Led
Zeppelin's

38:07.040 --> 38:13.520
heyday back in the 75 with New
York legend Allison Steele, the
night bird, right? And he'd
never ever

38:13.520 --> 38:22.320
done, you know, an interview
like that, you know, or, let's
see, you two have been over the

38:22.320 --> 38:32.560
years so kind to me, really. I
actually work the octane baby.
So those guys are including

38:32.560 --> 38:36.960
Bono, they're all really nice.
Yeah, I mean Bono pulled a
little out of two on the ones.
That's

38:36.960 --> 38:40.160
why. Maybe I just, I don't know,
maybe I pissed him off and was
unaware of it, but

38:40.400 --> 38:46.480
well, they, you know, they were
very cognizant of what a record
promotion person does. And when

38:46.480 --> 38:52.480
their record was knocked out of
number one at the radio airplane
chart by Blind Millen for one
week.

38:54.480 --> 38:59.200
It pissed me off because capital
records pulled a fast one at the
time and what is that being?

38:59.760 --> 39:05.840
They actually paid a station to
play the song like a million
times in the overnight. But
that's

39:05.840 --> 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

39:13.680 --> 39:18.800
that station to play a song as
long as you disclose that
information. If you disclose it
on the air,

39:18.800 --> 39:23.040
yeah, and, and you have no
personal gain and the station's
getting paid. Well, first of

39:23.040 --> 39:29.200
personal gain. No, no, no, no,
no. The station is selling
advertising. The following
version of

39:29.920 --> 39:34.640
Blind Millen is brought to you
by capital records is perfectly
legal, really. Yes. Well, why
don't

39:34.720 --> 39:38.480
they just do that then? Well,
there's a lot of stations that
do do that in overnight. They
offer

39:38.480 --> 39:42.800
rather than selling a four
minute block of four different
commercials to sell a four
minute hitting

39:42.800 --> 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

39:46.720 --> 39:52.240
podcasts. Can they just do their
own? Well, why is it? Well,
okay. There you go. Do your own.
Do

39:52.240 --> 39:55.600
you want to thank him. But when
you hear someone talking
passionately about record,
that's something

39:55.600 --> 40:00.000
else. But anyway, that's pretty
amazing. So, so they saw the
record back to number one. Wait,

40:00.080 --> 40:04.480
wait, hold on a second. I'm
sorry. I'm not even understands
how this works. Sorry. So, you
buy the

40:04.480 --> 40:09.680
time that plays the record and
then multiple times. Multiple
times. So, they got enough
additional

40:09.680 --> 40:15.840
airplay. It jumped over,
chemically. The number of spins.
You too, Dr. Justin. Just so you
understand

40:15.840 --> 40:20.880
because the top 40 charts that
compiled partially. Well, this
was the modern rock chart. Okay.

40:20.880 --> 40:24.720
So, but all charts, I think, are
still compiled partially through
cumulative number of

40:25.680 --> 40:31.360
impressions, aka spins. How many
times it's played in a given
time period? Interesting. You

40:31.360 --> 40:34.720
use the word impressions because
that's something that shows up
in the banner world as well.

40:34.720 --> 40:41.040
That's pretty interesting. So,
okay. So, that's basically
buying your spot in the chart.
Right.

40:41.040 --> 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

40:46.240 --> 40:51.840
compiled now, or that's still no
sound scan is the sales sales.
Right. What we're talking about

40:51.840 --> 40:58.720
is either media base or BDS.
What the fuck does that mean?
There's two competing services
that

40:58.720 --> 41:03.920
record companies and radio guys
look at. There's BDS, which is
broadcast data systems, which is

41:03.920 --> 41:10.480
owned by the fine Dutch company,
VNU, Yahoo, who owned Nielsen.
They own Nielsen correct. And
they

41:10.480 --> 41:14.960
have computers that are hooked
up to all major market radio
stations and secondary markets

41:14.960 --> 41:20.080
and monitor 24 hours, day seven
days with every single frigging
song they're playing. And that's

41:20.160 --> 41:26.720
tabulated into million different
subsets depending on what
information you're looking for.
Media base

41:26.720 --> 41:31.600
is owned by premier networks,
which is owned by clear channel.
Right. And they have a similar

41:31.600 --> 41:38.320
service, except there's up until
several months ago was human
monitored. And there would be a

41:38.320 --> 41:43.760
skimmer tape developed fed down
your internet connection. And
then somebody's sitting there

41:43.760 --> 41:49.120
and going through the songs. And
there are people actually out
there in radio and who can

41:49.200 --> 41:53.200
listen to a five second snippet
and know what that is. And they
type up a playlist. It's called

41:53.200 --> 41:59.040
the hit test. By the way,
obviously, you would never be
able to be employed by media
base

41:59.040 --> 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

42:06.560 --> 42:12.880
those are the two monitoring
services that the industry is
used to reflect what's going on
in

42:12.880 --> 42:18.960
radio land. Interesting. All
right. So those guys should be
fucking frightened of us
because,

42:18.960 --> 42:23.600
you know, that's what DRM, what
that actually does is they, you
know, within, I know it's within

42:23.600 --> 42:27.760
every Microsoft player, probably
within every, or Microsoft base,
you know, like all the other MP3

42:27.760 --> 42:33.680
players. But also probably on
the iPod is they can track when
you play, you know, when you
press

42:33.680 --> 42:39.040
play and when you stop, they can
track exactly the device can
track exactly, you know, what
you

42:39.120 --> 42:45.120
listen to. And we're not feeding
it back. I guess. I mean, who
knows what what Apple and my,

42:45.120 --> 42:50.080
well, you know about grace note,
right? No. Okay. When you put a
song in your computer,

42:50.080 --> 42:54.640
that was CD in your computer.
Yeah. And it pops up. It tells
you what the, what it is. It
identifies.

42:54.640 --> 43:00.400
It's already sent that to home
base. No. When you start
listening to that, it sends it
to grace note.

43:00.400 --> 43:05.280
And they actually, if you go to
gracenote.com, publish, not
publish. It's wrong word. They
make

43:05.280 --> 43:12.480
available international charts
of the most listen to songs.
Sorry, correction. Most listen
to CDs

43:12.480 --> 43:18.800
or albums by artists
internationally. Really. They
don't, they, they do have the
availability

43:18.800 --> 43:23.200
and the technology to drill it
down to. Here's the most listen
to music and gilfirding one.
Right.

43:23.200 --> 43:28.080
They could do that. But they
have to be incentivized to be
able to do that. But that
database is already

43:28.960 --> 43:34.080
evolved and they're fabulous. So
those are the guys that bought
CDDB, I think. They are.

43:34.080 --> 43:39.360
Yeah. They are. You know that I
was one week late of buying
that. I wanted to buy it and I,

43:39.360 --> 43:43.040
and I, and I called the guy said
we just sold it to someone else.
Like a ridiculous amount. Like,

43:43.040 --> 43:46.880
you know, 75 grand or something.
I knew it was, I knew that was
going to be fabulous.

43:47.920 --> 43:51.600
Interesting. So are they using
that data? Are they selling that
to anyone yet?

43:51.600 --> 43:55.360
They haven't figured out how to
monetize it. Oh, man. What have
some ideas?

43:55.360 --> 44:00.240
Well, they know they know, but
they haven't found people who
want to pay for it. And they
have no

44:00.240 --> 44:05.120
idea with the economic where
it'll be. And I'm derelict in my
responsibilities because
somebody

44:05.120 --> 44:10.960
there has offered that research
information on trial basis to me
to share with folks up at one

44:10.960 --> 44:15.760
of my clients. Yeah. We should
look at that. We should look at
that. Yes. So you just said
clients.

44:15.760 --> 44:21.920
Because now interestingly
enough, Steve, you're a
consultant. I, I'm an
consultant. That. Okay.

44:21.920 --> 44:27.680
I'll take that. And we should
talk about your MTV years and
stuff. But let's do that on the,

44:27.680 --> 44:32.480
on the next time in New York.
Oh, because we're like 44
minutes. I still want to get
your

44:32.480 --> 44:37.600
cream review. Oh, yes. Yes.
Well, the reason, the reason I'm
here. Yeah. So that's not a

44:37.600 --> 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?

44:42.480 --> 44:48.240
Sure. I have a very good friend
in London who has been involved
in the music industry for

44:48.240 --> 44:52.960
the last 20 some odd years. And
when I'd heard that there was a
possibility that cream

44:53.040 --> 44:56.800
we're going to reunion constant
royal Albert Hall. I called him
up and I said, listen, if this

44:56.800 --> 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

45:02.480 --> 45:08.960
want to tell us who this? No,
it's my friend Peter Price.
Peter Price, Peter Price, the
pick of Pickle

45:08.960 --> 45:14.400
Pipper Puppers. I can pop my
piece. I'm very careful. Yeah,
it's perfect. Yes, it's
perfectly

45:14.400 --> 45:20.000
really. Radio, shack. Everybody.
It's a handy mic. Not handy, but
handy. Really. I'm Peter. Peter,

45:20.000 --> 45:24.640
I met Peter when he was managing
musical youth and passed the
dog. He asked the Dutchy by the

45:24.640 --> 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.

45:29.040 --> 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

45:33.040 --> 45:38.800
youth first. And Peter had done
promotion at Virgin Records UK.
He had done international.

45:38.800 --> 45:43.520
He was the managing director of
W. E. A. Ireland. He came back
to work.

45:43.680 --> 45:56.960
Yep. That was a big hit.
Remember the huge hit. All
right. So all these pop radio
stations

45:56.960 --> 46:01.760
are playing this song and they
don't really know what's a
Dutchy. What back of the time
you

46:01.760 --> 46:05.440
mean? Yeah. Yeah. I think most
people understood it's Steve.

46:06.640 --> 46:13.440
I don't think so. No. Okay. So
anyway, so Peter, that's how I
met Peter.

46:13.440 --> 46:18.480
Over that song. And over the
years, he's worked for
Stockhaken and Waterman. Now
he's doing some

46:18.480 --> 46:26.640
international work for
Universal. And he's just a
friend and a guy who I've worked
with over the

46:26.640 --> 46:31.840
years. We've known each other.
And you know, in fact, I'm
staying with him in this trip in
London.

46:31.840 --> 46:37.920
Yeah. All done. We have an
intermission. Hello, dear.
Hello. Yeah. Good. We're just
winding up. Steve's

46:37.920 --> 46:45.360
going to do his cream review.
Cream, something very filled
with rich, fat, dairy product.
Very unhealthy.

46:45.360 --> 46:50.400
Finally some cream today. Cream.
By the way, in England, they
have this thing called

46:50.400 --> 46:56.880
clotted cream. Yeah. You might
as well just like inject fat
into your arteries. It's the
most unhealthy

46:56.880 --> 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

47:00.080 --> 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.

47:05.280 --> 47:10.240
Heart attack on a bone. Heart
attack on a bone. But it's good.
Sounds like a recipe. This is
what

47:10.240 --> 47:14.800
we didn't talk about this
because Steve, do you know what
August 5th is? Is that someone's

47:14.800 --> 47:20.240
anniversary? Yeah. That's right.
Because Patricia and I decided
to get married in New York.

47:20.240 --> 47:27.040
Yeah. And was it kind of like a
988? 88. Yeah. We said, uh, how
about Friday, right? Did we?

47:27.040 --> 47:30.720
Was it something like that? How
about Friday? Yeah. It's okay.
It's good. We had to go to

47:30.720 --> 47:37.120
down the city hall and we needed
a witness. Can't I get a
witness? Yeah. You remember
Steve?

47:37.120 --> 47:43.440
Yes, I do recall that moment in
city hall where the act was
committed. Yeah. That was cool.

47:43.440 --> 47:49.520
It does. How many years ago?
It'll be 18. 18 years folks and
they haven't fought a day.

47:50.080 --> 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

47:56.880 --> 48:03.360
happy as youthful and young and
fresh as the day you married us,
Steve. Actually, the only
difference

48:03.360 --> 48:09.280
is Adam's hair is differently
clothed. That's true. Maybe
there was a couple in front of
us,

48:09.280 --> 48:12.720
like some punk rock and they
were getting married and they
needed a witness and I was there

48:12.720 --> 48:20.960
witness. Yeah. Oh, yeah. And I
don't have that thing you may be
growing the back of my hair.

48:20.960 --> 48:24.880
What? Appreciate you kept
telling me I needed to have a
ponytail? No.

48:25.840 --> 48:31.760
Hair on your shoulders? No. What
do you? A little braid? No, I
had that. But no, you kept
telling me,

48:31.760 --> 48:38.160
let the hair grow in the back.
It should go down in the back
longer. Oh, okay. She was my
stylist.

48:38.160 --> 48:44.400
That was my stylist. She did
Adams hair. Adam went on the
roadie. We had to send a hair
stylist

48:44.400 --> 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

48:49.200 --> 48:54.080
to have one. And let's see, we
tried getting him corporate
endorsements for hair products.

48:54.160 --> 48:59.120
Just never worked. I wish
someone had done that. No one
ever approached me about a hair
endorsement.

48:59.120 --> 49:04.800
You could have been the first
pearl guy. Oh, no. I think they
went for the short cut gay guy.
Look.

49:04.800 --> 49:11.520
That's true. Pearl. They call
you the big hair guy. Yeah. They
still call me for so many years.

49:11.520 --> 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.

49:17.920 --> 49:22.080
Yeah. Exactly. Exactly. That's
right. That's right. Madonna,
Michael and Nate.

49:22.080 --> 49:26.720
He's a good company. Yeah. A
really good company. It was. And
that's how he can walk around.

49:26.720 --> 49:32.160
Michael Jackson now didn't do
anything. Michael Jackson. I
think he didn't do this. I think
he's

49:32.160 --> 49:35.920
being fucking. He's being
fucked. Did you do this? There
was an article on the New York
Post. It showed

49:35.920 --> 49:42.160
his, he has a hair weave in the
front. Yeah. I wonder. And it
was like, can you imagine

49:42.160 --> 49:48.000
with all the plastic surgery?
And now he, like, has hair
implants? I don't know. I've
never had

49:48.080 --> 49:53.520
a contemplate that. We see just.
I thought he was a whole week.
But answer the question.

49:53.520 --> 49:59.840
Michael Jackson, did he do it or
not? Is he guilty? What is it?
Child malestation?

50:00.640 --> 50:05.760
But what does that mean? What
is, when you see child
malestation, he's slept. It's
it's clear.

50:05.760 --> 50:09.840
He slept with no, that's not
child malestation. No. No. So
you're talking touch.

50:10.560 --> 50:14.880
You did. You graved robbed.
Every man. No, no, no. That's
not what you got me.

50:14.880 --> 50:16.780
That's great, great, really.

50:16.780 --> 50:18.680
Never's feelings, what I did.

50:18.680 --> 50:21.380
And you can't edit on podcast,

50:21.380 --> 50:22.880
wait, no, I don't even think
that's the same trouble

50:22.880 --> 50:25.780
when I got it in the Realize of
Nicor Filiac.

50:25.780 --> 50:27.880
Yes, what are you doing?

50:27.880 --> 50:29.880
Yeah, wait, how old is he when
you stole his heart?

50:29.880 --> 50:30.880
But you've met Michael Jackson.

50:30.880 --> 50:31.880
I've met him.

50:31.880 --> 50:32.880
You've met Michael.

50:32.880 --> 50:35.380
I've never had touched the glove
one.

50:35.380 --> 50:36.880
I've never touched him.

50:36.880 --> 50:40.880
Wasn't there a story about him
and Tommy Matola and Alimo?

50:40.880 --> 50:43.880
Oh, that's, no, that wasn't
Tommy Matola that was,

50:43.880 --> 50:45.880
that's for another episode.

50:45.880 --> 50:47.880
In fact, you'll have to
interview Harvey Leeds for that.

50:47.880 --> 50:48.880
Will he tell the story?

50:48.880 --> 50:50.880
Is he going to chicken shit like
you just didn't?

50:50.880 --> 50:51.880
No, no, he don't.

50:51.880 --> 50:52.880
He'll tell the story.

50:52.880 --> 50:55.880
Yeah, he has the specifics much
more graphically than I do.

50:55.880 --> 50:56.880
I would love to hear that.

50:56.880 --> 50:57.880
Yeah.

50:57.880 --> 50:58.880
Well, he got our Harvey's trip
to Neverland,

50:58.880 --> 51:00.880
tune in for that particular
episode.

51:00.880 --> 51:01.880
Okay.

51:01.880 --> 51:02.880
What I'm in New York.

51:02.880 --> 51:03.880
Are you good looking?

51:03.880 --> 51:06.880
Is that, you'll have to ask him.

51:06.880 --> 51:09.880
Just check out, both all the
Leeds boys are good looking.

51:09.880 --> 51:11.880
Yeah, all two of them.

51:12.880 --> 51:13.880
Yeah, they are, they are.

51:13.880 --> 51:16.880
She said as we stare at the Star
Sisters photo outside the door.

51:16.880 --> 51:17.880
No.

51:19.880 --> 51:22.880
Um, all right, so anyway, so
Peter Price.

51:22.880 --> 51:24.880
Oh, so he got us tickets.

51:24.880 --> 51:25.880
We're almost done, huh?

51:25.880 --> 51:26.880
All right, we'll be down in a
bit.

51:26.880 --> 51:27.880
All right.

51:27.880 --> 51:28.880
Okay.

51:28.880 --> 51:29.880
Good bye.

51:29.880 --> 51:31.880
And then could you turn the red
light back on again over the
studio door?

51:31.880 --> 51:33.880
So people know not to just come
in.

51:33.880 --> 51:34.880
No, just come in.

51:37.880 --> 51:40.880
So we got tickets for Royal
Albert Hall for the third night
of four.

51:41.880 --> 51:42.880
Right on.

51:42.880 --> 51:44.880
And got very good seats.

51:44.880 --> 51:46.880
Not ever been to Royal Albert
Hall.

51:46.880 --> 51:49.880
Not knowing what a nice place it
is to enjoy music.

51:49.880 --> 51:51.880
Do you know how many holes it
takes to fill the Albert Hall?

51:51.880 --> 51:53.880
No one really knows.

51:53.880 --> 51:56.880
But it's surprising to you that.

51:56.880 --> 51:57.880
I could.

51:57.880 --> 51:58.880
I could.

51:58.880 --> 52:00.880
So how was it, dude?

52:00.880 --> 52:02.880
So is Ginger Baker like ancient
now?

52:02.880 --> 52:03.880
He's only 65.

52:03.880 --> 52:05.880
But he looks ancient, doesn't
he?

52:05.880 --> 52:06.880
Well, he looked ancient back in
60.

52:06.880 --> 52:08.880
That's like Charlie Watts, like
his drummers man.

52:08.880 --> 52:10.880
They always look old when they
get going.

52:10.880 --> 52:11.880
They do.

52:11.880 --> 52:12.880
They do.

52:12.880 --> 52:14.880
But the audience last night was
amazing for me.

52:14.880 --> 52:15.880
It was the audience.

52:15.880 --> 52:18.880
Because there was nobody there
under 40.

52:18.880 --> 52:19.880
Right.

52:19.880 --> 52:25.880
And the merchandising booths
where they're selling, you know,
20 pound t-shirts and eight
pound

52:25.880 --> 52:31.880
coffee mugs and $60 jackets if
you want to go that way or a $35
loan.

52:31.880 --> 52:33.880
A little bit of the ground
pound.

52:33.880 --> 52:34.880
Yeah.

52:34.880 --> 52:35.880
So for us dollar guys.

52:36.880 --> 52:37.880
Yeah.

52:37.880 --> 52:38.880
Yeah.

52:38.880 --> 52:39.880
That's right.

52:39.880 --> 52:40.880
But then.

52:40.880 --> 52:41.880
Okay.

52:41.880 --> 52:42.880
So, you know, the audience was.

52:42.880 --> 52:44.880
So how many t-shirts did you
buy?

52:44.880 --> 52:49.880
Well, funny enough they're
having, they have a website
wwwcream2005.com.

52:49.880 --> 52:53.880
But they're not selling anything
there yet because.

52:53.880 --> 52:56.880
And of course, brother Harvey
had to have a t-shirt.

52:56.880 --> 52:58.880
So I got a t-shirt.

52:58.880 --> 52:59.880
A t-shirt.

52:59.880 --> 53:01.880
And only one for you for your
bro, not one for yourself.

53:01.880 --> 53:02.880
I'm not.

53:02.880 --> 53:04.880
I have enough t-shirts and
that's true.

53:04.880 --> 53:07.880
And I asked you where your CDs
are or my t-shirts.

53:07.880 --> 53:08.880
Yeah.

53:08.880 --> 53:09.880
Exactly.

53:09.880 --> 53:10.880
So, okay.

53:10.880 --> 53:12.880
So, we're allowed with a haul.

53:12.880 --> 53:13.880
They don't dim the lights.

53:13.880 --> 53:14.880
They keep the lights on the
whole time.

53:14.880 --> 53:15.880
Really?

53:15.880 --> 53:16.880
Yes.

53:16.880 --> 53:17.880
And the audience was a trip.

53:17.880 --> 53:18.880
Why is that?

53:18.880 --> 53:19.880
That's funky.

53:19.880 --> 53:20.880
It was cool.

53:20.880 --> 53:21.880
It worked.

53:21.880 --> 53:22.880
It worked.

53:22.880 --> 53:23.880
It felt much more intimate that
way.

53:23.880 --> 53:24.880
Like chandelier lighting.

53:24.880 --> 53:25.880
Is that kind of the deal?

53:25.880 --> 53:26.880
Or is it just really house
lights?

53:26.880 --> 53:27.880
House lights.

53:27.880 --> 53:29.880
So, some of your friends from
MTV were there.

53:29.880 --> 53:31.880
I saw Tom Freston.

53:31.880 --> 53:32.880
Yeah.

53:32.880 --> 53:35.880
I mean, now like the co-head
mother fucking hauncho of Iacom.

53:35.880 --> 53:36.880
Yes.

53:36.880 --> 53:37.880
Yes.

53:37.880 --> 53:38.880
Unbelievable.

53:38.880 --> 53:40.880
Van Toffler.

53:40.880 --> 53:41.880
Who's president of MTV?

53:41.880 --> 53:42.880
Right.

53:42.880 --> 53:44.880
He used to be the lawyer who
sued me.

53:44.880 --> 53:45.880
Ah.

53:45.880 --> 53:46.880
Okay.

53:46.880 --> 53:48.880
So, the weather here in Guilford
today is cloudy.

53:48.880 --> 53:49.880
Very nice.

53:49.880 --> 53:50.880
No.

53:50.880 --> 53:51.880
I had respect for Van.

53:51.880 --> 53:52.880
No problem.

53:52.880 --> 53:53.880
Juan Sikes was there.

53:53.880 --> 53:54.880
I said Gary Gursch.

53:54.880 --> 53:55.880
There.

53:55.880 --> 53:56.880
I don't know who that is.

53:56.880 --> 53:57.880
He's a president of Strummer
Records.

53:57.880 --> 53:59.880
They put out the Mars Volta
album.

54:00.880 --> 54:02.880
I saw what the fuck that is.

54:02.880 --> 54:04.880
I had no idea what the Mars
Volta records.

54:04.880 --> 54:05.880
Well, so you were living in
America?

54:05.880 --> 54:06.880
No.

54:06.880 --> 54:07.880
Okay.

54:07.880 --> 54:08.880
Living in America.

54:08.880 --> 54:11.880
James Brown written by Dan
Hartman and Q.

54:11.880 --> 54:13.880
And what's his name?

54:13.880 --> 54:14.880
Charlie Midnight.

54:14.880 --> 54:15.880
Charlie Midnight.

54:15.880 --> 54:16.880
Charlie Midnight.

54:16.880 --> 54:17.880
Charlie Midnight.

54:17.880 --> 54:18.880
Charlie Midnight.

54:18.880 --> 54:19.880
Wow.

54:19.880 --> 54:20.880
There's a reference.

54:20.880 --> 54:23.880
And so sitting right next to me
is this young kid.

54:23.880 --> 54:25.880
And sitting next to him is
somebody looks really familiar.

54:25.880 --> 54:26.880
Look over.

54:26.880 --> 54:27.880
It's Steve Windwood.

54:27.880 --> 54:29.880
Now, how bizarre is that.

54:29.880 --> 54:32.880
Steve Windwood watching Eric
Clapton.

54:32.880 --> 54:34.880
Jack Bruce and Ginger Baker.

54:34.880 --> 54:37.880
I mean, if you substitute Rick
Gretch, you had blind faith.

54:37.880 --> 54:38.880
Unbelievable.

54:38.880 --> 54:41.880
By the way, Steve was actually
bought merch.

54:41.880 --> 54:42.880
Frisk.

54:42.880 --> 54:43.880
Yeah.

54:43.880 --> 54:44.880
I was shot.

54:44.880 --> 54:45.880
So his kid must be like 20.

54:45.880 --> 54:46.880
No, no.

54:46.880 --> 54:47.880
I was kidding.

54:47.880 --> 54:48.880
I'm very young.

54:48.880 --> 54:49.880
Oh, he has a really young new
wife.

54:49.880 --> 54:50.880
I don't know.

54:50.880 --> 54:51.880
Yeah, whatever.

54:51.880 --> 54:52.880
I don't know.

54:52.880 --> 54:53.880
So that was.

54:53.880 --> 54:54.880
So that was a lot of.

54:54.880 --> 54:55.880
A lot of fun.

54:55.880 --> 54:56.880
That's cool.

54:57.880 --> 55:02.880
Actually, I introduced him
because he had just met my
brother last week,

55:02.880 --> 55:06.880
because he's looks like he's
going to sign with epic.

55:06.880 --> 55:07.880
Yeah.

55:07.880 --> 55:08.880
Really?

55:08.880 --> 55:09.880
Yes.

55:09.880 --> 55:12.880
Based upon his newfound transit.

55:12.880 --> 55:15.880
Well, I think that records the
shit, by the way.

55:15.880 --> 55:16.880
Well, that's a great record.

55:16.880 --> 55:19.880
His last album came out on the
same label,

55:19.880 --> 55:20.880
The Jam Band String Cheese.

55:20.880 --> 55:21.880
I forgot the name of the label.

55:21.880 --> 55:22.880
It came out.

55:22.880 --> 55:24.880
But he decided he wanted to, you
know,

55:24.880 --> 55:28.880
to the corporate, you know,
universe of records.

55:28.880 --> 55:29.880
Yeah.

55:29.880 --> 55:30.880
Fuck, man.

55:30.880 --> 55:33.880
So, you know, it was cool
watching Steve Windwood, you
know, there.

55:33.880 --> 55:38.880
And so, the, you know, I was
lucky.

55:38.880 --> 55:40.880
Here's the Murray, the K
connection again.

55:40.880 --> 55:42.880
When I was a, we,

55:42.880 --> 55:45.880
uh, led back in 1967.

55:45.880 --> 55:47.880
Cream played their first show
ever in New York City.

55:47.880 --> 55:48.880
Excuse me.

55:48.880 --> 55:49.880
First shows.

55:49.880 --> 55:51.880
For nine days straight,

55:51.880 --> 55:55.880
they played five shows a day at
the RKO theater.

55:55.880 --> 55:57.880
For the Murray, the K Easter
review.

55:57.880 --> 55:58.880
No way.

55:58.880 --> 56:00.880
And who else was on the bill?

56:00.880 --> 56:03.880
Because they were probably were
forced onto the bill

56:03.880 --> 56:04.880
by one of the agents saying,

56:04.880 --> 56:06.880
well, if you want such and such,

56:06.880 --> 56:07.880
you have to take this new band.

56:07.880 --> 56:08.880
Five shows a day.

56:08.880 --> 56:09.880
Five shows.

56:09.880 --> 56:10.880
And if you got there before,

56:10.880 --> 56:11.880
and you got a free album.

56:11.880 --> 56:13.880
So, the who were on the show,

56:13.880 --> 56:14.880
the cream,

56:14.880 --> 56:17.880
and the headliner was Wilson
Pickett and Mitch Ryder.

56:17.880 --> 56:18.880
No way.

56:18.880 --> 56:19.880
So, this is amazing.

56:19.880 --> 56:20.880
This is amazing.

56:20.880 --> 56:21.880
It was probably four or five
bucks or something.

56:21.880 --> 56:22.880
It was amazing.

56:22.880 --> 56:23.880
And when people saw a cream,

56:23.880 --> 56:24.880
they were like,

56:24.880 --> 56:25.880
it was arrested the band.

56:25.880 --> 56:26.880
Because there were only three
guys.

56:26.880 --> 56:27.880
Right.

56:27.880 --> 56:28.880
And I remember the marquee
outside.

56:28.880 --> 56:29.880
So vividly,

56:29.880 --> 56:31.880
it's three little mountains of
cream.

56:31.880 --> 56:32.880
I said,

56:32.880 --> 56:33.880
debut cream.

56:33.880 --> 56:34.880
I was like,

56:34.880 --> 56:35.880
what the heck is that?

56:35.880 --> 56:36.880
Yeah.

56:36.880 --> 56:37.880
And they did two songs.

56:37.880 --> 56:38.880
They did,

56:38.880 --> 56:39.880
um,

56:39.880 --> 56:40.880
I feel free.

56:40.880 --> 56:42.880
And I'm so glad.

56:42.880 --> 56:43.880
Which, by the way,

56:43.880 --> 56:45.880
is the song they opened up with
last night.

56:45.880 --> 56:46.880
I'm so glad.

56:46.880 --> 56:47.880
Interesting opener.

56:47.880 --> 56:48.880
Yes.

56:48.880 --> 56:49.880
Yeah.

56:49.880 --> 56:51.880
So the show was really,

56:51.880 --> 56:52.880
um,

56:52.880 --> 56:53.880
interesting.

56:53.880 --> 56:55.880
Because the rumors around are
that they,

56:55.880 --> 56:56.880
the only reason this is going
on,

56:56.880 --> 56:58.880
is Eric Clapton wants to help
out Jack and Ginger

56:58.880 --> 57:00.880
and put some money in their
pocket.

57:00.880 --> 57:01.880
Is that, well,

57:01.880 --> 57:02.880
you know what?

57:02.880 --> 57:03.880
That would probably make a lot
of sense.

57:03.880 --> 57:05.880
I even see Ringo Star doing,

57:05.880 --> 57:06.880
infomercials for time,

57:06.880 --> 57:07.880
life records.

57:07.880 --> 57:08.880
So I guess the,

57:08.880 --> 57:10.880
the might of the last forever.

57:10.880 --> 57:11.880
You know,

57:11.880 --> 57:14.880
rumor has it that Ginger is not
in the best of health.

57:14.880 --> 57:15.880
Yeah.

57:15.880 --> 57:17.880
Well, I think he's been sick for
a while, hasn't he?

57:17.880 --> 57:18.880
I don't know.

57:18.880 --> 57:21.880
I remember these rumors from 20
years ago, even.

57:21.880 --> 57:23.880
So Eric certainly doesn't need
the money,

57:23.880 --> 57:25.880
nor the exposure at this point
in his career.

57:25.880 --> 57:29.880
So he agreed to do these four
shows with a DVD committed

57:29.880 --> 57:31.880
to coming out this fall.

57:31.880 --> 57:32.880
That's really sweet.

57:32.880 --> 57:33.880
Yes.

57:33.880 --> 57:34.880
That's really sweet of him.

57:34.880 --> 57:37.880
And there's talk that if the
music is approved,

57:37.880 --> 57:40.880
that they will allow a CD to be
made from it as well.

57:40.880 --> 57:42.880
Does that mean there might be a
tour to fall along?

57:42.880 --> 57:43.880
No.

57:43.880 --> 57:45.880
Because Ron Delzner,

57:45.880 --> 57:48.880
the people's promoter in New
York City.

57:48.880 --> 57:51.880
Is that, do I, do I know the
hint of sarcasm there,

57:51.880 --> 57:52.880
Mr. Leads?

57:52.880 --> 57:53.880
Not at all.

57:53.880 --> 57:55.880
Uh, has offered them a boatload
of money to play

57:55.880 --> 57:57.880
Madison Square Garden, and
they've turned it down.

57:57.880 --> 57:59.880
And then I heard that,

57:59.880 --> 58:01.880
well, then it can't be about
money.

58:01.880 --> 58:02.880
Why did turn it down?

58:02.880 --> 58:04.880
Well, then I heard that it's
driving the price up.

58:04.880 --> 58:05.880
No, no, no.

58:05.880 --> 58:08.880
A, Eric has some tour plans,

58:08.880 --> 58:10.880
and B, equally, or more
important,

58:10.880 --> 58:11.880
probably in the reality world,

58:11.880 --> 58:13.880
is that Ginger has some issues

58:13.880 --> 58:15.880
and can't come back into the
states.

58:15.880 --> 58:16.880
Oh, man.

58:16.880 --> 58:17.880
No, that's a rumor.

58:17.880 --> 58:18.880
I want to clarify.

58:18.880 --> 58:19.880
That's probably a taxation
rumor.

58:19.880 --> 58:20.880
No, no, no.

58:20.880 --> 58:22.880
I don't think it's something
like that.

58:22.880 --> 58:23.880
Really?

58:23.880 --> 58:24.880
Is it drugged there?

58:24.880 --> 58:25.880
I don't know.

58:25.880 --> 58:26.880
Come on.

58:26.880 --> 58:27.880
Not from 100,000 years ago.

58:27.880 --> 58:29.880
The US government has a long
memory.

58:29.880 --> 58:30.880
By the way, folks,

58:30.880 --> 58:34.880
in the Curry Broadcast studios
here in Gilford,

58:34.880 --> 58:37.880
there's a photo of Adam and W on
the wall.

58:37.880 --> 58:39.880
It's a good one, isn't it?

58:39.880 --> 58:40.880
Yes.

58:40.880 --> 58:41.880
Yes.

58:41.880 --> 58:43.880
I know what he's doing all those
years in Holland.

58:43.880 --> 58:45.880
Oh, I just want, not equal,
equal opportunity.

58:45.880 --> 58:47.880
If you haven't listened to it,

58:47.880 --> 58:49.880
check out that John Kerry
podcast.

58:49.880 --> 58:51.880
Oh, yeah, that was cool.

58:51.880 --> 58:53.880
Well, can I just, I just want
to, I just want to play one,

58:53.880 --> 58:54.880
one snippet.

58:54.880 --> 58:55.880
Just listen to this part, Steve.

58:55.880 --> 58:56.880
I didn't play this for you.

58:56.880 --> 58:57.880
Listen to this.

58:57.880 --> 59:00.880
By the way, we are podcasting
today on top of

59:00.880 --> 59:02.880
Jack's blanket.

59:02.880 --> 59:03.880
Listen to me.

59:03.880 --> 59:06.880
And we're having to be really
careful because

59:06.880 --> 59:09.880
Elizabeth has her dot coat
sitting on this.

59:09.880 --> 59:10.880
This is great stuff.

59:10.880 --> 59:11.880
I like it.

59:11.880 --> 59:12.880
I have my dad.

59:12.880 --> 59:13.880
Listen to what she said.

59:13.880 --> 59:15.880
Zero sitting on Jack's blanket,
which, by the way,

59:15.880 --> 59:17.880
is really important because she
has a great,

59:17.880 --> 59:19.880
I'm not drinking that coat
anymore.

59:19.880 --> 59:23.880
And it is like a huge change for
me.

59:23.880 --> 59:24.880
First, how long has it been
there?

59:24.880 --> 59:26.880
Cold turkey for like three
months?

59:26.880 --> 59:27.880
Yeah.

59:27.880 --> 59:28.880
Three months?

59:28.880 --> 59:29.880
You're still drinking it there.

59:29.880 --> 59:30.880
I am.

59:30.880 --> 59:32.880
But I'm finding out that I'm not
drinking quite a lot.

59:32.880 --> 59:34.880
It's not quite as much as I
thought it was.

59:34.880 --> 59:35.880
That you were drinking mussels.

59:35.880 --> 59:36.880
That you were drinking mussels.

59:36.880 --> 59:37.880
It's like John and Drew.

59:37.880 --> 59:39.880
It's one of those things to
death.

59:39.880 --> 59:41.880
I don't even waste the blood on
the blanket.

59:41.880 --> 59:43.880
I don't think it's the worst
thing that I've ever gotten on
this blanket.

59:43.880 --> 59:45.880
That's it.

59:45.880 --> 59:47.880
Didn't need to know that.

59:47.880 --> 59:50.880
Was that the line of the, of the
whole podcast?

59:50.880 --> 59:52.880
No, is that product placement
for Diet Coke?

59:52.880 --> 59:55.880
No, for sprite zero, whatever it
is.

59:55.880 --> 01:00:01.880
No, but that's, you know, this
is, if I, if I listen to this
guy talking,

01:00:01.880 --> 01:00:04.880
instead of that long-head
jackass, you know,

01:00:04.880 --> 01:00:06.880
I would have had different
feelings about,

01:00:06.880 --> 01:00:08.880
about the outcome of, of the
election.

01:00:08.880 --> 01:00:09.880
This is really good.

01:00:09.880 --> 01:00:12.880
And she's talking about her life
and the radiation that she's
going through.

01:00:12.880 --> 01:00:14.880
It's interesting shit.

01:00:14.880 --> 01:00:17.880
Well, podcasting will change the
politics of the world soon.

01:00:17.880 --> 01:00:18.880
Did better.

01:00:18.880 --> 01:00:19.880
Okay, I'm sorry.

01:00:19.880 --> 01:00:22.880
Back to the, back to the, back
to the cream reunion.

01:00:22.880 --> 01:00:23.880
Okay.

01:00:23.880 --> 01:00:24.880
So they opened up with, I'm so
glad.

01:00:24.880 --> 01:00:25.880
I didn't need it.

01:00:25.880 --> 01:00:26.880
It's spoonful.

01:00:26.880 --> 01:00:29.880
Then clapped and sang outside
woman blues.

01:00:29.880 --> 01:00:30.880
Then changed her.

01:00:30.880 --> 01:00:33.880
Did pressed rat and wart ag.

01:00:34.880 --> 01:00:36.880
It was remind me of like an
eanduri thing.

01:00:36.880 --> 01:00:37.880
It's almost like a rap thing.

01:00:37.880 --> 01:00:38.880
It was pretty wild.

01:00:38.880 --> 01:00:39.880
Did you do a drum solo?

01:00:39.880 --> 01:00:40.880
Did you?

01:00:40.880 --> 01:00:41.880
Well, we'll get to that.

01:00:41.880 --> 01:00:42.880
Okay.

01:00:42.880 --> 01:00:43.880
Then we did sleepy time.

01:00:43.880 --> 01:00:44.880
NSU.

01:00:44.880 --> 01:00:47.880
Erica did badge.

01:00:47.880 --> 01:00:49.880
You know, singing on that.

01:00:49.880 --> 01:00:54.880
And of course now, today is the
morning after the British
election.

01:00:54.880 --> 01:00:55.880
Right.

01:00:55.880 --> 01:00:56.880
And Tony Blair won.

01:00:56.880 --> 01:00:57.880
He won.

01:00:57.880 --> 01:00:59.880
But he got his ass woke, because
everybody expressed their

01:00:59.880 --> 01:01:02.880
displeasure with him being W
Junior.

01:01:02.880 --> 01:01:06.880
Well, and, and in this
parliament, you know, and I
figured out how it works.

01:01:06.880 --> 01:01:08.880
Now, it's, it's, it's number of
seats in the house.

01:01:08.880 --> 01:01:12.880
So, um, labor still has a
majority, but only by 66 votes.

01:01:12.880 --> 01:01:14.880
Or that's projected, I think, at
this time.

01:01:14.880 --> 01:01:15.880
But it's almost over.

01:01:15.880 --> 01:01:16.880
So that's pretty much what's
going to be.

01:01:16.880 --> 01:01:18.880
So, how ironic the day of the
British election.

01:01:18.880 --> 01:01:20.880
Cream do politician.

01:01:20.880 --> 01:01:21.880
Yeah, of course.

01:01:21.880 --> 01:01:22.880
Of course.

01:01:22.880 --> 01:01:24.880
Sweet wine, Roland and Tumblin.

01:01:24.880 --> 01:01:27.880
Uh, we're, we're Jack didn't
play base.

01:01:27.880 --> 01:01:29.880
He just, like, jammed on the
harmonic of the whole time.

01:01:29.880 --> 01:01:34.880
Uh, now they did one non cream
song, Stormy Monday, which is,
like, a

01:01:34.880 --> 01:01:36.880
Clapton, you know, Evergreen.

01:01:36.880 --> 01:01:38.880
So that was interesting.

01:01:38.880 --> 01:01:39.880
They did deserted cities.

01:01:39.880 --> 01:01:40.880
One under bed sign.

01:01:40.880 --> 01:01:41.880
We're going wrong.

01:01:41.880 --> 01:01:42.880
Eric did it.

01:01:42.880 --> 01:01:44.880
You know, jammed up version of
Crossroads.

01:01:44.880 --> 01:01:47.880
And this little girl, one of the
youngsters in the audience, go.

01:01:47.880 --> 01:01:48.880
Screams.

01:01:48.880 --> 01:01:49.880
You're my hero.

01:01:49.880 --> 01:01:51.880
Don't you crossroads?

01:01:51.880 --> 01:01:52.880
Yeah.

01:01:52.880 --> 01:01:54.880
So that was cool.

01:01:54.880 --> 01:01:55.880
It's in on top.

01:01:55.880 --> 01:01:56.880
White room.

01:01:56.880 --> 01:01:58.880
And then the piece that exists.

01:01:58.880 --> 01:02:00.880
They opened up.

01:02:00.880 --> 01:02:02.880
And then Jack and ginger.

01:02:02.880 --> 01:02:03.880
Sorry.

01:02:03.880 --> 01:02:07.880
Jack and Eric walk off stage and
let ginger just go wild for
about 10 minutes.

01:02:07.880 --> 01:02:08.880
Oh, really?

01:02:08.880 --> 01:02:09.880
Hold.

01:02:09.880 --> 01:02:11.880
Now, here's, here's the culpa.

01:02:11.880 --> 01:02:15.880
As soon as he breaks in drum
solo, people start rushing the
stage.

01:02:15.880 --> 01:02:16.880
Really?

01:02:16.880 --> 01:02:17.880
See, he's, like, 40 year old.

01:02:17.880 --> 01:02:20.880
Oh, push it up to this stage
with his no security guard.

01:02:20.880 --> 01:02:21.880
No.

01:02:21.880 --> 01:02:23.880
And adult concert elite event.

01:02:23.880 --> 01:02:24.880
Right.

01:02:24.880 --> 01:02:25.880
So it was, it was pretty funny.

01:02:25.880 --> 01:02:27.880
Oh, and why were people dressed?

01:02:27.880 --> 01:02:29.880
Oh, you know, lots of denim.

01:02:29.880 --> 01:02:31.880
But there were, you know, it was
a very subdued crowd.

01:02:31.880 --> 01:02:33.880
There wasn't a lot of body
piercings.

01:02:33.880 --> 01:02:34.880
Let's put it that.

01:02:34.880 --> 01:02:35.880
How about dope smoking?

01:02:35.880 --> 01:02:36.880
Must have been some pleased.

01:02:36.880 --> 01:02:37.880
Didn't see any of it.

01:02:37.880 --> 01:02:38.880
Didn't see it.

01:02:38.880 --> 01:02:40.880
I think that went on before.

01:02:40.880 --> 01:02:42.880
I think people arrived with
that.

01:02:42.880 --> 01:02:44.880
And, oh, so the, sort of the,
the,

01:02:44.880 --> 01:02:46.880
with the stage is covered by
this white psych.

01:02:46.880 --> 01:02:49.880
And projected on it is a light
show.

01:02:49.880 --> 01:02:50.880
I love the old film more.

01:02:50.880 --> 01:02:53.880
But it's not with the liquids
and stuff.

01:02:53.880 --> 01:02:54.880
Yeah.

01:02:54.880 --> 01:02:55.880
It's just, right.

01:02:55.880 --> 01:02:56.880
It's like an orange.

01:02:56.880 --> 01:02:58.880
It's an animated, an animated.

01:02:58.880 --> 01:02:59.880
I was like, okay.

01:02:59.880 --> 01:03:00.880
And he's going off on to it.

01:03:00.880 --> 01:03:03.880
I mean, it's just like, it's
out.

01:03:03.880 --> 01:03:05.880
Was it was the animated stuff,
okay?

01:03:05.880 --> 01:03:07.880
Or was it kind of lame?

01:03:07.880 --> 01:03:08.880
It worked.

01:03:08.880 --> 01:03:11.880
But if you saw, if you lived to
that, it was lame.

01:03:11.880 --> 01:03:12.880
The house lights on too.

01:03:12.880 --> 01:03:13.880
That was an infunky.

01:03:13.880 --> 01:03:14.880
It was weird.

01:03:14.880 --> 01:03:17.880
But you won't be able to see it
in DVD coming out this fall on.

01:03:17.880 --> 01:03:18.880
One over home video.

01:03:18.880 --> 01:03:19.880
I don't know.

01:03:19.880 --> 01:03:20.880
Yeah.

01:03:20.880 --> 01:03:21.880
It definitely will.

01:03:21.880 --> 01:03:22.880
And so that was it.

01:03:22.880 --> 01:03:23.880
And told and they come back and
finish the few notes.

01:03:23.880 --> 01:03:24.880
And I'm sorry.

01:03:24.880 --> 01:03:25.880
I'm boring.

01:03:25.880 --> 01:03:26.880
Go.

01:03:26.880 --> 01:03:28.880
It's just, it's a long, it's a
long podcast.

01:03:28.880 --> 01:03:29.880
Like a box of gin.

01:03:29.880 --> 01:03:30.880
No, no, no.

01:03:30.880 --> 01:03:31.880
Take no note of that.

01:03:31.880 --> 01:03:32.880
This is fascinating, Steve.

01:03:32.880 --> 01:03:34.880
I wish we could play some of
these songs, which we can't.

01:03:34.880 --> 01:03:35.880
Yeah.

01:03:35.880 --> 01:03:36.880
That's the bummer here.

01:03:36.880 --> 01:03:37.880
Yeah.

01:03:37.880 --> 01:03:38.880
It's not pot safe.

01:03:38.880 --> 01:03:39.880
Yeah.

01:03:39.880 --> 01:03:40.880
Fucking bummer.

01:03:40.880 --> 01:03:41.880
So, towed finishes.

01:03:41.880 --> 01:03:42.880
Grand finale.

01:03:42.880 --> 01:03:43.880
Boom.

01:03:43.880 --> 01:03:44.880
Everybody's screaming.

01:03:44.880 --> 01:03:45.880
They walk off stage.

01:03:45.880 --> 01:03:46.880
And the three of them joined
together for the first time

01:03:46.880 --> 01:03:48.880
or leading in bow.

01:03:48.880 --> 01:03:51.880
Because to me, they started off
like a house on fire.

01:03:52.880 --> 01:03:54.880
It was almost like going through
the mechanical motions.

01:03:54.880 --> 01:03:55.880
Eric just didn't seem.

01:03:55.880 --> 01:03:58.880
He was like Mr. Cash will out
there with his sneakers.

01:03:58.880 --> 01:04:01.880
And his, you know, turquoise
blue shirt.

01:04:01.880 --> 01:04:03.880
And he was just like, he was
like doing it.

01:04:03.880 --> 01:04:04.880
Because he was just doing it.

01:04:04.880 --> 01:04:05.880
Right.

01:04:05.880 --> 01:04:07.880
And so it kind of was at the
end.

01:04:07.880 --> 01:04:08.880
I felt it was lackluster.

01:04:08.880 --> 01:04:09.880
And they came back.

01:04:09.880 --> 01:04:11.880
And they're not going right.

01:04:11.880 --> 01:04:12.880
Well, white room.

01:04:12.880 --> 01:04:14.880
I've heard Clapton do as a solo
performance.

01:04:14.880 --> 01:04:15.880
But you said they already played
that.

01:04:15.880 --> 01:04:16.880
Right.

01:04:16.880 --> 01:04:17.880
But it was, it was great live.

01:04:17.880 --> 01:04:19.880
But last night it was just like
so mechanical.

01:04:19.880 --> 01:04:20.880
You know.

01:04:20.880 --> 01:04:21.880
You know.

01:04:21.880 --> 01:04:22.880
You know.

01:04:22.880 --> 01:04:23.880
You know.

01:04:23.880 --> 01:04:24.880
You know.

01:04:24.880 --> 01:04:25.880
Anyway, so toad.

01:04:25.880 --> 01:04:26.880
That's the end.

01:04:26.880 --> 01:04:27.880
People rush off.

01:04:27.880 --> 01:04:28.880
And then they come back for an
encore.

01:04:28.880 --> 01:04:30.880
And what do you think their
encore would be?

01:04:30.880 --> 01:04:32.880
White room again.

01:04:32.880 --> 01:04:33.880
Sunshine of your love.

01:04:33.880 --> 01:04:34.880
Ah, that's pretty cool.

01:04:34.880 --> 01:04:37.880
And of course, that, you know.

01:04:37.880 --> 01:04:40.880
Again, I was like hoping for the
heavens to open.

01:04:40.880 --> 01:04:41.880
It didn't happen.

01:04:41.880 --> 01:04:42.880
But you know what?

01:04:42.880 --> 01:04:43.880
These guys were in their 60s.

01:04:43.880 --> 01:04:44.880
It was a fantasy.

01:04:44.880 --> 01:04:45.880
It was fun.

01:04:45.880 --> 01:04:46.880
They did.

01:04:46.880 --> 01:04:47.880
Sorry about that.

01:04:48.880 --> 01:04:50.880
We're just going to go a little
background ambience.

01:04:50.880 --> 01:04:53.880
And this was the finale last
night.

01:04:53.880 --> 01:04:58.880
And it will be the finale
tonight as the fourth
consecutive night of Cremes
reunion.

01:04:58.880 --> 01:04:59.880
Royal Albert Hall.

01:04:59.880 --> 01:05:01.880
You're talking it up Steve.

01:05:01.880 --> 01:05:02.880
You're talking up the record.

01:05:02.880 --> 01:05:04.880
Hey, we got 10 on the uphill
side of wherever you are.

01:05:04.880 --> 01:05:05.880
Whatever time you're listening.

01:05:05.880 --> 01:05:06.880
This is ever coming.

01:05:06.880 --> 01:05:07.880
Did you break a jack bruise?

01:05:07.880 --> 01:05:08.880
On the ancorate.

01:05:12.880 --> 01:05:14.880
See, I need the digital clocks.

01:05:14.880 --> 01:05:15.880
I can tell.

01:05:15.880 --> 01:05:16.880
Yeah.

01:05:16.880 --> 01:05:17.880
Hard for sure.

01:05:17.880 --> 01:05:19.880
That liner reader card for sure.

01:05:19.880 --> 01:05:21.880
No, that would be somebody else.

01:05:21.880 --> 01:05:24.880
Oh, and Sean Penn was in the
audience last night too.

01:05:24.880 --> 01:05:25.880
So it was, he's right.

01:05:25.880 --> 01:05:28.880
He was a festive evening from
start to finish.

01:05:28.880 --> 01:05:29.880
You know, I Sean Penn story.

01:05:29.880 --> 01:05:31.880
I told you my Sean Penn story,
didn't I?

01:05:31.880 --> 01:05:33.880
No, but you must know Michael
Penn.

01:05:33.880 --> 01:05:34.880
No, him too.

01:05:34.880 --> 01:05:36.880
But it was Sean Penn.

01:05:36.880 --> 01:05:37.880
Where is that?

01:05:37.880 --> 01:05:39.880
It was, that was his musical
brother.

01:05:39.880 --> 01:05:41.880
But Chris Penn.

01:05:41.880 --> 01:05:42.880
Chris.

01:05:42.880 --> 01:05:44.880
That was the, the tubby one.

01:05:44.880 --> 01:05:45.880
Come on man.

01:05:45.880 --> 01:05:47.880
Don't you remember he got in all
kinds of fights and shit.

01:05:47.880 --> 01:05:50.880
He was like the Billy Carter of
the Penn Brothers.

01:05:50.880 --> 01:05:51.880
Wow.

01:05:51.880 --> 01:05:53.880
I didn't know the Penn Brothers.

01:05:53.880 --> 01:05:55.880
And he did a little bit of
acting.

01:05:55.880 --> 01:05:56.880
Yeah.

01:05:56.880 --> 01:05:57.880
It was obnoxious.

01:05:57.880 --> 01:05:59.880
So I remember the MGM grand.

01:05:59.880 --> 01:06:00.880
Yes.

01:06:00.880 --> 01:06:03.880
MGM grand was the airline
between Los Angeles and JFK.

01:06:03.880 --> 01:06:07.880
And it was all first class, like
737 with state rooms.

01:06:07.880 --> 01:06:09.880
The preferred airliner of the
Jays.

01:06:09.880 --> 01:06:10.880
Yeah.

01:06:10.880 --> 01:06:11.880
Of course.

01:06:11.880 --> 01:06:12.880
Well, it was still around and it
was golden toilets.

01:06:12.880 --> 01:06:13.880
And it was just fucking great.

01:06:13.880 --> 01:06:16.880
And it was all movie stars and
record execs and celebrities.

01:06:16.880 --> 01:06:17.880
And it was like our private
little airline.

01:06:17.880 --> 01:06:18.880
And how many seats were?

01:06:18.880 --> 01:06:19.880
How many people?

01:06:19.880 --> 01:06:21.880
The whole plane was maybe like
50 or something like that.

01:06:21.880 --> 01:06:22.880
And that was it.

01:06:22.880 --> 01:06:24.880
And so I was flying out by
myself.

01:06:24.880 --> 01:06:25.880
And I had a state room.

01:06:25.880 --> 01:06:27.880
So it was, you know, just like
in a train.

01:06:27.880 --> 01:06:28.880
We closed and there's three on
each side.

01:06:28.880 --> 01:06:30.880
And the table can levitate up in
the middle.

01:06:30.880 --> 01:06:32.880
So you can have your meals
facing each other.

01:06:32.880 --> 01:06:35.880
And I was there with Sean Penn.

01:06:35.880 --> 01:06:37.880
Chris Penn.

01:06:37.880 --> 01:06:38.880
And his mom.

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.

01:06:42.880 --> 01:06:46.880
And you know, it was really
uncomfortable because, you know,
it's like dude.

01:06:46.880 --> 01:06:47.880
You know, this is like Sean
Penn.

01:06:47.880 --> 01:06:51.880
And at the time he just, you
know, the big messy divorce from
Madonna and everything.

01:06:51.880 --> 01:06:52.880
So first Chris Penn is there.

01:06:52.880 --> 01:06:56.880
You know, taking off his shirt,
he's walking around with, you
know, with a bear.

01:06:56.880 --> 01:06:59.880
He's a bear chest drinking beer.

01:06:59.880 --> 01:07:03.880
You know, burping and farting
all over the place about the
whole plane.

01:07:03.880 --> 01:07:05.880
So he's just an embarrassment by
himself.

01:07:05.880 --> 01:07:07.880
And then, you know, finally, so
Sean Penn says,

01:07:07.880 --> 01:07:08.880
Yeah, how you doing?

01:07:08.880 --> 01:07:09.880
Are you the guy from VH1, right?

01:07:09.880 --> 01:07:11.880
So of course immediately, I'm
shattered.

01:07:11.880 --> 01:07:13.880
It's just fucking shattered.

01:07:13.880 --> 01:07:15.880
And say, uh, wrong channel.

01:07:15.880 --> 01:07:17.880
So I said, hey, dude.

01:07:17.880 --> 01:07:19.880
Uh, what was it like?

01:07:19.880 --> 01:07:20.880
I don't know.

01:07:20.880 --> 01:07:22.880
He says,

01:07:22.880 --> 01:07:25.880
Hell have no fury, my friend.

01:07:25.880 --> 01:07:28.880
That's what his response was.

01:07:28.880 --> 01:07:29.880
Hell have no fury.

01:07:29.880 --> 01:07:30.880
And we didn't talk about
anything.

01:07:30.880 --> 01:07:32.880
And he's got issues, right?

01:07:32.880 --> 01:07:33.880
I think I like him.

01:07:33.880 --> 01:07:34.880
He's a fucking bitch.

01:07:34.880 --> 01:07:35.880
What do you say at the Academy
of Worts?

01:07:35.880 --> 01:07:38.880
He was trashing that I didn't
see the Academy of Worts.

01:07:38.880 --> 01:07:39.880
I like Sean Penn.

01:07:39.880 --> 01:07:40.880
He's a great actor.

01:07:40.880 --> 01:07:42.880
Who was the male actor in Alphi?

01:07:42.880 --> 01:07:43.880
I don't know.

01:07:43.880 --> 01:07:44.880
I haven't seen Alphi.

01:07:44.880 --> 01:07:47.880
Oh, he keeps, he can't make
nasty references.

01:07:47.880 --> 01:07:48.880
So.

01:07:48.880 --> 01:07:49.880
No.

01:07:49.880 --> 01:07:50.880
Don't know.

01:07:50.880 --> 01:07:51.880
Well, he always has some issues.

01:07:51.880 --> 01:07:52.880
Oh, whatever.

01:07:52.880 --> 01:07:53.880
Yes.

01:07:53.880 --> 01:07:54.880
Whatever.

01:07:54.880 --> 01:07:56.880
Hey, Steve, was any more you
want to say about the cream
stuff?

01:07:56.880 --> 01:07:57.880
Um, no.

01:07:57.880 --> 01:08:00.880
Did it, did it fulfill your
fantasy?

01:08:00.880 --> 01:08:02.880
Listen, I went to the first show
in America.

01:08:02.880 --> 01:08:04.880
I have some, you know, in your
life,

01:08:04.880 --> 01:08:06.880
you don't get too many chances
to have closure.

01:08:06.880 --> 01:08:09.880
Yeah, because you went to the
first one and kind of the last
one.

01:08:09.880 --> 01:08:10.880
That's closure.

01:08:10.880 --> 01:08:14.880
So in the final days of my life,
I can look up and go, okay.

01:08:14.880 --> 01:08:17.880
I spent enough time doing the
things I needed to do.

01:08:17.880 --> 01:08:20.880
And one of those was, I got to
see cream.

01:08:20.880 --> 01:08:23.880
The entire career from beginning
to end.

01:08:23.880 --> 01:08:24.880
That's true.

01:08:24.880 --> 01:08:25.880
Oh, my God.

01:08:25.880 --> 01:08:26.880
That's so beautiful.

01:08:26.880 --> 01:08:29.880
Oh, that's a rock and roll
lifestyle.

01:08:29.880 --> 01:08:31.880
And I'm not a rock and roll
geek.

01:08:31.880 --> 01:08:32.880
And now what you hate, man?

01:08:32.880 --> 01:08:33.880
Hook that up for my boy.

01:08:33.880 --> 01:08:34.880
No, hold on.

01:08:35.880 --> 01:08:37.880
Right on time.

01:08:37.880 --> 01:08:38.880
Right on time.

01:08:38.880 --> 01:08:40.880
This is almost ready, isn't it?

01:08:40.880 --> 01:08:41.880
Whatever.

01:08:41.880 --> 01:08:42.880
Oh, you know what?

01:08:42.880 --> 01:08:43.880
That's Jeremy.

01:08:43.880 --> 01:08:44.880
Hello.

01:08:44.880 --> 01:08:45.880
Okay.

01:08:45.880 --> 01:08:47.880
Well, Adam is having this
conversation.

01:08:47.880 --> 01:08:50.880
And boring you to hear listening
to that conversation.

01:08:50.880 --> 01:08:52.880
Even I just doing a podcast.

01:08:52.880 --> 01:08:55.880
So we're going to close out this
special edition.

01:08:55.880 --> 01:08:56.880
What give you a call?

01:08:56.880 --> 01:08:57.880
From the curry cottage.

01:08:57.880 --> 01:08:58.880
Okay.

01:08:58.880 --> 01:09:00.880
In Guilford, England.

01:09:00.880 --> 01:09:02.880
The Saturn Curry was Jeremy.

01:09:02.880 --> 01:09:05.880
He was finishing his cell phone
call, which he has now
terminated.

01:09:05.880 --> 01:09:06.880
Yeah.

01:09:06.880 --> 01:09:07.880
All right.

01:09:07.880 --> 01:09:08.880
You know what?

01:09:08.880 --> 01:09:09.880
I need one more bit from you.

01:09:09.880 --> 01:09:10.880
Because what we didn't talk
about is that you.

01:09:10.880 --> 01:09:11.880
The Adam.

01:09:11.880 --> 01:09:12.880
You.

01:09:12.880 --> 01:09:13.880
Yes.

01:09:13.880 --> 01:09:14.880
This is the Adam.

01:09:14.880 --> 01:09:15.880
I hope people listen to this
because that was a lesson.

01:09:15.880 --> 01:09:16.880
You had some great stories, man.

01:09:16.880 --> 01:09:17.880
I love listening to that.

01:09:17.880 --> 01:09:18.880
This would be good for people
over the weekend.

01:09:18.880 --> 01:09:21.880
They can carry it through like
an hour and nine minutes
already.

01:09:21.880 --> 01:09:22.880
So let's.

01:09:22.880 --> 01:09:24.880
It's a lot of treadmill time to
be listening.

01:09:24.880 --> 01:09:25.880
Yeah, no shit.

01:09:25.880 --> 01:09:28.880
Well, maybe they already checked
out who knows.

01:09:28.880 --> 01:09:31.880
You hooked up the serious deal.

01:09:31.880 --> 01:09:32.880
Yeah.

01:09:32.880 --> 01:09:33.880
You're to blame.

01:09:33.880 --> 01:09:34.880
I'm to blame.

01:09:34.880 --> 01:09:35.880
Okay.

01:09:35.880 --> 01:09:36.880
Go ahead and tell us what's the
ability.

01:09:36.880 --> 01:09:38.880
Tell us what happened, man.

01:09:38.880 --> 01:09:39.880
Well, it's not.

01:09:39.880 --> 01:09:40.880
It's not.

01:09:40.880 --> 01:09:41.880
You know, it's not very
exciting.

01:09:41.880 --> 01:09:42.880
It's not as enticing as.

01:09:42.880 --> 01:09:43.880
No, I know.

01:09:43.880 --> 01:09:44.880
MTV story.

01:09:44.880 --> 01:09:45.880
That's what.

01:09:45.880 --> 01:09:46.880
Well, man.

01:09:46.880 --> 01:09:47.880
It's almost as right.

01:09:47.880 --> 01:09:50.880
But to me to bring closure
Steve, we started with the MTV
story.

01:09:50.880 --> 01:09:51.880
But there's no closure.

01:09:51.880 --> 01:09:52.880
This is a continuing epoch.

01:09:52.880 --> 01:09:53.880
That's right.

01:09:53.880 --> 01:09:54.880
So Adam is.

01:09:54.880 --> 01:09:58.880
You know, on the front page of
the New York friggin times.

01:09:58.880 --> 01:10:00.880
This was a couple weeks ago.

01:10:01.880 --> 01:10:03.880
And he's everywhere.

01:10:03.880 --> 01:10:06.880
And I hear his podcast.

01:10:06.880 --> 01:10:08.880
He's going to be in New York.

01:10:08.880 --> 01:10:10.880
See the power of podcasts.

01:10:10.880 --> 01:10:11.880
Yeah.

01:10:11.880 --> 01:10:12.880
You know what?

01:10:12.880 --> 01:10:13.880
I got to look him up.

01:10:13.880 --> 01:10:17.880
I haven't seen his post since
the days at MTV.

01:10:17.880 --> 01:10:20.880
I kind of missed his whole dot
com.

01:10:20.880 --> 01:10:23.880
That chapter of the book sort of
fell out of my.

01:10:23.880 --> 01:10:26.880
Per view because I was immersed
in my own.

01:10:26.880 --> 01:10:28.880
Misha Goss.

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.

01:10:33.880 --> 01:10:36.880
And I said, you, uh, being in
New York.

01:10:36.880 --> 01:10:37.880
Yeah.

01:10:37.880 --> 01:10:39.880
Hey, why don't you come up to
serious.

01:10:39.880 --> 01:10:43.880
Since you're a toy geek and a
technology geek, you might like
this.

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

01:10:48.880 --> 01:10:50.880
music sports and entertainment.

01:10:50.880 --> 01:10:52.880
And he said, oh, we got to get
him here.

01:10:52.880 --> 01:10:53.880
We got to get him here.

01:10:53.880 --> 01:10:54.880
I said, no, no, he'll be here.

01:10:54.880 --> 01:10:56.880
Oh, we got to get this
podcasting thing going here.

01:10:56.880 --> 01:10:59.880
And I said, you know, that's
exactly what everyone
envisioned.

01:10:59.880 --> 01:11:00.880
So, we love their go.

01:11:00.880 --> 01:11:02.880
I'm going to get him here.

01:11:02.880 --> 01:11:04.880
I said, oh, well, you know, I'll
feel be here.

01:11:04.880 --> 01:11:06.880
You can talk to him.

01:11:06.880 --> 01:11:08.880
Oh, great.

01:11:08.880 --> 01:11:09.880
So, um, that's not fair.

01:11:09.880 --> 01:11:10.880
He doesn't talk like that.

01:11:10.880 --> 01:11:12.880
But anyways, he does talk like a
radio guy kind of.

01:11:12.880 --> 01:11:14.880
He's absolutely no radio.

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

01:11:18.880 --> 01:11:19.880
and an attorney.

01:11:19.880 --> 01:11:20.880
He's a lawyer.

01:11:20.880 --> 01:11:21.880
Oh yeah, low but low is there.

01:11:21.880 --> 01:11:24.880
Yes, but he, if you ask him a
legal question, I don't know.

01:11:24.880 --> 01:11:25.880
I don't know.

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

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

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

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

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

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

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

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

01:12:11.160 --> 01:12:15.560
But all the toys and bells and
whistles and tools and digital
studios and work stations

01:12:15.560 --> 01:12:19.160
and this people buzzing all over
the place there's a positive

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

01:14:29.480 --> 01:14:37.400
interesting left of center
different unique tasty flavorful
that's basically anything that
is

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

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

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

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

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

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

01:15:13.960 --> 01:15:20.840
readers digest condensed books
not everybody has the
discretionary time to go to the
source and

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

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

01:15:32.040 --> 01:15:37.560
going to be a daily for our
program that satellite
subscribers we have listened to
where

01:15:38.360 --> 01:15:43.720
Adam will act as the editor the
filter of of turning you want to
interesting things

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

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

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

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

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

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

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

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

01:16:29.880 --> 01:16:34.440
from the Chickaway studios in in
suburban northern New Jersey you
can you can sit on

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

01:16:40.520 --> 01:16:46.040
go into the museum with Monica
Lewinsky's dress make it make a
play stained records

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

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

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

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

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

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

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