:00:15. > :00:19.This programme includes strong With Mother Love Bone you had some
:00:19. > :00:22.success, a bit of a tragedy there. Right. And what made you decide not
:00:22. > :00:26.to continue with Mother Love Bone and to form something totally
:00:26. > :00:31.different? Cos it was old at that time and we wanna do something new,
:00:31. > :00:35.so, this is what we're doing now. New and fresh. And then they saw me
:00:35. > :00:45.in a bra and that was it. And then they said, "We've gotta have him."
:00:45. > :00:47.
:00:47. > :00:51.That was before his front tooth got # Three nights and days, I sail the
:00:51. > :00:53.sea. # We interrupt this program to give you a bulletin. Keep this
:00:53. > :00:57.frequency clear. # I believe, I believe.
:00:57. > :01:00.# I have a weather report for you, people. And, it's not a good one.
:01:00. > :01:03.KCMU. Rocket Report. What is it that drives thousands of young
:01:03. > :01:06.angelic faced boys in our calm, tree-lined suburbs to spend their
:01:06. > :01:10.allowances on Marshall amplifiers? Why is this happening? Truth be
:01:10. > :01:13.told there's always been a great scene in Seattle. If you want some
:01:13. > :01:17.crisp, aggressive and emotional rock and roll then get on down to
:01:17. > :01:20.the Off Ramp on Friday, July 5th. Ah, wee ha! You haven't seen
:01:21. > :01:30.anything yet. Lock that. For lock's sake. Lock off. My name is Cameron
:01:31. > :02:03.
:02:03. > :02:07.Crowe and I was a rock journalist My name is Cameron Crowe and no was
:02:07. > :02:10.a rock journalist when I first moved to Seattle in the mid- 1980s.
:02:10. > :02:14.I became aware of a scene of musicians that work together to
:02:15. > :02:18.create their own world of influence and bans and community. I
:02:18. > :02:22.immediately realised how much this was different from the places I
:02:22. > :02:26.grew up in and the music I listen to in southern California. This was
:02:26. > :02:29.music that came from guys who stayed indoors a lot, had a lot of
:02:29. > :02:39.time to play and a lot of time to listen. And they listened to
:02:39. > :02:40.
:02:40. > :02:50.everything. All of it brought together into this majestic mix of
:02:50. > :02:59.
:02:59. > :03:02.We would go and see these guys. And these guys would come and see us.
:03:02. > :03:07.Two guys I met early on were stoned Ossard and Jeff Eamonn, who had
:03:07. > :03:10.been in a well-known local ban, Green River, and had an obvious
:03:10. > :03:17.bond that drew a lot of people to them. On any given night it was not
:03:17. > :03:27.hard to run into them going out to listen to live music. Stick with me,
:03:27. > :03:29.
:03:29. > :03:37.my child. Those people over there, police officers. How are you doing?
:03:37. > :03:41.This is not MTV, but it very well could be at any time. Sarcastic
:03:41. > :03:47.police officers, excellent. We are supposed in tonight, but so far
:03:47. > :03:51.nobody has showed up. We finally got into the show. We were outside
:03:51. > :03:58.for a long time but we got these things, backstage passes. How come
:03:58. > :04:04.you did not come and give me my pass? We were outside for a long
:04:04. > :04:08.time. This is my witness. When I first met him, could not imagine
:04:09. > :04:14.hanging out with him. I was introduced to him and within 30
:04:14. > :04:19.seconds I think he wanted to punch me. I had recently been introduced
:04:19. > :04:29.to the exciting world of sarcasm, and for me it was the greatest joy
:04:29. > :04:31.
:04:31. > :04:34.anyone could have. Out here, rock people of all sorts. We had a bit
:04:34. > :04:39.of a chip on our shoulder. We always felt that if it came from
:04:39. > :04:45.New York, and Chicago, Minneapolis or Athens, it was probably better.
:04:45. > :04:49.But there was also this attitude of, somehow we will persevere. It was
:04:49. > :04:54.very different from Los Angeles and New York. There were tens of groups
:04:54. > :04:59.in Seattle, but they all knew each other and everybody was talking
:04:59. > :05:09.about the new band, Mother Love Bone, and their amazing,
:05:09. > :05:09.
:05:09. > :05:12.charismatic frontman. His name was Andy. -- and D Wood. Want the world
:05:12. > :05:22.to know that Mother Love Bone is coming to take over the world, a
:05:22. > :05:26.plethora of delights. A fruit salad Said I've been around the world,
:05:26. > :05:29.wrote a million songs. # It's all a bore to me. #
:05:29. > :05:33.He was a fantastic entertainer. People loved him. I mean, people
:05:33. > :05:36.loved to see him do his thing. # And I've lied to the dogs. It
:05:36. > :05:39.never... He was very funny. He would do
:05:39. > :05:43.something like go to the Central Tavern when there was 25 people
:05:43. > :05:46.there. He'd play it like it was a Coliseum. "To all you people in the
:05:46. > :05:51.back". And there's like, two, there's the guy at the door.
:05:51. > :05:54.# But with my crystal sheen guitar. He was a rock star. He knew it, and
:05:54. > :05:56.something about that, I'll speak for everyone, made us believe that
:05:56. > :06:00.we were too. # Yeah, yeah.
:06:00. > :06:04.I wanna get on an arena tour with some band, who cares? Warrant for
:06:04. > :06:08.that matter. What the hell, go on tour with Warrant, just so we could
:06:08. > :06:11.play arenas. That's the kind of crowd I like. Those are easy crowds.
:06:11. > :06:14.Oh, you can say anything, you can say, "Your mother smells bad,
:06:14. > :06:18.people," and they'll just go "Yeah, Yeah". There's certain people you
:06:18. > :06:22.just know that you love and you'll do anything for them. You just
:06:22. > :06:26.wanted him to be a rock star. You just saw it and were like, "I'm on
:06:26. > :06:32.your team. I want to be anywhere near you." We're going down to LA
:06:32. > :06:35.on Monday to record an album. # I'm trippin' on it now.
:06:35. > :06:39.# It brings me home again. #Oh, oh, oh, oh, yeah. #
:06:39. > :06:43.Do you think you're the band of the nineties? Do you think you're going
:06:43. > :06:47.to be one of the forerunners? think so. I hope so. I mean, I
:06:47. > :06:51.thought I always would be involved in the band of the nineties, so if
:06:51. > :06:55.we're not the band of the nineties I'm gonna fire my band and get a
:06:55. > :07:00.new one. Then they'll be the band of the nineties. Cos you know what
:07:00. > :07:03.was weird. I was listening to the bottom end of all the songs, cos I
:07:03. > :07:08.was kind of worried about Stardog, you know, and the bottom end of it,
:07:08. > :07:12.and to me... The first guy that I called to see if he wanted to be my
:07:12. > :07:16.roommate was Stone Gossard. He was living at home, I think, and he
:07:16. > :07:19.answered the phone and he's like, "Yeah, no, I'm good. Um, I don't
:07:19. > :07:23.really wanna. I don't really wanna change my living situation right
:07:23. > :07:26.now." And he was at home so I thought that was a little weird.
:07:26. > :07:30.But I thought, "Whatever, that's great". Um, and he said, "But Andy
:07:30. > :07:34.just got out of rehab, and he might need a place". And I thought, "Well,
:07:34. > :07:37.that'd be cool". I didn't really know him but I thought, "Well, that
:07:37. > :07:41.would be interesting. He seems like an interesting guy, it would be
:07:41. > :07:44.cool". I called Andy up and he's like, "Sure, I'm coming over."
:07:44. > :07:48.Chris and Andy had a very deep relationship. I know that both of
:07:48. > :07:52.them had four-tracks set up in their bedrooms, and they would each
:07:52. > :07:55.try to record a song a day, and play it for the other guy. He just
:07:56. > :07:59.had a freedom. He didn't edit anything that he did, anything that
:07:59. > :08:02.he wrote, he didn't care. He just charged through the creative
:08:02. > :08:05.process without a care in the world, and I was the opposite,
:08:05. > :08:09.overanalyzing. And it was just a really exciting, creative time.
:08:09. > :08:12.Thank you so much. As long as I've known the guy there's always been
:08:12. > :08:15.different times where he wasn't comfortable with himself, and his
:08:15. > :08:19.using drugs was a product of that too. If you know any addicts you
:08:19. > :08:22.know that, you know, just because they quit for three months, doesn't
:08:22. > :08:26.mean shit. And he was someone who definitely had a certain tragic
:08:26. > :08:30.flaw. That's where his greatness came from. We knew that he was
:08:30. > :08:33.trying to be sober. We knew that he was really, that he couldn't just
:08:33. > :08:37.sustain, you know. You can't, you can't really be a junkie and be
:08:37. > :08:40.super productive and like, I mean, maybe somebody can but he wasn't
:08:40. > :08:44.going to be able to do it. That morning like, March 19th, 1990,
:08:44. > :08:54.there was like, five messages from Xana, Andy's girlfriend at the time,
:08:54. > :09:10.
:09:10. > :09:15.saying, you know, just hysterical. # Summer nights and long, warm days.
:09:15. > :09:19.We all got in a taxi and went up to Harborview and he was on life
:09:19. > :09:22.support at that point and it was a locking trip, man. I mean, it was
:09:23. > :09:26.like the worst, most horrible, ah... It was confusing you know, it was
:09:26. > :09:30.like, Andy OD'd and he's not dead but he's not gonna live, but he's
:09:30. > :09:34.not dead. And you gotta come now. Whenever people would start to get
:09:34. > :09:38.into drugs after that I'd always... I always thought like, I wish I had
:09:39. > :09:42.a picture of Andy when he was in the hospital cos it, it was, it was
:09:42. > :09:46.so horrible. He was kept alive for a couple of days and, I think,
:09:46. > :09:49.mostly just so just family and friends could say goodbye or
:09:49. > :09:52.whatever but it was... It was horrible. It's... It's difficult to
:09:52. > :09:57.articulate it but, um, it's... You know, up to that point, I think,
:09:57. > :10:01.life was really good for us as a... As a, just a group of musicians and
:10:01. > :10:05.a scene making music. Um, it just... You know, the world was sort of our
:10:05. > :10:09.oyster and we had support and we supported each other, and he was
:10:09. > :10:13.kind of like this beam of light sort of above it all. And to see
:10:13. > :10:16.him hooked up to machines, um... It... That was the, I think the
:10:16. > :10:20.death of the innocence of the scene. It wasn't later when people
:10:20. > :10:30.surmised that Kurt blowing his head off was the end of the innocence.
:10:30. > :10:45.
:10:45. > :10:47.It was that. It was walking into that room.
:10:47. > :10:53.# And I'm lost behind the words I'll never find.
:10:53. > :10:57.And I'm left... So at this point I think everyone
:10:57. > :11:01.really wants to take a break, for one, and just kind of let things
:11:01. > :11:05.happen naturally to a certain extent to see where we wanna go
:11:05. > :11:08.with it. You know, we're not in any huge rush to be rock stars at this
:11:08. > :11:12.point. Andy's attitudes and personality were such an integral
:11:12. > :11:15.part of Mother Love Bone that, ah, you know, you wouldn't be able to
:11:15. > :11:18.replace him. It's just not in our minds. At least, it just...
:11:18. > :11:22.Fiddle with the... You just lost all sound? Check. Hello, hello,
:11:22. > :11:25.hello. In some ways, I was just thinking about this in the last
:11:25. > :11:29.couple of days, that I can relate to the Clippers and the Nets.
:11:29. > :11:33.Because I've kind of, I feel like my musical career has kind of been
:11:33. > :11:36.that way, in that every time that it seems like it's starting to take
:11:36. > :11:39.off, somebody goes down with an injury, coach gets fired, or
:11:39. > :11:44.something happens. I remember Jeff saying, "Maybe I'm not supposed to
:11:44. > :11:47.be doing this, you know. That was my shot and it's gone". I think if
:11:47. > :11:50.my dad and I hadn't had such a contentious relationship at that
:11:50. > :11:54.point, I probably would have left Seattle. I never felt like giving
:11:54. > :11:57.up. No, I think I was writing songs days later, probably. You know,
:11:57. > :12:01.playing my guitar and still just going, "I love playing my guitar".
:12:01. > :12:05.I ended up playing with a really good friend of mine in town named
:12:05. > :12:08.Mike McCready. We got together and we started playing in his parent's
:12:08. > :12:12.attic. That's when I had the conversation. "We've got to get
:12:12. > :12:16.Jeff Ament in the band". Jeff was playing with some other folks and I
:12:16. > :12:19.think having a good time doing that. And my first instinct was like, "I
:12:19. > :12:22.don't know". I remember him just saying, "Lock Jeff Ament". Or
:12:22. > :12:32.something like that and I was kind of shocked. I was like, "Dude,
:12:32. > :12:35.
:12:35. > :12:42.that's your guy. You've been with I was shocked. I was like, you have
:12:42. > :12:47.been with him forever. He was like, no, you have to. And I was like, OK.
:12:47. > :12:53.And then I was like, yes. We did a demo quickly after that with
:12:53. > :12:58.Cameron. I was like, what are you doing with it? They said, we are
:12:58. > :13:02.trying to get a singer. I was working at a job and making music
:13:02. > :13:06.in my spare time. His instrumental tape migrated to me and started
:13:06. > :13:10.bringing out emotions I had not touched on in a time. This natural
:13:10. > :13:16.thing came out and all I did was record. I surfed one morning after
:13:16. > :13:25.work and went unrecorded literally with the sand in my feet. I sent it
:13:25. > :13:34.off that day. # Reach out to me
:13:34. > :13:39.# I won't be home. # this is where his apartment was.
:13:39. > :13:46.This is the place where I came over after he called me and said, I have
:13:46. > :13:52.got this demo. I got this demo back from Eddie, and you should come
:13:52. > :13:57.over and check it out. It is good. It was a voice on a tape that blew
:13:57. > :14:07.my mind. It was kind of, who is this? Is this real? I remember
:14:07. > :14:14.
:14:14. > :14:19.thinking, is this a real guy? Who I remember thinking about his voice.
:14:19. > :14:27.I heard a real person in there. It was not a person trying to sound
:14:27. > :14:33.like another person. I heard a guy. And there is my phone number on it.
:14:33. > :14:43.I will call the number later in see if I can find a younger you. Tell
:14:43. > :14:44.
:14:44. > :14:51.him to be careful. Hold on. Hi, I am Eddie Vedder. In Seattle,
:14:51. > :14:55.I feel like I am kind of the new kid. I will be for a while. We flew
:14:55. > :15:01.head up and hang out for a week and work on these songs in the basement
:15:01. > :15:06.of Galleria Potatohead. It is nice to walk in that room and smell or
:15:06. > :15:11.materials. There is a feeling of creativity. You hear your footsteps
:15:11. > :15:17.as you go down into this basement. You just going and light it up.
:15:17. > :15:23.remember her before he got on the plane, he said, when I get there, I
:15:24. > :15:28.want you to go straight to the practice studio. The music sprouted
:15:28. > :15:34.write off the bat. It was heartfelt and deep. We spent five days
:15:34. > :15:39.rehearsing and on the sixth day, we played a show. It was in saying
:15:39. > :15:49.that we were playing a show after being together for five or six days.
:15:49. > :15:59.
:15:59. > :16:07.# Son, she said, have I got a little story for you.
:16:07. > :16:16.# What you thought was your daddy was nothing but a... While you were
:16:16. > :16:24.sitting home alone at age 13. # Your real daddy was dying.
:16:24. > :16:32.# Sorry you didn't see him, but I'm glad we talked. Let's talk about
:16:32. > :16:41.the hidden Eddie Vedder. Where was he? At he was terrified.
:16:41. > :16:46.# I'm still a live there. It was hard for me at the beginning,
:16:46. > :16:55.coming up and being part of a different place. It was not just a
:16:55. > :17:00.neutral zone, it was there a lot -- He was coming from a different
:17:00. > :17:06.place that I did not fully understand. I felt like, he is good.
:17:06. > :17:12.And once I met him and saw how personable he was an excited and,
:17:12. > :17:18.you know, we sent him music and two weeks later, we had music back. And
:17:18. > :17:28.it was not Mother Love Bone. We got a few tapes, and they had all been
:17:28. > :17:29.
:17:29. > :17:35.like tribute things. It took me years to understand Eddie. My dad,
:17:35. > :17:39.he passed away before I knew he was my dad. So I grew up with this dad
:17:39. > :17:48.and then I found out that he was not my dad, and the guy that was my
:17:48. > :17:53.dad had already passed a few years earlier.
:17:53. > :17:58.There are only two chords to this song. It will probably be really
:17:58. > :18:03.boring on acoustic. Looking back, I realised that we all got together
:18:03. > :18:08.in that room in that time, and I was still thinking about stuff with
:18:08. > :18:12.my dad and loss and all that. And they were thinking about having
:18:12. > :18:16.been through with the situation with Andy, so in ways, we were
:18:16. > :18:26.strangers, but we were coming from a similar place. And all of that
:18:26. > :18:32.
:18:32. > :18:35.kind of came out in the first batch Release was kind of a droned jam
:18:35. > :18:40.that we were messing around with in the basement the first week that Ed
:18:40. > :18:47.came up. It was one of those songs that he just started singing and
:18:47. > :18:56.these words came out of him. # Oh, dear Dad.
:18:56. > :19:06.# Can you see me now? # I am myself.
:19:06. > :19:08.
:19:08. > :19:18.# Liked you, somehow. # I will ride the wave it.
:19:18. > :19:27.# Where it takes me. # I will hold the pain.
:19:27. > :19:32.# Release me. I remember the first time we played that song, right at
:19:32. > :19:38.the end of it, he sort of ran away around the corner. I was thinking
:19:38. > :19:46.about my dad at, and afterwards it got me all tore up. I went into the
:19:46. > :19:56.little hallway, and then Jeff came out and said, are you OK?
:19:56. > :20:01.
:20:01. > :20:10.# Oh, dear John. So this one here is my dad or. I
:20:10. > :20:15.met him a few times. But he was just like a friend of the family.
:20:15. > :20:25.Edward Louis Severson. When I was born, that was my name. So he is
:20:25. > :20:25.
:20:25. > :20:35.kind of up there for me somewhere. # Release me.
:20:35. > :20:35.
:20:35. > :21:25.Apology for the loss of subtitles for 49 seconds
:21:25. > :21:35.# I am, Reach Down. # And pick the crowd up.
:21:35. > :21:44.# And carried back in my hand. # To the promised land.
:21:44. > :21:51.And the camaraderie and the healthy competition part, I found later,
:21:51. > :21:55.was unusual. Johnny Ramones pointed that out to me later, talking about
:21:55. > :22:00.the friendship he saw between Pearl Jam and some garden, and saying, I
:22:00. > :22:05.have never seen that before. New York was not like that. We would
:22:05. > :22:10.school each other up. The best thing about it is, I think that you
:22:10. > :22:17.learn from each other and you are inspired by each other. For me,
:22:17. > :22:23.Temple of the Dog Grout of that. After Andy past, Chris judge wrote
:22:23. > :22:31.these songs. We were going to recorded with the surviving members
:22:31. > :22:40.of Mother Love Bone. # I don't mind stealing bread from
:22:40. > :22:49.the mouths of decadence. # But I can't feed on the powerless
:22:49. > :22:54.when my cup's already overfilled. # Yeah.
:22:54. > :22:59.It was a fun record that nobody had any expectations for, and that made
:22:59. > :23:03.it feel very fresh. For him, to write songs and have the idea of
:23:03. > :23:08.sharing those songs with Jeff and I was like another generous gesture
:23:08. > :23:13.that said, I will not only help you guys with this record, but I will
:23:13. > :23:19.even ask your new singer, who is just the age shy Di and I have not
:23:19. > :23:25.heard his voice yet, but I saw you guys and maybe he can sing.
:23:26. > :23:35.# I don't mind stealing bread from the mouths of decadence. And then
:23:36. > :23:36.
:23:36. > :23:42.you hear it and go, well away. Our guy sings really good, too.
:23:42. > :23:47.# I can't feed off the powerless when my cup's already overfilled.
:23:48. > :23:57.Eddie was very shy at the beginning. He was self-conscious. He was not
:23:58. > :23:59.
:23:59. > :24:05.fully comfortable, until we went out one night.
:24:05. > :24:15.# And it is all on the table. # Their mouths are choking.
:24:15. > :24:16.
:24:16. > :24:21.# But I'm going hungry. He really embraced Eddie when he first moved
:24:21. > :24:26.up here. Sometimes I wonder if that was a void that he felt from Andy's
:24:26. > :24:31.passing. Having another equally talented singer that he could
:24:31. > :24:37.bounce ideas off or relate to. I know Eddie felt a real mentor
:24:37. > :24:47.should, and I think that gave him confidence.
:24:47. > :24:51.
:24:51. > :24:55.# I'm going hungry. It was the first time I heard
:24:55. > :25:02.myself on a real record, so it could be one of my favourite songs
:25:02. > :25:12.that I have ever been on, or the most meaningful.
:25:12. > :25:34.
:25:34. > :25:44.# I don't mind stealing bread. Where is Stone Gossard when we need
:25:44. > :25:50.
:25:50. > :26:00.him? Where is he? Oh, my God. went to Vancouver to open for Alice
:26:00. > :26:08.in Chains. Played at this place called The Town Pump. During the
:26:08. > :26:15.song Breath, security was taking out some drunk guy. Watchet, you
:26:15. > :26:25.guys. They just took him out. were being overly aggressive. And
:26:25. > :26:31.
:26:31. > :26:35.Ed noticed that. And you could just see this change come over him.
:26:35. > :26:39.This guy that had been shy, that people did not really know, all of
:26:39. > :26:49.a sudden his voice changes, his attitude changes, he just got
:26:49. > :27:11.
:27:11. > :27:15.They are known as Mookie Blaylock, but not any more. We had some legal
:27:15. > :27:21.problems. The name was taken by this guy named Mookie Blaylock!
:27:21. > :27:29.Mookie Blaylock and Michael Jordan. They played yesterday. The Bulls
:27:29. > :27:34.won. He knows we are changing the name. So the new name is Pearl Jam.
:27:34. > :27:41.We will not cultivate anything today.
:27:41. > :27:46.# Why go home? Why go home? # She seems to be stronger, but
:27:46. > :27:51.what they want is for her to be weak.
:27:51. > :28:01.# She could just pretend. # She could join in the game.
:28:01. > :28:01.
:28:01. > :28:07.# She could be another clone. you guys have a lot of other stuff
:28:07. > :28:17.going on almost as we speak? Yeah, we are going to the city tomorrow
:28:17. > :28:30.
:28:30. > :28:35.to make our first album. I was selling merchandise at the
:28:35. > :28:39.time, and you can only just take so much stuff into Canada. Everything
:28:39. > :28:43.we brought, a broad based on what we have been selling until then.
:28:43. > :28:47.That night, before the opening band had even finished, I had sold out
:28:47. > :28:51.of everything we brought across. I had nothing to do for the rest of
:28:51. > :29:01.the night, so I grabbed my camera and film to the show. Things were
:29:01. > :29:03.
:29:03. > :29:09.taking off. # Why go home? Why go home?
:29:09. > :29:19.This is our CD. You can barely see this. I hate holding a CD. I want
:29:19. > :29:25.
:29:25. > :29:35.to hold up an album. # Why go home? Why go home? Why go
:29:35. > :29:48.
:29:48. > :29:58.The band was doing 10 times as well as I never thought we would, get
:29:58. > :30:02.
:30:02. > :30:10.him to play shows almost every day. The band's chemistry seems really
:30:10. > :30:16.good right now. Yeah, very much a family. Being on the road, touring,
:30:16. > :30:22.what is the strangest thing that has happened to you? I would like
:30:22. > :30:30.to thank the Smashing Pumpkins for letting me borrow the wardrobe.
:30:30. > :30:35.looks better than you do! We showed up in Zurich, Switzerland, and the
:30:35. > :30:40.venue was almost like an art house. The stage was as big as our drum
:30:40. > :30:43.riser. We were, what are we going to do? We were ready to change
:30:43. > :30:46.something up and we asked the locals to give us the acoustic
:30:46. > :30:56.instruments and we could do an acoustic set. We had never done
:30:56. > :31:20.
:31:20. > :31:30.And then it was the next day, and somebody asked if we could do MTV
:31:30. > :31:38.
:31:39. > :31:42.Unplugged. We said, yeah, we could # I know some day you'll have a
:31:42. > :31:47.beautiful life # I know some day you'll be a star
:31:47. > :31:57.in somebody else's Sky. # It's the true story, something I
:31:57. > :32:05.
:32:05. > :32:10.really felt, and I still feel every A lot of your songs are on the dark
:32:10. > :32:15.side. Is there any reason for that, is it mostly what you see?
:32:15. > :32:19.emotions. I should be really happy right now. I get to play shows and
:32:19. > :32:23.it has been amazing. But my emotions are like a quarter flicked
:32:23. > :32:27.in the air, black-and-white, good and bad, constantly. Maybe by
:32:27. > :32:32.talking about things that may be darker, more on the negative side
:32:32. > :32:38.of our existence, by dealing with them, maybe that is where I find my
:32:38. > :32:44.happiness. # We belong together
:32:44. > :32:54.# Together # We belong
:32:54. > :33:00.
:33:00. > :33:04.Unperturbed NTV said they thought that was one of the best. Is it
:33:04. > :33:08.nice to get that kind of response, especially when it is stripped
:33:08. > :33:18.down? I don't trust nobody, especially when they say something
:33:18. > :33:18.
:33:18. > :34:08.Apology for the loss of subtitles for 49 seconds
:34:08. > :34:12.good. If I even see you having fun, They played at three in the
:34:12. > :34:20.afternoon, the second group. But the frenzy during their set got
:34:21. > :34:25.more and more extreme as the tour went on.
:34:25. > :34:32.It was a whirlwind. We went from little clubs to bigger clubs, and
:34:32. > :34:35.then everything blew up. I remember not being able to sleep for entire
:34:35. > :34:41.nights after the show because you were so buzzed. I found out years
:34:41. > :34:51.later that if I today Bath, that would put me to sleep. -- if I took
:34:51. > :35:06.
:35:06. > :35:09.Is it like, you were just walking down the street one day and all of
:35:09. > :35:13.a sudden you feel you are getting a lot more exposure by a lot more
:35:13. > :35:19.people coming up to you? When would you start noticing that all of a
:35:19. > :35:23.sudden, you know, millions of people are like, yeah, exactly?
:35:23. > :35:29.try not to think about that as much as we can. We try not to think
:35:29. > :35:37.about that as much as we can. Think about that sentence, America. Think
:35:37. > :35:42.about it. Back with Eddie and Mike of the band Pearl Jam. The album is
:35:42. > :35:48.called 10. Why is that? It is back to Mookie Blaylock, total
:35:49. > :35:53.dedication to him. We are about to blow your video for Alive. Did you
:35:53. > :35:56.like making the video? We did not make a video. There is no way with
:35:56. > :36:00.a song like that, which talks about living for the moment, that we
:36:00. > :36:05.would lips sink something we had recorded months ago. I wonder what
:36:05. > :36:08.we will do for another video, because we only want to do live.
:36:08. > :36:18.You cannot see ourselves making some sort of conceptual video, or
:36:18. > :36:34.
:36:34. > :36:39.# At home, pictures of mountain tops
:36:39. > :36:44.# With him on top # Lemon yellows San. #
:36:44. > :36:52.I have no problem with the idea of a concert video at all. It is like
:36:52. > :36:56.giving up some control this time and seeing how it works. That song
:36:56. > :36:59.was part of the second wave of songs that we wrote with Ed. I
:36:59. > :37:03.still did not understand songwriting at that point. That
:37:03. > :37:07.whole song is pretty much in the cord of a. There are no chord
:37:07. > :37:10.changes in the song. It goes against the rules of how to write a
:37:10. > :37:14.pop song. He had been reading a newspaper when we were starting to
:37:14. > :37:19.jam on the song and he wrote the entire lyrics of the newspaper
:37:19. > :37:25.article. Making that video, he did such a great job at making you see
:37:25. > :37:31.how heavy the lyric was. He seemed embarrassed about it. It seems a
:37:31. > :37:37.valid artistic thing to be doing. It is a different kind of focus.
:37:37. > :37:47.That is the key to it, just focusing. But like with a camera,
:37:47. > :37:47.
:37:47. > :38:39.Apology for the loss of subtitles for 49 seconds
:38:39. > :38:43.that is just... You know, I am just Yeah! We have never played for this
:38:43. > :38:53.many people before. Never thought we would ever play for this many
:38:53. > :38:57.people. Are you ready for one more? 1, two, three.
:38:57. > :39:02.# You dare not leave a message # At least I could have heard a
:39:02. > :39:12.voice one last time # Would you hear me?
:39:12. > :39:15.
:39:15. > :39:17.# Would you hear me # This could be the day
:39:17. > :39:27.# Hold my hand # Walk beside me
:39:27. > :39:27.
:39:27. > :40:08.Apology for the loss of subtitles for 49 seconds
:40:08. > :40:18.Yeah, lots of times. Especially when our singer starts climbing on
:40:18. > :40:18.
:40:18. > :40:23.the ceiling, 50 ft above the stage. Don't do that! Are you worried he
:40:23. > :40:33.will fall down? All of the time. I thought, he is going to have fallen
:40:33. > :40:59.
:40:59. > :41:03.kill himself. I was worried every Over the years, he would get higher
:41:03. > :41:07.and higher. He would not shift it up, because he is survived the last
:41:07. > :41:17.one. We are going to take this to some level that people will not
:41:17. > :41:21.
:41:21. > :41:25.forget. If that means risking your We would get to the hotel after the
:41:25. > :41:32.show then feel pretty good, physically. Then I would take a
:41:32. > :41:36.shower and realise I had 1000 deep scratches on my back. I did not
:41:36. > :41:40.want him to hurt himself, but at the same time, there was no talking
:41:40. > :41:44.to him. He was going to do what he was going to do. He could have
:41:44. > :41:51.killed himself a couple of times, probably, for sure. Which would
:41:51. > :41:56.have been more than I could have taken.
:41:56. > :42:00.You look quite mixed up. I will show you these pictures and you
:42:00. > :42:04.will see why I look the way I do. It is a little bit overwhelming to
:42:04. > :42:09.see this many people. I am sure you have been looking at this all day.
:42:09. > :42:16.It is a lot of people. We are used to playing small clubs, and we want
:42:16. > :42:19.to go back to playing small clubs. He wanted Pearl Jam to be a band
:42:19. > :42:24.that goes out and tours in a van and pays its dues and plays in
:42:24. > :42:29.clubs and makes albums and as a slow, natural life. He did not want
:42:29. > :42:33.to come out and have overnight success. He was critical about the
:42:33. > :42:40.mix has, he thought maybe they were too commercial. He was really
:42:40. > :42:46.reluctant. You are also not going to be doing videos right away at
:42:46. > :42:56.least. We just do not know. Our mind is on music, which is probably
:42:56. > :42:56.
:42:56. > :43:01.a good thing for everybody. cumin 1 earlier than I normally do.
:43:01. > :43:11.I still did four, so it almost felt like I did one too many. Let's do
:43:11. > :43:11.
:43:11. > :44:02.Apology for the loss of subtitles for 49 seconds
:44:02. > :44:08.A lot of my job is taking what they bring and turning it into something.
:44:08. > :44:18.This is a chord change, this is a melody. But what does that mean? If
:44:18. > :44:26.
:44:27. > :44:33.I close my eyes, where am I? What I was in a small coffee shop and
:44:33. > :44:39.someone came up and stopped me, and the waitress witnessed it and said
:44:39. > :44:43.oh, you are... And I said, you know. She said, you don't like it? I said,
:44:43. > :44:48.it is no big deal. And she said, if you don't like it, you picked the
:44:48. > :44:51.wrong business to be in. And she had a good point. When you are
:44:51. > :45:01.sitting in your room, playing guitar, you don't have to worry
:45:01. > :45:07.
:45:07. > :45:13.I had done the movie Say Anything... And was anxious to do the next
:45:13. > :45:16.movie in Seattle, and it would have the mix of music that I love. The
:45:16. > :45:22.studio of that the movie and said, we do it now have to sell this
:45:22. > :45:28.movie. We don't want to put it out. But as Nirvana and Pearl Jam got
:45:28. > :45:32.bigger, they came to me and said, there is one way. When we looked at
:45:32. > :45:39.the schedule, there was one day off that week, and that was the day you
:45:39. > :45:47.wanted us to play. Any memories of the singles party in Los Angeles?
:45:47. > :45:56.We have vivid footage. You have footage of that? We do. I will not
:45:57. > :46:03.watch that. It was pretty bad. are all just warming up. It is one
:46:03. > :46:11.of these things. In it was a total disaster. Everybody loves us.
:46:11. > :46:17.Everybody loves our town. There were some long soundtracks -- sound
:46:17. > :46:24.checks that day, and so I drank one bottle of wine. And then there was
:46:24. > :46:27.another that I opened to give to friends who were not drinking.
:46:27. > :46:37.went downstairs and there was a bottle of tequila. We hardly ever
:46:37. > :46:40.
:46:40. > :46:46.drank before the show, but by that point, we were already wasted.
:46:46. > :46:49.monitors were not working that well. And my ears were not working. I
:46:49. > :46:57.kept asking them to turn the monitors up, and it would not turn
:46:57. > :47:00.up. After a while, I just got upset and pulled this drape down. And I
:47:01. > :47:10.looked over and there was the lighting person. I kept wandering,
:47:11. > :47:11.
:47:11. > :47:15.why is it getting brighter in here? I will do this one myself. I began
:47:15. > :47:25.to see studio executives and their families started to stream for the
:47:25. > :47:28.
:47:28. > :47:35.exits. Fights were breaking out. Don't be violent!
:47:36. > :47:40.# Hai, that's something. Because we had waited so long for anyone to
:47:40. > :47:44.ask us to do something, we were saying yes. But that was a moment
:47:44. > :47:54.where it was evident that there would always be one more thing they
:47:54. > :47:54.
:47:54. > :48:04.would want you to do. At some point, you have to say no. That was the
:48:04. > :48:07.
:48:07. > :48:09.Oh, hey, oh...ee-oo, zama dama dingy do. Billboard numero uno, oh
:48:09. > :48:19.yeah. Oh, ee-oo, zama mama dingy dong. Covero Time Magazine-o, oh,
:48:19. > :48:36.
:48:37. > :48:46.Let's keep things rolling here. Grunge rockers, Pearl Jam.
:48:47. > :48:47.
:48:47. > :48:57.# Everybody loves us. Everybody loves our town. Things got crazy.
:48:57. > :49:01.
:49:02. > :49:06.It was all summer. We are just about to launch MTV in Latin
:49:06. > :49:15.America. I don't know if you feel comfortable do a couple of IDs for
:49:15. > :49:20.us in Spanish? Spanish is interesting? Somos Pearl Jam. E
:49:20. > :49:26.esto es MTV. What do you think grunge means? I would not even news
:49:26. > :49:30.that word. Everyone is talking about Pearl Jam. I have always
:49:30. > :49:35.hated their band. The first programme record came out two
:49:35. > :49:42.months before the Never mind record, so it came -- became a pearl Jam
:49:42. > :49:47.versus Nirvana thing. He said at nirvana's music was too commercial.
:49:47. > :49:53.I was so naive and fresh where we first came out. And then everyone
:49:53. > :50:03.looked at it from a cynical point of view or started copying it.
:50:03. > :50:09.
:50:09. > :50:19.Eddie Vedder joins Creed front man. Eddie you various attempted to rip
:50:19. > :50:20.
:50:20. > :50:24.him out. Pearl Jam. Pearl Jam. Pearl Jam. Pearl Jam. Pearl Jam.
:50:24. > :50:28.Pearl Jam will become the second Seattle band in a month to enter
:50:28. > :50:35.the billboard pop album chart at number one next week. Since his
:50:35. > :50:40.Release a week ago, Versus has sold 950,000 copies. A million. I am
:50:40. > :50:44.having a hard enough time with one right now. We played such a thing I
:50:44. > :50:50.live for the second time and I talked to Stone the next day, and
:50:50. > :50:55.he said, what did you think of Daughter? And I thought, we played
:50:55. > :51:01.Daughter? I essentially black out on TV. That was how I dealt with
:51:01. > :51:06.how big we got. I bought into the myth, and it was killing me.
:51:06. > :51:10.last time I talked to curb, we agreed that we would not
:51:10. > :51:17.participate in the Time magazine interview. And then they put me on
:51:17. > :51:21.the cover anyway. Sure, I read it on the plains, but I don't take it
:51:21. > :51:25.seriously. If you want to find out anything, I am not going to read
:51:25. > :51:30.Time magazine. Time magazine is your parents' magazine or the one
:51:30. > :51:35.in the doctor's office. And I thought wow, we have been swallowed
:51:35. > :51:39.up by the mainstream. No one will want to listen to us. I am not
:51:39. > :51:49.going to read Newsweek. These magazines have too much to lose by
:51:49. > :52:24.
:52:24. > :52:34.printing the truth. You know that. The # Trains and spills, soaks the
:52:34. > :53:13.
:53:13. > :53:23.# Stab it down. # Fill the pages.
:53:23. > :53:56.
:53:56. > :54:00.How were you going to survive and not do something wrong? Now you
:54:00. > :54:04.have sold too many records, but these people are so happy to hear
:54:04. > :54:10.your music. But these people hate you now. And these people love you
:54:10. > :54:18.so much that they want to kill you. So how do you relate any of these
:54:18. > :54:22.people from where you are? The One That I Want to get in personal with
:54:22. > :54:30.was No Code, because its dock are problems. I built a wall in front
:54:30. > :54:38.of the House. Why? Because I have been open and honest and intimate
:54:38. > :54:44.in lyrics. Now I have to build a wall in front of my house. That
:54:44. > :54:53.wall saved my life. Not because of privacy or anything, but literally
:54:53. > :55:01.because someone tried to drive into the house at 50 miles an hour. So
:55:01. > :55:07.you wonder what happened. How did it mutate into this situation? You
:55:08. > :55:11.will have to edit this part. young musician who made grunge
:55:11. > :55:16.music popular became an overnight spokesman for many disaffected
:55:16. > :55:23.young Americans as his fans tried to sort out what caused him to take
:55:23. > :55:27.his life. I was trying to tell them, don't hurt me. And what is this
:55:27. > :55:32.nonsense about how terrible life is? A young girl who stood outside
:55:32. > :55:35.his home in Seattle, with tears streaming down her face, said, it
:55:35. > :55:39.is hard to be a young person nowadays. He helped open young
:55:39. > :55:43.people's eyes to our struggles. Please wipe the tears from your
:55:43. > :55:50.eyes, dear, you are breaking my heart. I would love to relieve the
:55:50. > :55:54.pain you are going through by switching my age for yours. I was
:55:54. > :55:58.trying to call him because I had read something he said that he
:55:58. > :56:03.could not keep it real. I just wanted to tell him, you don't have
:56:03. > :56:07.to do anything anybody tells you to do. Just stop playing and don't do
:56:07. > :56:12.anything. I had a whole thing I was going to tell him, but I never got
:56:12. > :56:19.the chance. Sometimes people and have you whether you like it or not.
:56:19. > :56:29.It is easy to fall. I don't think any of us would be in this room
:56:29. > :56:33.tonight if it were not for Kurt Cobain. People think that we are
:56:33. > :56:37.whining or crying about success if we are just trying to tell you that
:56:37. > :56:46.there are some intense pressures and some things that could be
:56:46. > :56:56.helped. # How much difference does it make?
:56:56. > :56:59.
:56:59. > :57:04.A # How much difference does it He resonates in my life. It always
:57:04. > :57:14.comes up around a camp fire or play music with a few guys in a garage
:57:14. > :57:15.
:57:15. > :57:25.for no particular reason. I always think, he would have liked this.
:57:25. > :57:27.
:57:27. > :57:33.Tha # I will halt the Campbell to live burns up my arm.
:57:33. > :57:38.He is a nice person. I did not like him a lot when I was talking
:57:38. > :57:42.rubbish about him all the time, but now I can appreciate him. I have
:57:42. > :57:51.realised that the same people that like our band like their band, so
:57:51. > :57:56.why create a feud over something? # I will not change direction.
:57:56. > :58:00.made us think about everything we did. His critique of us early on
:58:00. > :58:08.kept us on good behaviour in terms of everything we did. We would
:58:08. > :58:13.are good now, it is partly because of him.
:58:13. > :58:18.# How much difference does it may ache?
:58:18. > :58:22.It is not like you of friends or anything. Well, I consider him a
:58:22. > :58:27.person that I like. We have had conversations on the phone and he
:58:27. > :58:37.is a nice person. I remember the sound of his voice, Omar but I
:58:37. > :58:56.
:58:56. > :59:02.don't remember what we talked about. I have not let myself change, but
:59:02. > :59:07.the way people see you changes, and that is not in my hands. Maybe what
:59:07. > :59:14.is in my control is not doing interviews or not being on MTV and
:59:14. > :59:20.not anything to glorify your face or position. I was talking about
:59:20. > :59:30.this band being a bit more viceless. It can be done. Pink Floyd. It can
:59:30. > :59:33.
:59:33. > :59:38.Eddie could not be anonymous and it was affecting him. So,
:59:38. > :59:48.psychologically, he needed to take control of something. So then he
:59:48. > :59:50.
:59:50. > :59:54.was like, OK, I can have control I felt that anything we put out was
:59:54. > :00:02.highly representative of me because I was kind of becoming the most
:00:02. > :00:08.recognisable guy. # Vacate is the word
:00:08. > :00:16.# Vengeance has no place on the or # Cannot find the comfort in this
:00:16. > :00:22.Vitology was the first record where it was making a record in a
:00:22. > :00:26.different way. All of a sudden I was like, wait a minute, I'm the
:00:26. > :00:31.guy, ready to get in there and do this thing. At the time I thought
:00:31. > :00:41.it was our best record. dynamics of the band, how they have
:00:41. > :00:58.
:00:58. > :01:02.changed as to who was in power. # Lives opened and trashed
:01:02. > :01:06.# Watch me crash # No time to question
:01:06. > :01:10.# Why did nothing last # Grasp and hold on
:01:10. > :01:19.# We are dying fast # Is soon be over
:01:19. > :01:24.# I will relent. # As much as I am excited to play, it
:01:24. > :01:29.is a surfing tour. I plan on adding a surf board at all times. It was a
:01:29. > :01:35.big tour, the first time we went to Australia. White it was challenging,
:01:35. > :01:45.to go, I don't know if we have the same band. We might be a different
:01:45. > :01:54.
:01:55. > :01:57.band right now and maybe they will WAG we have always had his
:01:57. > :02:02.adversarial relationship. It has been muted because all we thought
:02:02. > :02:05.of as our new band was immediately taken over by Ed. We learnt that as
:02:05. > :02:15.you are fighting over the scraps of control you meet somebody with so
:02:15. > :02:17.
:02:17. > :02:27.much artistic energy that your # Let my spirit pass
:02:27. > :02:38.
:02:38. > :02:41.# MRS, this is, We were always going towards
:02:42. > :02:46.something else. We wanted to be like Zeppelin, a chameleon of a
:02:46. > :02:50.band, not locked into a specific style. But the business of the
:02:50. > :02:53.record company is all about locking make the money now and locking wine
:02:53. > :02:57.this thing up. They could care less if it is gone tomorrow because they
:02:57. > :03:00.had something coming off the backside that will replace it. We
:03:00. > :03:06.were trying to figure out how to be a bands down the road. There was
:03:06. > :03:10.not anybody to go to at that point until we met Neil. The first time
:03:10. > :03:14.we got asked to play the bridge school in San Francisco, we made a
:03:14. > :03:20.connection and said, thank you. A few months later, he asked us to go
:03:20. > :03:30.to Europe with him. It seemed like a dream to me.
:03:30. > :03:33.
:03:33. > :03:38.# There's colours on the street And it was so educational listening
:03:38. > :03:41.to him talking about his career, playing in stadiums, then in clubs,
:03:41. > :03:51.then in medium-sized places, but all along doing what he wants to do.
:03:51. > :03:53.
:03:53. > :04:00.His point is to roll with the # Keeper on rocking in the free
:04:00. > :04:03.world. # Meeting Neil Young and his impact
:04:03. > :04:08.on the band, making this record with the band, he remade a record
:04:08. > :04:18.with the band and not Eddie. In my mind, he was almost saying, come on,
:04:18. > :04:20.
:04:20. > :04:24.you guys are great. At the time, we I am happy to finally have an adult
:04:24. > :04:34.in my lies that leads by example. I have had some crazy adults in my
:04:34. > :04:43.
:04:43. > :04:52.life so it is about time I got one I hope Neil is feeling feisty
:04:52. > :05:00.tonight. And speaking of a feisty, some smart arse, who arranged the
:05:00. > :05:05.tables, put our table right next to a Ticketmaster at's table over here.
:05:05. > :05:10.-- right next to Ticketmaster's table. I predict a food fight by
:05:10. > :05:14.the end of the evening. And I would recommend the classy people over
:05:14. > :05:21.there to scoot away, or to join in. Maybe we should all join in while
:05:21. > :05:25.we have got them right here. In the United States, the hit rock
:05:25. > :05:28.band Pearl Jam has taken battle against what it claims is the greed
:05:28. > :05:32.of the entertainment industry. It is tackling the high cost of buying
:05:32. > :05:39.from the biggest ticket agency, Ticketmaster. All that the band
:05:39. > :05:44.once, it says, is a fair deal for the fans. We do not want to be
:05:44. > :05:48.doing a press conference. We want to be playing. The nation's top
:05:48. > :05:52.rock band is accusing the biggest ticket distributor of unfair
:05:52. > :05:57.practices. If they do not agree to Ticketmaster's terms, they cannot
:05:57. > :06:01.perform. A spokesman insisted Ticketmaster never told any
:06:01. > :06:04.promoter not to book Pearl Jam. He dismissed them as petulant young
:06:04. > :06:08.children who ascribed to Business anarchy.
:06:08. > :06:13.The band took the extraordinary step of filing a complaint at the
:06:13. > :06:17.Justice Department. When you're on that big a stage, it is not in your
:06:17. > :06:21.control. You are part of a larger drama. We had a specific problem
:06:21. > :06:26.with Ticketmaster, and they asked us to testify about our problem in
:06:26. > :06:31.regards to a larger lawsuit. But it has been perceived as us trying to
:06:31. > :06:36.break up Ticketmaster. We are honoured to have representatives of
:06:36. > :06:39.Pearl Jam and Ticketmaster here today. The question is whether
:06:39. > :06:43.recent contractual agreements between Ticketmaster and most major
:06:43. > :06:50.stadiums and concert promoters have violated federal anti-trust laws.
:06:50. > :06:53.Who would like to go first? Stone? All of them looked up the members
:06:53. > :06:57.of Pearl Jam remember what it is like to be young and not have a lot
:06:57. > :07:01.of money. Many fans are teenagers who did -- do not have the money to
:07:01. > :07:05.pay $30 or more that is often charged for tickets. We have made a
:07:05. > :07:09.decision that we do not want to put prices out of the reach of fans.
:07:09. > :07:13.Fans can go from one music store to another to find the best deal on a
:07:13. > :07:18.CD but can go nowhere but Ticketmaster for concert tickets.
:07:18. > :07:22.Do you think Ticketmaster is entitled to a profit? I do not
:07:22. > :07:27.think that matters. You have a contract with your racket company
:07:27. > :07:29.and that is exclusive, is that correct? I think this line of
:07:29. > :07:34.questioning is very strange because what does that have to do with
:07:34. > :07:40.anything? The issue is whether Ticketmaster is a monopoly. It has
:07:40. > :07:46.nothing to do with our business or our relationship with our manager.
:07:46. > :07:56.Mr Worner, do you want these guys to play at Long Beach? What I want,
:07:56. > :08:00.
:08:00. > :08:05.is a record here. Let's just get it First of all, I want you to know
:08:05. > :08:09.that I think you are a darling. This is great. When we got involved
:08:09. > :08:14.in this issue, I did not know very much and I still do not about
:08:14. > :08:21.alternative music. I tried to learn some pearl Jam songs. But I think
:08:21. > :08:25.it's a little beyond me. Having been a fan for many years, I don't
:08:26. > :08:29.want to become something that I despised as a kid. When my staff
:08:29. > :08:32.told me we were going to have this hearing, I knew nothing about
:08:32. > :08:38.grunge. But I know a lot about the importance of fairness and equity
:08:38. > :08:41.and I think you have raised some important questions. Who are the
:08:41. > :08:46.powers that be that wanted to be perceived as putting pressure on
:08:46. > :08:53.Ticketmaster? Those are backroom David Lynchian guys in hotel rooms
:08:53. > :08:59.with oxygen tanks, darkened LA. That is what I think of. It is like,
:08:59. > :09:03.he understands. Almost a year after picking its fight with Ticketmaster,
:09:03. > :09:08.Pearl Jam remains alone among major rock bands who could have joined
:09:08. > :09:13.the group in its boycott but never did. It is a few lonely voices
:09:13. > :09:19.because not many groups joined up. There is no deal with us and
:09:19. > :09:29.Ticketmaster. We are not playing Ticketmaster shows this summer.
:09:29. > :09:30.
:09:30. > :09:33.# Restless soul, enjoy your youth # Like Mohammed, hits the truth. #
:09:33. > :09:43.The shows where we were going outside of cities and building from
:09:43. > :09:43.
:09:43. > :10:38.Apology for the loss of subtitles for 49 seconds
:10:38. > :10:42.the ground up, that was a tough The question is whether artists
:10:42. > :10:45.have an inherent right to control the limits of their business and
:10:45. > :10:53.how it relates to the growth of their act. The answer, I'm
:10:53. > :10:56.convinced, is that artists do have a right to that control. I think we
:10:56. > :10:58.have always just fallen into ways of doing things the way we felt
:10:58. > :11:04.they should be done, whether they were right or whether they were
:11:04. > :11:12.wrong, they were just our ways of doing it. I have never heard of
:11:12. > :11:15.Pearl Jam, I must admit. That makes two of us.
:11:15. > :11:20.Here we are in your fine place. And what are the things you have kept
:11:20. > :11:24.that remind you of the experience of the last 20 years with the band?
:11:24. > :11:30.I am sure I have kept the least amount of things of anyone in the
:11:30. > :11:34.band. I have justified that as, one, I lose everything all the time so
:11:34. > :11:38.it comes naturally. And also, Jeff ament keeps so much, and if all I
:11:38. > :11:41.have to do is maintain my good relationship with him, I can always
:11:41. > :11:51.go to his house and look through the stuff that he has an celebrate
:11:51. > :11:58.his keeping of the things. Pearl Jam in Mexico City memorial. These
:11:58. > :12:05.are some of the Mexico City coffee cups. So that is a little faded now.
:12:05. > :12:10.Because you use it! This one clearly needs to go back in the
:12:10. > :12:20.dishwasher. Here is something. Mike McCready sent me this. It is the
:12:20. > :12:24.
:12:24. > :12:30.I got a few, this is a box of Pearl Jam touring bands DVDs. That is
:12:31. > :12:35.2000. I don't know why they are still there. And I have a few CDs
:12:35. > :12:39.here. Probably I had someone bring and buy a because I was trying to
:12:39. > :12:47.remember how to play some songs. I don't know if there is anything
:12:47. > :12:56.else in here. Let's see. That might be it. There might be something in
:12:56. > :13:06.the basement. Look, there's a Grammy. I knew this was going to
:13:06. > :13:09.
:13:09. > :13:11.# I'm ahead # I Merman
:13:11. > :13:18.# I'm the first mammal to wear pants
:13:18. > :13:21.# I'm at peace with my last # I can kill because in Gardai
:13:21. > :13:26.Trust # Its evolution, baby. #
:13:26. > :13:35.You can tell how I feel about the Grammys.
:13:35. > :13:38.# IMac peas, I'm the man. # I was having a bad day at the
:13:38. > :13:47.Grammys. You could not go out because of the photographers, so
:13:47. > :13:50.that was part of it. Pearl Jam. like to start off with a bang so I
:13:50. > :14:00.will say something on behalf of all of us. I do not know what this
:14:00. > :14:06.
:14:06. > :14:10.means. I don't think it means I remember arguing with my friends
:14:10. > :14:16.because they were like, man, what was your boy doing? If he does not
:14:16. > :14:24.want to be there, he should not be there. And all of this stuff. And I
:14:24. > :14:34.was like, are you kidding me? If I had the balls, I would have said
:14:34. > :14:35.
:14:35. > :14:43.the same thing. I should have started a fight right
:14:43. > :14:47.there. It would have been much more exciting. What would all these
:14:47. > :14:51.young people be doing if they had real problems like a Depression or
:14:51. > :15:01.Vietnam? Do their work? Are they contributing anything to the world
:15:01. > :15:12.
:15:12. > :15:15.they are taking so much from? # It's evolution, baby.
:15:15. > :15:22.That was around the Ticketmaster tour. The four of us were
:15:22. > :15:26.travelling in a jet. Jack, Stone, Jeff and I. Eddie was travelling in
:15:26. > :15:29.a van to a radio show and then driving all night to the next show.
:15:29. > :15:35.So there was a huge physical disconnect, but also an emotional
:15:35. > :15:41.one. And nobody was really talking. He was trying to maintain a
:15:41. > :15:46.something that was more of a Do It Yourself type of mentality. But we
:15:46. > :15:50.were not that band, Fugazi. We needed to sit down with him and go
:15:50. > :15:54.and look, are you embarrassed by us? Do you want to be in the band
:15:54. > :16:02.any more? We thought we were going to break up. I thought that was
:16:02. > :16:12.going to happen. We all agreed we needed to take some time off and
:16:12. > :16:13.
:16:13. > :16:18.figure it out. That is Highway 200. We just past Ovando. We are heading
:16:18. > :16:28.towards Lincoln, and then we keep going to the north-east. That is
:16:28. > :16:36.
:16:36. > :16:40.the spot. That is your home town? My parents made me live in this
:16:40. > :16:49.desolate - I mean, I was hundreds of miles away from anybody I could
:16:49. > :16:57.relate to. I was ready to leave at about 14. A couple of trips to
:16:57. > :17:04.California really messed me up. My mom's brother had long hair, my
:17:04. > :17:08.Uncle Pat. He had tapestries in his room, and he would put the
:17:08. > :17:17.headphones on May and play Abraxas By Santana, and it would blow my
:17:17. > :17:21.mind. I remember getting a huge buzz off it and getting emotional.
:17:21. > :17:26.And I would try to look for records. There was no record store in our
:17:26. > :17:31.town, so I started subscribing to Circus and Cream magazine, and my
:17:31. > :17:35.uncle got rolling Stone magazine. You would study that stuff. And a
:17:35. > :17:40.lot of those punk rock records, you could really hear base. You could
:17:40. > :17:44.hear Dee Dee on those Ramones records. If you were trying to
:17:44. > :17:50.learn the songs, you could turn the dial to the right side and learn
:17:50. > :17:54.all of Dee Dee's parts. I moved to Seattle in 1983. All I wanted to do
:17:54. > :17:59.was living a bigger city where there were more like minded people
:17:59. > :18:03.and more culture around punk rock shows. If I wanted to see a cool
:18:03. > :18:13.movie. There was a razor haircut. I was hearing about all these movies
:18:13. > :18:14.
:18:14. > :18:20.that I never got a chance to see. It must have been the first contact
:18:20. > :18:26.from Jeff. I remember there being a real connection made on the phone,
:18:26. > :18:31.talking about art work. He was into art work. And the responsibilities
:18:31. > :18:36.as a band member or working with people that get that it is not a
:18:36. > :18:40.slacker job or a rock star thing. It is about music and art. We had
:18:40. > :18:50.these things in common, which was probably why we ended up room-mates
:18:50. > :18:51.
:18:51. > :18:57.when we first started touring. Reconnected and became really close.
:18:57. > :19:07.-- we connected and became real close. It is amazing now, when I
:19:07. > :19:11.
:19:11. > :19:15.look back. I remember when Ed first came to town, it seemed like it was
:19:15. > :19:18.something he had been waiting for his whole life. It was obvious in
:19:18. > :19:28.the first few minutes that it was something I had been waiting for
:19:28. > :19:35.
:19:35. > :19:40.# I'm thumbing my way back to heaven.
:19:40. > :19:44.It would be a very easy banned for us in some ways not to be a band.
:19:44. > :19:54.Nobody can really put a finger on what it is that keeps us coming
:19:54. > :20:00.
:20:00. > :20:10.back together. It is a strange marriage. I met Mike McCready when
:20:10. > :20:10.
:20:10. > :20:16.I was in seventh grade. He was good. He played solo as. I had lived in
:20:16. > :20:23.Los Angeles, tried to make it in my band at Shadow in 1986 for a year.
:20:23. > :20:26.I paid to play at the Roxy, $700 on a Sunday night in December. And
:20:26. > :20:32.there were five people there. So I struggled and I gave up playing
:20:32. > :20:37.music for a little. I moved back to Seattle and said I can't. I am done.
:20:38. > :20:45.And then lo and behold, I get a call out of the blue from Stone.
:20:45. > :20:55.saw him play at a party one night. He was playing lead guitar and was
:20:55. > :21:09.
:21:09. > :21:12.just unconsciously DVU these jolts. He is channelling stuff that sounds
:21:12. > :21:20.like it is coming from the heavens, but I think it is coming from
:21:20. > :21:30.inside. There is something spiritual about the way he plays.
:21:30. > :21:37.
:21:37. > :21:42.And that is when he is in tune with the good stuff, you know. As you
:21:43. > :21:47.know, the song reached down, the second song I wrote for the Temple
:21:47. > :21:50.of the Dog record, I wanted it to be a sort of Neil Young screw you
:21:50. > :21:55.to the world of people who don't want to hear a guitar solo. I am
:21:56. > :22:01.going to make an 11 or 12 minutes of that is mostly a guitar solo.
:22:01. > :22:07.When I heard him play guitar, I was like, we are going to pull this off
:22:08. > :22:13.for real. He can actually play. This guy is a rock star. We just
:22:13. > :22:17.thought he was a nice little kid. He has got something in there like
:22:17. > :22:27.he is infected, and that will come out again somewhere. Good luck,
:22:27. > :22:41.
:22:41. > :22:49.guys. He knows me. I would say that is 100% accurate. Eddie said, ask
:22:49. > :22:54.mic about the drummers. Ask me about the drummers? Yeah, he said
:22:54. > :22:59.Mike will give you the drummer's rap. Well, we started off with Dave
:22:59. > :23:04.Krusen. It did not work out. Matt Chamberlain did not want to go on
:23:04. > :23:10.the road. It is very Spinal Tap of us to have this many drummers. Jack
:23:10. > :23:15.gave the tape he got from Stoned to Ed. Ed wanted to repay that favour.
:23:15. > :23:20.We toured with him. He played on the Yield record. Then it got too
:23:20. > :23:25.much for Jack. He said he could not talk. We already had a tour booked.
:23:25. > :23:31.Who could recall that could do that? Matt Cameron. Soundgarden had
:23:31. > :23:38.broken up, so Ed call him. He was like, we need to leave in three
:23:38. > :23:43.weeks. In ten days, he learned 80 songs. Something crazy like that.
:23:43. > :23:52.just closed my eyes and I would be like, do I know that song? No. Matt
:23:52. > :23:55.Cameron made us a better band than we have ever been. When we had to
:23:55. > :24:00.switch a drama or something, you would do it out of survival mode.
:24:00. > :24:10.It is like removing an organ. When you remove the drummer, you are
:24:10. > :24:22.
:24:22. > :24:27.removing the heart. It is like a Binaural is a dark time for me,
:24:27. > :24:30.because I have Crohn's disease. I was struggling with that,
:24:30. > :24:40.struggling with addiction. I was taking pills to take care of that,
:24:40. > :24:41.
:24:41. > :24:45.and it got out of hand. It was a struggle. In the early years, we
:24:45. > :24:50.had those transcendent shows where everybody was drunk. Everybody lost
:24:50. > :24:56.their mind at once. It was harder to lose your mind at that point,
:24:56. > :24:59.because everyone was like, I am 32. I have got this relationship. We
:24:59. > :25:07.became more self-conscious and more aware as you are an adult that it
:25:07. > :25:12.is more difficult to go we have just got to go crazy. Around this
:25:12. > :25:16.time, I think we were less popular. I don't think we were doing any
:25:16. > :25:23.press. We had meetings about those things and it was like, how much
:25:23. > :25:27.press will we do on this tour? When you don't do any of it, and the
:25:27. > :25:37.changing times fluctuate, people get over you. That was around that
:25:37. > :25:40.
:25:40. > :25:50.time, Binaural. People were like, I But some people stayed with us
:25:50. > :25:51.
:25:51. > :26:01.because we stayed true to our vision. How important is commercial
:26:01. > :26:15.
:26:15. > :26:25.success to you? Does grunge still exist today? How did the second ten
:26:25. > :26:28.
:26:28. > :26:32.years happen? You did survive. What are the turning points to you?
:26:32. > :26:36.your positions. It is one of Europe's worst concert tragedies.
:26:36. > :26:42.The band stopped playing just before the incident. Deadly trouble
:26:42. > :26:47.in the shape of a crowd of 50,000 strong. There has been a lot of
:26:47. > :26:51.pushing up pay and 10 to 15 people have been badly hurt. Tragedy
:26:51. > :26:56.occurred in the rain and mud or late Friday night at the Annual
:26:56. > :26:59.Roskilde Rock Festival outside the Danish capital of Copenhagen, when
:26:59. > :27:08.rock fans surged forward during a performance by the American group
:27:08. > :27:13.Pearl Jam. The porter macro fans of the outdoor rock concert packed
:27:13. > :27:20.closer and closer to the stage, ending in a crash that killed nine
:27:20. > :27:25.people and injured three more. just wanted to get out of there. I
:27:25. > :27:35.just did not want it to be true. It was happening right in front of us,
:27:35. > :27:39.
:27:39. > :27:43.but I did not want it to be true. Something as horrific and shocking
:27:43. > :27:51.as people being pulled over the barricade that are not Alive any
:27:51. > :28:01.more, what that impact was on us... It will never go away. From that
:28:01. > :28:02.
:28:02. > :28:08.point on, we rethought everything. Thought I did not know what I was
:28:08. > :28:13.feeling. It is such an onslaught of confusion. The last time I felt
:28:13. > :28:23.like that was when Andy Wood died. I did not know if I wanted to play
:28:23. > :28:46.
:28:46. > :28:55.I think we quantified everything that has happened to us as three
:28:55. > :28:59.Roskilde Rock Festival and afterwards. If early on there was
:28:59. > :29:04.the beginning of no. For us, the Roskilde Rock Festival was the
:29:04. > :29:12.beginning of what? What are we doing? What do we do to assist the
:29:12. > :29:17.families? What have we become, and what do we do to survive? Even
:29:17. > :29:21.since the Roskilde Rock Festival in 2000, that made everybody get into
:29:21. > :29:26.a really unique perspective on where we are and how fragile life
:29:26. > :29:36.peers. Since then, once and a while, we will say to one another, can you
:29:36. > :29:42.
:29:42. > :29:46.believe it? Can you believe we are When I interviewed the band in 1993
:29:46. > :29:49.for Rolling Stone magazine, I asked Eddie Vedder if there was an Andy
:29:49. > :29:55.Wood song he would ever be interested in singing. He said
:29:55. > :29:58.there was one, and one day he would sing it. On the band's 10th
:29:58. > :30:02.anniversary show in Las Vegas, he announced to the group that he
:30:02. > :30:12.wanted to sing Crown of Thorns, up one of Mother Love Bone's greatest
:30:12. > :30:21.songs. In that moment, the two bans United. We wouldn't mind attempting
:30:21. > :30:26.something that is even older than 10 years.
:30:26. > :30:30.# You ever hear the story of Mr Faded Glory?
:30:31. > :30:39.# Say he who rides a pony must someday for
:30:39. > :30:49.# I was talking to my old Sir # Says life is what you make it
:30:49. > :30:55.
:30:55. > :30:59.# And if you make it, death will For him to acknowledge the past and
:30:59. > :31:06.say, this is where we came from and be generous to Jeff and I can say,
:31:06. > :31:12.yeah, of course, that was another huge gift.
:31:12. > :31:15.# I wanted to do that I love you. # I used to think of and the all the
:31:15. > :31:20.time, especially when the band got bigger because I used to think, he
:31:20. > :31:28.would have loved to play this place, he would have loved to play the
:31:28. > :31:33.Garden. He would have torn this shit up.
:31:33. > :31:37.# I'm singing # This is my kind of love
:31:37. > :31:39.# It's the kind that moves on # It's the kind that leaves me
:31:39. > :31:49.alone or # Yeah
:31:49. > :31:56.
:31:56. > :32:06.# Like a Crown of Thorns # It's all who you know
:32:06. > :32:18.
:32:18. > :32:23.I wrote down on this paper, and DIS and Ed, because I think about him
:32:23. > :32:28.all the time. I think how lucky I am to go in my basement, write a
:32:28. > :32:32.song and manifested, figure out how to live recorded, whatever. That is
:32:32. > :32:38.all that you ever hoped for, as somebody that would just record.
:32:38. > :32:48.Some group of guys that would play the songs for him. And I wish that
:32:48. > :32:51.
:32:51. > :33:00.we could go back in time and be the band for him.
:33:00. > :33:09.# This Is My Kind of Love, the kind that moves on
:33:09. > :33:19.# This is my kind of love. # He was playing to those places in
:33:19. > :33:46.
:33:46. > :33:49.his head for a long time. The thing # How does he do it
:33:49. > :33:53.# How do they do it # Uncanny and immutable
:33:53. > :33:58.# This is such a happening tailpipe of a party
:33:58. > :34:02.# Like Sugar, the guests are so refined. #
:34:02. > :34:07.When we played in Nassau, three- quarters of the crowd booed us. It
:34:07. > :34:16.really bummed some of the band out. They were like, I never want to
:34:16. > :34:26.play the song again. I actually locking dougie it. It was all right.
:34:26. > :34:26.
:34:26. > :34:31.There was a fireman in the front row and he was showing me his badge.
:34:31. > :34:37.It was such a bad time in American history and we were trying to say
:34:37. > :34:41.what we thought. When you know the crowd has turned and there are that
:34:41. > :34:50.many people, it feels like you might not make it out of there
:34:50. > :34:58.alive. That was about really trusting his instincts about a very
:34:58. > :35:02.specific thing and he wanted to do it in a way that was antagonistic.
:35:02. > :35:12.I think if you have the opportunity, you have to take on that
:35:12. > :35:38.
:35:38. > :35:41.You didn't like that one? It's great to be in a band where you are
:35:41. > :35:50.not afraid to do that, not afraid to speak our minds and get booed
:35:50. > :35:54.once in a while. It's all right. It was an uncertain time for Pearl
:35:54. > :35:58.Jam, a period when many bans quite a break-up and move on, but from
:35:58. > :36:02.the beginning Stone and Jeff had always wanted a ban that would last,
:36:03. > :36:07.keep writing and record music. And that is what Pearl Jam did. Show by
:36:07. > :36:16.a show, they became one of the most dependably unpredictable bans in
:36:16. > :36:19.Ed has a feeling pretty much everywhere that we play and it is a
:36:19. > :36:24.great gauge of how the crowd is feeling and a lot of times that is
:36:24. > :36:28.why the set list does not get done until 10 minutes before we play.
:36:28. > :36:33.difficult as it was, at different times when you are like, we can go
:36:33. > :36:42.and kill his crowd. Let's start with these five songs. And you know,
:36:42. > :36:45.yeah, we going to play this first. We have not played this one
:36:45. > :36:49.together but we will work it out backstage and it will be OK.
:36:49. > :36:56.Inevitably you are so nervous that you go out and fumble it. You are
:36:56. > :37:00.like, God, let's play a hit, you know. He would be a lot easier to
:37:01. > :37:07.play a similar set every night. It would be so much easier and yet we
:37:07. > :37:17.can't find it in ourselves to do that.
:37:17. > :37:20.
:37:20. > :37:26.# I'm through with screaming That is why you see Pearl Jam. It
:37:26. > :37:30.is locking different every night. Every night it is different. It is
:37:30. > :37:34.funny but lots of those decisions we made, it took 10 years to see
:37:34. > :37:38.why they were good. Mixing our set list every night, it is the
:37:38. > :37:43.greatest blessing we could have ever done. The door is open for us
:37:43. > :37:53.to be who we are every night and we just trust it.
:37:53. > :37:57.
:37:57. > :38:03.# And I will be, to I think all of us have been totally
:38:03. > :38:08.embarrassed by the 70s. We are all products of it but not stuck in it.
:38:08. > :38:18.Our guitar heroes, Hendriks for Mike, Jimmy Page for me, for Eddie,
:38:18. > :38:37.
:38:37. > :38:41.The Who. In a sense, it is a total Roger Daltrey wrote me a letter
:38:41. > :38:45.saying would I like to come and play? I told him, no way you.
:38:45. > :38:52.Because that is the ultimate, that is the pinnacle for me, that band,
:38:52. > :38:55.that era. We have to decide whether or not we are going to remain a
:38:55. > :39:00.circus act, in other words doing what everybody knows we can do and
:39:00. > :39:07.what we know we can do, until the band eventually turns into a
:39:07. > :39:10.cabaret act, which is inevitable. That is ridiculous. There is me and
:39:10. > :39:15.Johnny Ramone. This is me and Joe Strummer and that is the night I
:39:15. > :39:19.met Jack Irons. This was hanging in the dressing room the first night I
:39:19. > :39:28.met Peter. I was terrified. The first thing he said was, I have
:39:28. > :39:38.waited so long to meet you. # I won't get what I'm after until
:39:38. > :39:38.
:39:38. > :39:44.Now, we are just grateful for our band, who we are, what we have
:39:44. > :39:48.become. And grateful that we finally figured out how to do it.
:39:48. > :39:52.think there was a huge element of our fans that just carried us
:39:52. > :39:55.through a period of time where we were not there all the way. You see
:39:55. > :40:04.their belief and even when you don't have it you go, OK, I have to
:40:04. > :40:08.figure this out. Joining the band, I was so impressed with how in
:40:08. > :40:17.house everything is, like, there is no outside influence going on. It
:40:17. > :40:21.all comes from the band. They saved me, in a certain way.
:40:21. > :40:27.# When I was a kid, oh how happy it seemed
:40:27. > :40:31.# Please let me dream its Christmas time. #
:40:31. > :40:36.We have been doing it for 10 Records, 20 years and I cannot
:40:36. > :40:46.think when I ever felt I was just phoning it in. It is always pure
:40:46. > :40:47.
:40:47. > :40:50.I think there really is a collective understanding of how
:40:50. > :40:55.lucky and how fortunate we are to still be playing music with the
:40:55. > :41:03.same group of people. Everybody, you can feel it, and it makes being
:41:03. > :41:13.in a band a joy. # Yeah, yeah
:41:13. > :41:21.
:41:21. > :41:31.There is a communal exchange. There's obviously a line drawn
:41:31. > :41:40.
:41:40. > :41:49.between who is on stage and who is # Let me hear you
:41:49. > :41:55.# Waiting, watching the clock # It's 4 o'clock, it's got to stop
:41:55. > :41:58.# Tell him, take no more # She practises her speech
:41:58. > :42:01.# As he opens the door, she rolls over
:42:01. > :42:11.# Pretends to sleep as he looks her over
:42:11. > :42:13.
:42:13. > :42:20.# She lives and says she's in love with him
:42:20. > :42:27.# Can't find a better man # She dreams in Carla
:42:27. > :42:37.# She dreams in red # Can't find a better man
:42:37. > :42:37.
:42:37. > :43:23.Apology for the loss of subtitles for 49 seconds
:43:23. > :43:30.# Son, she said, have I got a little story for you?
:43:30. > :43:34.# What you thought was your father was nothing but a fault
:43:34. > :43:42.# While you were sitting at home alone at age 13
:43:42. > :43:50.# Your real father was dying # Sorry you didn't see him
:43:50. > :44:00.# But I'm glad we talked # I'm still alive
:44:00. > :44:13.
:44:13. > :44:21.I loved it. We were two rose from the front. This is my fifth show.
:44:21. > :44:25.24th. 61. 54. Pearl Jam is a band for the fans. We stuck with them
:44:25. > :44:30.all the way, because what we get out of them is overwhelming.
:44:30. > :44:34.this guy flew from Bucharest. came from Denver. London. I took
:44:34. > :44:42.two weeks off from my job and travelled nine shows in a row last
:44:42. > :44:46.year. # Yeah, I am still Alive. There is
:44:46. > :44:54.not another band like them. Everybody wrote the whole crest of
:44:54. > :44:58.a wave, but after that, they came out a lot stronger. They took on
:44:58. > :45:08.Ticketmaster. They took on a man, and they could have lost, but they
:45:08. > :45:23.
:45:23. > :45:28.didn't. I think this band is only # Is something wrong, she said.
:45:28. > :45:36.# Of course there is. # You're still Alive, she said.
:45:36. > :45:42.# Do I deserve to be? # Is that the question.
:45:42. > :45:52.# And if so, who answers, who answers?
:45:52. > :45:52.
:45:52. > :49:01.Apology for the loss of subtitles for 49 seconds
:49:01. > :49:09.# Oh, I'm still Alive. # I feel your love, I feel your
:49:09. > :49:13.strong love. # I feel the patience of
:49:13. > :49:18.unconditional love. There was a rumour that it was going to be like
:49:18. > :49:28.the kids are all right. That is a misconception. The Kids Are All
:49:28. > :49:32.
:49:32. > :49:39.Right is really super genius. What # I will never let you down.
:49:39. > :49:44.# If you just walk with me. # I am on a journey. They stay true
:49:44. > :49:54.to fans as well by releasing the bootlegs of their albums are so
:49:54. > :50:00.
:50:00. > :50:10.that other people can't make a # Walk With Me. Walk with me. Walk
:50:10. > :50:32.
:50:32. > :50:42.with me. We are not filming this He hates this. Why do you keep
:50:42. > :50:53.
:50:53. > :50:59.# Walked with me. I don't know if they realise how much they have
:50:59. > :51:09.given to us, the fans, and how much we appreciate it.
:51:09. > :51:09.
:51:09. > :52:01.Apology for the loss of subtitles for 49 seconds
:52:01. > :52:09.# Walk With Me. # Yes, I understand that every life
:52:09. > :52:18.must end. # So as we sit alone, I know
:52:18. > :52:27.someday we must go. # Yeah, I'm a lucky man to count on
:52:27. > :52:37.both hands the ones I love. # Some folks, they have won, and
:52:37. > :52:53.
:52:53. > :53:00.# Stay with me. # Let's just breathe.
:53:00. > :53:08.# Practice Dharm my sins, never gonna let me win.
:53:08. > :53:14.# Under everything, just another human being.
:53:14. > :53:24.# Yeah, I don't want to hurt. # There is so much in this world to
:53:24. > :53:26.
:53:26. > :53:36.# Stay with me. # You are all I see.
:53:36. > :53:39.# Did I say that I need you? # Al, did I say that I want you?
:53:39. > :53:48.# A will, if I didn't, I'm a fool, you see.
:53:48. > :53:54.# No 1 knows this more than me. # Or Karzai come clean.
:53:54. > :54:04.# I wonder every day as I look upon your face.
:54:04. > :54:04.