0:00:02 > 0:00:06This programme contains strong language.
0:00:06 > 0:00:07'Simon Napier-Bell is a pop manager...'
0:00:07 > 0:00:10That's right. I've been doing this job for 50 years
0:00:10 > 0:00:11and I've seen it all.
0:00:11 > 0:00:13MUSIC: Viva Las Vegas by Elvis Presley
0:00:15 > 0:00:19That's me in 1966 when I was managing the Yardbirds
0:00:19 > 0:00:20and Marc Bolan.
0:00:20 > 0:00:24This is me today, and I can tell you some things haven't changed much.
0:00:27 > 0:00:31It's still about fame, adulation and lots and lots of money.
0:00:36 > 0:00:39And behind the scenes there's always been a manager,
0:00:39 > 0:00:42keeping the whole crazy show on the road.
0:00:49 > 0:00:51But why do artists need us?
0:00:51 > 0:00:53What is it we actually do?
0:00:53 > 0:00:57Well, my belief is that when God gives you something special -
0:00:57 > 0:01:02a talent - he takes a little bit away from somewhere else.
0:01:02 > 0:01:06If you look at any artist, they've all got something missing...
0:01:06 > 0:01:08and I'm the guy that replaces it.
0:01:09 > 0:01:13I kind of realised that if I was going to sign a kid,
0:01:13 > 0:01:15I couldn't just be his manager, I couldn't just be his label.
0:01:15 > 0:01:18I had to be the adult in his life.
0:01:20 > 0:01:25It is the shittiest job because if the band fails, it's the manager.
0:01:25 > 0:01:28If the band makes it, it's the artist.
0:01:28 > 0:01:31Artists always think that everything's the manager's fault.
0:01:31 > 0:01:33And the managers accept this!
0:01:33 > 0:01:34That they're going to be blamed.
0:01:34 > 0:01:36You're not a good manager
0:01:36 > 0:01:39unless you take the blame for everything that goes wrong.
0:01:39 > 0:01:43Managers are only as good, I believe, as the artist they manage.
0:01:43 > 0:01:45That is so important.
0:01:45 > 0:01:49The last manager I had, what an arsehole he turned out to be.
0:01:49 > 0:01:53I've still not been paid for... What was it?
0:01:53 > 0:01:54..Through The Keyhole.
0:01:56 > 0:01:59You kind of need somebody who doesn't get involved in partying
0:01:59 > 0:02:02and who just gets on with doing a professional job
0:02:02 > 0:02:03of managing your career.
0:02:03 > 0:02:07You're not the artist. You're not even in the band.
0:02:07 > 0:02:08You're the manager.
0:02:08 > 0:02:12So...get in that room, and go manage!
0:02:12 > 0:02:18# Viva! Viva Las Vegas! #
0:02:25 > 0:02:28I'm going to take you all on a rock and roll journey
0:02:28 > 0:02:31that you'll never forget, as we raid the rock vault together!
0:02:33 > 0:02:37# I'm on a highway to hell!
0:02:39 > 0:02:41# Highway to hell! #
0:02:41 > 0:02:44I'm in Las Vegas because a show I dreamt up has become the most
0:02:44 > 0:02:47successful music show on the Strip.
0:02:49 > 0:02:54Raiding The Rock Vault tells the history of rock through the music.
0:02:54 > 0:02:58But I want to tell you the same story through the managers.
0:03:00 > 0:03:04It seems fitting that the story should start here in Las Vegas
0:03:04 > 0:03:07because the first manager to really hit the big time made Vegas
0:03:07 > 0:03:10the centre point of his artist's career.
0:03:10 > 0:03:14I think modern rock management, pop or rock management,
0:03:14 > 0:03:17started with Colonel Parker and Elvis.
0:03:17 > 0:03:18# Well, it's one for the money
0:03:18 > 0:03:20# Two for the show
0:03:20 > 0:03:23# Three to get ready Now go, cat, go. #
0:03:23 > 0:03:25Elvis was just a young hillbilly before his manager,
0:03:25 > 0:03:28Tom Parker, turned him into the king of rock and roll.
0:03:28 > 0:03:31From the moment he first saw him, the Colonel knew there was
0:03:31 > 0:03:35a fortune to be made from those swinging hips and throaty larynx.
0:03:35 > 0:03:39To me, what management is about is you take the art,
0:03:39 > 0:03:42if that's what it is, and you turn it into commerce.
0:03:46 > 0:03:47Parker had been a circus huckster,
0:03:47 > 0:03:51with a carnival man's flair for bringing the punters into the tent.
0:03:51 > 0:03:55He brought sort of circus instincts to rock and roll,
0:03:55 > 0:04:01but he was the one who first understood, I think,
0:04:01 > 0:04:04how big somebody like Elvis could be.
0:04:04 > 0:04:07He spotted the emerging teenage market
0:04:07 > 0:04:10and, within a year, both he and Elvis were millionaires.
0:04:10 > 0:04:13Since nobody had done it before, he made his own rules.
0:04:13 > 0:04:17The Colonel earned 50% of Elvis's earnings. 50%!
0:04:17 > 0:04:22So, that was the power of managers in those days.
0:04:23 > 0:04:25# Do anything that you wanna do
0:04:25 > 0:04:27# But uh-huh honey lay off of my shoes... #
0:04:27 > 0:04:30Colonel Parker looked for the best deals,
0:04:30 > 0:04:33was tough in negotiating and ruthless in carrying them out.
0:04:33 > 0:04:34He was very unbending.
0:04:34 > 0:04:37And so he became known as tough because he never compromised.
0:04:37 > 0:04:39# Well, you can do anything
0:04:39 > 0:04:41# But lay off of my blue suede shoes. #
0:04:44 > 0:04:49Elvis was going into Vegas and they offered him £50,000 a week.
0:04:49 > 0:04:51To be in Vegas.
0:04:51 > 0:04:53That was a lot of, lot of money in those days.
0:04:53 > 0:04:56A lot of money today. And the Colonel's famous quote was -
0:04:56 > 0:04:58"That's all right for me - what about my boy?"
0:05:00 > 0:05:03He knows that everybody in the world wants Elvis.
0:05:03 > 0:05:05So that's the position he's in.
0:05:05 > 0:05:07He doesn't have to do anything.
0:05:09 > 0:05:13# I'm just a roustabout... #
0:05:13 > 0:05:16Like any pioneer, Colonel Parker made it up as he went along.
0:05:16 > 0:05:20But many of his management decisions are still relevant today.
0:05:20 > 0:05:23Lesson number one? Diversify.
0:05:23 > 0:05:27Why stop at rock and roll when you can expand that into a movie career?
0:05:27 > 0:05:30A succession of utterly dreadful films made both Parker
0:05:30 > 0:05:32and Elvis very rich.
0:05:32 > 0:05:35But because the Colonel didn't give a hoot about quality control,
0:05:35 > 0:05:39by the mid-60s Elvis' career was taking a bit of a nosedive.
0:05:40 > 0:05:43Elvis would do any movie if he was paid a million dollars.
0:05:43 > 0:05:45Simple as that. Didn't even read the script.
0:05:45 > 0:05:48This was a very monetary-based type of management.
0:05:50 > 0:05:52Parker was in the right place at the right time to take
0:05:52 > 0:05:55full advantage of the new pop phenomenon.
0:05:55 > 0:05:59He showed that music management could be very lucrative indeed...
0:05:59 > 0:06:03But it was his flair for showmanship that made him stand out.
0:06:03 > 0:06:06I mean, he wasn't a real colonel.
0:06:06 > 0:06:08He wasn't even a real American.
0:06:09 > 0:06:13Colonel Parker was never a naturalised US citizen,
0:06:13 > 0:06:16and he couldn't leave the United States.
0:06:16 > 0:06:20So Elvis Presley never toured outside the United States.
0:06:20 > 0:06:23Now there's some real management for you, there!
0:06:25 > 0:06:28So America had Elvis. We had...
0:06:28 > 0:06:29# I won't stay out
0:06:29 > 0:06:30# I won't tell lies
0:06:30 > 0:06:33# Give us a smile and wipe your eyes... #
0:06:33 > 0:06:34..Tommy Steele.
0:06:38 > 0:06:42He became so famous, so quickly, that he was filming this -
0:06:42 > 0:06:45his own life story - just months after his first hit single.
0:06:47 > 0:06:50# The finest jewels, the finest rings
0:06:50 > 0:06:52# I'll be an angel minus wings... #
0:06:52 > 0:06:55The man responsible for his meteoric rise was his manager.
0:06:55 > 0:06:59A shrewd puppet master every bit the equal of Colonel Parker.
0:07:01 > 0:07:04In the staid, respectable neighbourhood of Kensington,
0:07:04 > 0:07:09there's a nice upper-income-bracket block of flats.
0:07:09 > 0:07:14Inside, a doormat, over which pass some rather flashy feet.
0:07:14 > 0:07:18The doormat belongs to Mr Laurence Maurice Parnes,
0:07:18 > 0:07:22who also owns a batch of golden boys...
0:07:22 > 0:07:26He creates them - and manages them and their money.
0:07:26 > 0:07:29Like Parker, Parnes spotted there was money to be
0:07:29 > 0:07:31made from the emerging teenage market.
0:07:31 > 0:07:35But unlike Parker, he didn't stop with just one star.
0:07:35 > 0:07:39Larry Parnes was possibly the sort of Simon Cowell of his generation.
0:07:39 > 0:07:44He had a stable of artists that he applied a set of rules to,
0:07:44 > 0:07:48in terms of building and promoting their careers.
0:07:48 > 0:07:53And his technique was to take young guys and give them amazing names...
0:07:53 > 0:07:57There's Ron Wicherly - 17, known to his fans as Billy Fury.
0:07:57 > 0:08:01Roy Taylor, 18, alias Vince Eager.
0:08:01 > 0:08:06Duffy Power - real name Raymond Howard, 17.
0:08:06 > 0:08:11And John Askew or Johnny Gentle - 22, from Merseyside.
0:08:11 > 0:08:13And I always felt sorry for Johnny Gentle.
0:08:13 > 0:08:15HE CHUCKLES
0:08:15 > 0:08:18You know, fancy being called Johnny Gentle?!
0:08:18 > 0:08:21HE HARMONISES
0:08:23 > 0:08:25No, no, that's not the sort of song we want...
0:08:25 > 0:08:29Parnes' managerial strategy was to take songs that were already
0:08:29 > 0:08:32hits in America, get his boys to record cover versions, and release
0:08:32 > 0:08:36them in the UK before the American versions could enter the charts.
0:08:36 > 0:08:39HE SINGS
0:08:41 > 0:08:44# With my baby... #
0:08:48 > 0:08:51But although all his artists had at least one hit,
0:08:51 > 0:08:53none of them became very rich.
0:08:53 > 0:08:57Unlike Larry himself, whose nickname was "Parnes, Shillings and Pence"...
0:08:59 > 0:09:01The artists would be on a weekly wage.
0:09:01 > 0:09:05They wouldn't know what they were earning from records, generally.
0:09:05 > 0:09:07As long as they were getting their whatever
0:09:07 > 0:09:09they were getting a week, they were happy.
0:09:09 > 0:09:12Because they had nothing before that, so they were happy.
0:09:12 > 0:09:16It wasn't till people got wise later on, there was a lot more
0:09:16 > 0:09:20money in the music business, that was floating around than the artists realised...
0:09:20 > 0:09:23Don't you ever feel that you are being manipulated,
0:09:23 > 0:09:25just like a puppet, sometimes?
0:09:25 > 0:09:29- It all amounts to having faith in your manipulators, doesn't it?- Yeah.
0:09:29 > 0:09:32Parnes' manipulative style of management served him
0:09:32 > 0:09:35well through the '50s, but it couldn't last.
0:09:35 > 0:09:38In the '60s, aspiring pop stars started writing their own songs.
0:09:38 > 0:09:40And they were becoming a little wiser to the
0:09:40 > 0:09:43machinations of the industry.
0:09:43 > 0:09:45MUSIC: Love Me Do by The Beatles
0:09:45 > 0:09:47The most famous manager of this new era was almost a carbon
0:09:47 > 0:09:50copy of Larry Parnes.
0:09:50 > 0:09:53But Brian Epstein wasn't just in it for the money...
0:09:53 > 0:09:56# Love, love me do
0:09:56 > 0:09:58# You know I love you
0:09:58 > 0:09:59# I'll always be true... #
0:09:59 > 0:10:02Epstein was a house furnisher who developed a sideline
0:10:02 > 0:10:04in gramophone records.
0:10:04 > 0:10:06He got The Beatles their first record - Love Me Do
0:10:06 > 0:10:08in October 1962.
0:10:09 > 0:10:12Its brisk sale on Merseyside helped to hoist The Beatles
0:10:12 > 0:10:16into the popularity charts published in the music papers.
0:10:16 > 0:10:20In the first five years of the '60s, most of the managers who
0:10:20 > 0:10:23became successful were gay, and the reason is probably because in
0:10:23 > 0:10:26those days - when homosexuality was illegal - anyone who was gay,
0:10:26 > 0:10:30under 25, and entrepreneurial, had learned to lead a very double life.
0:10:30 > 0:10:32I mean, they would have to act in general as
0:10:32 > 0:10:35if they were straight, but they would also know gay life.
0:10:35 > 0:10:38They became very good people at building bridges between
0:10:38 > 0:10:41two different types of people. They got on well with the young people they managed,
0:10:41 > 0:10:44most of them came from the same sort of background - in those days,
0:10:44 > 0:10:48mainly public school, middle class - as the executives in the record company.
0:10:48 > 0:10:49# She loves you, yeah, yeah, yeah... #
0:10:49 > 0:10:52And in fact, if you're looking for an artist who's going to
0:10:52 > 0:10:55appeal to a young teenage-girl fan, perhaps a gay manager's
0:10:55 > 0:10:58sensibility about what boys they fancy is a good way to choose.
0:10:59 > 0:11:04I hadn't had anything to do with pop management, management of pop artists
0:11:04 > 0:11:07before that day that I went down to The Cavern Club.
0:11:09 > 0:11:15The Beatles were then just four lads on that rather dimly-lit stage,
0:11:15 > 0:11:19somewhat ill-clad, and the presentation was...
0:11:19 > 0:11:22Well, left a little to be desired, as far as I was concerned...
0:11:22 > 0:11:25What Epstein principally did as a manager is created an image for The Beatles.
0:11:25 > 0:11:28They were very rough and ready, and he calmed them down.
0:11:28 > 0:11:30He wanted to have four boys he could take home
0:11:30 > 0:11:33and introduce to his mother for tea.
0:11:33 > 0:11:35So he made them cut their hair,
0:11:35 > 0:11:38although Beatles haircuts were so long, at least they were tidy.
0:11:38 > 0:11:41He made them wash, he made them shave,
0:11:41 > 0:11:44he made them wear suits, bow after each song, thank the audience.
0:11:44 > 0:11:46In every possible way, he made them very respectable
0:11:46 > 0:11:48and pretty and nice.
0:11:48 > 0:11:50# Yeah, yeah, yeah... #
0:11:50 > 0:11:52SCREAMING
0:11:52 > 0:11:55Like Larry Parnes, Brian Epstein took working-class lads
0:11:55 > 0:11:57and overhauled their image.
0:11:57 > 0:12:00Where the two managers differed was that Epstein wasn't in it
0:12:00 > 0:12:02just to exploit his boys for personal gain.
0:12:02 > 0:12:06He believed in them and wanted to help them fulfil their potential.
0:12:06 > 0:12:10Part of his whole ethos was to be fair and generous with the group.
0:12:10 > 0:12:13You know, he never thought of employing them. He would go to a lawyer
0:12:13 > 0:12:15and ask "What does a management contract have to consist of?"
0:12:15 > 0:12:17and give them an even more generous contract.
0:12:17 > 0:12:20You know, he wanted to be their friend.
0:12:20 > 0:12:21# Can't buy me love
0:12:21 > 0:12:23# Love... #
0:12:23 > 0:12:26He was brilliant at image and presentation,
0:12:26 > 0:12:29but not too savvy when it came to other business deals.
0:12:29 > 0:12:32Most famously, he signed away The Beatles' merchandise rights
0:12:32 > 0:12:36for just £100 advance and 10% of the profits,
0:12:36 > 0:12:39thinking they were a distraction.
0:12:39 > 0:12:40# I don't care too much for money
0:12:40 > 0:12:42# Money can't buy me love... #
0:12:42 > 0:12:46He wasn't a cut-throat manager at all. He was a gentleman.
0:12:46 > 0:12:49And maybe that's why he got caught out on a lot of business deals.
0:12:49 > 0:12:52When The Beatles merchandise sales went stratospheric,
0:12:52 > 0:12:55the group were estimated to have lost out on 100 million.
0:12:57 > 0:12:59How ruthless do you think you've got to be?
0:12:59 > 0:13:01Not very.
0:13:01 > 0:13:03It may even be a fault of mine in the business
0:13:03 > 0:13:05that I'm not ruthless enough.
0:13:05 > 0:13:10The fact that they made some poor deals is neither here nor there,
0:13:10 > 0:13:12they were making great, great songs.
0:13:12 > 0:13:15The poor merchandise deal wasn't really Epstein's fault,
0:13:15 > 0:13:19because nobody knew how it would pan out in those days.
0:13:19 > 0:13:22Nowadays, managers will get a fashion line into the shops after
0:13:22 > 0:13:25one hit album, but in those days, the manager's job was
0:13:25 > 0:13:28thought of only in terms of finding and breaking new artists.
0:13:28 > 0:13:31And at that, Epstein had done brilliantly.
0:13:36 > 0:13:41He'd never been out there particularly managing rock bands
0:13:41 > 0:13:43or pop bands before.
0:13:43 > 0:13:47And yet within a few months, almost, he'd got a stable of artists
0:13:47 > 0:13:51that were pumping out this conveyor-belt line of hit singles.
0:13:51 > 0:13:56So I mean, with Brian he really was kind of learning as he went along.
0:13:58 > 0:14:00And he wasn't the only one.
0:14:00 > 0:14:03The Beatles' phenomenal success encouraged an entire generation
0:14:03 > 0:14:06of kids to pick up guitars and copy them.
0:14:07 > 0:14:10It was Epstein's lasting legacy as a manager.
0:14:10 > 0:14:13SCREAMING
0:14:15 > 0:14:19One of Epstein's former employees had been watching and learning, too.
0:14:22 > 0:14:25Andrew Loog Oldham is the man who discovered
0:14:25 > 0:14:28and broke those other '60s megastars - The Rolling Stones.
0:14:29 > 0:14:33From being at the epicentre of '60s Swinging London, Oldham now
0:14:33 > 0:14:36lives somewhere in the jungles of Colombia.
0:14:38 > 0:14:41To find him, you have to go into the Heart of Darkness.
0:14:46 > 0:14:50# Take my picture, cameraman
0:14:50 > 0:14:52# Can you tell me who I am?
0:14:56 > 0:14:57HE SPEAKS SPANISH
0:14:59 > 0:15:05I got to Bogota in 1975. Now it was kind of my turn to get a life.
0:15:06 > 0:15:11You know, because thus far, in some ways, I'd spent my life
0:15:11 > 0:15:13looking after other people's lives.
0:15:14 > 0:15:17Well, I could start again.
0:15:17 > 0:15:19You know... And I did.
0:15:19 > 0:15:20I like it here, you know...
0:15:23 > 0:15:25And it likes me.
0:15:25 > 0:15:27CHIMING
0:15:27 > 0:15:30As a young manager, Oldham was aggressive, decadent and
0:15:30 > 0:15:33totally focused on winding up the establishment.
0:15:33 > 0:15:35He delighted in it.
0:15:35 > 0:15:38Shall we say, 5% of people in the music business are in it for the right reason.
0:15:38 > 0:15:41Money. They should be in it for money.
0:15:41 > 0:15:42These days, however,
0:15:42 > 0:15:46he's reluctant to take too much credit for the Stones' success.
0:15:46 > 0:15:49Managing the Rolling Stones, while it worked,
0:15:49 > 0:15:51you couldn't ask for anything more.
0:15:51 > 0:15:55Because you were a fan, and all your dreams were coming true.
0:15:55 > 0:15:58We were all incredibly young. I'd never managed anybody.
0:15:59 > 0:16:00They knew that.
0:16:00 > 0:16:04So there was no - "Oh, Andrew knows what he's doing."
0:16:04 > 0:16:08It was basically - "We can trust Andrew."
0:16:08 > 0:16:09Until we can't...
0:16:10 > 0:16:14So what I'm really telling is - I'm not a manager.
0:16:14 > 0:16:17Because if I WAS a manager, I'd have stuck it out.
0:16:19 > 0:16:21What are you, then?
0:16:21 > 0:16:24I... Probably...
0:16:24 > 0:16:26I was meant to be the person who brought
0:16:26 > 0:16:28The Rolling Stones into your life.
0:16:28 > 0:16:33MUSIC: (I Can't Get No) Satisfaction by The Rolling Stones
0:16:38 > 0:16:41Having worked on The Beatles' publicity for Brian Epstein,
0:16:41 > 0:16:44Oldham knew the ins and outs of breaking a band.
0:16:44 > 0:16:48But there was no point copying what had already been done.
0:16:48 > 0:16:51The Beatles had given the public clean-cut heroes.
0:16:51 > 0:16:54What was now needed was a bunch of dirty villains.
0:16:55 > 0:16:58He wanted them to become the anti-Beatles.
0:16:58 > 0:17:00You know, The Beatles and The Stones, there was
0:17:00 > 0:17:01a division point between the two.
0:17:01 > 0:17:04You were in one camp or the other. It was a reality.
0:17:04 > 0:17:07So The Beatles were the happy mop tops
0:17:07 > 0:17:10and The Stones were the dirtier, angrier, long-haired,
0:17:10 > 0:17:14slightly sort of unkempt, slightly more threatening alternative.
0:17:14 > 0:17:17And Andrew Loog Oldham built that image up,
0:17:17 > 0:17:19and it was kind of his idea to do that.
0:17:21 > 0:17:24But for all the "anti-Beatles" talk, it was Andrew's connections
0:17:24 > 0:17:28with them that gave The Stones their first monster hit.
0:17:28 > 0:17:32We were in Great Newport Street, downstairs in Ken Colyer's
0:17:32 > 0:17:35jazz club, and the rehearsal was going terribly.
0:17:35 > 0:17:37So I left.
0:17:37 > 0:17:42And as I walk up the steps from the basement... I turn right.
0:17:42 > 0:17:45And getting out of a cab in front of the Leicester Square tube station
0:17:45 > 0:17:47are John and Paul.
0:17:47 > 0:17:49Remember, it's now the autumn of '63,
0:17:49 > 0:17:53and I've only stopped working for them in the spring.
0:17:53 > 0:17:54So it's "What's up, Andy?"
0:17:56 > 0:17:58And they come down,
0:17:58 > 0:18:02and they say - "We've got this song which we're working on..."
0:18:02 > 0:18:05and they start going through it in front of The Rolling Stones.
0:18:05 > 0:18:08And it was like a...
0:18:09 > 0:18:10..magic class.
0:18:13 > 0:18:19The moment I heard Brian Jones pick up the bottleneck and do that,
0:18:19 > 0:18:20I died and went to heaven.
0:18:20 > 0:18:23I knew it was going to be a hit.
0:18:23 > 0:18:25# I wanna be your man
0:18:25 > 0:18:27# I wanna be your man
0:18:27 > 0:18:30# I wanna be your man... #
0:18:30 > 0:18:33One of the managers' tricks Oldham imported from America was how
0:18:33 > 0:18:36to rig the charts. Not enough to get to number one,
0:18:36 > 0:18:40just enough to get some momentum going.
0:18:40 > 0:18:42It was very easy, man, you know.
0:18:42 > 0:18:46I mean, 46 shops maybe reported to the charts,
0:18:46 > 0:18:49so all you had to do was go in and buy on the right day.
0:18:49 > 0:18:50The Rolling Stones fans
0:18:50 > 0:18:54would come down to the office - I was willing to give them
0:18:54 > 0:18:57a postal order for five shillings and seven pence, and they would be
0:18:57 > 0:19:02told which store in Leicester or Market Harborough or wherever.
0:19:02 > 0:19:04And two or three of them would get in a cab or get in their
0:19:04 > 0:19:08parents' car, and drive round and buy the records.
0:19:08 > 0:19:10And on Monday morning, Decca thought, "Wow, we've got
0:19:10 > 0:19:12something here..."
0:19:12 > 0:19:14Because you have to make the record company
0:19:14 > 0:19:16fall in love with you twice, always.
0:19:16 > 0:19:19Once - when they sign you,
0:19:19 > 0:19:25and the second time when they can see the beginning of a result.
0:19:25 > 0:19:29MUSIC: Not Fade Away by The Rolling Stones
0:19:29 > 0:19:31# I wanna tell you how it's gonna be... #
0:19:32 > 0:19:35You have to remember, in the '60s too, all these groups were
0:19:35 > 0:19:37really being created to be screamed at by girls.
0:19:37 > 0:19:40Everybody saw girls as the market they were chasing.
0:19:40 > 0:19:42There was one time when I was at the Finsbury Empire
0:19:42 > 0:19:45and when The Stones starting playing I heard a girl
0:19:45 > 0:19:47screaming at the back.
0:19:47 > 0:19:50And I looked and I couldn't see, and I walked to the back
0:19:50 > 0:19:53and I found Andrew under a row of seats, screaming - "Aaahhhh!"
0:19:53 > 0:19:56Very soon, they were all screaming.
0:19:56 > 0:19:59SCREAMING
0:20:02 > 0:20:05# What a crazy sound
0:20:05 > 0:20:07# And we never stopped rocking... #
0:20:09 > 0:20:13I think it's got more to do with "What can I do while they're on?"
0:20:15 > 0:20:18You know, I'm not going to stand there and look like a manager
0:20:18 > 0:20:21in the wings going, "Oh, my boys are doing well." You know what I mean?
0:20:21 > 0:20:25So I'm out there causing a bit of bother.
0:20:25 > 0:20:27# I said the joint was rocking... #
0:20:27 > 0:20:30SCREAMING
0:20:30 > 0:20:33Oldham was the first manager to be as wild as his band.
0:20:33 > 0:20:34He was the same age as them and
0:20:34 > 0:20:38he joined in their hedonistic drug-addled '60s lifestyle.
0:20:39 > 0:20:41But it couldn't last...
0:20:42 > 0:20:47As Keith said, very kindly, in his book, basically I served them
0:20:47 > 0:20:51whilst what I liked worked.
0:20:53 > 0:20:56So I was a fan of theirs and I loved pop music.
0:20:56 > 0:21:00There came a certain stage in their life where pop music was not enough
0:21:00 > 0:21:04any more, and that was the beginning of the end of my life with them.
0:21:06 > 0:21:09Hey, the easiest way out of it is to go,
0:21:09 > 0:21:13"Look, it was four years in the life of a band that have had 50."
0:21:17 > 0:21:19By the time Andrew Loog Oldham left The Stones,
0:21:19 > 0:21:22the music business was becoming a shark pool.
0:21:22 > 0:21:26Vast sums of money swirled around men of dubious character.
0:21:26 > 0:21:29MUSIC: The Godfather Theme by Nino Rota
0:21:29 > 0:21:33And the most ruthless shark in the pool was the self-styled
0:21:33 > 0:21:36Al Capone of pop, The Don...
0:21:36 > 0:21:37..Don Arden...
0:21:40 > 0:21:45Don Arden! You were going, dun, dun DUHHH!
0:21:45 > 0:21:47Don Arden?
0:21:47 > 0:21:50Don Arden, Sharon Osbourne's old man, was a legendary,
0:21:50 > 0:21:53notorious Salford/Manchester gangster.
0:21:53 > 0:21:57If I've ever exploited anybody it's for their own benefit,
0:21:57 > 0:22:00it's because they want to be exploited.
0:22:00 > 0:22:04Our house was always, always full of artists -
0:22:04 > 0:22:08coming in and going out, because my father worked from home.
0:22:09 > 0:22:12There would be showgirls, dancers - coming in and out.
0:22:12 > 0:22:15It was never boring, you never knew, coming back from school,
0:22:15 > 0:22:18what's going to be there waiting for you.
0:22:18 > 0:22:22And a lot of the times it was my father -
0:22:22 > 0:22:26crazy about someone who he's going to kill and beat the shit out of...
0:22:26 > 0:22:29MUSIC: Lazy Sunday by Small Faces
0:22:32 > 0:22:36Don Arden's biggest act in the '60s was the Small Faces.
0:22:36 > 0:22:41By 1966, they'd had four top-ten hits and done endless moneymaking tours,
0:22:41 > 0:22:43yet still had nothing to show for it.
0:22:43 > 0:22:46On the other hand,
0:22:46 > 0:22:49their manager was being driven around in a Rolls-Royce...
0:22:51 > 0:22:53It was well-known that the Faces wanted to leave.
0:22:53 > 0:22:56They were a very big group and they were not getting paid enough.
0:22:56 > 0:22:58And they'd gone to a few managers,
0:22:58 > 0:23:01and eventually they'd gone to Robert Stigwood...
0:23:03 > 0:23:08Stigwood already had Eric Clapton and the Bee Gees on his books...
0:23:08 > 0:23:11and Don wasn't about to let him steal his golden goose.
0:23:13 > 0:23:19So he rounded up a couple of heavies and paid him a friendly visit...
0:23:19 > 0:23:23My father went to his office and literally dangled him
0:23:23 > 0:23:25out of the window.
0:23:25 > 0:23:27And all I know is that my father came back
0:23:27 > 0:23:29and roared with laughter...
0:23:29 > 0:23:33It's the first time he'd ever been confronted by anything like me,
0:23:33 > 0:23:34you know.
0:23:34 > 0:23:37I'm sure he saw the humorous side of it afterwards.
0:23:37 > 0:23:40Stigwood was totally shaken up - he was a friend of mine,
0:23:40 > 0:23:43he told me the whole story and he was utterly shattered by it.
0:23:43 > 0:23:45And damn it, two days later if there isn't a knock on the door
0:23:45 > 0:23:48and the Small Faces walk into MY office.
0:23:48 > 0:23:50Now, I don't want to be hung out the window.
0:23:50 > 0:23:51But I like to confront things head-on,
0:23:51 > 0:23:53so I picked up the phone to Don...
0:23:55 > 0:23:57And I said to Don - "The Small Faces
0:23:57 > 0:24:00"have just come into my office, and they obviously want to leave you.
0:24:00 > 0:24:03"But I've got an idea - if they're going to leave you anyway,
0:24:03 > 0:24:06"why don't I manage them and I'll split the commission with you 50-50?
0:24:06 > 0:24:09"You do no work, you still get half the money."
0:24:09 > 0:24:12"Oh, Simon, mate, that's fantastic, oh, what a geezer you are! Amazing!"
0:24:12 > 0:24:14I said, "Well, hang on a minute,
0:24:14 > 0:24:16"they haven't said they'll sign the contract yet."
0:24:16 > 0:24:18"They will fucking sign it, I'll come round
0:24:18 > 0:24:21"and break their legs right now!"
0:24:21 > 0:24:24An aggressive management style like Don's is often effective,
0:24:24 > 0:24:26but it can backfire, too.
0:24:26 > 0:24:29As the '60s drew to a close, the most hyped new band in Britain
0:24:29 > 0:24:32were Black Sabbath, a bunch of long-haired
0:24:32 > 0:24:36kids from Birmingham playing a newer, heavier kind of music.
0:24:36 > 0:24:38# Is he alive or dead
0:24:38 > 0:24:40# Has he thoughts within his head? #
0:24:40 > 0:24:43Every manager in the business wanted to sign them,
0:24:43 > 0:24:46and they were duly summoned to Don Arden's office...
0:24:46 > 0:24:48He says, "Come down to London."
0:24:48 > 0:24:51We come out of Euston station, and there was this Rolls-Royce.
0:24:51 > 0:24:54We'd never seen a Rolls-Royce before... We were like, "Whoa!"
0:24:54 > 0:24:58- And he had his bodyguard/driver pick, pick you up.- Yeah.
0:24:58 > 0:25:00And he was like this bolshie...
0:25:00 > 0:25:02And he had this big desk and it was like...
0:25:02 > 0:25:06We were all thinking, "Wow". You know, it frightened us.
0:25:06 > 0:25:08Obviously they were terrified of Don,
0:25:08 > 0:25:11did not want him to manage them.
0:25:11 > 0:25:15The bodyguard/driver that picked them up at Euston station
0:25:15 > 0:25:19and then dropped them back became their manager.
0:25:22 > 0:25:26They had supposedly said, "Well, Mr Arden's not interested
0:25:26 > 0:25:29"but we are..." And they woofed the band.
0:25:29 > 0:25:32You can imagine what my father did.
0:25:37 > 0:25:39What would you say?
0:25:39 > 0:25:43It was a feud between them, for years and years and years. Fist fights.
0:25:43 > 0:25:45There was guns and all kinds of shit going on.
0:25:45 > 0:25:47Oh, my God!
0:25:47 > 0:25:50Fights in the casinos between the Meehans and the Ardens,
0:25:50 > 0:25:54and settlements on yachts with people in fur coats...
0:25:54 > 0:25:56and they were men.
0:25:56 > 0:25:59And bodyguards with machine guns on the boat...
0:25:59 > 0:26:01You know, all this silliness, right?
0:26:04 > 0:26:06Arden is often painted as a ruthless villain,
0:26:06 > 0:26:09but he's more complicated than that.
0:26:09 > 0:26:12Think of him more as the King Lear of music management.
0:26:12 > 0:26:16He built an empire, then bequeathed it to his daughter.
0:26:16 > 0:26:18And it was this complex mix of family
0:26:18 > 0:26:21and business that would be his undoing...
0:26:21 > 0:26:26My father had a rule that he would never really put his name on paper.
0:26:26 > 0:26:28In the early days it was my mother that was
0:26:28 > 0:26:30the head of all his companies.
0:26:30 > 0:26:33And my mother went bankrupt
0:26:33 > 0:26:37so many times that she wasn't allowed any more to go bankrupt.
0:26:37 > 0:26:40It's like, "No more!" So, he turned to me.
0:26:40 > 0:26:44So then I became the person that signed all the contracts
0:26:44 > 0:26:46and...you know...
0:26:46 > 0:26:49Everything that went along with that.
0:26:49 > 0:26:52When Arden eventually wrestled control of Black Sabbath
0:26:52 > 0:26:53from his former chauffeur,
0:26:53 > 0:26:56he put his daughter in charge of his investment.
0:26:56 > 0:26:58And Sharon fell in love with it.
0:27:01 > 0:27:05# We're going through changes... #
0:27:05 > 0:27:07In 1982, when she and Ozzy tied
0:27:07 > 0:27:12the knot in Hawaii, Don was there to give his daughter away -
0:27:12 > 0:27:16probably the first time in his life he'd given anything away.
0:27:16 > 0:27:19I honestly thought that my father,
0:27:19 > 0:27:22when we got married, would say - "God bless you.
0:27:22 > 0:27:26"Go. You're out of any contract with me. You're free.
0:27:26 > 0:27:28"That's my gift to you."
0:27:30 > 0:27:32No.
0:27:32 > 0:27:37No, no, no, no, no... He did not want me to marry Ozzy.
0:27:38 > 0:27:42At all. Because Ozzy was his cash cow at that time.
0:27:47 > 0:27:51As his wife and manager, Sharon took control of Ozzy's career.
0:27:51 > 0:27:55She promptly incurred her father's fury by taking Ozzy
0:27:55 > 0:27:57away from Don's label.
0:27:57 > 0:28:01Don sued her and began a family feud which was to last 15 years.
0:28:01 > 0:28:05I can remember one night - we used to have a house not far from here.
0:28:05 > 0:28:08He knew we had some cash - with Sharon.
0:28:08 > 0:28:10He wanted the cash.
0:28:10 > 0:28:13And she started screaming at him, throwing vases through
0:28:13 > 0:28:16the windows at him, and money was coming out and floating like...
0:28:16 > 0:28:18I threw it all in the fountain.
0:28:18 > 0:28:20"You want the fucking money?
0:28:20 > 0:28:21"Here's the money!"
0:28:21 > 0:28:25It was like literally thousands of dollars fluttering down like conf...
0:28:25 > 0:28:26Confetti! It was.
0:28:26 > 0:28:28He's trying to grab this money.
0:28:28 > 0:28:30He's trying to put it in his pockets!
0:28:38 > 0:28:42Arden spent the '70s managing ELO, another huge act.
0:28:42 > 0:28:45But that relationship came crashing down when the lead singer discovered
0:28:45 > 0:28:49Arden had stolen 4 million from him in unpaid royalties.
0:28:51 > 0:28:53As Don's empire crumbled,
0:28:53 > 0:28:56he was able to pull one last escape trick...
0:28:56 > 0:28:58Because the whole
0:28:58 > 0:29:01caboodle belonged, on paper at least, to his only daughter.
0:29:03 > 0:29:08And when the shit hit the fan, and all the money had gone, millions and
0:29:08 > 0:29:14millions and millions of dollars had gone, everybody was coming after me!
0:29:14 > 0:29:16And I ended up paying the tax bill!
0:29:16 > 0:29:18- Yeah.- Really?!
0:29:18 > 0:29:19- Yeah!- Yeah.
0:29:19 > 0:29:23Arden's life story was part Shakespeare, part Sopranos.
0:29:23 > 0:29:25His favourite saying was,
0:29:25 > 0:29:28"Always fuck the artist before the artist can fuck you."
0:29:31 > 0:29:34I mean, if he had been straight, he would have been a great manager.
0:29:34 > 0:29:37- He'd have been the best! - His track record was...
0:29:37 > 0:29:39I mean, I don't know anybody else that had
0:29:39 > 0:29:43so many big... I mean, not slightly successful - HUGE artists.
0:29:43 > 0:29:45One after the other.
0:29:45 > 0:29:47But he just couldn't be straight.
0:29:47 > 0:29:51If Don Arden was the Godfather who stole from his bands, his protege
0:29:51 > 0:29:53was someone who took elements of his style
0:29:53 > 0:29:56but used them to a different end.
0:29:56 > 0:29:59Peter Grant was a manager who, like Don,
0:29:59 > 0:30:01was prepared to do whatever it took.
0:30:01 > 0:30:05The difference was he cared passionately about his artists.
0:30:06 > 0:30:08Peter got into management because he was a stagehand
0:30:08 > 0:30:15at the Croydon Empire, and Don Arden noticed a minibus parked out back.
0:30:15 > 0:30:20And made a few gruff enquiries, and discovered that this bus
0:30:20 > 0:30:25belonged to this enormous guy - who was the stagehand - which was Peter.
0:30:25 > 0:30:28And he said to Peter, "Would you drive
0:30:28 > 0:30:32"Gene Vincent...for the next three weeks?"
0:30:32 > 0:30:36And Peter said to me, "I knew it was iffy,
0:30:36 > 0:30:38"because it was £50 a week
0:30:38 > 0:30:40"and I had to pay the petrol myself..."
0:30:44 > 0:30:48By 1967, Peter Grant was looking for a group to manage.
0:30:48 > 0:30:53I gave him the Yardbirds, minus Jeff Beck but including Jimmy Page.
0:30:53 > 0:30:56While I managed Jeff, Peter and Jimmy revamped the Yardbirds,
0:30:56 > 0:31:00making them the biggest rock band of the '70s - Led Zeppelin.
0:31:04 > 0:31:08Led Zeppelin became very big, very quickly.
0:31:08 > 0:31:12And a large part of that was down to Grant's managerial strategies...
0:31:12 > 0:31:15I really had a huge respect for Peter.
0:31:18 > 0:31:21He was a big guy!
0:31:21 > 0:31:25You knew that he'd come from... He'd been a bouncer in his early days
0:31:25 > 0:31:29and there was something rather kind of reptilian about him.
0:31:29 > 0:31:32And you knew that this was somebody that you really actually
0:31:32 > 0:31:37didn't want to mess with, but at the same time, Led Zeppelin
0:31:37 > 0:31:41knew that they could put their full faith and trust in Peter.
0:31:41 > 0:31:45So it released them to just look after the important stuff,
0:31:45 > 0:31:47the music and the creative side.
0:31:47 > 0:31:49# Greasy slicked-down body
0:31:49 > 0:31:51# Groovy leather trim
0:31:51 > 0:31:53# I like the way you hold the road
0:31:53 > 0:31:55# Mama, it ain't no sin
0:31:55 > 0:31:57# Talkin' 'bout love
0:31:57 > 0:31:58# Talkin' 'bout love
0:31:58 > 0:32:01# Talkin' about... #
0:32:01 > 0:32:05I think that he was influenced by the Colonel Tom Parker
0:32:05 > 0:32:07modus operandi with Elvis -
0:32:07 > 0:32:11and that's that you make them accessible to the public
0:32:11 > 0:32:18in a certain way, but cut off a lot of the otherwise-accepted avenues.
0:32:18 > 0:32:22For example - TV... Peter was very reluctant to let the band
0:32:22 > 0:32:25appear on television,
0:32:25 > 0:32:26because he felt,
0:32:26 > 0:32:29"Right, if you want to see Led Zeppelin, go and see them live."
0:32:29 > 0:32:31You obviously have persevered with a positive line of not
0:32:31 > 0:32:34appearing on television anywhere in the world, I believe.
0:32:34 > 0:32:36Do you feel that television is too limited?
0:32:36 > 0:32:38- Yes. - In what area?
0:32:38 > 0:32:40Well, particularly in sound.
0:32:40 > 0:32:41With respect,
0:32:41 > 0:32:45I don't think they have the facilities to record the sound,
0:32:45 > 0:32:50and in some way, you just cannot capture the magic of Zeppelin.
0:32:52 > 0:32:57# Been a long time since I rock and rolled
0:32:57 > 0:33:00# It's been a long time since I... #
0:33:03 > 0:33:07Led Zeppelin's dizzying success gave Peter Grant the most
0:33:07 > 0:33:10important ingredient for a manger - leverage.
0:33:10 > 0:33:12And he decided to
0:33:12 > 0:33:16use its power to change the whole way the touring business was run...
0:33:18 > 0:33:20# Lonely, lonely, lonely, lonely... #
0:33:20 > 0:33:23A manager has to have an opinion.
0:33:23 > 0:33:25There are too many managers, in my opinion,
0:33:25 > 0:33:28that are very happy just to be there.
0:33:28 > 0:33:32Peter had a deep, deep feeling in his gut
0:33:32 > 0:33:36that the band were
0:33:36 > 0:33:40the most important part of the whole...caboodle.
0:33:40 > 0:33:45Yet the artists back then were being ripped off to a point that
0:33:45 > 0:33:47was just shameful.
0:33:47 > 0:33:49And he sort of took it upon himself,
0:33:49 > 0:33:53and I'm sure that his size was a factor in this,
0:33:53 > 0:33:57he took it upon himself that he was going to change that.
0:34:01 > 0:34:04Promoters in those days - especially in America -
0:34:04 > 0:34:07were often shady characters with links to organised crime.
0:34:07 > 0:34:10The standard cut they offered the band from live shows
0:34:10 > 0:34:13was 70% of the gate, sometimes even less.
0:34:15 > 0:34:16Peter Grant told these people,
0:34:16 > 0:34:20"If you want Zeppelin, you'll pay 90% or we don't play."
0:34:20 > 0:34:23He had the balls and the body size to bully even the toughest of them.
0:34:23 > 0:34:25And it's thanks to him that
0:34:25 > 0:34:29the 90/10 split is still the industry standard today.
0:34:29 > 0:34:32To handle a band like Zeppelin, and be that big in America,
0:34:32 > 0:34:36you had to be tough, because you come across big-time promoters.
0:34:36 > 0:34:39And he had a terrible reputation, Peter Grant, but he...
0:34:39 > 0:34:42I think he had to have it!
0:34:42 > 0:34:44You know, it's a hard game, and America,
0:34:44 > 0:34:46when you're on the road in America,
0:34:46 > 0:34:49it's a tough cookie, you have to have people watching
0:34:49 > 0:34:52where all this money can disappear one way or another...
0:34:52 > 0:34:55The Zeppelin documentary, The Song Remains The Same, captures
0:34:55 > 0:34:59Grant at his intimidating best... confronting a promoter
0:34:59 > 0:35:03when he gets wind that pirate photos are being sold inside the venue.
0:35:03 > 0:35:04Don't fucking talk to me!
0:35:04 > 0:35:07It's my bloody act - I'll leave you any time,
0:35:07 > 0:35:09you couldn't even get them on the starting line!
0:35:09 > 0:35:11How much kickback were you getting?
0:35:11 > 0:35:12None! I knew nothing about it!
0:35:12 > 0:35:16Oh, come on... You don't know... You're the fucking concession here,
0:35:16 > 0:35:19- your mate's selling the T-shirts... - He's the one that told Richard about it.
0:35:19 > 0:35:22Once he'd gone on the scent of something...
0:35:22 > 0:35:23You know, it was relentless.
0:35:23 > 0:35:25Erm, and...
0:35:25 > 0:35:30it didn't matter if it was over a fiver, he'd pursue it, you know.
0:35:30 > 0:35:32You rented it and you control it,
0:35:32 > 0:35:35it isn't selling fucking pirate posters.
0:35:35 > 0:35:37You have to have someone else to tell you what it's doing...
0:35:41 > 0:35:44It doesn't matter, as long as there's an extra nickel to be
0:35:44 > 0:35:48drained by exploiting Led Zeppelin...it's great.
0:35:48 > 0:35:51You've got to remember that The Song Remains The Same may show him
0:35:51 > 0:35:53in a bad light, but he was the executive producer.
0:35:53 > 0:35:56That's the light he wanted to be shown in.
0:35:56 > 0:35:58You didn't see the really bad light.
0:36:01 > 0:36:05He might have had a slightly different way of managing to other people,
0:36:05 > 0:36:07but that's not the point. He did it for them.
0:36:07 > 0:36:10And he protected them, to a great degree.
0:36:10 > 0:36:15# Been dazed and confused for so long it's not true... #
0:36:15 > 0:36:18Led Zeppelin's unstoppable journey would probably have continued
0:36:18 > 0:36:22through the '80s if it weren't for the death of drummer John Bonham.
0:36:22 > 0:36:25Aged just 32, he choked on his own vomit after
0:36:25 > 0:36:28a lengthy drinking session, and the band called it a day.
0:36:30 > 0:36:33Their so-called gangster manager retired quietly
0:36:33 > 0:36:35and peacefully...
0:36:35 > 0:36:36to Eastbourne,
0:36:36 > 0:36:39where he lived another 15 years.
0:36:39 > 0:36:42People often ask, was Peter Grant the next in line from Don Arden,
0:36:42 > 0:36:43was he that sort of gangster?
0:36:43 > 0:36:47Peter Grant was a very rough guy, and he hurt a lot of people
0:36:47 > 0:36:48and he did some bad things.
0:36:48 > 0:36:49But he was a very good manager.
0:36:49 > 0:36:51He gave the group the correct percentage,
0:36:51 > 0:36:54he only took the percentage which he'd agreed to take from them.
0:36:54 > 0:36:57And when he was a thug, he was a thug on their behalf,
0:36:57 > 0:36:59to further their career.
0:36:59 > 0:37:02There was no thuggery between him and the group - they loved him.
0:37:02 > 0:37:06All this business about violence and the rest of it, and drugs...
0:37:06 > 0:37:09I'm not an apologist for Peter Grant,
0:37:09 > 0:37:13but the person that I knew was not the person I read about.
0:37:13 > 0:37:15I knew him for the last five years of his life.
0:37:15 > 0:37:18He had changed completely.
0:37:18 > 0:37:21Physically - he was down to, like, 16, 17st.
0:37:21 > 0:37:25He'd given up drugs, which was principally cocaine.
0:37:25 > 0:37:28He rings me up one day and says, "'Ere," he says,
0:37:28 > 0:37:31"I've been asked to judge a talent contest on the pier."
0:37:31 > 0:37:34He said, "Do you fancy doing it with me?"
0:37:34 > 0:37:36So the next week - there are the managers of Led Zeppelin
0:37:36 > 0:37:40and Dire Straits, judging a talent contest on Eastbourne pier.
0:37:40 > 0:37:44And the bands were bloody dreadful. And he kept saying to me -
0:37:44 > 0:37:46"They're fucking shit!"
0:37:46 > 0:37:49I said, "We've got to make one of them the winner!"
0:37:49 > 0:37:52And he said, "Oh, fucking hell, you pick one, they're fucking..."
0:37:52 > 0:37:55In the mid-'70s, while Peter Grant and his ilk were still
0:37:55 > 0:37:59storming around America playing rock in supersized stadiums,
0:37:59 > 0:38:03the upcoming music scene suddenly went in a new direction - punk.
0:38:05 > 0:38:08And one manager stood out above all others.
0:38:08 > 0:38:10Malcolm McLaren's my hero.
0:38:10 > 0:38:13Punk would never have happened without Malcolm.
0:38:13 > 0:38:17There's this incredible myth that dominates the industry about me
0:38:17 > 0:38:20as being this super, kind of Fagin-esque,
0:38:20 > 0:38:25mythical, sort of...charlatan.
0:38:25 > 0:38:26It's just nonsense.
0:38:26 > 0:38:29It was all a posture, a posture that they actually believed!
0:38:29 > 0:38:32Maybe I was just a fine actor?
0:38:32 > 0:38:37But ultimately, one continually mismanaged things
0:38:37 > 0:38:41because it just was more attractive to mismanage than manage!
0:38:41 > 0:38:44# We're so pretty, oh, so pretty... #
0:38:44 > 0:38:46Like Parnes and Epstein, McLaren had a shop.
0:38:46 > 0:38:49But his shop was... well, slightly different.
0:38:49 > 0:38:52Located on London's Kings Road, selling bondage gear,
0:38:52 > 0:38:55it was simply called Sex.
0:38:55 > 0:38:57You see, McLaren was an art-school prankster
0:38:57 > 0:38:59who changed the face of both music
0:38:59 > 0:39:00and fashion...
0:39:00 > 0:39:04But strip away the PVC and safety pins, and the manager
0:39:04 > 0:39:09he actually resembles most is that 1950s puppeteer, Larry Parnes.
0:39:09 > 0:39:11A new Svengali was born...
0:39:12 > 0:39:14Who was Svengali?
0:39:14 > 0:39:18Sounds like some kind of Transylvanian count, doesn't he?
0:39:18 > 0:39:21I know Malcolm wasn't Transylvanian
0:39:21 > 0:39:24but he was approaching a count sometimes!
0:39:24 > 0:39:27McLaren's posturing constantly blurred the line
0:39:27 > 0:39:30between real and fake.
0:39:30 > 0:39:33He even went as far as to make a "fictional documentary",
0:39:33 > 0:39:37in which he played the manager of the Sex Pistols, who would create
0:39:37 > 0:39:41outrage from nothing by writing fake letters to the music press...
0:39:43 > 0:39:45"Dear Sounds, why do you devote
0:39:45 > 0:39:47"so much space to the appalling Sex Pistols?
0:39:47 > 0:39:49"You just have to look at their audience -
0:39:49 > 0:39:51"I doubt if they've got one O Level between them."
0:39:51 > 0:39:53Yeah, that's not bad, Soph.
0:39:54 > 0:39:56But we've got to make fucking sure that we can
0:39:56 > 0:40:01create enough stink to whip up real hatred before that record comes out.
0:40:01 > 0:40:04# And we don't care. #
0:40:05 > 0:40:11The music of punk rock was only one aspect, and for me,
0:40:11 > 0:40:13not a major aspect.
0:40:13 > 0:40:17It wasn't as if they were creating music that was that original.
0:40:17 > 0:40:20It had an authenticity about it
0:40:20 > 0:40:23because it seemed to be played by amateurs.
0:40:23 > 0:40:27And I promoted the fact that it was better not to play,
0:40:27 > 0:40:30than to be able to play.
0:40:30 > 0:40:32It seemed cooler!
0:40:38 > 0:40:40# Anarchy... #
0:40:40 > 0:40:42One thing McLaren should be remembered for is
0:40:42 > 0:40:45the effect of his management on an entire generation of kids.
0:40:45 > 0:40:49In that respect he was easily the equal of someone like Brian Epstein.
0:40:49 > 0:40:53The difference was the Pistols projected rage and hatred,
0:40:53 > 0:40:57and McLaren was quick to capitalise on the chaos.
0:40:57 > 0:41:01We played a gig, and a fight broke out in the audience.
0:41:01 > 0:41:04There's nothing worse than a fight breaking out in the audience,
0:41:04 > 0:41:06because nobody watches the band - they watch the fight.
0:41:06 > 0:41:08So we're trying to stop it.
0:41:08 > 0:41:11But somebody took a picture, and it looked like we're fighting
0:41:11 > 0:41:14with the audience, and it was on the front page of the Melody Maker.
0:41:14 > 0:41:16And once things like that start happening, you don't
0:41:16 > 0:41:18have to call up the press. They call you.
0:41:21 > 0:41:25McLaren was a brilliant opportunist. But was he a great manager?
0:41:25 > 0:41:29He made the Sex Pistols public enemy number one,
0:41:29 > 0:41:32and then threw them into the eye of the hurricane he'd created.
0:41:32 > 0:41:34The band weren't protected. Or even paid.
0:41:37 > 0:41:40# God save the Queen... #
0:41:40 > 0:41:43We were very much in the public eye, and bombasted all across
0:41:43 > 0:41:45papers like The Sun,
0:41:45 > 0:41:47the Daily Mirror...
0:41:47 > 0:41:49And yet no money in pocket.
0:41:49 > 0:41:52And still squatting - at the time.
0:41:52 > 0:41:57That was a real contradiction, and a hard one to tolerate.
0:41:57 > 0:42:00You know, someone was lying to us...
0:42:00 > 0:42:05I suppose the group themselves, the Sex Pistols, they kind of felt
0:42:05 > 0:42:08they were being had, I suppose,
0:42:08 > 0:42:11that they were being caught in this scam of mine.
0:42:11 > 0:42:14And to some extent, that's probably true!
0:42:14 > 0:42:16HE CHUCKLES
0:42:16 > 0:42:21McLaren could be seen to represent the "manager as con artist" -
0:42:21 > 0:42:24but it's worth noting that as well as conning the public,
0:42:24 > 0:42:26and the Pistols, he conned himself.
0:42:26 > 0:42:30After the group's demise, he was pretty much penniless.
0:42:30 > 0:42:33But it was never about the money...
0:42:33 > 0:42:38Be childish, be irresponsible and be everything this society hates.
0:42:39 > 0:42:42And do it with as much style as possible.
0:42:42 > 0:42:45And don't fear failure.
0:42:45 > 0:42:47That was the real message.
0:42:47 > 0:42:50That was the art.
0:42:50 > 0:42:55Better to be a flamboyant failure
0:42:55 > 0:42:58than any kind of benign success.
0:43:04 > 0:43:08And the 1980s were all about success, benign or not.
0:43:10 > 0:43:12A new generation of ambitious
0:43:12 > 0:43:16and often flamboyant young people came bursting onto the scene.
0:43:21 > 0:43:23Although I wasn't one of them, I'd been around the block
0:43:23 > 0:43:26a couple of times, and I knew potential when I saw it.
0:43:29 > 0:43:32With Wham! I took on a group who'd had two hit records.
0:43:32 > 0:43:33The idea was, really,
0:43:33 > 0:43:36to take them to be the very biggest group in the world.
0:43:39 > 0:43:41So, how did we do that?
0:43:41 > 0:43:45Well, sometimes being a manager is about lateral thinking.
0:43:45 > 0:43:47We realised that if we could make Wham!
0:43:47 > 0:43:51the first band ever to play in Communist China, then we'd get
0:43:51 > 0:43:54so much press that it would break them right across the world.
0:43:54 > 0:43:57And masterminding the whole thing is Simon Napier-Bell -
0:43:57 > 0:43:59it was your idea in the first place, this, wasn't it?
0:43:59 > 0:44:02I could see what was happening in China, they're genuinely opening up,
0:44:02 > 0:44:05and they were aware that Western youth culture was going to come,
0:44:05 > 0:44:08and I felt perhaps Wham! would be, for them, a way of doing it gently,
0:44:08 > 0:44:12rather than plunging straight in with say, Boy George or something...
0:44:12 > 0:44:15Western pop music had been banned in China for decades,
0:44:15 > 0:44:18and I wasn't sure how the authorities were going to react to
0:44:18 > 0:44:22two tanned and bouffant capitalist teenagers in leather jackets.
0:44:22 > 0:44:24# Good guys... #
0:44:24 > 0:44:26MUSIC TURNED OFF
0:44:26 > 0:44:28They might take some convincing.
0:44:28 > 0:44:32Then we supplied a video.
0:44:32 > 0:44:35Video was very difficult indeed, because all their videos had
0:44:35 > 0:44:37things which I felt would turn the Chinese off.
0:44:37 > 0:44:40Lots of girls screaming, or lovemaking in Careless Whisper...
0:44:40 > 0:44:42# Oh... #
0:44:43 > 0:44:46So I came up with the idea of sending
0:44:46 > 0:44:49them a live clip of Freedom - which is a great word in every language.
0:44:49 > 0:44:51That seemed to go down well.
0:44:51 > 0:44:53# I don't want your freedom
0:44:53 > 0:44:55# I don't want to play around... #
0:44:55 > 0:44:58After months of negotiations, I pulled off what I suppose is
0:44:58 > 0:45:00the management coup of my career -
0:45:00 > 0:45:04Wham! were invited to play in Communist China.
0:45:04 > 0:45:08Once we were there, whipping up a media frenzy was the easiest
0:45:08 > 0:45:11thing in the world - everybody was interested in the story.
0:45:11 > 0:45:13There was just one small problem - nobody in China
0:45:13 > 0:45:16had ever heard of Wham! or knew who Wham! were,
0:45:16 > 0:45:19and so we decided to make a cassette to give away with the ticket.
0:45:19 > 0:45:21And we got a top Mandarin singer
0:45:21 > 0:45:24and recorded all of Wham!'s songs in Mandarin.
0:45:24 > 0:45:27So that they would have on one side of the cassette Wham! songs
0:45:27 > 0:45:29sung by Wham!, and on the other side sung in Chinese.
0:45:29 > 0:45:35SHE SINGS IN MANDARIN: Wake Me Up Before You Go-Go
0:45:40 > 0:45:42The people who came to concerts, were by
0:45:42 > 0:45:45and large young people who worked on communal farms
0:45:45 > 0:45:48outside of Beijing. They had behaved well or had good results from
0:45:48 > 0:45:51their work, were given permission to buy tickets to go to this concert.
0:45:51 > 0:45:55Most of the young people in China like pop music songs very much.
0:46:00 > 0:46:03Once the music got going, it was, by Chinese standards,
0:46:03 > 0:46:06an hour and a half of sheer exuberance.
0:46:06 > 0:46:09Even a year ago, music like this in China was still being
0:46:09 > 0:46:11denounced as "cultural pollution".
0:46:11 > 0:46:13Today, disco is in.
0:46:13 > 0:46:17As long, as officials say, as it's healthy, uplifting and vigorous.
0:46:17 > 0:46:21I came here, in fact, to listen to the words.
0:46:21 > 0:46:24I want to know the exact meaning of the singers.
0:46:24 > 0:46:26But I can't hear.
0:46:26 > 0:46:27The sound is very strong!
0:46:27 > 0:46:30Pim-pom, pim-pom, pim-pom...
0:46:33 > 0:46:36It was perfection, it was what we wanted. It was nonstop press.
0:46:36 > 0:46:38It did everything we planned it to do.
0:46:38 > 0:46:42And two weeks after Wham! had played in Beijing, I'd gone to LA.
0:46:42 > 0:46:44They'd been on ABC, NBC and CBS news,
0:46:44 > 0:46:47every hour on the hour for an entire week.
0:46:47 > 0:46:50And I came through Immigration and they said, "What do you do?"
0:46:50 > 0:46:53and I said ,"I manage Wham!" And the Immigration guy called his friends over
0:46:53 > 0:46:55and said "Hey, this is the guy who manages Wham!
0:46:55 > 0:46:58"You got any CDs and autographs...?" So, that's what had happened.
0:46:58 > 0:47:02And that allowed us straightaway to start booking a stadium tour.
0:47:05 > 0:47:10The '80s was a new era of stadium rock, with vast sums of money
0:47:10 > 0:47:13at stake, corporate sponsorship, tax breaks and branding.
0:47:13 > 0:47:15# I will follow... #
0:47:15 > 0:47:20A successful band now had to operate more like a global corporation.
0:47:20 > 0:47:23And that required a different kind of manager, someone who was
0:47:23 > 0:47:27just as comfortable in the boardroom as the dressing room.
0:47:27 > 0:47:31We would involve ourselves at executive level with,
0:47:31 > 0:47:34you know, with...
0:47:34 > 0:47:37the record company in each country where we were operating.
0:47:39 > 0:47:45And if there was ever a territory that was sort of coming along more
0:47:45 > 0:47:49slowly than the others, we would be annoyed about that
0:47:49 > 0:47:51and we'd address it in a kind of military way and say,
0:47:51 > 0:47:55"All right, everything's working in Europe except for Germany.
0:47:55 > 0:47:59"Let's have another look at why we aren't big in Germany."
0:47:59 > 0:48:03We went into Germany on repeated occasions,
0:48:03 > 0:48:08and did German TV shows that were very big.
0:48:08 > 0:48:10And we eventually cracked Germany as well.
0:48:13 > 0:48:17When Paul McGuinness started managing U2 in 1978,
0:48:17 > 0:48:21they were a bunch of teenagers who'd won an Irish talent contest.
0:48:21 > 0:48:26But jump forward 33 years to 2011, and their 360 Degrees world tour
0:48:26 > 0:48:30would gross a record-breaking 736 million.
0:48:30 > 0:48:33MUSIC: I Still Haven't Found What I'm Looking For
0:48:33 > 0:48:37# I have climbed the highest mountains
0:48:37 > 0:48:41# I have run through the fields... #
0:48:41 > 0:48:44So how did McGuinness turn them into such world-beaters?
0:48:44 > 0:48:46Well, the list is impressive -
0:48:46 > 0:48:49he renegotiated the band's contract to land them one of the best deals
0:48:49 > 0:48:52in music history, he made sure that U2 owned the copyright
0:48:52 > 0:48:57to their own material, he brokered one of the highest royalty rates
0:48:57 > 0:49:01in the industry and he worked with Apple on U2-branded iPods.
0:49:03 > 0:49:07We were determined from the outset that if we were going to be
0:49:07 > 0:49:11good at the music, we were going to be good at the business as well.
0:49:11 > 0:49:15And not get, not get taken, you know?
0:49:17 > 0:49:19He took a band from zero...
0:49:19 > 0:49:22to making them the biggest band in the world.
0:49:22 > 0:49:26Reinvented the touring process... The "stadium rock show".
0:49:26 > 0:49:29And I thought that was a masterstroke.
0:49:33 > 0:49:36From four friends playing punk songs in a Dublin garage,
0:49:36 > 0:49:40Paul McGuinness built U2 into a global brand.
0:49:40 > 0:49:43They became big-time corporate players, with investment
0:49:43 > 0:49:46portfolios and complicated offshore tax arrangements.
0:49:46 > 0:49:49The music business of the '60s and '70s was like
0:49:49 > 0:49:51the early days of the Gold Rush,
0:49:51 > 0:49:54but this new professionalism has brought with it
0:49:54 > 0:49:55a grown-up respectability.
0:49:57 > 0:49:58They were pioneers.
0:49:58 > 0:50:02Now, the business is certainly a lot more sensible,
0:50:02 > 0:50:05a lot more stable, and again, more of a real business.
0:50:05 > 0:50:07Look at the financial institutions
0:50:07 > 0:50:10or banking... People take all those businesses really seriously.
0:50:10 > 0:50:13This is the same. This is as demanding.
0:50:13 > 0:50:15We might not wear a shirt and tie every day,
0:50:15 > 0:50:18but otherwise it's a real business.
0:50:18 > 0:50:21The knock-on effect of the industry "growing up" is that
0:50:21 > 0:50:24rock management has become respectable.
0:50:24 > 0:50:26Managing a major rock band is now seen as not much
0:50:26 > 0:50:31different from managing any brand produced by any major corporation.
0:50:32 > 0:50:35Universities will even give you a degree in it.
0:50:35 > 0:50:39The most amazing question I ever got asked in a class -
0:50:39 > 0:50:42a guy, he's maybe in his early 20s, he sticks his hand up
0:50:42 > 0:50:44at the back and he says to me, he says, "Do you think
0:50:44 > 0:50:49"the pension plan at Sony is better than the pension plan at Universal?"
0:50:53 > 0:50:56For me, the biggest problem facing the music industry today
0:50:56 > 0:51:00is the old-fashioned thinking of the record companies.
0:51:00 > 0:51:03Management-wise, there's less of a problem.
0:51:03 > 0:51:05New young managers are quickly adapting to new methods
0:51:05 > 0:51:07and new tools.
0:51:09 > 0:51:11# I tell the violin
0:51:11 > 0:51:12# It's time to sink or swim
0:51:12 > 0:51:14# Watch 'em play for ya... #
0:51:14 > 0:51:17Scooter Braun is one of the new breed.
0:51:17 > 0:51:20He discovered his biggest artist not like we used to, in a club,
0:51:20 > 0:51:21but on YouTube.
0:51:28 > 0:51:31And I clicked on it and it was a 12-year-old boy.
0:51:31 > 0:51:34And this little kid had such soul, I just had to find him.
0:51:34 > 0:51:37And I said, "There's no-one in the marketplace who has a young,
0:51:37 > 0:51:40"angelic voice but singing great love songs that make you
0:51:40 > 0:51:42"believe in love before you became a jaded adult.
0:51:42 > 0:51:44"And there's a need for that again."
0:51:48 > 0:51:52I googled the background of the banners on the back
0:51:52 > 0:51:56of the stage where he was singing - he was singing in a small church in his town
0:51:56 > 0:51:59and the banners in the church were a local business.
0:51:59 > 0:52:02And I found this local business, and I called the school board,
0:52:02 > 0:52:06I called everyone, until his mother finally called me back.
0:52:06 > 0:52:09And I put them on the first plane either of them had ever been on.
0:52:09 > 0:52:11And I've been with Justin ever since.
0:52:14 > 0:52:18What singles Scooter out as a manager was what he did next.
0:52:18 > 0:52:21Rather than go to a label with his precious find,
0:52:21 > 0:52:24he continued to develop Bieber as an artist on YouTube.
0:52:34 > 0:52:36To bring any kind of numbers up digitally,
0:52:36 > 0:52:39you need to remember what you are dealing with, which is a phone.
0:52:39 > 0:52:42You don't make content to reach millions and millions of people,
0:52:42 > 0:52:45you make content to move one person in an intimate setting.
0:52:45 > 0:52:48My philosophy was, "Let's make great stuff, put it up."
0:52:48 > 0:52:52I never let him once say, "My name is Justin Bieber and I'm singing..."
0:52:52 > 0:52:55Everything was - the video starts, I kept it really raw,
0:52:55 > 0:52:57and he would just sing.
0:52:58 > 0:53:02# Forever I believe my work is done... #
0:53:02 > 0:53:05And it gave you this feeling of, "Like, who's posting this?
0:53:05 > 0:53:08"Where is this coming from? Oh, this is special.
0:53:08 > 0:53:09"This is actually...
0:53:09 > 0:53:12"Wow, he's really talented. I'm going to show my friends..."
0:53:12 > 0:53:16It was actually when we filmed With You - that one was the first
0:53:16 > 0:53:17one to reach a million,
0:53:17 > 0:53:20and then people went back in the catalogue and started watching
0:53:20 > 0:53:24all the others and they started to explode and explode and explode.
0:53:24 > 0:53:26# Tell me you need me
0:53:26 > 0:53:28# When you call me on the phone... #
0:53:28 > 0:53:31At the time, no-one signed acts off YouTube,
0:53:31 > 0:53:33and no-one cared about YouTube hits...
0:53:33 > 0:53:36To now see it become the status quo of how A&Rs decide
0:53:36 > 0:53:38if someone has popularity...
0:53:38 > 0:53:40is very flattering in a way, and also funny,
0:53:40 > 0:53:43because literally I was told I was crazy, at the time.
0:53:46 > 0:53:48After 60 million views on YouTube,
0:53:48 > 0:53:50a record deal was pretty much inevitable,
0:53:50 > 0:53:54and Justin Bieber is now one of the world's top-selling artists.
0:53:54 > 0:53:58But getting Bieber, Ariana Grande and the other artists
0:53:58 > 0:54:02in Braun's stable to the top of the charts just isn't enough any more.
0:54:02 > 0:54:04In an age of dwindling record sales,
0:54:04 > 0:54:06managers have to think beyond the music...
0:54:06 > 0:54:11Sometimes royalties aren't enough any more, because the sales aren't
0:54:11 > 0:54:15what they used to be, so you create fragrances and you do create,
0:54:15 > 0:54:17you know, drinks, or
0:54:17 > 0:54:21you create merchandising products, and consumer products, and apps,
0:54:21 > 0:54:25and all these different things that create different revenue streams...
0:54:25 > 0:54:28And the whole point of that is, your artist is financially
0:54:28 > 0:54:32free enough to concentrate on their art with no distractions.
0:54:32 > 0:54:36So, perfume sales equals artistic freedom.
0:54:36 > 0:54:39I suppose that's one way of looking at it.
0:54:39 > 0:54:41It's easy to call this "selling out",
0:54:41 > 0:54:45but in truth I'm glad that today's young managers are so sussed.
0:54:45 > 0:54:47If guys like Scooter Braun weren't
0:54:47 > 0:54:49capitalising on branding opportunities,
0:54:49 > 0:54:54then Brian Epstein's merchandise mistakes were all for nothing.
0:54:54 > 0:54:58# Hello from the other side... #
0:54:58 > 0:55:02However, there are other ways of looking at it.
0:55:02 > 0:55:06Jonathan Dickins discovered Adele at an open-mic night.
0:55:06 > 0:55:09Today, he's a man who says no far more often than he says yes.
0:55:11 > 0:55:14I've never really chased the money first.
0:55:14 > 0:55:17And a lot of people say they never really chase the money,
0:55:17 > 0:55:19and most people do.
0:55:19 > 0:55:26And the biggest thing of that is when you have success.
0:55:26 > 0:55:29When the money really starts to be significant.
0:55:29 > 0:55:35Opportunity, to Adele, presents itself by the truckload every day.
0:55:36 > 0:55:40Any and every opportunity to make money in "non-traditional" or
0:55:40 > 0:55:44"branding" exercises - we've been offered it.
0:55:44 > 0:55:50Everything. Clothing ranges, perfumes, nail polishes...
0:55:50 > 0:55:51It goes on.
0:55:51 > 0:55:55For us, the first thought isn't the branding opportunity.
0:55:55 > 0:55:57It's the music.
0:55:57 > 0:56:02And I want to protect what it is we do with her music and her content.
0:56:02 > 0:56:04Absolutely I do. And that will never change.
0:56:04 > 0:56:06But this isn't just about branding.
0:56:06 > 0:56:10For many in the jaded music industry today, doom is in the air.
0:56:10 > 0:56:13The industry is apparently on its knees.
0:56:13 > 0:56:15But for the young managers who are coming along,
0:56:15 > 0:56:19the new world order is a wide-open door of opportunity.
0:56:19 > 0:56:20It's evolving.
0:56:20 > 0:56:22And that's an exciting thing, because
0:56:22 > 0:56:25when something's changing there's an opportunity for something new.
0:56:25 > 0:56:27We're in the Wild, Wild West. There are no rules.
0:56:27 > 0:56:30That's really exciting for an entrepreneur, and it's also
0:56:30 > 0:56:34exciting for musicians, cos there are no lines.
0:56:34 > 0:56:37You can write the rules every single day you get up.
0:56:37 > 0:56:41# We could have had it all
0:56:41 > 0:56:46# Rolling in the deep... #
0:56:46 > 0:56:48I think you have to embrace how things change.
0:56:48 > 0:56:51All this stuck in the past or "That's not how it used to be..."
0:56:51 > 0:56:53I mean, she might as well die, then.
0:56:53 > 0:56:56# To the beat... #
0:56:56 > 0:56:59It's the music business. There's no rules. Nobody knows everything.
0:56:59 > 0:57:01Anyone who thinks they know everything is an idiot.
0:57:01 > 0:57:03And the music business, if it has to do one thing -
0:57:03 > 0:57:05please don't be fucking generic.
0:57:08 > 0:57:12# Take your picture, cameraman
0:57:14 > 0:57:17# Can you tell me who I am? #
0:57:19 > 0:57:23So here we are - back where we began, just like the '60s,
0:57:23 > 0:57:25where no-one knows quite what comes next,
0:57:25 > 0:57:29and things have to be made up as we go along.
0:57:29 > 0:57:32Nowadays, the manager also has to look after the "brand",
0:57:32 > 0:57:36though perhaps that's what we always did, just called it by another name.
0:57:36 > 0:57:39We still have to be the same mix of therapist,
0:57:39 > 0:57:41friend and sometimes parent.
0:57:41 > 0:57:44And of course, we still have to make sure the artist is given the freedom
0:57:44 > 0:57:47to do what they do best - make music.
0:57:49 > 0:57:54# It's only me... #
0:57:56 > 0:58:00I think the way I hear music is the way most people hear music.
0:58:00 > 0:58:03So I think - if I have a reaction, why wouldn't they?
0:58:03 > 0:58:07I'm not special.
0:58:07 > 0:58:08So what my talent is -
0:58:08 > 0:58:10literally not being special...
0:58:10 > 0:58:12INTERVIEWER CHUCKLES
0:58:12 > 0:58:14I deal with special people. I manage special people.
0:58:14 > 0:58:18And the way I help them most is translating to them
0:58:18 > 0:58:21how "not special" people might react to them!
0:58:21 > 0:58:23LAUGHTER
0:58:25 > 0:58:28# Do you wanna be a star?
0:58:28 > 0:58:30# Do you wanna be a star? #
0:58:30 > 0:58:32Um...
0:58:32 > 0:58:33BACKGROUND CLATTER
0:58:33 > 0:58:36- Interrupt the interview. > - Oh, God!
0:58:36 > 0:58:38Cameras, cameras...
0:58:38 > 0:58:40Oh, God!
0:58:40 > 0:58:43All right, let me quickly just tell him what he needs to do...
0:58:43 > 0:58:45- Over there? - We'll jump right back into it.
0:58:45 > 0:58:48# Do you wanna be a star?
0:58:48 > 0:58:51# You are, you are
0:58:51 > 0:58:55# Superstar
0:59:00 > 0:59:03# You are, you are
0:59:03 > 0:59:06# Superstar. #