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This programme contains strong language. | 0:00:02 | 0:00:09 | |
APPLAUSE AND CHEERING | 0:00:15 | 0:00:18 | |
All the way from Hereford... | 0:00:25 | 0:00:27 | |
CHEERING | 0:00:27 | 0:00:30 | |
..Martin Chambers. I've been with him for over 30 years. | 0:00:30 | 0:00:33 | |
What about that? | 0:00:33 | 0:00:34 | |
CHEERING AND APPLAUSE | 0:00:34 | 0:00:37 | |
You only get 20 for murder! | 0:00:39 | 0:00:40 | |
# What am I going to do today? | 0:01:08 | 0:01:10 | |
# Go to the newsstand Check out the war zone | 0:01:13 | 0:01:18 | |
# And read the lists and see what's good on | 0:01:18 | 0:01:20 | |
# Oh, there's one I've been wanting to see... # | 0:01:20 | 0:01:24 | |
Anyone here up for a movie? I am! | 0:01:24 | 0:01:26 | |
# Nobody tells me I can't | 0:01:29 | 0:01:31 | |
# Nobody tells me I shan't | 0:01:33 | 0:01:35 | |
# No-one to say, "You're doing it wrong" | 0:01:37 | 0:01:39 | |
# I'm at my best I'm where I belong, alone | 0:01:41 | 0:01:45 | |
# Hey! Yeah, I like it | 0:01:47 | 0:01:50 | |
# Now I'm down on the street | 0:02:00 | 0:02:01 | |
# Making out with the poets and the Greeks and the deadbeats | 0:02:01 | 0:02:05 | |
# I'm taking my time sitting on park benches | 0:02:05 | 0:02:07 | |
# And all the glamour It starts down here | 0:02:07 | 0:02:10 | |
# This is where the trends begin Life's a canvas, and I'm on it | 0:02:10 | 0:02:14 | |
# Nobody tells me I can't | 0:02:16 | 0:02:18 | |
# Nobody tells me I shan't | 0:02:19 | 0:02:22 | |
# No-one to say, "You're doing it wrong" | 0:02:23 | 0:02:27 | |
# I'm at my best I'm where I belong, alone | 0:02:27 | 0:02:32 | |
# Yeah, I like it | 0:02:32 | 0:02:34 | |
# I like being alone. # | 0:02:34 | 0:02:36 | |
'All songs are written on basically the same events, | 0:02:37 | 0:02:41 | |
'which is usually just human relationships.' | 0:02:41 | 0:02:44 | |
You broke my heart, I broke your heart. | 0:02:44 | 0:02:47 | |
I'm alone, I'm so miserable being alone. | 0:02:47 | 0:02:50 | |
I met you, now I feel good. | 0:02:50 | 0:02:52 | |
I just want to be with you, let's waste some time together. | 0:02:52 | 0:02:55 | |
I want to spend the rest of my life with you. | 0:02:55 | 0:02:58 | |
Oh, no, you've left me. I can't believe I'm alone again. | 0:02:58 | 0:03:02 | |
If only, oh, I saw someone today. | 0:03:04 | 0:03:07 | |
He was a stranger but my heart was full of joy. | 0:03:07 | 0:03:10 | |
And, you know, it just goes on, and on, and on, you know. | 0:03:10 | 0:03:15 | |
You know, it's just.. You know. | 0:03:15 | 0:03:17 | |
After a while, it's like... | 0:03:17 | 0:03:18 | |
But it's always relevant. | 0:03:20 | 0:03:21 | |
And then, when I thought about it, I've never heard another song | 0:03:23 | 0:03:28 | |
that celebrates that it's fun to be on your own. | 0:03:28 | 0:03:30 | |
I still can't think of one. | 0:03:30 | 0:03:33 | |
Maybe cos it's crap to be on your own. | 0:03:33 | 0:03:35 | |
'What my friend Marie says is | 0:03:46 | 0:03:48 | |
'she's never alone because she's always got herself. | 0:03:48 | 0:03:52 | |
'That's a great attitude.' | 0:03:52 | 0:03:53 | |
ACCORDION PLAYS | 0:03:53 | 0:03:56 | |
He's with you? | 0:04:10 | 0:04:12 | |
Go. Go. | 0:04:17 | 0:04:20 | |
Ask me the question you want to know, and you've never asked. | 0:04:21 | 0:04:24 | |
I have an answer for everything. Important. Not bullshit. | 0:04:24 | 0:04:28 | |
Um, hm. | 0:04:30 | 0:04:32 | |
I'm thinking. | 0:04:34 | 0:04:35 | |
You must have some questions. | 0:04:36 | 0:04:38 | |
I guess I don't. | 0:04:51 | 0:04:53 | |
HE SNORTS | 0:04:53 | 0:04:54 | |
You know how many times did you come to this Earth? | 0:04:57 | 0:05:02 | |
-What do you think? -What do I think? -Yeah. | 0:05:03 | 0:05:06 | |
-What do you think? -About 8,400,000. -No. | 0:05:06 | 0:05:09 | |
Don't bullshitting me. Speak serious. | 0:05:09 | 0:05:12 | |
I'm asking you a serious question. | 0:05:12 | 0:05:14 | |
-I can only guess. -OK. | 0:05:14 | 0:05:18 | |
-So you don't know, I tell you. -All right. | 0:05:18 | 0:05:20 | |
1,000 times. Around 1,000. | 0:05:20 | 0:05:22 | |
-1,000 times? -Yes. -No way. -Each of us, yes. -No way. | 0:05:22 | 0:05:26 | |
-Yeah, yeah. -Much more than that. -No. | 0:05:26 | 0:05:30 | |
-You think I'm bullshitting you? -I don't think you're bullshitting me. | 0:05:30 | 0:05:32 | |
-But I think you're wrong. -No, I'm not wrong. | 0:05:32 | 0:05:34 | |
-I think you think you're right. -No, no. I don't think, I know. | 0:05:34 | 0:05:38 | |
-OK, well, then you're definitely wrong. -No. | 0:05:38 | 0:05:40 | |
That's the difference between me and you. | 0:05:40 | 0:05:42 | |
You think. I know. | 0:05:42 | 0:05:44 | |
I'm living astro and physical, in the same time. | 0:05:46 | 0:05:50 | |
Shit, that's sweet. Huh? It's good, huh? | 0:05:53 | 0:05:57 | |
JC Maxim. | 0:05:57 | 0:05:59 | |
JC, like Jesus Christ Superstar. | 0:05:59 | 0:06:02 | |
Yeah, man. That's good. I knew it's going to be good. I knew it. | 0:06:02 | 0:06:06 | |
-I like it. -Of course you like it. -Uh-huh. | 0:06:11 | 0:06:14 | |
I like the fact I look eight. | 0:06:14 | 0:06:16 | |
He knows he's a phoney. | 0:06:16 | 0:06:18 | |
Anyone would know that who was doing that. | 0:06:19 | 0:06:23 | |
He's just a con artist. | 0:06:23 | 0:06:24 | |
I like a con. | 0:06:24 | 0:06:26 | |
I don't like to be conned, but I appreciate it if I am. | 0:06:26 | 0:06:29 | |
You know, I have to think, touche, if someone has a good con. | 0:06:29 | 0:06:35 | |
And I've been conned before, of course, many times. | 0:06:35 | 0:06:38 | |
-INTERVIEWER: -I can't imagine you conning others, though, really. | 0:06:41 | 0:06:45 | |
Well, I conned you guys! | 0:06:47 | 0:06:49 | |
SHE LAUGHS | 0:06:49 | 0:06:51 | |
# Nobody tells me I can't | 0:07:08 | 0:07:11 | |
# Nobody tells me I shan't | 0:07:12 | 0:07:14 | |
# No-one to say, "You're doing it wrong" | 0:07:16 | 0:07:19 | |
# I'm at my best I'm where I belong, alone. # | 0:07:19 | 0:07:24 | |
IN FRENCH: | 0:07:35 | 0:07:37 | |
OK, OK. Oui. | 0:07:37 | 0:07:39 | |
Non, franchement, c'est pas... | 0:07:39 | 0:07:40 | |
Franchement... | 0:07:49 | 0:07:51 | |
Oui. Super. | 0:07:56 | 0:07:58 | |
'Once in a while, you meet someone | 0:07:58 | 0:08:00 | |
'who's really in charge of their looks.' | 0:08:00 | 0:08:02 | |
The New York Dolls. | 0:08:02 | 0:08:03 | |
David Johansen, immaculate. Johnny Thunders, immaculate. | 0:08:03 | 0:08:07 | |
Charlie Sexton who used to play with Bob Dylan. Immaculate. | 0:08:07 | 0:08:10 | |
Dylan, a very stylish guy. | 0:08:10 | 0:08:13 | |
He really pays attention to what... | 0:08:13 | 0:08:15 | |
He's really careful about his image, you know. | 0:08:15 | 0:08:18 | |
And people that are careful about looking like they don't care. | 0:08:18 | 0:08:22 | |
They even have to have another level of caring | 0:08:22 | 0:08:24 | |
to make it look like they don't care. | 0:08:24 | 0:08:26 | |
That... You know, that it's casual and that it just comes naturally. | 0:08:26 | 0:08:30 | |
But, you know, it's such an important part of music. | 0:08:30 | 0:08:33 | |
IN FRENCH: | 0:08:33 | 0:08:34 | |
'Johnny Cash, Willie Nelson, Maria Callas. | 0:08:37 | 0:08:41 | |
'It was all about obsessively trying to be glamorous | 0:08:41 | 0:08:44 | |
'and presenting something to the world. | 0:08:44 | 0:08:46 | |
'Of course it's important. | 0:08:46 | 0:08:48 | |
'Amy Winehouse. Any of the greats.' | 0:08:48 | 0:08:51 | |
None of them looked like bums, from Hendrix to... | 0:08:51 | 0:08:54 | |
You can't look like a bum. You can't. | 0:08:54 | 0:08:58 | |
Actors do - that's why they need stylists. | 0:08:58 | 0:09:01 | |
But in a band, you can't do that. | 0:09:01 | 0:09:03 | |
You have to be who you are on the street and when you're on stage. | 0:09:03 | 0:09:06 | |
You can't change. | 0:09:06 | 0:09:08 | |
Being in rock 'n' roll, it's not about changing, | 0:09:08 | 0:09:10 | |
it's about being yourself all the time. | 0:09:10 | 0:09:13 | |
HE SPEAKS FRENCH | 0:09:16 | 0:09:17 | |
OK. Super. | 0:09:17 | 0:09:19 | |
OK. No, no, I don't want anything. I don't want anything. | 0:09:32 | 0:09:35 | |
MUSIC: Brass In Pocket by The Pretenders | 0:09:37 | 0:09:40 | |
'# Got brass | 0:09:40 | 0:09:41 | |
'# In pocket | 0:09:41 | 0:09:44 | |
'# Got bottle | 0:09:44 | 0:09:46 | |
'# I'm gonna use it | 0:09:46 | 0:09:48 | |
'# Intention I feel inventive' | 0:09:48 | 0:09:53 | |
# Gonna make you, make you Make you notice | 0:09:53 | 0:09:58 | |
# Got motion Restrained emotion | 0:09:58 | 0:10:03 | |
# Been driving Detroit leaning | 0:10:03 | 0:10:08 | |
# No reason Just seems so pleasing | 0:10:08 | 0:10:12 | |
# Gonna make you, make you Make you notice | 0:10:12 | 0:10:18 | |
# Gonna use my arms | 0:10:18 | 0:10:20 | |
# Gonna use my legs | 0:10:20 | 0:10:23 | |
# Gonna use my style | 0:10:23 | 0:10:25 | |
# Gonna use my sidestep | 0:10:25 | 0:10:27 | |
# Gonna use my fingers | 0:10:27 | 0:10:30 | |
# Gonna use my, my My imagination | 0:10:30 | 0:10:35 | |
# Oh, cos I gonna make you see | 0:10:35 | 0:10:40 | |
# There's nobody else here No-one like me | 0:10:40 | 0:10:45 | |
# I'm special | 0:10:45 | 0:10:46 | |
# Special | 0:10:46 | 0:10:47 | |
# So special | 0:10:47 | 0:10:49 | |
# Special | 0:10:49 | 0:10:50 | |
# I gotta have some of your attention | 0:10:50 | 0:10:53 | |
# Give it to me | 0:10:53 | 0:10:55 | |
# Got rhythm | 0:10:57 | 0:10:58 | |
# I can't miss a beat | 0:10:58 | 0:11:01 | |
# Got new skank | 0:11:01 | 0:11:03 | |
# So reet... # | 0:11:03 | 0:11:06 | |
-INTERVIEWER: -Where did you get the T-shirt? | 0:11:06 | 0:11:08 | |
When I got here, I forgot to bring any shirts, | 0:11:08 | 0:11:10 | |
so I just went and got a stack of Paris shirts. | 0:11:10 | 0:11:13 | |
I look like a tourist, so sue me! | 0:11:13 | 0:11:17 | |
You know, what are you going to do about it? | 0:11:17 | 0:11:19 | |
MUSIC: Precious by The Pretenders | 0:11:29 | 0:11:33 | |
# I like the way you cross the street | 0:11:40 | 0:11:43 | |
# Cos you're precious | 0:11:43 | 0:11:46 | |
# Moving through the Cleveland heat How precious | 0:11:46 | 0:11:50 | |
# Taking rides and all the kicks was so precious | 0:11:51 | 0:11:56 | |
# But you know I was shittin' bricks cos I'm precious | 0:11:56 | 0:12:01 | |
# Made me wanna | 0:12:03 | 0:12:04 | |
# Made me wanna | 0:12:05 | 0:12:07 | |
# You made me make it Oh. # | 0:12:08 | 0:12:11 | |
'I'm here, kids. | 0:12:19 | 0:12:21 | |
'I'll stand by you. | 0:12:21 | 0:12:23 | |
'# I'll stand by you | 0:12:24 | 0:12:28 | |
'# I'll stand by you | 0:12:28 | 0:12:32 | |
'# Won't hurt you | 0:12:32 | 0:12:35 | |
'# Stand by you, yeah' | 0:12:35 | 0:12:40 | |
# Darkest hour | 0:12:40 | 0:12:43 | |
# You...know I'll stand by you | 0:12:43 | 0:12:47 | |
# I'll stand by you | 0:12:47 | 0:12:51 | |
-AUDIENCE: -# I'll stand by you | 0:12:51 | 0:12:54 | |
# Won't let nobody hurt you | 0:12:54 | 0:12:58 | |
# I'll stand by you | 0:12:58 | 0:13:01 | |
# If you're mad, get mad | 0:13:05 | 0:13:09 | |
# Don't hold it all inside | 0:13:09 | 0:13:13 | |
# Come on and talk to me now | 0:13:13 | 0:13:17 | |
# Hey, what you got to hide? | 0:13:18 | 0:13:23 | |
# I get angry too | 0:13:24 | 0:13:26 | |
# Well, I'm a lot like you | 0:13:27 | 0:13:32 | |
# When you're standing at the crossroads | 0:13:32 | 0:13:35 | |
# And don't know which path to choose | 0:13:35 | 0:13:39 | |
# Let me come along | 0:13:39 | 0:13:42 | |
# Cos even if you're wrong | 0:13:42 | 0:13:44 | |
# I'll stand by you | 0:13:46 | 0:13:48 | |
# I'll stand by you | 0:13:49 | 0:13:52 | |
# You... | 0:13:52 | 0:13:55 | |
# Stand by you, stand by you | 0:13:55 | 0:13:59 | |
# Whoo, I'll stand by you | 0:13:59 | 0:14:03 | |
# I'll stand I'll stand by you. # | 0:14:03 | 0:14:08 | |
Here I am, I'm back, in Sandyland. | 0:14:08 | 0:14:12 | |
# Won't let nobody hurt you. # | 0:14:12 | 0:14:14 | |
-Ah! -Ah, look at that. | 0:14:14 | 0:14:17 | |
Tail wagging furiously. | 0:14:17 | 0:14:19 | |
-Hello. -Baby. -Aw! | 0:14:19 | 0:14:23 | |
Finally, so you're on the show now, live, instead of... | 0:14:23 | 0:14:26 | |
-Love the jacket. -Thank you. | 0:14:26 | 0:14:28 | |
Always... Ooh, look at you in that fabulous shoe! | 0:14:28 | 0:14:31 | |
-Yeah, let's get superficial. Let's start on the clothes. -I know, but... | 0:14:31 | 0:14:35 | |
-Yeah, I... -I mean, we're going to get heavy and intense, so... | 0:14:35 | 0:14:38 | |
-Of course we are. -..can we just say for a minute, you look good? | 0:14:38 | 0:14:41 | |
You do, too. | 0:14:41 | 0:14:42 | |
'This is Sandyland, with Sandy Bernhard.' | 0:14:42 | 0:14:44 | |
-We're here live and you can feel the tension. -Yeah, you can feel... | 0:14:44 | 0:14:47 | |
-The excitement. -..the magic. -Yeah. | 0:14:47 | 0:14:49 | |
-The fizzy... -The sparks, the sparks are flying. | 0:14:49 | 0:14:52 | |
You're back to a more classic Chrissie cut. | 0:14:52 | 0:14:54 | |
How did that haircut first come about? | 0:14:54 | 0:14:56 | |
Did you do it to yourself or did somebody do it? | 0:14:56 | 0:14:59 | |
Yeah, I did to myself. No-one did it back then. | 0:14:59 | 0:15:02 | |
What was your hair like before it turned into the classic Chrissie? | 0:15:02 | 0:15:06 | |
Uh, pretty much the same. | 0:15:06 | 0:15:08 | |
I think if you shaved your head and let it grow out, you'd have this. | 0:15:08 | 0:15:11 | |
-Was your hair ever long growing up? -Yeah. | 0:15:11 | 0:15:14 | |
Your hair only gets so long before it falls out - did you know that? | 0:15:14 | 0:15:17 | |
-Yeah. -That's how it works. | 0:15:17 | 0:15:20 | |
Thank God, because it's nature protecting you from being a witch. | 0:15:20 | 0:15:23 | |
-But some people's hair goes right down to their knees. -I know. | 0:15:23 | 0:15:26 | |
Mine would only get to about shoulder length. | 0:15:26 | 0:15:28 | |
-Back in the hippie days... -My hair was longer then. | 0:15:28 | 0:15:31 | |
But I was so much older then! | 0:15:31 | 0:15:34 | |
-Are you still in Maida Vale? -Yeah. | 0:15:34 | 0:15:36 | |
-Is it a small place you got for yourself? -It's small. | 0:15:36 | 0:15:38 | |
I got a place where I can paint. You know me - I live alone. | 0:15:38 | 0:15:41 | |
I'm a lone, hungry, irritable wolf. | 0:15:41 | 0:15:43 | |
But I thought you lived with the kids? | 0:15:43 | 0:15:45 | |
No, I moved out of the house. | 0:15:45 | 0:15:47 | |
You... Chrissie, you are a true Buddhist nomad. | 0:15:47 | 0:15:52 | |
I'm a recluse is what I am. | 0:15:52 | 0:15:54 | |
England's at its best when it's a bit wet. | 0:16:16 | 0:16:19 | |
Doesn't look right in the bright sunlight | 0:16:19 | 0:16:22 | |
although, on a day when the sky is high and it's a balmy, sunny day, | 0:16:22 | 0:16:26 | |
it's the best. | 0:16:26 | 0:16:28 | |
But you need a lot of this to make that look. | 0:16:33 | 0:16:35 | |
-INTERVIEWER: -Do you think... Are you definitely urban? Are you urban? | 0:16:35 | 0:16:39 | |
Um. Yeah, I think I am. | 0:16:40 | 0:16:43 | |
But, because I'm a little bit of a loner, | 0:16:44 | 0:16:47 | |
I would have liked to have maybe had a family out in the country - | 0:16:47 | 0:16:51 | |
that would be great. | 0:16:51 | 0:16:52 | |
But that would have needed a male counterpart to do all that. | 0:16:52 | 0:16:55 | |
I couldn't do that on my own without a team. | 0:16:55 | 0:16:57 | |
And I've generally been more... | 0:16:57 | 0:17:00 | |
..you know, on my own doing stuff. | 0:17:02 | 0:17:04 | |
So I wouldn't move out to the country now. | 0:17:04 | 0:17:06 | |
I'd just be sitting there in a field, like, | 0:17:06 | 0:17:08 | |
"What the fuck am I doing here?" | 0:17:08 | 0:17:10 | |
You know, but if I had a team, | 0:17:10 | 0:17:13 | |
I could have some dogs and stuff but... | 0:17:13 | 0:17:15 | |
So, I don't really think about it. | 0:17:16 | 0:17:18 | |
But when I get out in the country, it's... I think about it, | 0:17:18 | 0:17:22 | |
and it's what I would have assumed I'd be doing when I was a child, | 0:17:22 | 0:17:25 | |
because I wanted to be in the country around animals | 0:17:25 | 0:17:27 | |
and it just never happened. | 0:17:27 | 0:17:29 | |
I love cities. | 0:17:29 | 0:17:31 | |
In fact, I've been in places out in the country | 0:17:35 | 0:17:39 | |
and they're near a motorway, | 0:17:39 | 0:17:41 | |
and you hear that awful sound, that nee-ow, that sound of a car going, | 0:17:41 | 0:17:46 | |
and you're like, well, you know, it's quieter here. | 0:17:46 | 0:17:49 | |
I don't hear anything at night. That's what I like, is quiet. | 0:17:49 | 0:17:53 | |
Quiet, trees, birds. | 0:17:53 | 0:17:56 | |
MUSIC: Stepping Razor by Peter Tosh | 0:17:56 | 0:18:00 | |
# If you wanna live | 0:18:10 | 0:18:13 | |
# Treat me good | 0:18:14 | 0:18:17 | |
# If you wanna live, live | 0:18:18 | 0:18:22 | |
# I beg you, treat me good | 0:18:22 | 0:18:24 | |
# I'm like a walking razor | 0:18:25 | 0:18:28 | |
# Don't you watch my size | 0:18:28 | 0:18:29 | |
# I'm dangerous Said I'm dangerous | 0:18:29 | 0:18:33 | |
# I'm like a walking razor Don't you watch my size | 0:18:33 | 0:18:37 | |
# I'm dangerous Dangerous. # | 0:18:37 | 0:18:40 | |
At the end of last year, that's when I began. | 0:18:41 | 0:18:46 | |
So I did this pot, which is a favourite pot of mine. | 0:18:46 | 0:18:50 | |
It sort of kick-started this thing I've been doing. | 0:18:50 | 0:18:55 | |
I like to choose colours that I'm not necessarily that fond of. | 0:18:55 | 0:18:58 | |
You see a lot of yellow here. | 0:18:58 | 0:19:00 | |
I think yellow is a colour people get into when they become old. | 0:19:00 | 0:19:05 | |
So I've tried to embrace that. | 0:19:05 | 0:19:07 | |
What I want to do with my music and my paintings | 0:19:07 | 0:19:09 | |
is just cheer people up. I'm not trying to disturb anyone. | 0:19:09 | 0:19:13 | |
I think modern art can be disturbing. I'm already disturbed. | 0:19:13 | 0:19:16 | |
So I don't need to add that, incorporate any more of that. | 0:19:16 | 0:19:20 | |
Then I went away for about... For some time, ten days. | 0:19:20 | 0:19:24 | |
That's when I came back and thought, | 0:19:24 | 0:19:26 | |
"Oh, I wonder if I can still paint." | 0:19:26 | 0:19:28 | |
You always think that, if you write a song or do anything - | 0:19:28 | 0:19:31 | |
that's what I find, anyway. And other people have said that. | 0:19:31 | 0:19:34 | |
You think you've done it and you'll never be able to do it again. | 0:19:34 | 0:19:36 | |
So you panic into the next one to see if you can still do it. | 0:19:36 | 0:19:40 | |
So I did that one. | 0:19:40 | 0:19:42 | |
I think that's one of my more successful, if I do say so. | 0:19:42 | 0:19:45 | |
Then I thought, some abstracts. | 0:19:45 | 0:19:49 | |
So I thought, "Well, that's something I've never done." | 0:19:49 | 0:19:53 | |
Oh, can you move around there? | 0:19:53 | 0:19:55 | |
So I did that one. | 0:19:55 | 0:19:57 | |
That one. | 0:19:58 | 0:20:00 | |
This one's called West London. | 0:20:01 | 0:20:03 | |
Not one of mine! | 0:20:05 | 0:20:07 | |
SHE GIGGLES | 0:20:07 | 0:20:08 | |
And then, one night, I thought, "I've got to stop painting. | 0:20:09 | 0:20:14 | |
"This is becoming, like. too compulsive." | 0:20:14 | 0:20:16 | |
Oh, I couldn't have done this when I was living with people. | 0:20:23 | 0:20:27 | |
Cos your whole morning when you get started, | 0:20:29 | 0:20:31 | |
you're, you know, taking someone tea or, you know. | 0:20:31 | 0:20:36 | |
I think being alone is a huge luxury. | 0:20:38 | 0:20:40 | |
And it's an epidemic of sorrow for millions of people too. | 0:20:40 | 0:20:45 | |
And that's kind of what my meditations take me around to, | 0:20:45 | 0:20:48 | |
is try to address this thing of loneliness, | 0:20:48 | 0:20:50 | |
and, you know, what that really means in a person's life. | 0:20:50 | 0:20:54 | |
Why are we lonely? | 0:20:54 | 0:20:56 | |
You can be distracted from it, but when you're really alone, | 0:20:56 | 0:20:58 | |
you have to start to face that. | 0:20:58 | 0:21:00 | |
I don't know if that's necess... You don't want to over-face it. | 0:21:00 | 0:21:03 | |
Like I say, it's a luxury to have the time to do these meditations. | 0:21:03 | 0:21:11 | |
But now I'm in the more later stages of my life, | 0:21:11 | 0:21:13 | |
and I think that's an important thing to do. | 0:21:13 | 0:21:16 | |
MUSIC: Private Life by The Pretenders | 0:21:22 | 0:21:25 | |
# Your private life drama, baby Leave me out | 0:21:44 | 0:21:48 | |
# Your private life drama, baby Leave me out | 0:21:51 | 0:21:55 | |
# Your private life drama, baby Leave me out | 0:22:00 | 0:22:03 | |
# Your private life drama, baby Leave me out | 0:22:07 | 0:22:11 | |
# J'ai les glandes with your theatrics | 0:22:16 | 0:22:18 | |
# Your acting's a drag | 0:22:18 | 0:22:20 | |
# It's OK on TV cos you can turn it off | 0:22:24 | 0:22:27 | |
# But don't try me | 0:22:27 | 0:22:28 | |
# Yes, your marriage is a tragedy | 0:22:32 | 0:22:34 | |
# But it's not my concern | 0:22:34 | 0:22:35 | |
# I'm very superficial I hate anything official | 0:22:39 | 0:22:43 | |
# Your private life drama, baby Leave me out | 0:22:47 | 0:22:52 | |
# Your private life drama, baby Leave me out | 0:22:56 | 0:22:59 | |
# Your private life drama, baby Leave me out | 0:23:04 | 0:23:08 | |
# Your private life drama, baby Leave me out | 0:23:12 | 0:23:15 | |
# Your sentimental gestures only bore me to death | 0:23:36 | 0:23:40 | |
# You've made a desperate appeal Now save your breath | 0:23:44 | 0:23:48 | |
# Attachment to obligation through guilt and regret | 0:23:52 | 0:23:55 | |
# Shit, that's so wet | 0:23:55 | 0:23:57 | |
# And your sex-life complications are not my fascinations | 0:24:00 | 0:24:04 | |
# Private life drama, baby Leave me out... # | 0:24:08 | 0:24:12 | |
-INTERVIEWER: -Now, I have been surprised over this summer | 0:24:17 | 0:24:20 | |
that you believe in rock and are a rock... You are a rock... | 0:24:20 | 0:24:25 | |
Did you want to say "rock chick", but you didn't want to say "chick"? | 0:24:25 | 0:24:28 | |
Cos I might have a go at you? REPORTER LAUGHS | 0:24:28 | 0:24:31 | |
What do you think of that phrase, "rock chick"? | 0:24:31 | 0:24:33 | |
Rock chick? I don't care. | 0:24:33 | 0:24:36 | |
Not everyone was a rock chick. Not everyone else... | 0:24:43 | 0:24:45 | |
You know, not everyone gets to be a rock chick. | 0:24:45 | 0:24:48 | |
SONG: Whatcha Gonna Do 'Bout It | 0:24:48 | 0:24:51 | |
-What's a guy? A rocker. -Yeah. -What's wrong with that? | 0:24:55 | 0:24:59 | |
-Nothing? -Yeah, no, I'm just asking. | 0:25:03 | 0:25:05 | |
I don't know if... This language, question of language these days. | 0:25:05 | 0:25:10 | |
# Want you to know that I love you, baby | 0:25:34 | 0:25:37 | |
# Want you to know that I care | 0:25:37 | 0:25:39 | |
# I'm so happy when you're with me and I'm sad when you're not there | 0:25:39 | 0:25:45 | |
# Boys | 0:25:45 | 0:25:46 | |
# What you gonna do about it? | 0:25:46 | 0:25:48 | |
-# Whoa-oh-oh -What you gonna do about it? | 0:25:48 | 0:25:51 | |
-# Yeah -What you gonna do about it? | 0:25:51 | 0:25:55 | |
# What you gonna do about it? | 0:25:55 | 0:25:58 | |
# Want you to give me your sweet, sweet kisses | 0:25:58 | 0:26:01 | |
# Want you to hold me tight | 0:26:01 | 0:26:03 | |
# I want you to come whenever I call you | 0:26:03 | 0:26:07 | |
# Want you to walk me home tonight | 0:26:07 | 0:26:10 | |
# What you gonna do about it? | 0:26:10 | 0:26:13 | |
# What you gonna do about it? | 0:26:13 | 0:26:15 | |
# Well | 0:26:15 | 0:26:16 | |
-# What you gonna do about it? -Whatcha gonna give me? | 0:26:16 | 0:26:19 | |
# What you gonna do about it? # | 0:26:19 | 0:26:21 | |
Yeah, I was... | 0:26:54 | 0:26:55 | |
..sent by the NME to meet... To do... | 0:26:57 | 0:26:59 | |
There was some sort of feminist forum or something. | 0:26:59 | 0:27:01 | |
This was ages ago, like 1973. 1974, maybe. | 0:27:01 | 0:27:05 | |
And so I was the... | 0:27:05 | 0:27:07 | |
Maybe I was the only chick on the force, I can't remember. | 0:27:07 | 0:27:10 | |
They sent me. | 0:27:10 | 0:27:12 | |
And so this American woman asked me if I was a feminist, | 0:27:12 | 0:27:16 | |
and I said, "I don't know." | 0:27:16 | 0:27:20 | |
And she goes... That already put her nose out of joint cos I wasn't... | 0:27:20 | 0:27:24 | |
I didn't know if I was or not. | 0:27:24 | 0:27:25 | |
So she started questioning me | 0:27:25 | 0:27:27 | |
to, you know, | 0:27:27 | 0:27:29 | |
encourage me to admit that I was a feminist, I guess, | 0:27:29 | 0:27:32 | |
I don't know. I actually didn't know what it meant exactly, so I was... | 0:27:32 | 0:27:36 | |
I wasn't trying to be cantankerous or anything. | 0:27:36 | 0:27:38 | |
Um... | 0:27:38 | 0:27:40 | |
And she said, "Well, let's say that you want to get a credit card," | 0:27:40 | 0:27:45 | |
and I said, "I don't want a credit card." | 0:27:45 | 0:27:47 | |
She said, "All right, well, let me... | 0:27:47 | 0:27:50 | |
"What about if you wanted to buy a car?" | 0:27:50 | 0:27:53 | |
I said, "I don't want to buy a car." | 0:27:53 | 0:27:56 | |
She said... | 0:27:56 | 0:27:58 | |
"All right, well, let's say that you want to get a house, | 0:27:58 | 0:28:01 | |
"buy a house," and I said, "I don't want to get a house." | 0:28:01 | 0:28:04 | |
And by now, I was only answering truthfully, | 0:28:04 | 0:28:07 | |
but she was getting really kind of pissed off at me. | 0:28:07 | 0:28:09 | |
She was older than me too, and she was a feminist. | 0:28:09 | 0:28:11 | |
And she said, "Well, what if some other woman did want those things?" | 0:28:11 | 0:28:16 | |
And I said, "Well, what's that got to do with me?" | 0:28:16 | 0:28:18 | |
And she said, "Well, you are NOT a feminist." | 0:28:18 | 0:28:21 | |
So, after that, I thought, "Well, if she's a leading feminist, | 0:28:21 | 0:28:23 | |
"she must know." And I just assumed... | 0:28:23 | 0:28:25 | |
She said I wasn't a feminist, I guess I wasn't a feminist. | 0:28:25 | 0:28:28 | |
But you still haven't, you know, trotted down the party line, | 0:28:31 | 0:28:34 | |
have you? | 0:28:34 | 0:28:36 | |
I don't trot down any party line. | 0:28:36 | 0:28:38 | |
Well, there's a few tyrannies around that are kind of | 0:28:38 | 0:28:41 | |
winding me up. | 0:28:41 | 0:28:43 | |
-Give me examples. -The vegan tyranny winds me up. -Meaning? | 0:28:43 | 0:28:46 | |
-It's all become about nutrition. -Right. | 0:28:46 | 0:28:49 | |
-I find that quite offensive. -But you feel like...? | 0:28:49 | 0:28:51 | |
It's not about compassion any more. | 0:28:51 | 0:28:53 | |
-I mean... -Yes. -As a matter of fact, to my vegan brethren, | 0:28:53 | 0:28:57 | |
I am in practice vegan but in theory vegetarian. | 0:28:57 | 0:29:01 | |
-Uh-huh. -They don't like that. | 0:29:01 | 0:29:02 | |
-So you started to... -The feminists don't like me. | 0:29:02 | 0:29:05 | |
The word "empowerment" also winds me up. | 0:29:05 | 0:29:08 | |
-What is that all about? -Oh, honey, I don't know. | 0:29:08 | 0:29:10 | |
"You've empowered me. I feel empowered." | 0:29:10 | 0:29:12 | |
And I loathe the art world. | 0:29:12 | 0:29:14 | |
-You don't have to. -The investment and all that bullshit. | 0:29:14 | 0:29:16 | |
-Oh, investment! -Yeah, the whole thing. | 0:29:16 | 0:29:18 | |
Well, it's just everything. | 0:29:18 | 0:29:19 | |
-It's like curated, eating, food... -I hate everything. | 0:29:19 | 0:29:22 | |
..art, everything has become, like... | 0:29:22 | 0:29:24 | |
What is the endgame of this? | 0:29:24 | 0:29:27 | |
Everyone defines themselves by what they like or what they... You know? | 0:29:27 | 0:29:30 | |
-I don't give a fuck. -Yeah. -I just wish everyone would fuck off. | 0:29:30 | 0:29:33 | |
SONG: Gotta Wait | 0:29:33 | 0:29:35 | |
# You gotta wait | 0:29:46 | 0:29:47 | |
# Think you belong? | 0:29:49 | 0:29:51 | |
# You gotta wait | 0:29:52 | 0:29:54 | |
# At the pharmacy at Walmart | 0:29:55 | 0:29:57 | |
# You gotta wait | 0:29:59 | 0:30:01 | |
# For an oxycontin come-down | 0:30:01 | 0:30:03 | |
# You gotta wait | 0:30:04 | 0:30:06 | |
# I'm loaded, could you bend down? | 0:30:07 | 0:30:09 | |
# You gotta wait, wait Hold the date, hesitate | 0:30:10 | 0:30:13 | |
# Wait Wait, wait | 0:30:13 | 0:30:15 | |
# Don't be late Read the date | 0:30:15 | 0:30:17 | |
# Wait Wait, wait | 0:30:17 | 0:30:18 | |
# Save a plate Hold the date | 0:30:18 | 0:30:19 | |
# Wait! | 0:30:19 | 0:30:20 | |
# You gotta wait | 0:30:47 | 0:30:48 | |
# And the waiting list is long | 0:30:50 | 0:30:51 | |
# You gotta wait | 0:30:53 | 0:30:54 | |
# Can you see where you belong? | 0:30:55 | 0:30:57 | |
# You gotta wait | 0:30:59 | 0:31:01 | |
# A hundred million faces | 0:31:01 | 0:31:03 | |
# You gotta wait | 0:31:05 | 0:31:06 | |
# You'll be going 200 places. # | 0:31:07 | 0:31:10 | |
BIRDS CHIRP | 0:31:13 | 0:31:16 | |
The wonderful thing about London | 0:31:34 | 0:31:36 | |
is there's parks everywhere, all across London. | 0:31:36 | 0:31:39 | |
Wherever you go, there's a park nearby. | 0:31:40 | 0:31:42 | |
If you live here, you can do this - | 0:31:44 | 0:31:47 | |
find all the moments when it's quiet and... | 0:31:47 | 0:31:51 | |
You can make it really personal, London. | 0:31:51 | 0:31:53 | |
There's this little island we can go on. | 0:32:01 | 0:32:04 | |
Do you want to go on this little island? | 0:32:04 | 0:32:05 | |
Look at this beauty here. | 0:32:15 | 0:32:16 | |
SHE CLICKS TONGUE Come, come. | 0:32:19 | 0:32:22 | |
Come on. Come on. | 0:32:27 | 0:32:30 | |
Come. | 0:32:32 | 0:32:33 | |
They say that swans are... They mate for life. | 0:32:38 | 0:32:42 | |
Which is probably why they're so... | 0:32:42 | 0:32:45 | |
supposedly, so ill-tempered. | 0:32:45 | 0:32:47 | |
That's just me being cynical, though. | 0:32:48 | 0:32:50 | |
It's hard not to be romantic - we're in the park. | 0:32:50 | 0:32:53 | |
I try not to be romantic, but who can not be when you're here? | 0:32:53 | 0:32:57 | |
I just got a strange look from that guy | 0:33:02 | 0:33:04 | |
who thinks I'm talking to myself. | 0:33:04 | 0:33:06 | |
We're right in the middle of the summer now. | 0:33:11 | 0:33:15 | |
This is the summer solstice, the longest day of the year. | 0:33:15 | 0:33:19 | |
This is where... | 0:33:22 | 0:33:24 | |
lovers do come to go for a stroll. | 0:33:24 | 0:33:27 | |
So all the roses here are named. | 0:33:29 | 0:33:31 | |
These little plaques with their name. | 0:33:31 | 0:33:33 | |
Majestic, these lovely pink ones. | 0:33:33 | 0:33:37 | |
And these are called Remember Me. | 0:33:37 | 0:33:40 | |
All the roses have romantic names. | 0:33:42 | 0:33:45 | |
What a nice thing, to have a rose named after you. | 0:33:46 | 0:33:49 | |
# Let's get lost | 0:33:52 | 0:33:54 | |
# Let's get lost | 0:33:56 | 0:33:58 | |
# Let's get lost | 0:34:01 | 0:34:03 | |
# Let's get lost | 0:34:05 | 0:34:08 | |
# I wear it like a charm | 0:34:12 | 0:34:14 | |
# A tattoo on my arm | 0:34:14 | 0:34:16 | |
# Your name in a horseshoe | 0:34:18 | 0:34:20 | |
# Your talismans and such | 0:34:21 | 0:34:23 | |
# I rely on them to touch | 0:34:23 | 0:34:25 | |
# Get close to you | 0:34:25 | 0:34:28 | |
# Oh, I get high just a little | 0:34:28 | 0:34:32 | |
# High just a little | 0:34:32 | 0:34:35 | |
# Keepin' my fingers crossed | 0:34:35 | 0:34:37 | |
# Oh, and I try just a little | 0:34:37 | 0:34:41 | |
# Try just a little | 0:34:41 | 0:34:42 | |
# Now I've found you | 0:34:44 | 0:34:46 | |
# Let's get lost | 0:34:46 | 0:34:48 | |
# Let's get lost | 0:34:50 | 0:34:53 | |
# Let's get lost. # | 0:34:55 | 0:34:57 | |
Generally, you do the show. | 0:35:01 | 0:35:03 | |
That finishes. You go straight onto the coach. | 0:35:03 | 0:35:07 | |
Maybe hang around backstage if you have guests. | 0:35:07 | 0:35:09 | |
I like to get straight onto the coach. | 0:35:09 | 0:35:12 | |
You're going to have to sleep in a bunk, so that's a discipline. | 0:35:12 | 0:35:16 | |
There might be 12 bunks, so they're really stacked up. | 0:35:17 | 0:35:19 | |
They're more like coffins, you know. | 0:35:19 | 0:35:21 | |
And you have to jump up to get into your bunk. | 0:35:21 | 0:35:23 | |
But once you're in there, you're on your own. You have a little curtain. | 0:35:23 | 0:35:26 | |
It's definitely a love/hate relationship. | 0:35:26 | 0:35:28 | |
You hate it for lots of reasons - you're not sleeping, | 0:35:28 | 0:35:31 | |
it's noisy, you're confined, you're sharing the toilet with, | 0:35:31 | 0:35:35 | |
you know, all these guys and there's no real... | 0:35:35 | 0:35:38 | |
..comfort. But, on the other hand, | 0:35:39 | 0:35:42 | |
it's like a little cocoon and when you get in there, you know you're | 0:35:42 | 0:35:45 | |
going to wake up in the next town and that's kind of a great feeling. | 0:35:45 | 0:35:47 | |
MUSIC: Never Be Together by The Pretenders | 0:35:47 | 0:35:50 | |
I love living in hotels. It's my favourite thing, to be honest. | 0:36:11 | 0:36:15 | |
It just represents moving - that you're always moving. | 0:36:15 | 0:36:18 | |
In fact, the number-one thing I'm asked by people... | 0:36:20 | 0:36:23 | |
When they know that you're out on tour, they always say, | 0:36:23 | 0:36:26 | |
"Oh, you probably can't wait to get home so you can sleep in your own bed," | 0:36:26 | 0:36:29 | |
and I think, "That's exactly what I DON'T want to do. | 0:36:29 | 0:36:32 | |
# Oh, no | 0:36:35 | 0:36:37 | |
# We'll never | 0:36:38 | 0:36:40 | |
# We'll never be together. # | 0:36:42 | 0:36:44 | |
People always have these weird ideas about why you do this. | 0:36:57 | 0:37:00 | |
The whole idea of being on stage - | 0:37:00 | 0:37:03 | |
that it's all about this adulation or this energy from the audience. | 0:37:03 | 0:37:08 | |
Really, it's just about feeling like you're... | 0:37:08 | 0:37:11 | |
You actually know what you're doing for an hour. | 0:37:11 | 0:37:13 | |
You know, the rest of the time, you're kind of bumbling around, | 0:37:13 | 0:37:15 | |
trying to make sense of your life. | 0:37:15 | 0:37:18 | |
You've still got 22 hours to deal with in between the shows, | 0:37:21 | 0:37:25 | |
so you have to kind of get into the waiting. | 0:37:25 | 0:37:28 | |
Cos that's really what this game is about - it's a waiting game. | 0:37:28 | 0:37:30 | |
But I like to think of my waiting time as goof-off time. | 0:37:32 | 0:37:35 | |
And I like to goof off, so I just rethink it. | 0:37:35 | 0:37:38 | |
It's Sunday. It's going to get hot, so I can't be out for long. | 0:37:45 | 0:37:48 | |
But I need to get some scarves so I can modify the lighting in my room. | 0:37:50 | 0:37:53 | |
I never seem to pack what I need. It gets worse and worse. | 0:37:53 | 0:37:58 | |
Like jet lag. The two things in life that get... | 0:37:59 | 0:38:02 | |
They seem to get worse with experience. So, here we go. | 0:38:02 | 0:38:05 | |
The thing is, when you're out | 0:38:08 | 0:38:10 | |
trying to go for a walk in most of these towns now, | 0:38:10 | 0:38:13 | |
you don't really feel like you're in the human zone but, you know, | 0:38:13 | 0:38:18 | |
I soldier on, determined to go for a walk anyway. | 0:38:18 | 0:38:22 | |
That's a nice effort, to make a little... | 0:38:35 | 0:38:37 | |
..fountain, water feature, here. I don't know who's looking at it, | 0:38:39 | 0:38:42 | |
because it faces nothing but concrete and cars. | 0:38:42 | 0:38:45 | |
-I -looked at it, OK? And I appreciate it. | 0:38:46 | 0:38:48 | |
What I love is, on these places that have been concreted over, | 0:38:55 | 0:38:59 | |
how all the plants seem to force their way up and you can kind of | 0:38:59 | 0:39:04 | |
see what it will look like... | 0:39:04 | 0:39:06 | |
This is kind of what I think of as an Armageddon scene, you know? | 0:39:06 | 0:39:09 | |
They're going to... | 0:39:09 | 0:39:10 | |
..push the concrete out of the way and, er, this is just the beginning. | 0:39:11 | 0:39:17 | |
These are the things that I always notice in cities because I... | 0:39:17 | 0:39:21 | |
I don't know, I like the ghostly presence of what was. | 0:39:21 | 0:39:24 | |
Local talent just ignoring me. | 0:39:31 | 0:39:34 | |
As you can see, most people are wearing shorts | 0:39:34 | 0:39:37 | |
but, you know, being in an English rock band, that's just prohibited. | 0:39:37 | 0:39:41 | |
That can't happen, so... | 0:39:41 | 0:39:42 | |
Although I've... I've been told I have very nice legs. | 0:39:44 | 0:39:48 | |
It will have to be left to the imagination. | 0:39:48 | 0:39:50 | |
And there's the romantic tracks. | 0:39:55 | 0:39:58 | |
Source of many, many songs, getting on the train. | 0:40:02 | 0:40:07 | |
Which is where my baby used to leave on but I guess now, | 0:40:10 | 0:40:14 | |
they just get a flight. | 0:40:14 | 0:40:16 | |
SONG: Back On The Chain Gang | 0:40:19 | 0:40:22 | |
CHEERING AND APPLAUSE | 0:40:26 | 0:40:28 | |
# I found a picture of you | 0:40:35 | 0:40:37 | |
# Oh-oh-oh-oh | 0:40:39 | 0:40:41 | |
# What hijacked my world that night | 0:40:42 | 0:40:45 | |
# To a place in the past | 0:40:48 | 0:40:50 | |
# We've been cast out of? | 0:40:50 | 0:40:52 | |
# Oh-oh-oh-oh | 0:40:53 | 0:40:54 | |
# Now we're back in the fight | 0:40:56 | 0:40:59 | |
# Ooh, we're back on the train | 0:41:01 | 0:41:05 | |
# Oh, back on the chain gang | 0:41:08 | 0:41:12 | |
# A circumstance beyond our control | 0:41:19 | 0:41:22 | |
# Oh-oh-oh-oh | 0:41:23 | 0:41:26 | |
# The phone, TV and the News Of The World | 0:41:26 | 0:41:30 | |
# Got in the house like a pigeon from hell | 0:41:33 | 0:41:36 | |
# Oh-oh-oh-oh | 0:41:37 | 0:41:39 | |
# Threw sand in our eyes and descended like flies | 0:41:39 | 0:41:43 | |
# Put us back on the train | 0:41:46 | 0:41:49 | |
# Oh, back on the chain gang | 0:41:52 | 0:41:57 | |
# The powers that be | 0:42:15 | 0:42:17 | |
# That force us to live like we do | 0:42:18 | 0:42:20 | |
# Bring me to my knees | 0:42:22 | 0:42:24 | |
# When I see what they've done to you | 0:42:24 | 0:42:27 | |
# But I'll die as I stand here today | 0:42:34 | 0:42:37 | |
# Knowing that deep in my heart | 0:42:38 | 0:42:42 | |
# They'll fall to ruin one day | 0:42:42 | 0:42:45 | |
# For making us part | 0:42:45 | 0:42:53 | |
# I found a picture of you | 0:42:56 | 0:42:59 | |
# Oh-oh-oh-oh | 0:43:00 | 0:43:03 | |
# Those were the happiest days of my life | 0:43:03 | 0:43:06 | |
# Like a break in the battle was your part | 0:43:09 | 0:43:13 | |
# Oh-oh-oh-oh | 0:43:14 | 0:43:15 | |
# In the wretched life of a lonely heart | 0:43:15 | 0:43:20 | |
# Ooh, back on the train | 0:43:22 | 0:43:26 | |
# Oh, back on the chain gang. # | 0:43:29 | 0:43:32 | |
This groove is fucking awesome. Check this out. | 0:43:36 | 0:43:38 | |
# You ought to see my baby | 0:43:46 | 0:43:50 | |
# Lord, that girl's so fine | 0:43:50 | 0:43:52 | |
# She loves me every morning and every night | 0:43:54 | 0:43:57 | |
# And she's always on my mind | 0:43:57 | 0:44:00 | |
# She got sugar-coated love... # | 0:44:00 | 0:44:02 | |
-MUSIC DROWNS SPEECH -# Yeah, sugar-coated love | 0:44:02 | 0:44:05 | |
# She's a real-gone baby | 0:44:08 | 0:44:10 | |
# I don't mean maybe She's mine... # | 0:44:10 | 0:44:13 | |
They were, like, known for doing... | 0:44:13 | 0:44:15 | |
-They made blues into, like, pop songs. -Mm-hm. | 0:44:15 | 0:44:17 | |
They would put little quirky hits in. | 0:44:17 | 0:44:19 | |
Little quirky, you know, hooks all over the place, you know? | 0:44:19 | 0:44:23 | |
-# I don't have to worry about. # -MUSIC STOPS | 0:44:23 | 0:44:26 | |
But I fucking love their sound. They're so quirky. | 0:44:26 | 0:44:29 | |
# Well, I'm a king bee | 0:44:29 | 0:44:31 | |
# Buzzing around your hive... # | 0:44:31 | 0:44:34 | |
Just hooks everywhere, right? Subtle, nothing special. | 0:44:37 | 0:44:42 | |
# Buzzing around your hive | 0:44:42 | 0:44:45 | |
# Well, I can make honey, baby | 0:44:48 | 0:44:51 | |
# Let me come inside... # | 0:44:51 | 0:44:54 | |
Yeah, fucking... I've just been getting obsessed with this label. | 0:44:56 | 0:45:00 | |
This one guy produced all these records. | 0:45:00 | 0:45:02 | |
All these different people, they all have this one certain quality. | 0:45:02 | 0:45:06 | |
-'Your new album was recorded in Nashville. Are you done? -Yeah, yeah. | 0:45:06 | 0:45:10 | |
'With... Oh, I didn't know that the guy from Black Keys, | 0:45:10 | 0:45:14 | |
'Dan Ow-er-back was also...' | 0:45:14 | 0:45:15 | |
-Dan Auerbach. -Ar-Ar...? | 0:45:15 | 0:45:17 | |
That's a good Jewish name - you should be able to pronounce that. | 0:45:17 | 0:45:19 | |
-No. AUR... -Auerbach. -Auerbach. | 0:45:19 | 0:45:22 | |
-It's not "buck", it's "bach". -Bach. Auerbach. -From Akron. | 0:45:22 | 0:45:24 | |
-H-H-He's Jewish? -Yeah. -Oh. | 0:45:24 | 0:45:28 | |
-His dad's an antiques dealer. -Oh, I love them! | 0:45:28 | 0:45:30 | |
Oh, no, he's not, because his mom's not, | 0:45:30 | 0:45:33 | |
-so he can't be Jewish. -Then he's not Jewish, no. -All right, sorry. | 0:45:33 | 0:45:36 | |
-Sorry, we've just lost one. -Yeah. -See? | 0:45:36 | 0:45:38 | |
-Hopes are dashed in the course of a minute. -Just like that. | 0:45:38 | 0:45:41 | |
First we have a member of the tribe, and then they're not. | 0:45:41 | 0:45:44 | |
MUSIC: Holy Commotion by The Pretenders | 0:45:44 | 0:45:46 | |
Remember doing this one? | 0:45:48 | 0:45:49 | |
It's the club mix. | 0:45:59 | 0:46:01 | |
-Huh? -The club mix. | 0:46:01 | 0:46:03 | |
# Ah-ah, ah-ah-ah | 0:46:20 | 0:46:22 | |
# Massive devotion | 0:46:22 | 0:46:24 | |
# Ah-ah, ah-ah-ah | 0:46:27 | 0:46:29 | |
# And a holy commotion | 0:46:29 | 0:46:31 | |
# I just want, I want, I want | 0:46:33 | 0:46:36 | |
# To see your face | 0:46:36 | 0:46:38 | |
# I just want, I want, I want | 0:46:40 | 0:46:43 | |
# To change your place | 0:46:43 | 0:46:46 | |
# Lift your veil... # | 0:46:46 | 0:46:48 | |
'Yeah, so I was, er, talking to Dan Auerbach and I said...' | 0:46:50 | 0:46:54 | |
Just in passing, I said, "Yeah, I do all this stuff on my own, usually. | 0:46:54 | 0:46:58 | |
"Go to the cinema alone..." | 0:46:58 | 0:47:00 | |
I don't know what prompted me to say this. | 0:47:00 | 0:47:02 | |
Maybe it was just, you know, self pitying or something, | 0:47:02 | 0:47:04 | |
and he goes, "Write a song about it." | 0:47:04 | 0:47:06 | |
I don't think anyone really WANTS to be alone. | 0:47:10 | 0:47:12 | |
You know, you just make the most of what you have and, you know, | 0:47:12 | 0:47:17 | |
that's all I'm trying to say. | 0:47:17 | 0:47:18 | |
I look at it more... | 0:47:21 | 0:47:22 | |
It's not a young man's game, it's not for young people, | 0:47:22 | 0:47:25 | |
but as you get older it's more a matter of renunciation, | 0:47:25 | 0:47:29 | |
where you retire from a lot of the pursuits of... | 0:47:29 | 0:47:32 | |
You know, which come from, er, | 0:47:32 | 0:47:36 | |
you know, being in a relationship. | 0:47:36 | 0:47:38 | |
You've done the family, you've got that out of the way, | 0:47:38 | 0:47:41 | |
you've done your duty and your job and then you have some time | 0:47:41 | 0:47:44 | |
to really reflect on, you know, whatever you need to reflect on. | 0:47:44 | 0:47:50 | |
And that's a luxury of... | 0:47:50 | 0:47:52 | |
That most people probably can't afford | 0:47:52 | 0:47:54 | |
unless they really are renounced and are willing to go off with nothing. | 0:47:54 | 0:47:58 | |
Most people won't do that. | 0:47:58 | 0:47:59 | |
It's a very high order. | 0:47:59 | 0:48:01 | |
That would be called a "sanyassi" in Indian culture, Vedic culture, | 0:48:01 | 0:48:05 | |
and you don't meet many people who are capable of that. | 0:48:05 | 0:48:08 | |
I'm not renounced cos I'm in a rock band | 0:48:11 | 0:48:12 | |
and I'm going to go on tour, so that's not really renounced. | 0:48:12 | 0:48:15 | |
You know, renounced is when you're not really featuring | 0:48:15 | 0:48:19 | |
all these worldly pleasures any more. | 0:48:19 | 0:48:21 | |
Hold on a minute. Chrissie Hynde's just told me | 0:48:26 | 0:48:28 | |
-she has done a song with Kate Moss. -Yeah. | 0:48:28 | 0:48:31 | |
-This is, like, the best news I've ever heard in my entire life. -Yeah. | 0:48:31 | 0:48:35 | |
She went from vapid consumerism to sort of rock goddess. | 0:48:35 | 0:48:39 | |
-In your eyes. -In my eyes. I always loved her, but... | 0:48:39 | 0:48:43 | |
I adore Kate... You know I... | 0:48:43 | 0:48:45 | |
-She's amazing. She sings great. -Does she? -She sings great. -Really? -Yeah. | 0:48:45 | 0:48:49 | |
She should back off the fags a little bit and get serious. | 0:48:49 | 0:48:52 | |
-She could really be a singer. -Better than Naomi Campbell? -Er, I... | 0:48:52 | 0:48:57 | |
-Have you heard Naomi sing? -I think Naomi can sing, too. -Yeah. | 0:48:57 | 0:48:59 | |
You know she had a hit album in Japan years ago? Baby Woman. | 0:48:59 | 0:49:02 | |
-I sang on it. -No! -Yeah. -This is getting crazier by the minute! | 0:49:02 | 0:49:06 | |
# But if you love him... # | 0:49:08 | 0:49:11 | |
CHEERING AND APPLAUSE | 0:49:11 | 0:49:13 | |
Is this her? | 0:49:14 | 0:49:16 | |
-# Even though he's hard... # -That's Kate. | 0:49:17 | 0:49:21 | |
# To understand... # | 0:49:21 | 0:49:22 | |
Where did you find it? | 0:49:22 | 0:49:24 | |
Oh, yeah. Is that OK with you? | 0:49:26 | 0:49:28 | |
# If you love him | 0:49:28 | 0:49:30 | |
# Be proud of him | 0:49:31 | 0:49:35 | |
# Cos after all | 0:49:35 | 0:49:37 | |
# He's just a man. # | 0:49:38 | 0:49:41 | |
-Wow! -Amazing! -Sexy. | 0:49:41 | 0:49:42 | |
I wanted to do Foolish Little Girl with her - | 0:49:42 | 0:49:45 | |
-you know, the Shirelles? -Yes. | 0:49:45 | 0:49:47 | |
You broke his heart and made him cry | 0:49:47 | 0:49:49 | |
And he's been blue since then | 0:49:49 | 0:49:50 | |
Now he's found somebody else | 0:49:50 | 0:49:52 | |
And you want him back again. | 0:49:52 | 0:49:55 | |
-Is it true? Does she? -She didn't want to sing it. | 0:49:55 | 0:49:58 | |
She goes, "I went through a divorce." I think the lyrics were a little sensitive. | 0:49:58 | 0:50:01 | |
-I mean... -So she said... | 0:50:01 | 0:50:03 | |
-But she was agreeable to do Stand By Your Man. -Unbelievable. Mm-hm. | 0:50:03 | 0:50:07 | |
I coached her for two days singing into Mason Pearson brushes. | 0:50:07 | 0:50:10 | |
-Had she ever...? -In her bedroom. | 0:50:10 | 0:50:12 | |
It was hard for me to get her to settle down - | 0:50:12 | 0:50:14 | |
she kept running into her dressing room and taking her clothes off | 0:50:14 | 0:50:17 | |
-and trying on different dresses. -Yeah. | 0:50:17 | 0:50:19 | |
That's what she likes to do | 0:50:19 | 0:50:20 | |
but she needs someone like you to, like, rein her in. | 0:50:20 | 0:50:23 | |
MUSIC: I Hate Myself by The Pretenders | 0:50:24 | 0:50:26 | |
# I hate myself, I hate myself | 0:50:39 | 0:50:42 | |
# I hate myself for backing the wrong horse | 0:50:42 | 0:50:46 | |
# I hate myself | 0:50:48 | 0:50:50 | |
# I hate my phony masquerade of black and blue | 0:50:50 | 0:50:55 | |
# I hate myself | 0:50:58 | 0:50:59 | |
# I hate my phony, reckless self-destruction course | 0:50:59 | 0:51:04 | |
# And coming last, conceding | 0:51:07 | 0:51:11 | |
# Second best to you | 0:51:11 | 0:51:13 | |
# And if on Judgment Day | 0:51:16 | 0:51:19 | |
# I'm told to make my way | 0:51:19 | 0:51:21 | |
# To take up lasting residence downstairs | 0:51:21 | 0:51:25 | |
# I'll look to see if others | 0:51:26 | 0:51:28 | |
# Who backstabbed their own brothers | 0:51:28 | 0:51:31 | |
# Got a lighter sentence | 0:51:31 | 0:51:33 | |
# Showing mercy and repentance | 0:51:33 | 0:51:35 | |
# I hate myself, I hate myself, I hate myself | 0:51:38 | 0:51:41 | |
# I guess I'm just too smart | 0:51:41 | 0:51:45 | |
# I hate myself, I hate myself, I hate myself | 0:51:47 | 0:51:51 | |
# In body and in mind | 0:51:51 | 0:51:54 | |
# I hate myself, I hate myself | 0:51:57 | 0:51:59 | |
# I hate these perversions of the heart | 0:51:59 | 0:52:03 | |
# I hate myself up front | 0:52:06 | 0:52:08 | |
# I hate myself from behind | 0:52:09 | 0:52:12 | |
# So take my hand | 0:52:14 | 0:52:17 | |
# To the witness stand | 0:52:19 | 0:52:22 | |
# I deserve the worst | 0:52:26 | 0:52:27 | |
# My heart is gonna burst | 0:52:27 | 0:52:30 | |
# So validate me, hate me where it hurts | 0:52:30 | 0:52:33 | |
# I hate myself, I hate myself, I hate myself | 0:52:37 | 0:52:40 | |
# I hate myself, I hate myself | 0:52:40 | 0:52:43 | |
# I hate myself, I hate myself, I hate myself | 0:52:47 | 0:52:50 | |
# I hope that you do too | 0:52:50 | 0:52:53 | |
# I hate myself, I hate myself | 0:52:56 | 0:52:59 | |
# I hate myself, I hate myself | 0:52:59 | 0:53:02 | |
# But most of all I hate myself | 0:53:06 | 0:53:09 | |
# Hating you. # | 0:53:12 | 0:53:16 | |
You're catching me doing what I'm really... | 0:53:35 | 0:53:37 | |
What I do best, and that's just hanging out and doing nothing. | 0:53:37 | 0:53:41 | |
It's kind of what I specialise in. | 0:53:42 | 0:53:44 | |
DISTANT SINGING | 0:53:46 | 0:53:49 | |
This is the whole manor that George Harrison | 0:53:53 | 0:53:57 | |
gave to the devotees. | 0:53:57 | 0:53:59 | |
And this is his personal garden. | 0:53:59 | 0:54:03 | |
And, uh... | 0:54:03 | 0:54:05 | |
It's open to the public, | 0:54:05 | 0:54:06 | |
so anyone that wants to hang out at George Harrison's gaff, here it is. | 0:54:06 | 0:54:10 | |
RHYTHMIC CHANTING | 0:54:10 | 0:54:16 | |
-I milked a cow the other day. -Where? -Just to put my money where my... | 0:54:37 | 0:54:40 | |
At the manor that George Harrison bought for the Krishna devotees. | 0:54:40 | 0:54:44 | |
They have one where they call it Goshala, | 0:54:44 | 0:54:47 | |
which is a cowherd which is milked by hand and they play, | 0:54:47 | 0:54:50 | |
you know, Ravi Shankar to them... | 0:54:50 | 0:54:53 | |
-And massage them and stuff? -Oh, absolutely. | 0:54:53 | 0:54:56 | |
-Cows should be massaged. -So while I am milking... Yeah, they should be. | 0:54:56 | 0:55:00 | |
You know, I believe they are sacred animals. | 0:55:00 | 0:55:02 | |
COW MOOS | 0:55:02 | 0:55:05 | |
And I understand that if you treat animals badly, | 0:55:05 | 0:55:08 | |
it's better not to use animal products, which is... | 0:55:08 | 0:55:11 | |
I'm obviously in agreement with. | 0:55:11 | 0:55:14 | |
But what if you treated them well? | 0:55:14 | 0:55:16 | |
What if you treated a cow well? I am all for one cow per family. | 0:55:16 | 0:55:19 | |
I am actually having a book on cow protection written. | 0:55:19 | 0:55:22 | |
There's four principles - you never kill one, | 0:55:22 | 0:55:26 | |
they suckle by their mothers, you milk them by hand | 0:55:26 | 0:55:29 | |
and you give the oxen work, | 0:55:29 | 0:55:31 | |
and that can sustain the environment and a human family. | 0:55:31 | 0:55:35 | |
-Wow. -Uh-huh. -I love that. | 0:55:35 | 0:55:36 | |
Despite the fact that I look like such an enthusiast here, | 0:55:44 | 0:55:48 | |
I personally don't think I've had a glass of milk | 0:55:48 | 0:55:51 | |
in at least 30 years, maybe more. | 0:55:51 | 0:55:53 | |
These boots, by the way, come from Vegetarian Shoes in Brighton, | 0:55:54 | 0:55:58 | |
one of the original non-leather sources of footwear in this country. | 0:55:58 | 0:56:03 | |
Just for anyone there who thinks I'm being a big hypocrite, | 0:56:03 | 0:56:06 | |
wearing leather boots. | 0:56:06 | 0:56:07 | |
I am a big hypocrite, probably, but not in that regard. | 0:56:09 | 0:56:13 | |
Cows have got a very bad rap because of the methane they produce. | 0:56:16 | 0:56:20 | |
When produced by bulk... | 0:56:20 | 0:56:23 | |
But in actual fact, | 0:56:26 | 0:56:28 | |
they perfectly fertilise the soil and add nutrients to it, | 0:56:28 | 0:56:32 | |
when done in the right way. | 0:56:32 | 0:56:34 | |
The cow dung, it'd be used for building houses, it's used for fuel. | 0:56:37 | 0:56:41 | |
In fact, the urine from the cow is used as an antiseptic. | 0:56:41 | 0:56:45 | |
They're kind of like the answer to all of... | 0:56:48 | 0:56:52 | |
the ecological problems we're having. | 0:56:52 | 0:56:55 | |
There's just nothing about these creatures that's not good. | 0:56:55 | 0:56:59 | |
Do you think she is getting close now? | 0:57:03 | 0:57:06 | |
To being milked? | 0:57:06 | 0:57:08 | |
THUNDER RUMBLES | 0:57:13 | 0:57:15 | |
Giddy-up! | 0:57:21 | 0:57:22 | |
Ah-ah, ah-ah. | 0:57:27 | 0:57:29 | |
Giddy-up! | 0:57:29 | 0:57:32 | |
Giddy-up! | 0:57:37 | 0:57:39 | |
Life in the fast lane(!) | 0:57:39 | 0:57:41 | |
Yeah, there we go. | 0:57:48 | 0:57:50 | |
DISTANT MUSIC | 0:57:58 | 0:58:01 | |
# Well, who's been playing around with you? | 0:58:24 | 0:58:27 | |
# A real cool cat with eyes of blue | 0:58:27 | 0:58:30 | |
# Triflin', baby, are you being true? | 0:58:30 | 0:58:33 | |
# Who's been playing around with you? | 0:58:33 | 0:58:38 | |
# Who's been playing around... # | 0:58:39 | 0:58:40 | |
If you're 16, there is nothing you can do that's better - not drugs, | 0:58:40 | 0:58:45 | |
not sex, not sniffing glue, | 0:58:45 | 0:58:47 | |
not getting good grades, not anything. | 0:58:47 | 0:58:50 | |
Nothing is better than picking up a guitar and making a noise. | 0:58:50 | 0:58:53 | |
It's just THE BEST. | 0:58:53 | 0:58:55 | |
# He held your hand and he sang you a song... # | 0:58:55 | 0:58:58 | |
And I think that when people enjoy doing something, they'll do it, | 0:58:58 | 0:59:01 | |
they'll find a way. | 0:59:01 | 0:59:03 | |
That's where I missed the boat, cos I wasn't really... | 0:59:04 | 0:59:07 | |
I couldn't really jam with guys. | 0:59:07 | 0:59:09 | |
I was, like, too shy. | 0:59:09 | 0:59:10 | |
Thank you very much! | 0:59:15 | 0:59:16 | |
Ladies and gentlemen, we have a very special guest. | 0:59:17 | 0:59:20 | |
Would you please give it up? | 0:59:20 | 0:59:21 | |
Ms Chrissie Hynde is going to do a song. | 0:59:21 | 0:59:23 | |
CHEERING | 0:59:23 | 0:59:25 | |
All the way from down the road. | 0:59:31 | 0:59:33 | |
'After the first, like, ten years of doing this and you get over | 0:59:34 | 0:59:38 | |
'the stage fright, then you actually start enjoying doing the shows | 0:59:38 | 0:59:41 | |
'and you just look forward to them. | 0:59:41 | 0:59:43 | |
'I used to dread shows for years, but, you know, | 0:59:43 | 0:59:47 | |
'you can't let that kind of thing get in your way.' | 0:59:47 | 0:59:50 | |
# Hush, little darlin' | 1:00:06 | 1:00:08 | |
# Go to sleep | 1:00:08 | 1:00:11 | |
# Look out the window | 1:00:11 | 1:00:13 | |
# Count the sheep | 1:00:13 | 1:00:15 | |
# That dot the hillsides | 1:00:15 | 1:00:18 | |
# And the fields of wheat | 1:00:18 | 1:00:20 | |
# Across America | 1:00:20 | 1:00:22 | |
# As we cross America | 1:00:22 | 1:00:24 | |
# What's important | 1:00:24 | 1:00:26 | |
# Here today | 1:00:26 | 1:00:28 | |
# The broken line | 1:00:28 | 1:00:31 | |
# On the highway | 1:00:31 | 1:00:32 | |
# All the love in the world for you, girl | 1:00:38 | 1:00:41 | |
# Thumbelina In a great big scary world | 1:00:41 | 1:00:45 | |
# All the love in the world for you, girl | 1:00:46 | 1:00:49 | |
# Take my hand and we'll make it through this world. # | 1:00:49 | 1:00:53 | |
All right, James, go, go, go! | 1:00:53 | 1:00:55 | |
'I hear people say, | 1:01:05 | 1:01:06 | |
' "Oh, it must be such a rush to be out there," | 1:01:06 | 1:01:10 | |
'but that's not really what it's really about, | 1:01:10 | 1:01:12 | |
'it's more about looking around and seeing the band coming to life | 1:01:12 | 1:01:16 | |
'and everyone is playing well, | 1:01:16 | 1:01:18 | |
'and that's the part of it that turns me on, | 1:01:18 | 1:01:20 | |
'is just being in that little group. | 1:01:20 | 1:01:22 | |
'That's the one time in my life when I'm a real team player.' | 1:01:22 | 1:01:26 | |
# Hush, little darlin' | 1:01:36 | 1:01:39 | |
# My poor little thing | 1:01:39 | 1:01:41 | |
# You've been shuffled about | 1:01:41 | 1:01:43 | |
# Like a pawned wedding ring | 1:01:43 | 1:01:45 | |
# It must seem strange | 1:01:45 | 1:01:47 | |
# Love was here, then gone | 1:01:47 | 1:01:49 | |
# And the Oklahoma sunrise becomes the Amarillo dawn | 1:01:49 | 1:01:54 | |
# What's important in this life? | 1:01:54 | 1:01:58 | |
# Ask the man | 1:01:58 | 1:02:00 | |
# Who's lost his wife. # | 1:02:00 | 1:02:02 | |
One, two, three, four! | 1:02:26 | 1:02:27 | |
TEMPO SPEEDS UP | 1:02:27 | 1:02:30 | |
Whoo! | 1:02:49 | 1:02:50 | |
TEMPO BECOMES FRENETIC | 1:02:54 | 1:02:58 | |
Thank you! | 1:03:09 | 1:03:10 | |
Mother's Little Helper, thank you. | 1:03:17 | 1:03:20 | |
That's Chrissie Hynde, everyone! | 1:03:21 | 1:03:23 | |
You can have it. | 1:03:23 | 1:03:24 | |
So, that's Mother's Little Helper, | 1:03:31 | 1:03:32 | |
-the little... -Who came up with the name? Did you? | 1:03:32 | 1:03:36 | |
I did. They were saying, "What can we call ourselves?" | 1:03:36 | 1:03:38 | |
It's good, though, isn't it? | 1:03:38 | 1:03:40 | |
I saw the Sid and Nancy film last night at the Curzon. | 1:03:44 | 1:03:46 | |
I saw it at the time. I noticed it was... | 1:03:46 | 1:03:49 | |
No-one really wanted to see it. | 1:03:49 | 1:03:51 | |
I didn't want to see it at the time, | 1:03:51 | 1:03:53 | |
and, you know, we were like, "Nah." | 1:03:53 | 1:03:55 | |
It just seemed like an establishment thing or something, I don't know. | 1:03:55 | 1:03:59 | |
And also knowing everyone, it was like... | 1:03:59 | 1:04:01 | |
And, you know, frankly, all the guys in the band | 1:04:01 | 1:04:04 | |
were depicted as some pretty ugly characters | 1:04:04 | 1:04:07 | |
so, I don't know, you just wouldn't have watched it | 1:04:07 | 1:04:10 | |
and no-one talked to anyone | 1:04:10 | 1:04:13 | |
that was doing the film that I remember, anyway, | 1:04:13 | 1:04:16 | |
erm, for research or anything. | 1:04:16 | 1:04:19 | |
Anyway, and then... | 1:04:19 | 1:04:21 | |
It was at the Curzon last night, | 1:04:22 | 1:04:24 | |
there was absolutely nothing playing in town | 1:04:24 | 1:04:26 | |
and I thought, "Fuck it, I'm going to go see that," | 1:04:26 | 1:04:28 | |
and I thought it was really good. I don't like biopics, usually, | 1:04:28 | 1:04:30 | |
but, first of all, Gary Oldman was fantastic as Sid. | 1:04:30 | 1:04:33 | |
He really played him well. I just think... | 1:04:33 | 1:04:35 | |
And the girl that plays... | 1:04:35 | 1:04:37 | |
Chloe Webb that played Nancy wasn't quite as evil as Nancy, | 1:04:37 | 1:04:41 | |
I didn't think, so, at the time, I didn't quite... | 1:04:41 | 1:04:43 | |
Erm... | 1:04:43 | 1:04:45 | |
But, all in all, to see the whole as a sort of timepiece of the times, | 1:04:45 | 1:04:52 | |
I thought it was really well done. | 1:04:52 | 1:04:54 | |
I think I needed 35 years away from it to be able to recognise that. | 1:04:54 | 1:04:57 | |
And last night, I passed the Moonlight Club. | 1:05:00 | 1:05:05 | |
I don't know if it's called that any more. | 1:05:05 | 1:05:07 | |
It's a pub on West End Lane | 1:05:07 | 1:05:09 | |
and it's the first place The Pretenders ever played in London. | 1:05:09 | 1:05:12 | |
We'd done some gigs outside of London | 1:05:12 | 1:05:14 | |
and in France, but never here | 1:05:14 | 1:05:16 | |
and it was the night that it was announced that Sid died. | 1:05:16 | 1:05:20 | |
And no-one was going to tell me cos it was my first gig, | 1:05:21 | 1:05:23 | |
I was obviously nervous, and just as I was about to walk on stage, | 1:05:23 | 1:05:28 | |
someone said, "What about Sid, then?" | 1:05:28 | 1:05:31 | |
I went, "I don't know, what about him?" | 1:05:31 | 1:05:32 | |
"Oh, you know, he died." | 1:05:32 | 1:05:35 | |
I went, "Oh! We've got to do this show now." | 1:05:35 | 1:05:38 | |
Good to see so many really old faces up at the front. | 1:05:44 | 1:05:48 | |
CHEERING | 1:05:48 | 1:05:50 | |
It's kind of freaky, to be honest. | 1:05:50 | 1:05:52 | |
All right! Fuck it. | 1:05:52 | 1:05:55 | |
Yeah, I mean... | 1:05:55 | 1:05:57 | |
Yeah, there's no good young bands. Fuck 'em. | 1:05:57 | 1:05:59 | |
There are, actually. They're coming back, I predict that. | 1:05:59 | 1:06:03 | |
A lot of bands. If you love bands like I do, | 1:06:03 | 1:06:05 | |
it's all going to happen in the next, I don't know... | 1:06:05 | 1:06:09 | |
-AUDIENCE MEMBER: -We'll be dead! | 1:06:09 | 1:06:10 | |
LAUGHTER | 1:06:10 | 1:06:12 | |
Well, that's the good news. | 1:06:12 | 1:06:13 | |
OK. | 1:06:13 | 1:06:15 | |
One, two, three, four! | 1:06:16 | 1:06:18 | |
# A good time was guaranteed for one and all | 1:06:27 | 1:06:30 | |
# The tattoos did target practice in the hall | 1:06:30 | 1:06:35 | |
# While waiting for their number to get called out | 1:06:35 | 1:06:39 | |
# I-I-I-I found out what the wait was about | 1:06:39 | 1:06:44 | |
# I was a good time | 1:06:45 | 1:06:47 | |
# Yeah, I got pretty good | 1:06:47 | 1:06:51 | |
# At changing tyres upstairs, bro | 1:06:53 | 1:06:56 | |
# I shot my mouth off and you showed me what that hole was for | 1:06:56 | 1:07:01 | |
# Now I see you | 1:08:04 | 1:08:06 | |
# All impressed and half-undressed | 1:08:06 | 1:08:09 | |
# You got paint stick all over the scars and lumps and bumps | 1:08:09 | 1:08:12 | |
# Tattooed love boys | 1:08:12 | 1:08:15 | |
# Have got you where you used to lay | 1:08:15 | 1:08:17 | |
# Well, ha-ha, too bad | 1:08:17 | 1:08:19 | |
# But you know what they say | 1:08:19 | 1:08:23 | |
# Stop snivellin'! | 1:08:23 | 1:08:26 | |
# You're going to make some plastic surgeon a rich man! | 1:08:26 | 1:08:29 | |
# Oh, but the prestige and the glory | 1:08:31 | 1:08:33 | |
# Another human interest story | 1:08:35 | 1:08:38 | |
# You are that. # | 1:08:41 | 1:08:44 | |
I can get out and just go in, | 1:08:44 | 1:08:46 | |
hang a left here and just go straight through, can't I? | 1:08:46 | 1:08:49 | |
Yeah, you can get in there. | 1:08:49 | 1:08:51 | |
-So... -All right, let me do that. That's the best way, isn't it? | 1:08:53 | 1:08:56 | |
-I think so. -Rather than make you go all the way around. | 1:08:56 | 1:08:59 | |
Yeah, I can go right in there. | 1:08:59 | 1:09:00 | |
-ANNOUNCEMENT: -'Baggage left unattended | 1:09:08 | 1:09:10 | |
'will be removed and destroyed.' | 1:09:10 | 1:09:11 | |
# I got this strange, strange feeling | 1:09:52 | 1:10:01 | |
# Deep down in my heart | 1:10:01 | 1:10:07 | |
# I can't tell what it is | 1:10:08 | 1:10:14 | |
# But it won't let go | 1:10:14 | 1:10:20 | |
# It happens every time | 1:10:22 | 1:10:26 | |
# I give you more than what I have | 1:10:26 | 1:10:33 | |
# Now all I need is a little time... # | 1:10:33 | 1:10:37 | |
There's a few voices that, as soon as you hear their voice, | 1:10:37 | 1:10:39 | |
you're already sort of transported into another place. | 1:10:39 | 1:10:42 | |
Of course, what they're singing matters, | 1:10:45 | 1:10:46 | |
but it's just the sound of their voice that does it. | 1:10:46 | 1:10:49 | |
And he's one of them. | 1:10:49 | 1:10:50 | |
When I was 17, I walked into a record store and saw that face. | 1:10:51 | 1:10:55 | |
That face only said one thing to me and that is, "Take me home." | 1:10:55 | 1:10:59 | |
And, you know, | 1:10:59 | 1:11:00 | |
I listened to that album a thousand times when I was 17. | 1:11:00 | 1:11:04 | |
# When you're home all alone | 1:11:04 | 1:11:11 | |
# Oh, don't you need | 1:11:12 | 1:11:18 | |
# Somebody to talk your troubles to | 1:11:18 | 1:11:25 | |
# Oh, Lord, I know | 1:11:25 | 1:11:31 | |
# I want to take | 1:11:31 | 1:11:37 | |
# The morning train, Lord | 1:11:37 | 1:11:40 | |
# The break of day | 1:11:40 | 1:11:43 | |
# Oh, I don't want to lose you, you see... # | 1:11:43 | 1:11:47 | |
This was the country when I lived here. | 1:11:54 | 1:11:56 | |
What we called the country, | 1:11:56 | 1:11:58 | |
you went out to the country to buy corn and tomatoes. | 1:11:58 | 1:12:01 | |
This is what it is now, and that was within, you know, my lifetime. | 1:12:05 | 1:12:11 | |
You know, this is how Middle America is, from here | 1:12:15 | 1:12:18 | |
all the way over to California. | 1:12:18 | 1:12:20 | |
See, it just goes on and on. | 1:12:20 | 1:12:22 | |
Just warehouses of stuff. | 1:12:23 | 1:12:24 | |
If you live anywhere here, | 1:12:28 | 1:12:30 | |
the only way you can go anywhere is just to get in your car. | 1:12:30 | 1:12:32 | |
There is no place you can walk to. | 1:12:32 | 1:12:34 | |
And there's no interaction on the street at all. There's no life. | 1:12:36 | 1:12:39 | |
Everyone is in their car. | 1:12:39 | 1:12:41 | |
It's a shift in human society. | 1:12:41 | 1:12:43 | |
The Unabomber. | 1:12:47 | 1:12:48 | |
Ted Kaczynski, who was like a sort of maths genius. | 1:12:48 | 1:12:52 | |
I don't know if you know anything about him. | 1:12:52 | 1:12:54 | |
He ended up sending letter bombs and killing people. | 1:12:54 | 1:12:57 | |
But his manifesto was all about the disconnected, | 1:12:57 | 1:13:00 | |
how isolated it was going to make people, and lonely, | 1:13:00 | 1:13:02 | |
by this car culture. | 1:13:02 | 1:13:04 | |
We're going to come up all round the back, or the front or side | 1:13:12 | 1:13:16 | |
or whatever the hell it is there. | 1:13:16 | 1:13:18 | |
And there is the wonderful Summit Mall | 1:13:23 | 1:13:25 | |
where I spent many, many, many, many, many hours | 1:13:25 | 1:13:27 | |
of my life. | 1:13:27 | 1:13:29 | |
Miserable... | 1:13:30 | 1:13:32 | |
..unhappy... | 1:13:34 | 1:13:35 | |
..disenfranchised, depressed hours. | 1:13:37 | 1:13:40 | |
I worked as a waitress in there. | 1:13:40 | 1:13:43 | |
Awful. | 1:13:46 | 1:13:47 | |
# O'Neil's is such an exciting department store | 1:13:51 | 1:13:56 | |
# A lively fashion where | 1:13:56 | 1:13:58 | |
# Our two-barrel living | 1:13:58 | 1:14:00 | |
# A warehouse-value goodie | 1:14:00 | 1:14:03 | |
# At O'Neil's you're assured of quality. # | 1:14:03 | 1:14:07 | |
-Hi. -Hiya. | 1:14:07 | 1:14:09 | |
What's the plainest popcorn? Just plain popcorn. | 1:14:09 | 1:14:11 | |
Ah... | 1:14:11 | 1:14:13 | |
It's... | 1:14:13 | 1:14:14 | |
slightly buttered. | 1:14:14 | 1:14:16 | |
Great. | 1:14:16 | 1:14:18 | |
And can I have just a small, like, | 1:14:18 | 1:14:19 | |
what do you have that's closest to water? Water? | 1:14:19 | 1:14:22 | |
Yeah, we have water. It'll be ten cents, is that OK? | 1:14:22 | 1:14:26 | |
Sure. | 1:14:26 | 1:14:27 | |
# Our voucher's ability | 1:14:34 | 1:14:36 | |
# Will buy wonders every store | 1:14:36 | 1:14:40 | |
# You get such satisfaction shopping at O'Neil's. # | 1:14:40 | 1:14:44 | |
So this really is the heartland. | 1:14:47 | 1:14:49 | |
We actually are going to pass my old street. | 1:14:51 | 1:14:53 | |
We could go down it and find my house where I grew up | 1:14:53 | 1:14:56 | |
from the age of 8 to 17 or something, | 1:14:56 | 1:14:58 | |
so significant years. | 1:14:58 | 1:14:59 | |
# Now you say you're lonely | 1:15:15 | 1:15:23 | |
# You cry the whole night through | 1:15:23 | 1:15:29 | |
# Well, you can cry me a river | 1:15:29 | 1:15:35 | |
# Cry me a river | 1:15:35 | 1:15:39 | |
# I cried a river over you... # | 1:15:39 | 1:15:44 | |
See where that American flag is? That was my old house. | 1:15:46 | 1:15:49 | |
It's been there for over 50 years, | 1:15:49 | 1:15:51 | |
so it's all mature now and the trees. | 1:15:51 | 1:15:53 | |
But when I lived there it was a brand-new housing development. | 1:15:53 | 1:15:57 | |
My parents had two records, and they were Julie London records at home. | 1:15:57 | 1:16:00 | |
And then a box set of Glenn Miller records. | 1:16:00 | 1:16:03 | |
I never heard them play them. | 1:16:03 | 1:16:05 | |
I don't think they ever played music in the house. | 1:16:05 | 1:16:07 | |
But they had, I don't know... | 1:16:07 | 1:16:09 | |
So that, when I see that picture, | 1:16:09 | 1:16:10 | |
I'm back, you know... | 1:16:10 | 1:16:13 | |
Back in my parents' house next to the hi-fi, | 1:16:13 | 1:16:15 | |
which, they never played it but... | 1:16:15 | 1:16:17 | |
That picture meant a lot to me. | 1:16:18 | 1:16:20 | |
I think that's why I wanted to be a singer, was seeing her face there. | 1:16:20 | 1:16:23 | |
I'm sure it was. | 1:16:23 | 1:16:25 | |
# While you never shed a tear | 1:16:25 | 1:16:32 | |
# Remember, I remember | 1:16:34 | 1:16:37 | |
# All that you said | 1:16:37 | 1:16:41 | |
# Told me love was too plebeian | 1:16:41 | 1:16:45 | |
# Told me you were through with me... # | 1:16:45 | 1:16:48 | |
1805. | 1:16:48 | 1:16:49 | |
It was painted differently then. | 1:16:52 | 1:16:54 | |
But they've maintained it very nicely. | 1:16:54 | 1:16:56 | |
So my parents would be happy. | 1:16:56 | 1:16:59 | |
# Just to prove you do | 1:16:59 | 1:17:03 | |
# Come on and cry me a river | 1:17:03 | 1:17:07 | |
# Cry me a river | 1:17:08 | 1:17:11 | |
# I cried a river... # | 1:17:13 | 1:17:15 | |
Keep going straight. | 1:17:15 | 1:17:16 | |
Keep going straight. | 1:17:19 | 1:17:20 | |
Caution. | 1:17:21 | 1:17:23 | |
Proceed. | 1:17:24 | 1:17:26 | |
SHE LAUGHS | 1:17:26 | 1:17:28 | |
There's a lot more. There's a lot you'll never see. | 1:17:28 | 1:17:31 | |
You haven't even seen the underbelly yet. | 1:17:31 | 1:17:34 | |
-SATNAV: -'Turn right, then arrive at destination.' | 1:17:37 | 1:17:40 | |
You've arrived, but that doesn't mean you're there. | 1:17:45 | 1:17:48 | |
I loved this place when I was a teenager. | 1:17:54 | 1:17:57 | |
If you grew up in the new suburbs, | 1:17:57 | 1:18:00 | |
there was something really mystical | 1:18:00 | 1:18:03 | |
about hanging out in a place like this. | 1:18:03 | 1:18:05 | |
I lived in a place where everything old was torn down, | 1:18:08 | 1:18:12 | |
so, you know, something like this had immense charm. | 1:18:12 | 1:18:16 | |
Since I don't see having a fondness for cemeteries | 1:18:32 | 1:18:37 | |
as anything remotely... | 1:18:37 | 1:18:40 | |
..morbid. | 1:18:42 | 1:18:43 | |
Some people say, "Why would you want to hang out in a cemetery?" | 1:18:43 | 1:18:47 | |
For me, they are nature reserves. | 1:18:47 | 1:18:49 | |
Usually, there's no-one in them. | 1:18:49 | 1:18:52 | |
They're very unspoiled because no-one's in them. | 1:18:52 | 1:18:55 | |
And, um... | 1:18:56 | 1:18:58 | |
there's often just nothing else like it in a city. | 1:18:58 | 1:19:01 | |
Spicer. | 1:19:04 | 1:19:06 | |
That's a big name, Akron name. | 1:19:06 | 1:19:08 | |
Spicer, there's a lot of things named after Spicer. | 1:19:08 | 1:19:11 | |
Schumacher, same. That's another big Akron name. | 1:19:11 | 1:19:14 | |
The first guy I loved, that I was in love with, was named Burnett. | 1:19:23 | 1:19:27 | |
Maybe that was his family. | 1:19:27 | 1:19:29 | |
He's dead now. | 1:19:29 | 1:19:30 | |
Urbane Watkins, yeah, I have never heard of someone named Urbane. | 1:19:33 | 1:19:37 | |
Good name. | 1:19:37 | 1:19:39 | |
See, I could do this for hours. Not hours, but... | 1:19:43 | 1:19:47 | |
And it's a great thing if, you know, back in the day, | 1:19:47 | 1:19:49 | |
you could smoke a joint. | 1:19:49 | 1:19:51 | |
And just... | 1:19:51 | 1:19:52 | |
That's a good old name, "Fanny". | 1:19:55 | 1:19:57 | |
When I'm alone and I can walk through a cemetery, | 1:20:02 | 1:20:04 | |
I like to say their names out loud cos I just think, | 1:20:04 | 1:20:06 | |
"When was the last time anyone ever said your name out loud?" | 1:20:06 | 1:20:10 | |
And I don't know that that means anything. It's just something I do. | 1:20:10 | 1:20:13 | |
# Keep beckoning to me | 1:20:17 | 1:20:20 | |
# From behind that closed door | 1:20:20 | 1:20:24 | |
# The maid and the mother and the crone that's grown old | 1:20:24 | 1:20:29 | |
# I hear your voice | 1:20:29 | 1:20:33 | |
# Coming out of that hole | 1:20:33 | 1:20:37 | |
# I listen to you | 1:20:37 | 1:20:40 | |
# And I want some more | 1:20:40 | 1:20:44 | |
# I listen to you | 1:20:44 | 1:20:47 | |
# And I want some more | 1:20:47 | 1:20:52 | |
# And she will always carry on | 1:20:53 | 1:20:58 | |
# Something is lost | 1:20:58 | 1:21:01 | |
# Something is found | 1:21:01 | 1:21:04 | |
# They will keep on speaking her name | 1:21:04 | 1:21:09 | |
# Some things change | 1:21:09 | 1:21:12 | |
# Some stay the same | 1:21:12 | 1:21:17 | |
# And she will always carry on | 1:21:17 | 1:21:22 | |
# Something is lost | 1:21:23 | 1:21:26 | |
# Something is found | 1:21:26 | 1:21:29 | |
# They will keep on speaking her name | 1:21:29 | 1:21:36 | |
# Some things change | 1:21:36 | 1:21:40 | |
# Some stay the same | 1:21:40 | 1:21:44 | |
# Ah. # | 1:21:47 | 1:21:52 | |
CHEERING AND APPLAUSE | 1:21:55 | 1:21:58 | |
So this is, really, what I sort of grew up with, | 1:22:10 | 1:22:15 | |
all these woods and everything. | 1:22:15 | 1:22:16 | |
And they went right up to the back of where the house was. | 1:22:18 | 1:22:22 | |
This is right in the height of the summer. | 1:22:23 | 1:22:25 | |
In the winter time, there's no leaves. And it's fucking cold. | 1:22:25 | 1:22:30 | |
And there is snow and slush and sleet. | 1:22:30 | 1:22:33 | |
When it's the most spectacular is in the month of October, here. | 1:22:33 | 1:22:37 | |
Because everything's like scarlet and gold, | 1:22:37 | 1:22:39 | |
and, I mean, it's breathtaking. | 1:22:39 | 1:22:41 | |
I used to love coming out to places like this. | 1:22:45 | 1:22:47 | |
Getting lost. | 1:22:47 | 1:22:49 | |
My thing was always trees. | 1:22:57 | 1:22:58 | |
When you're a child, and you're in the woods a lot, | 1:23:01 | 1:23:04 | |
this has a lot to do with... in forming the way you think. | 1:23:04 | 1:23:07 | |
When I'm in there, I feel like I'm surrounded by people. | 1:23:10 | 1:23:13 | |
They are living entities. | 1:23:13 | 1:23:15 | |
Only, you know, they're kind of more cool than people. | 1:23:15 | 1:23:19 | |
For the most part. | 1:23:19 | 1:23:20 | |
I always thought, when I was little, that I would end up, | 1:23:29 | 1:23:32 | |
that was my dream scenario, was to end up going down | 1:23:32 | 1:23:35 | |
one of those gullies and having my own little cabin. | 1:23:35 | 1:23:38 | |
A tiny, little thing. | 1:23:38 | 1:23:41 | |
And I would live alone there. | 1:23:41 | 1:23:42 | |
These two weird trees that have gone together. | 1:23:51 | 1:23:53 | |
That's a cool thing. | 1:24:01 | 1:24:02 | |
I'm not wearing the right shoes for this. | 1:24:06 | 1:24:08 | |
# Long ago | 1:24:33 | 1:24:35 | |
# And oh so far away | 1:24:35 | 1:24:38 | |
# I fell in love with you | 1:24:38 | 1:24:40 | |
# Before the second show | 1:24:40 | 1:24:43 | |
# And your guitar | 1:24:43 | 1:24:45 | |
# It sounds so sweet and clear | 1:24:45 | 1:24:48 | |
# But you're not really here | 1:24:48 | 1:24:51 | |
# It's just the radio | 1:24:51 | 1:24:55 | |
# Don't you remember you told me you love me, baby? | 1:24:55 | 1:25:00 | |
# Said you'd be coming back again, baby | 1:25:02 | 1:25:06 | |
# Baby, baby, baby, baby, oh, baby | 1:25:08 | 1:25:14 | |
# I love you | 1:25:14 | 1:25:17 | |
# I really do... # | 1:25:17 | 1:25:20 | |
-Where's Chrissie? -Where are you? | 1:25:25 | 1:25:27 | |
-I'm like... -What are you doing? -I'm looking for you. | 1:25:29 | 1:25:33 | |
-Where are we at? You were in Akron last week? -Well, they wanted a... | 1:25:34 | 1:25:38 | |
I said, "Instead of a retrospective thing, | 1:25:38 | 1:25:40 | |
"where you get people talking about me..." gross, | 1:25:40 | 1:25:43 | |
"Just follow me around doing what I do anyway." | 1:25:43 | 1:25:46 | |
Really?! | 1:25:46 | 1:25:47 | |
Look at all these little... | 1:25:49 | 1:25:50 | |
There's hummus. | 1:25:50 | 1:25:52 | |
-I'm all for that. -We could sit on the street and eat some hummus. | 1:25:53 | 1:25:57 | |
Pockets. | 1:25:57 | 1:25:59 | |
-Aztec, Moroccan... -It's vegetarian. | 1:25:59 | 1:26:01 | |
-So we can eat this. -Do you want get that? -Sure. -Can I have a falafel? | 1:26:03 | 1:26:07 | |
Abdul, do they come out with samples or no? | 1:26:07 | 1:26:09 | |
Oh, I don't want one, I want this, I want it. | 1:26:11 | 1:26:15 | |
-Yeah. -Abdul, Abdul. You don't listen to me. | 1:26:15 | 1:26:17 | |
I talk to you, you don't listen. | 1:26:17 | 1:26:19 | |
We just want a falafel sandwich, the way you do it. | 1:26:20 | 1:26:23 | |
And I'm getting the classic, but the bowl. | 1:26:24 | 1:26:27 | |
Right there, we're going to go, if they don't go there first. | 1:26:28 | 1:26:31 | |
Ah, shit, those guys just nabbed that table. | 1:26:33 | 1:26:35 | |
All right. Perfection. | 1:26:40 | 1:26:43 | |
-It's OK? -Great. | 1:26:43 | 1:26:46 | |
I wear sunglasses, people notice me more. Isn't that weird? | 1:26:49 | 1:26:52 | |
Yeah, no-one else around here has them on and, look, | 1:26:52 | 1:26:54 | |
no-one's paying attention to them. See how it works? | 1:26:54 | 1:26:58 | |
-Those key earrings, I love those. -Oh, Kate loved those too. | 1:26:58 | 1:27:02 | |
Those are totally cute. | 1:27:02 | 1:27:03 | |
They come from a little, tiny padlock that cost, like, | 1:27:03 | 1:27:06 | |
-you know, 4.99 in a hardware store. -But... So those are just, like... | 1:27:06 | 1:27:11 | |
-What about the...the thing? -That was just some earrings I had. | 1:27:11 | 1:27:14 | |
-Oh, and you just put them on! -Yeah. | 1:27:14 | 1:27:16 | |
-I'll get you some if I see some in a hardware store. -Adorable! | 1:27:16 | 1:27:18 | |
-Have you met anybody in the past couple of years you like? -Uh-uh. | 1:27:21 | 1:27:25 | |
Yeah, I do like people, but I would never go after anyone. | 1:27:25 | 1:27:29 | |
For instance. | 1:27:29 | 1:27:30 | |
I can't think of anyone. | 1:27:31 | 1:27:33 | |
Just people you meet out in the world? | 1:27:33 | 1:27:36 | |
I don't know. | 1:27:36 | 1:27:37 | |
I haven't thought about it. | 1:27:37 | 1:27:39 | |
I just need a place where I can paint and be left alone. | 1:27:46 | 1:27:50 | |
Fabulous. | 1:27:50 | 1:27:51 | |
They came over for the summer, | 1:27:55 | 1:27:57 | |
and looked at my paintings. | 1:27:57 | 1:27:59 | |
That's all I've been doing. | 1:27:59 | 1:28:00 | |
Not now, I've stopped. | 1:28:01 | 1:28:02 | |
I was doing one a day, | 1:28:02 | 1:28:04 | |
but I ground to a halt when I had other things to do. | 1:28:04 | 1:28:06 | |
You realise that you are going to make this happen now, | 1:28:09 | 1:28:12 | |
and you are making it happen. | 1:28:12 | 1:28:13 | |
More productive than ever. | 1:28:16 | 1:28:18 | |
It's from isolation. | 1:28:19 | 1:28:21 | |
What do you mean? | 1:28:23 | 1:28:25 | |
I don't have... I spend all my time alone. | 1:28:25 | 1:28:27 | |
I have nothing else to do. | 1:28:27 | 1:28:29 | |
I understand. | 1:28:31 | 1:28:32 | |
That's my choice. I like it. | 1:28:34 | 1:28:36 | |
-You're OK with it. -I get lonely and morose, but you know... -Do you? | 1:28:39 | 1:28:42 | |
Of course! | 1:28:42 | 1:28:44 | |
You know. | 1:28:44 | 1:28:46 | |
I'm a prize. If no-one wants to pick up on that, fuck them. | 1:28:46 | 1:28:49 | |
The eighth wonder of the world. | 1:28:56 | 1:28:58 | |
# What you gonna do about it? | 1:29:00 | 1:29:02 | |
# What you gonna do about it? | 1:29:02 | 1:29:05 | |
# Whoa! Yeah! | 1:29:05 | 1:29:08 | |
# What you gonna do about it? | 1:29:11 | 1:29:14 | |
# What you gonna do about it? | 1:29:14 | 1:29:17 | |
# What you gonna do about it? | 1:29:17 | 1:29:19 | |
# Oh! # | 1:29:19 | 1:29:21 |