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This programme contains some | 0:00:01 | 0:00:07 | |
Baptised in 1951 in Ireland as Robert Frederick Zenon Geldof, | 0:00:26 | 0:00:30 | |
who reached number one with | 0:00:36 | 0:00:38 | |
His earliest nickname, Bob the Gob, came from his outspoken style. | 0:00:40 | 0:00:45 | |
and Live 8, ten years later, | 0:00:56 | 0:00:57 | |
as part of his campaign against | 0:00:57 | 0:01:21 | |
Boomtown Rats. Although for some, | 0:01:21 | 0:01:37 | |
to David Cameron, Prime Minister | 0:01:37 | 0:01:40 | |
or President Obama, could you? | 0:01:40 | 0:01:42 | |
and I would get Bono to call Obama. | 0:01:46 | 0:01:48 | |
So you have... You have power at that level still? You have access. | 0:01:50 | 0:01:54 | |
And you have access initially through | 0:01:58 | 0:02:03 | |
and I think probably stems from | 0:02:03 | 0:02:08 | |
when that whole celebrity notion | 0:02:08 | 0:02:13 | |
I think, when politicians became confused as to whether they were | 0:02:13 | 0:02:18 | |
or celebrities in their own right. | 0:02:18 | 0:02:22 | |
Where they were appealing in HELLO! | 0:02:22 | 0:02:25 | |
So we sought to use that, really. | 0:02:25 | 0:02:28 | |
But you only have access in as much as that you talk about the thing | 0:02:28 | 0:02:32 | |
You don't go in and start talking | 0:02:34 | 0:02:39 | |
Because you won't be listened to. | 0:02:39 | 0:02:41 | |
And, you know, they are busy people and you have X amount of time. | 0:02:41 | 0:02:45 | |
I've been doing the African issue for, whatever it is, 30 years. | 0:02:47 | 0:02:54 | |
I know from whence I speak. | 0:02:54 | 0:02:57 | |
I certainly know more about | 0:02:57 | 0:03:00 | |
than maybe the leader does, | 0:03:00 | 0:03:02 | |
but he will be surrounded by civil servants who are also expert. | 0:03:02 | 0:03:05 | |
So you have to be on your mettle, you've got to have an agenda, | 0:03:05 | 0:03:08 | |
certain results in the half-hour | 0:03:11 | 0:03:14 | |
power now in their forties, fifties, | 0:03:14 | 0:03:18 | |
it's just the right generation | 0:03:18 | 0:03:20 | |
They are the Live Aid generation. | 0:03:20 | 0:03:22 | |
I mean, most of them remember, presumably, having watched it. | 0:03:22 | 0:03:25 | |
Blair, people forget, was very young in Parliament when Band Aid happened. | 0:03:33 | 0:03:40 | |
But once it became a phenomenon | 0:03:48 | 0:03:51 | |
because numbers are political. | 0:03:51 | 0:03:54 | |
I mean, Thatcher wrote to me and the Liberals wrote to me. | 0:04:02 | 0:04:06 | |
around something that most people | 0:04:06 | 0:04:09 | |
have forgotten about, about whether | 0:04:09 | 0:04:14 | |
And this became...blown up. | 0:04:14 | 0:04:16 | |
And I think it was Neil Kinnock | 0:04:16 | 0:04:18 | |
But what he did do was he went and got all living Prime Ministers | 0:04:33 | 0:04:51 | |
Prime Minister, where he is | 0:04:51 | 0:04:55 | |
Whatever else one might think, | 0:05:00 | 0:05:03 | |
and achievable once you had power. | 0:05:08 | 0:05:11 | |
cos you can look back and say, | 0:05:11 | 0:05:13 | |
"I did that. It can be done." | 0:05:13 | 0:05:15 | |
And that was to our advantage. | 0:05:22 | 0:05:25 | |
Is it true you rang up Blair from Africa and shouted at him? Yes. | 0:05:25 | 0:05:29 | |
But I've rung Blair from many places | 0:05:29 | 0:05:33 | |
He says I do, but, I mean... | 0:05:36 | 0:05:39 | |
I'm fluent enough, but I don't | 0:05:43 | 0:05:51 | |
The other thing I see myself doing | 0:05:54 | 0:05:57 | |
doesn't annoy me. That's just it. | 0:05:59 | 0:06:01 | |
But it's such a great word. | 0:06:01 | 0:06:03 | |
but it is the emphasis on something | 0:06:03 | 0:06:07 | |
it can be humour, it can be whatever. | 0:06:07 | 0:06:12 | |
a great consequence one day. | 0:06:18 | 0:06:22 | |
and I got overwrought and I swore. | 0:06:27 | 0:06:30 | |
People were enraptured with the day. | 0:06:34 | 0:06:37 | |
The romance of it. Which I never quite got until afterwards. | 0:06:37 | 0:06:41 | |
It was a gorgeous day in Britain. Everyone was watching this thing. | 0:06:41 | 0:06:45 | |
here were these great bands, | 0:06:45 | 0:06:49 | |
and they forgot what it was. | 0:06:49 | 0:06:51 | |
And I think that my panic... | 0:06:51 | 0:06:53 | |
I tried to find the word and I just, | 0:06:55 | 0:06:59 | |
It was like a slap, I think. | 0:06:59 | 0:07:05 | |
And especially then, that word was a little more violent, maybe. | 0:07:05 | 0:07:09 | |
Although it's like "Play it again, Sam." You never actually said, | 0:07:09 | 0:07:12 | |
"Give us your fucking money." | 0:07:12 | 0:07:15 | |
at the time, the announcers, | 0:07:15 | 0:07:19 | |
the DJs, were talking about | 0:07:19 | 0:07:35 | |
and that word, at that moment, | 0:07:35 | 0:07:38 | |
seemed to exemplify that urgency. | 0:07:38 | 0:07:41 | |
you've got to get on the phone | 0:07:41 | 0:07:43 | |
and take the money out of your pocket. Don't go to the pub tonight. | 0:07:43 | 0:07:46 | |
you have had many formal proposals, | 0:08:05 | 0:08:13 | |
I have often been asked why I don't. | 0:08:13 | 0:08:16 | |
But no-one... Like at the time of the whole Martin Bell thing, | 0:08:16 | 0:08:19 | |
when there was this call for people | 0:08:19 | 0:08:21 | |
People suggested always to me, "Why don't you go into it?" But why? | 0:08:27 | 0:08:32 | |
it was a single-issue thing. | 0:08:32 | 0:08:35 | |
I thought it was awful, preposterous, | 0:08:37 | 0:08:42 | |
this cockamamie simplicity, | 0:08:42 | 0:08:47 | |
as many people dying as possible. | 0:08:49 | 0:08:52 | |
Two, hunger is only symptomatic of | 0:08:52 | 0:08:57 | |
a singular empirical economic | 0:08:57 | 0:09:03 | |
And given that it's political | 0:09:03 | 0:09:08 | |
and given that it's economic, | 0:09:08 | 0:09:11 | |
the agents of change in our world, | 0:09:16 | 0:09:20 | |
To do that, you need to create a lobby that agrees with you. | 0:09:20 | 0:09:23 | |
And then you have access. So that is the sequence of events. It took us... | 0:09:23 | 0:09:27 | |
I think 2005 was the key moment | 0:09:27 | 0:09:30 | |
when all that effort paid off, | 0:09:30 | 0:09:33 | |
So here, you had a man who was almost contemporary with me and this issue, | 0:09:33 | 0:09:38 | |
who, after this shouting from Africa, | 0:09:38 | 0:09:43 | |
and come and see him. And the | 0:09:43 | 0:09:49 | |
why does this massive continent | 0:09:49 | 0:09:53 | |
Eight miles, that is the gap between | 0:09:56 | 0:09:59 | |
still the richest continent in the world and the poorest. | 0:09:59 | 0:10:02 | |
he was advised not to do it. | 0:10:18 | 0:10:22 | |
I mean, his adviser would say, "What is the upside?" They're very blunt. | 0:10:22 | 0:10:25 | |
Not to me, but just saying, | 0:10:25 | 0:10:29 | |
And my pitch was - we didn't have | 0:10:29 | 0:10:45 | |
2005, Kofi Annan called it the "Rubicon-crossing moment" for Africa. | 0:10:54 | 0:11:07 | |
except they would say to me, "Name one country that succeeded with aid." | 0:11:10 | 0:11:21 | |
So that was achieved, more or less. | 0:11:21 | 0:11:23 | |
What we hadn't thought of was massive | 0:11:23 | 0:11:29 | |
to secure the raw materials to power their economy, which kept us going. | 0:11:29 | 0:11:32 | |
And the fourth thing that brought | 0:11:32 | 0:11:35 | |
increased aid and investment, | 0:11:35 | 0:11:39 | |
the glue, the virtual infrastructure in a continent with no roads, | 0:11:39 | 0:11:44 | |
air or rail was mobile telephony, | 0:11:44 | 0:11:46 | |
So as soon as this got disseminated | 0:11:47 | 0:11:51 | |
like everywhere else where people can talk and trade, bang, take-off. | 0:11:51 | 0:11:56 | |
seven of the ten fastest-growing | 0:11:56 | 0:11:58 | |
at this moment are African. | 0:11:58 | 0:12:02 | |
But some of these situations | 0:12:02 | 0:12:05 | |
and you're jamming with him | 0:12:10 | 0:12:13 | |
"This is just effing weird," | 0:12:15 | 0:12:19 | |
but I'm lucky that I can do that. | 0:12:26 | 0:12:29 | |
I get to hear and see things I never | 0:12:29 | 0:12:34 | |
you just think it's normal. | 0:12:38 | 0:12:42 | |
You know, at 13, I was doing the anti-apartheid thing in school | 0:12:47 | 0:12:51 | |
and be friendly with Nelson Mandela. | 0:12:51 | 0:12:55 | |
And you kind of have to go... | 0:12:55 | 0:12:59 | |
When we played South Africa, | 0:12:59 | 0:13:02 | |
And then the kids and that, you know, | 0:13:05 | 0:13:10 | |
Another consequence of what | 0:13:13 | 0:13:17 | |
the first Irishman in space. | 0:13:17 | 0:13:19 | |
trying to get around to that, Lawson! | 0:13:19 | 0:13:23 | |
It's only 15 minutes, but how | 0:13:35 | 0:13:40 | |
I do... I don't know what reason, I do really want to see the Earth. | 0:13:45 | 0:13:48 | |
"What are you going to do up there? | 0:13:48 | 0:13:57 | |
It's pointless, in the end, | 0:13:57 | 0:14:00 | |
to play out alternative lives | 0:14:00 | 0:14:02 | |
in your head the scenario... | 0:14:02 | 0:14:33 | |
and I know this is dismissed - | 0:14:40 | 0:14:44 | |
but what is essential to me | 0:14:44 | 0:14:49 | |
playing live and, to be clear, | 0:14:49 | 0:14:53 | |
The need to make music and to make these songs and these records. | 0:15:01 | 0:15:05 | |
Cos the process of the songs | 0:15:05 | 0:15:08 | |
It doesn't stop, it goes on. | 0:15:08 | 0:15:10 | |
People are interested in you, but you are a very famous musician | 0:15:10 | 0:15:14 | |
But that doesn't bother you? | 0:15:16 | 0:15:18 | |
it probably does bother me. | 0:15:21 | 0:15:23 | |
I understand, as I constantly say, | 0:15:26 | 0:15:29 | |
that the brand is bigger than | 0:15:29 | 0:15:33 | |
nobody knows what they do, really. | 0:15:40 | 0:15:45 | |
we chucked out all the oldies, | 0:15:51 | 0:15:54 | |
the music I'm doing, even though | 0:15:54 | 0:15:57 | |
it was playlisted on Radio 2, the biggest station in the country, | 0:15:57 | 0:16:01 | |
they playlisted it because they | 0:16:01 | 0:16:04 | |
Does it sell records any more? No. | 0:16:04 | 0:16:07 | |
What was the number one sales | 0:16:07 | 0:16:10 | |
My first number one, to get there, | 0:16:10 | 0:16:15 | |
When you go back and do something | 0:16:15 | 0:16:19 | |
is that strange? Is it a sort of | 0:16:21 | 0:16:24 | |
that you're recreating something | 0:16:24 | 0:16:28 | |
I've said that I'm doing it | 0:16:34 | 0:16:38 | |
The age thing is significant | 0:16:43 | 0:16:48 | |
passed between us doing anything. | 0:16:48 | 0:16:52 | |
it only gets to 89 in the charts. | 0:17:17 | 0:17:21 | |
I am much more interested in that | 0:17:21 | 0:17:26 | |
I said, "Let's give it a go." | 0:17:28 | 0:17:33 | |
and it was very weird, but charming. | 0:17:33 | 0:17:39 | |
and, I promise you now, not trying to sell the gigs or anything, | 0:17:51 | 0:17:55 | |
that random group of individuals. | 0:17:55 | 0:18:02 | |
You know... Like, if I took the technicians and you here | 0:18:02 | 0:18:06 | |
Put another guy in, something else. | 0:18:12 | 0:18:16 | |
And, of course, that's what made | 0:18:18 | 0:18:22 | |
I'm going to mention a few of the descriptions often used about you. | 0:18:22 | 0:18:25 | |
people say. Do you accept that? No. | 0:18:25 | 0:18:30 | |
I don't think I'm arrogant. | 0:18:32 | 0:18:36 | |
because there is a lot of rubbish | 0:18:42 | 0:18:47 | |
he was broke when Live Aid started | 0:18:47 | 0:18:51 | |
"and now he's very wealthy. | 0:18:51 | 0:18:52 | |
"You do the math," they say. | 0:18:52 | 0:18:54 | |
And they are all astonishing, | 0:18:54 | 0:18:57 | |
and we should settle it for people. | 0:18:57 | 0:19:00 | |
You are rich because you sold | 0:19:00 | 0:19:04 | |
another very successful one, | 0:19:04 | 0:19:08 | |
which is "planet" backwards. | 0:19:08 | 0:19:10 | |
And that's why you're wealthy. I also have other companies. | 0:19:10 | 0:19:13 | |
I've got this educational technology | 0:19:13 | 0:19:17 | |
Also...do lots of other things | 0:19:17 | 0:19:22 | |
Wrote the book, which bailed me out of being broke after Live Aid. | 0:19:24 | 0:19:28 | |
I mean, that is why I got offered | 0:19:28 | 0:19:30 | |
And I couldn't do that because it was using what had happened to me. | 0:19:32 | 0:19:37 | |
not least being...ten years, our records weren't selling. | 0:19:53 | 0:19:57 | |
pick up the record contract. | 0:19:57 | 0:20:01 | |
So I was offered a solo contract, | 0:20:01 | 0:20:05 | |
So after two years of doing this thing, you know, I was out of cash. | 0:20:09 | 0:20:15 | |
And the Rats hadn't made money | 0:20:15 | 0:20:19 | |
where you are being offered all these silly things that would have, | 0:20:25 | 0:20:29 | |
in my view, abused that thing. | 0:20:29 | 0:20:31 | |
So the only legitimate way... | 0:20:31 | 0:20:35 | |
the curiosity about this person | 0:20:39 | 0:20:49 | |
And thirdly, make some money from it. | 0:20:49 | 0:20:51 | |
So I got 100 grand, I think, | 0:20:51 | 0:20:59 | |
Like, it must be pretty wild, | 0:21:17 | 0:21:20 | |
Well, I don't hang with them, | 0:21:20 | 0:21:23 | |
and it's interesting I'm with them. And I know I'm wealthy, but I forget. | 0:21:23 | 0:21:29 | |
I know this sounds weird to people and, "Lucky you," you know, | 0:21:29 | 0:21:33 | |
the genteel sort of poverty | 0:21:44 | 0:21:48 | |
It's not poverty as you see it in | 0:21:48 | 0:21:53 | |
but there was no money. And... | 0:21:53 | 0:21:57 | |
And I can't escape that panic | 0:21:57 | 0:22:02 | |
and employing people and, you know, | 0:22:08 | 0:22:12 | |
I'm very afraid of is loneliness, | 0:22:14 | 0:22:17 | |
because that was it at the beginning. | 0:22:17 | 0:22:21 | |
no more than I'm consciously aware that I'm with some mega politician. | 0:22:23 | 0:22:27 | |
I wrote in the margin of your book | 0:22:36 | 0:22:39 | |
It was astonishing to me. With the notable exception of your father, | 0:22:39 | 0:22:42 | |
you have the early death of | 0:22:45 | 0:22:48 | |
You're sitting eating a sandwich | 0:22:48 | 0:22:50 | |
by a train in front of you. | 0:22:50 | 0:22:54 | |
A brother-in-law. Much later, Paula. | 0:22:54 | 0:22:59 | |
You have been stalked by it, really. | 0:22:59 | 0:23:04 | |
when people scrutinised the Rats' | 0:23:06 | 0:23:11 | |
That all the time, there's reference to it, which I hadn't noticed. | 0:23:11 | 0:23:14 | |
What you've just said to me, | 0:23:18 | 0:23:20 | |
I've thought about, not recently, | 0:23:20 | 0:23:25 | |
I don't want this adventure | 0:23:35 | 0:23:39 | |
Engaged all the time, and gradually, as his world became narrower, | 0:23:55 | 0:24:05 | |
Part of me hopes this bloody rocket | 0:24:19 | 0:24:32 | |
relationship with your dad? | 0:24:36 | 0:24:40 | |
is that the parent who survives | 0:24:47 | 0:24:51 | |
When I started beginning to be | 0:24:54 | 0:24:59 | |
..I was opting out of everything. | 0:25:03 | 0:25:09 | |
And I was more interested in stuff that was happening... | 0:25:09 | 0:25:13 | |
I mean, I was reading a lot, | 0:25:13 | 0:25:16 | |
do homework, so I just read. | 0:25:16 | 0:25:20 | |
And I was reading Steinbeck, | 0:25:20 | 0:25:23 | |
Studs Terkel, the brilliant | 0:25:23 | 0:25:27 | |
which I took the name Boomtown Rats. | 0:25:27 | 0:25:32 | |
And Dickens. I had a bout of pleurisy | 0:25:32 | 0:25:36 | |
You know, it was a very thin world, | 0:25:43 | 0:25:46 | |
The potential for being a kid | 0:25:46 | 0:25:51 | |
where there is no rock 'n' roll circuit, where the bands are thin, | 0:25:56 | 0:25:59 | |
pale imitations of funky grooves | 0:25:59 | 0:26:03 | |
with names like Nightbus, Supply | 0:26:03 | 0:26:09 | |
And suddenly, into this world | 0:26:09 | 0:26:12 | |
famously to people in my generation - | 0:26:12 | 0:26:15 | |
microstation on the planet, | 0:26:18 | 0:26:21 | |
talking of other universes, other | 0:26:24 | 0:26:28 | |
You know their names - Jagger, Townshend, Lennon, Dylan, et cetera. | 0:26:28 | 0:26:32 | |
You know, I just ferociously | 0:26:41 | 0:26:51 | |
inchoately felt and wanted to say. | 0:26:51 | 0:26:55 | |
the inevitability of change, | 0:27:01 | 0:27:07 | |
Don't forget, Mick and Keith | 0:27:13 | 0:27:47 | |
You know, being disempowered, put down, beaten up, beaten down, | 0:27:56 | 0:28:02 | |
because of something as preposterous as the colour of your skin. | 0:28:02 | 0:28:07 | |
I just simply couldn't get it. | 0:28:07 | 0:28:09 | |
I had never seen someone of a different colour in Ireland anyway, | 0:28:09 | 0:28:12 | |
so perhaps it was easy for me. | 0:28:12 | 0:28:14 | |
you become enraged with this. | 0:28:14 | 0:28:17 | |
And I had a mate, Mick Foley. And the two of us listened to the blues | 0:28:17 | 0:28:20 | |
and tried to play harmonica, | 0:28:20 | 0:28:22 | |
He's now one of the editors of | 0:28:22 | 0:28:25 | |
And so, you know, right-on, | 0:28:26 | 0:28:32 | |
not characters from Dickens, | 0:28:34 | 0:28:40 | |
men who had lost their lives | 0:28:48 | 0:28:51 | |
And it doesn't have to be that way. In fact, it shouldn't be that way. | 0:28:54 | 0:29:00 | |
So when the Rats became exactly that, that platform, that rhetoric, | 0:29:02 | 0:29:08 | |
of course you are going to write | 0:29:08 | 0:29:11 | |
Of course you are going to look around and write Banana Republic. | 0:29:11 | 0:29:15 | |
be in America and an event happens | 0:29:15 | 0:29:19 | |
and you write I Don't Like Mondays. | 0:29:19 | 0:29:21 | |
And the chilling thing is, as I said, I could write them yesterday. | 0:29:21 | 0:29:25 | |
ours more spectacularly than most. | 0:29:28 | 0:29:34 | |
# Banana Republic | 0:29:34 | 0:29:37 | |
# Sufferin' in the screamin' sea | 0:29:39 | 0:29:42 | |
# The black and blue uniforms | 0:29:49 | 0:29:51 | |
The reason you're on your own | 0:29:52 | 0:29:55 | |
your father was away, he was a salesman, so he was doing that. | 0:29:55 | 0:29:58 | |
Your mother had died suddenly. | 0:29:58 | 0:30:01 | |
There is a memoir by the writer | 0:30:01 | 0:30:03 | |
who lost his mother in similar circumstances, and he describes | 0:30:03 | 0:30:06 | |
suddenly becoming aware as a child of adults crying in the house. | 0:30:06 | 0:30:10 | |
And you had a similar experience, | 0:30:10 | 0:30:13 | |
I was the boy and the third child, | 0:30:13 | 0:30:14 | |
on the night my mum died, I remember | 0:30:14 | 0:30:20 | |
she gave me a cuddle, sitting in the bay window of the house. | 0:30:20 | 0:30:24 | |
and there is this hubbub downstairs. | 0:30:28 | 0:30:32 | |
and he sits at the side of the bed. | 0:30:32 | 0:30:38 | |
And he just said, "Your mum died last night," and he started crying. | 0:30:38 | 0:30:43 | |
And, of course, you're six, | 0:30:43 | 0:30:47 | |
And forever doesn't mean much. | 0:31:05 | 0:31:08 | |
And anyway, your mum is just | 0:31:08 | 0:31:10 | |
my mother again. I wasn't... | 0:31:13 | 0:31:15 | |
I didn't go to the funeral. Kids didn't in those days, I suppose. | 0:31:15 | 0:31:18 | |
You were taken to the cinema. | 0:31:18 | 0:31:20 | |
Buster Keaton and Charlie Chaplin. | 0:31:22 | 0:31:25 | |
I knew there was something up. | 0:31:25 | 0:31:27 | |
I wasn't told she was being buried. | 0:31:28 | 0:31:32 | |
..a weirdness about the adults | 0:31:35 | 0:31:38 | |
like I was this tender little thing. | 0:31:38 | 0:31:43 | |
One of the reasons perhaps bands, it is so difficult for them | 0:31:44 | 0:31:48 | |
thrown together accidentally. | 0:31:48 | 0:31:52 | |
Quite randomly. That was certainly the case with the Rats, wasn't it? | 0:31:52 | 0:31:56 | |
One day, beautiful spring evening, | 0:31:56 | 0:31:59 | |
a different pub, Fitzgerald's, which | 0:31:59 | 0:32:05 | |
one from just down the road, Garry, | 0:32:09 | 0:32:13 | |
and one the brother of a mate of mine, Johnnie. And I was... | 0:32:13 | 0:32:18 | |
His older brother was my mate. And they were sitting there. | 0:32:18 | 0:32:21 | |
George Harrison, I'd written about. | 0:32:26 | 0:32:30 | |
And they said, "We were actually thinking of starting a band." | 0:32:30 | 0:32:33 | |
And I said, "Well, with what?" | 0:32:33 | 0:32:37 | |
And Garry said, "I've got a guitar." | 0:32:37 | 0:32:40 | |
And Johnnie said, "I've got | 0:32:42 | 0:32:45 | |
know, did blues things at parties. | 0:32:53 | 0:32:57 | |
instruments?" "Don't know." | 0:32:57 | 0:33:00 | |
and the stylistics, nothing. | 0:33:05 | 0:33:07 | |
"You have got to talk about | 0:33:07 | 0:33:10 | |
And Garry said, "You should be | 0:33:10 | 0:33:14 | |
He calls me the next day and he says, you know, "Let's go into town | 0:33:16 | 0:33:27 | |
He also bought a Meazzi amp. | 0:33:27 | 0:33:29 | |
Now, you may not know this esoteric machine, but the great thing | 0:33:29 | 0:33:41 | |
And his mother told us to shut up and, you know, to stop that racket, | 0:33:41 | 0:33:51 | |
You must have been pleased with | 0:33:59 | 0:34:06 | |
which sounds like, you know, | 0:34:18 | 0:34:21 | |
some wild, Hollywood thing. | 0:34:21 | 0:34:23 | |
want to shag on my dad's bed. | 0:34:23 | 0:34:27 | |
Where was my bedroom? I don't know. | 0:34:27 | 0:34:30 | |
and I was just going to take | 0:34:32 | 0:34:34 | |
We were on the floor and she was smoking, and the fag drifted off. | 0:34:34 | 0:34:40 | |
I came back to this blazing inferno. | 0:34:40 | 0:34:45 | |
My dad was away, and... He was in Spain, wasn't he? He was, yeah. | 0:34:45 | 0:34:50 | |
So I thought, "I've got to face up to this." So I went to the airport. | 0:34:50 | 0:34:54 | |
So we were in the car going back | 0:35:01 | 0:35:08 | |
and then we talked the holiday chat. | 0:35:08 | 0:35:11 | |
He said, "So what have you been | 0:35:11 | 0:35:14 | |
As we were driving towards this | 0:35:23 | 0:35:27 | |
"So, you remember the house?" | 0:35:27 | 0:35:30 | |
'remember'?" So that was it. | 0:35:30 | 0:35:35 | |
I was sad because a lot of his photos | 0:35:35 | 0:35:40 | |
Music is very big on categorisation, partly because of record stores | 0:35:46 | 0:35:49 | |
which, for younger viewers, | 0:35:49 | 0:35:54 | |
But New Wave, punk, all that stuff, | 0:35:54 | 0:35:57 | |
we started a year before that sort of exploded in the UK. That idea. | 0:36:01 | 0:36:08 | |
I was aware that there was a pressing demand for change, especially through | 0:36:08 | 0:36:12 | |
the New Musical Express and writers | 0:36:12 | 0:36:17 | |
He wrote something about "All aboard the Titanic," or something. | 0:36:18 | 0:36:22 | |
writing for the NME, don't forget. | 0:36:22 | 0:36:26 | |
And I completely agreed with this. | 0:36:26 | 0:36:28 | |
I thought it was going to be | 0:36:28 | 0:36:32 | |
the absolute kings of this. | 0:36:34 | 0:36:40 | |
You had Kilburn And The High Roads, which later became Ian Dury. | 0:36:40 | 0:36:43 | |
who was superseded, unfortunately, | 0:36:44 | 0:36:47 | |
What did it mean to us, you know, limousines, bouffants and mansions? | 0:37:01 | 0:37:11 | |
And we come to England in '76. | 0:37:11 | 0:37:42 | |
And we got confused with that. | 0:37:42 | 0:37:46 | |
Cos we looked like this, but at the time, because of the Feelgoods, | 0:37:46 | 0:37:50 | |
But we were younger than them. | 0:37:52 | 0:37:55 | |
faster than them. For some reason, | 0:37:55 | 0:37:59 | |
trying to jump on this bandwagon. | 0:38:03 | 0:38:07 | |
There was a cultural Taliban saying, | 0:38:07 | 0:38:09 | |
And, you know, I am contrarian | 0:38:12 | 0:38:18 | |
This lot are against that orthodoxy, | 0:38:25 | 0:38:27 | |
just as institutionalised as | 0:38:30 | 0:38:34 | |
There was a disparity between the | 0:38:38 | 0:38:42 | |
I vividly remember people walking around singing I Don't Like Mondays | 0:38:51 | 0:38:54 | |
as if it was about not having French | 0:38:54 | 0:38:58 | |
rather than actually shooting large numbers of your classmates. | 0:38:58 | 0:39:01 | |
the thing about Mondays was... | 0:39:07 | 0:39:11 | |
against somebody shooting someone. | 0:39:13 | 0:39:16 | |
It was this sort of amorality that I encountered in America. | 0:39:18 | 0:39:21 | |
This sort of wild moral vacuum | 0:39:21 | 0:39:25 | |
Bret Easton Ellis is best about it in | 0:39:25 | 0:39:29 | |
And I think that came a year later. I am not sure if it was a year before. | 0:39:29 | 0:39:32 | |
I certainly remember reading that. | 0:39:32 | 0:39:34 | |
And I obviously don't have his skill, but it was this oddness about it. | 0:39:34 | 0:39:40 | |
And also, the fact that on the plane over, I had been reading about | 0:39:40 | 0:39:42 | |
these new things called computers and that they had invented a system of, | 0:39:42 | 0:39:47 | |
you know, making them very powerful | 0:39:47 | 0:39:50 | |
And that was made of silicon. | 0:39:50 | 0:39:54 | |
The silicon chip inside the brain. | 0:39:54 | 0:39:58 | |
And I thought, that's literally what | 0:40:00 | 0:40:04 | |
# The silicon chip inside her head | 0:40:10 | 0:40:16 | |
# And Daddy doesn't understand it | 0:40:24 | 0:40:57 | |
There was a chap called Steve Jobs | 0:40:57 | 0:41:01 | |
and play in his front lawn, | 0:41:01 | 0:41:12 | |
And, you know, I said, "A barbecue on a front lawn? With his mates | 0:41:12 | 0:41:17 | |
"building one of these things? No." | 0:41:17 | 0:41:21 | |
And I said, "No, we don't do | 0:41:21 | 0:41:25 | |
But all that was going on, so when | 0:41:25 | 0:41:28 | |
we'd done a song about a kid | 0:41:32 | 0:41:35 | |
who disappeared in Dublin who used | 0:41:35 | 0:41:39 | |
Hopeless. So we'd done this. | 0:41:39 | 0:41:43 | |
So here's this ghetto lager... | 0:41:52 | 0:41:55 | |
His dad worked up in Belfast | 0:41:58 | 0:42:02 | |
But an intense sense of music. And Van grows up listening to | 0:42:04 | 0:42:09 | |
But Van, being incredibly curious | 0:42:09 | 0:42:12 | |
of this great hinterland of another culture, and goes to investigate, | 0:42:12 | 0:42:16 | |
And comes up with this Yeats-ian | 0:42:18 | 0:42:20 | |
that he embues with the blues | 0:42:20 | 0:42:22 | |
and creates a whole new type of music, which influences Springsteen, | 0:42:22 | 0:42:26 | |
who clearly acknowledges it, | 0:42:26 | 0:42:28 | |
who picked up on Van but tried to marry it with Irish mythic stuff, | 0:42:31 | 0:42:36 | |
cos he was an outsider, he was the only black guy in Ireland, | 0:42:36 | 0:42:38 | |
basically, and tried to say, "I'm one of you..." I think. | 0:42:38 | 0:42:42 | |
I'll write about this kid, you know, | 0:42:46 | 0:42:50 | |
in this sort of...I'll describe | 0:42:50 | 0:42:53 | |
they never knew the words - | 0:42:58 | 0:43:00 | |
just the sense of it...make it | 0:43:00 | 0:43:05 | |
The fact that it went to number one was bizarre, because it was | 0:43:05 | 0:43:09 | |
John Travolta and Olivia Newton-John | 0:43:09 | 0:43:12 | |
"The traps have been sprung | 0:43:15 | 0:43:18 | |
behind all the closed doors. | 0:43:18 | 0:43:21 | |
from its scab-crusted sores. | 0:43:21 | 0:43:23 | |
and crying in the high-rise blocks. | 0:43:23 | 0:43:26 | |
"It's a rat trap." You know, how does that beat John Travolta | 0:43:26 | 0:43:34 | |
# You've been caught in a rat trap | 0:43:48 | 0:43:51 | |
# You've been caught in a rat trap. # | 0:43:51 | 0:43:56 | |
over your children's names. | 0:43:56 | 0:43:59 | |
Did you expect or even invite | 0:43:59 | 0:44:01 | |
which I loved - she was the one | 0:44:18 | 0:44:24 | |
She'd say all these things... | 0:44:24 | 0:44:28 | |
came along, I just wanted to say, | 0:44:39 | 0:44:43 | |
"Thanks. Never said it to you before, | 0:44:43 | 0:44:48 | |
but of course when we did it, | 0:44:48 | 0:44:54 | |
Well, is the Trixibelle bit, | 0:44:56 | 0:44:58 | |
is from Tennessee Williams, | 0:44:58 | 0:45:02 | |
I mean, he's clearly taking the piss. | 0:45:02 | 0:45:07 | |
He's doing all those things, | 0:45:11 | 0:45:13 | |
Paula loved all those dresses | 0:45:13 | 0:45:18 | |
Cat On A Hot Tin Roof thing... | 0:45:21 | 0:45:24 | |
And we were driving up Shaftesbury | 0:45:32 | 0:45:35 | |
and there was Tennessee Williams | 0:45:38 | 0:45:40 | |
So we just stopped, said, "Do you want a lift?" He said, "Yeah." | 0:45:40 | 0:45:43 | |
So we went off with Tennessee Williams in the thing, in the van, | 0:45:43 | 0:45:47 | |
"Fifi Trixibelle, it's such a strange name." And she said, | 0:45:54 | 0:45:58 | |
I took Fifi to ballet class when | 0:46:01 | 0:46:06 | |
galumphing around the place, | 0:46:06 | 0:46:09 | |
lady beside me, and she said, | 0:46:09 | 0:46:12 | |
"I love the name of your daughter." I said, "Thanks very much." | 0:46:12 | 0:46:15 | |
And I said, "What about these two - | 0:46:21 | 0:46:23 | |
And she said, "We had a terrible | 0:46:23 | 0:46:28 | |
"and I got fed up after six months of calling them Baby One and Two, | 0:46:28 | 0:46:31 | |
"and so, I was making jelly | 0:46:31 | 0:46:40 | |
But that happened afterwards. | 0:46:57 | 0:46:59 | |
She's called Little Pixie after Little Richard...first, and... | 0:47:03 | 0:47:12 | |
Yeah. And then Pixie Frou-frou | 0:47:12 | 0:47:26 | |
I mean, I took a Polaroid of her | 0:47:29 | 0:47:33 | |
And it was a difficult birth. And she | 0:47:33 | 0:47:37 | |
And Paula said, "She's an odd | 0:47:37 | 0:47:40 | |
like a Pixie," trying to be nice! | 0:47:40 | 0:47:44 | |
And... She was like a little pixie. | 0:47:44 | 0:47:47 | |
Peaches came out and she was like... | 0:47:47 | 0:47:50 | |
you know, classic English complexion. | 0:47:50 | 0:47:54 | |
Peaches and cream. Peaches. | 0:47:54 | 0:47:57 | |
"Why, Peaches Honeyblossom, you come right down here right now!" | 0:48:02 | 0:48:05 | |
And frankly, they can all fuck off. | 0:48:05 | 0:48:09 | |
the break-up of the marriage, | 0:48:09 | 0:48:11 | |
I remember talking to you around | 0:48:13 | 0:48:17 | |
front pages, paparazzi, all of that. | 0:48:19 | 0:48:24 | |
Is there any way of dealing with that, or do you just have | 0:48:24 | 0:48:26 | |
and just hope you're standing | 0:48:26 | 0:48:30 | |
So I'll go back now to a point | 0:48:32 | 0:48:36 | |
about that sense of loss seems | 0:48:36 | 0:48:39 | |
"Well, cumulatively, my dad, | 0:48:39 | 0:48:42 | |
all those things all the..." | 0:48:42 | 0:48:46 | |
"..all the mass death I saw in Africa..." You see, the thing is, | 0:48:47 | 0:48:52 | |
Mark, I have seen things that people shouldn't ever have to see. | 0:48:52 | 0:48:57 | |
So it's only when you access | 0:48:57 | 0:49:02 | |
that it bothers you, really. | 0:49:02 | 0:49:04 | |
you know, Paula leaving me... | 0:49:06 | 0:49:11 | |
and I go ahead and do that. | 0:49:25 | 0:49:27 | |
And, you know, you spend 20 years together and you create this family, | 0:49:42 | 0:49:45 | |
and she had, as some people know, | 0:49:45 | 0:49:51 | |
This bizarre, mad background, | 0:49:51 | 0:49:54 | |
we both have a thing about, | 0:50:02 | 0:50:12 | |
but literally, just what happened to, | 0:50:12 | 0:50:22 | |
but you can't comprehend it, | 0:50:46 | 0:50:57 | |
And, couldn't function at all. | 0:50:57 | 0:51:02 | |
And, er...so it was not good, it was not easy. And then... | 0:51:02 | 0:51:06 | |
Someone's taking care of me, but I'm steered, bizarrely, | 0:51:09 | 0:51:14 | |
into the path of this other | 0:51:14 | 0:51:21 | |
who hasn't a clue who I am in France. | 0:51:23 | 0:51:26 | |
and Live Aid uniquely in the planet. | 0:51:26 | 0:51:30 | |
I mean, she wasn't fooling, | 0:51:30 | 0:51:32 | |
and she's going like this today even, "I must look at it sometime." | 0:51:32 | 0:51:36 | |
sorry boring people about this stuff, | 0:51:43 | 0:51:47 | |
this ruined man, and I really cannot | 0:51:50 | 0:51:54 | |
I mean, you saw me at some point | 0:51:54 | 0:51:58 | |
Because what was happening over | 0:52:06 | 0:52:09 | |
..madness. I mean, genuine madness, what was happening over there, | 0:52:12 | 0:52:15 | |
so, you know, I'm freaking out | 0:52:15 | 0:52:19 | |
she's no notion of the English press. | 0:52:25 | 0:52:28 | |
You know, and we've heard over the last three years about the behaviour. | 0:52:28 | 0:52:32 | |
I can trump all of it, believe me. | 0:52:32 | 0:52:35 | |
And forget phone hacking of mobiles, | 0:52:35 | 0:52:38 | |
They rented the house opposite | 0:52:40 | 0:52:43 | |
and just had lenses in there. | 0:52:43 | 0:52:46 | |
Literally followed to France, | 0:52:46 | 0:52:48 | |
They may as well have had News of the World written on their shirts. | 0:52:48 | 0:52:52 | |
Were you hacked? Yeah. Yeah. | 0:52:52 | 0:52:54 | |
No. Um...because I don't have the sort of mobile that could be hacked. | 0:52:57 | 0:53:01 | |
but I was certainly bugged, | 0:53:01 | 0:53:07 | |
And other journalists who waited outside told me who was doing it. | 0:53:07 | 0:53:10 | |
That's how I know. The phone was | 0:53:10 | 0:53:14 | |
And, er...then the other journalists | 0:53:15 | 0:53:26 | |
and my mate got into the car | 0:53:26 | 0:53:30 | |
and then I slammed to a halt and he pulled in in front of the guy | 0:53:34 | 0:54:01 | |
So into this walks this girl | 0:54:01 | 0:54:16 | |
I don't want to get through this. | 0:54:16 | 0:54:19 | |
Yeah, I did think that, yeah. | 0:54:19 | 0:54:21 | |
Not heaving sobs, but just tears. | 0:54:26 | 0:54:30 | |
I'd been crying in my sleep. | 0:54:30 | 0:54:33 | |
And, um...a friend of mine, | 0:54:34 | 0:54:39 | |
I had great boy friends, men friends, | 0:54:39 | 0:54:42 | |
Johnny McGuire, Howard Angel, | 0:54:42 | 0:54:47 | |
Um...Charlie and Waheed from Planet. | 0:54:48 | 0:54:51 | |
Um...and Phil was kind of staying | 0:54:51 | 0:54:57 | |
and he said, "If you ever want to record anything, I'm here." | 0:55:02 | 0:55:05 | |
And, um...so they were trying | 0:55:07 | 0:55:11 | |
to sort of handle this thing. | 0:55:11 | 0:55:14 | |
And I really didn't understand | 0:55:14 | 0:55:18 | |
that it was a physical pain. I didn't understand that, but it's physical. | 0:55:18 | 0:55:22 | |
The doctor said, "Take these," | 0:55:22 | 0:55:26 | |
because that's part of being human. | 0:55:28 | 0:55:30 | |
But it was so extreme, like, | 0:55:30 | 0:55:33 | |
my hair was turning white anyway, | 0:55:33 | 0:55:36 | |
but it was now accelerating, I lost, | 0:55:36 | 0:55:40 | |
But I was very ill, as well. | 0:55:40 | 0:55:42 | |
And, um...Keeping your end up. | 0:55:42 | 0:55:45 | |
And, er...So I just thought, I'm not going to do this any more now. | 0:55:45 | 0:55:49 | |
The pros and cons of being alive. | 0:56:01 | 0:56:04 | |
you won't feel this, you won't have | 0:56:12 | 0:56:14 | |
you won't see these people, you won't do this, this. Long list. | 0:56:14 | 0:56:17 | |
..frankly, that wasn't enough. | 0:56:24 | 0:56:25 | |
So I called my mate Pat and he just said, "You stay where you are now. | 0:56:30 | 0:56:34 | |
"Don't move. You stay where you are." | 0:56:34 | 0:56:40 | |
and pain and...all the rest of it. | 0:56:52 | 0:56:55 | |
Funny, I've been quoting throughout | 0:56:57 | 0:57:00 | |
Are we going to get another volume? | 0:57:04 | 0:57:07 | |
Because of some of the things | 0:57:07 | 0:57:16 | |
It was the 2005 G8 and the BBC | 0:57:24 | 0:57:30 | |
And frankly, it's not that gripping. | 0:57:34 | 0:57:38 | |
Um...and...I think it's lived | 0:57:40 | 0:57:46 | |
Um...I've tried, I think most | 0:57:46 | 0:57:51 | |
as the poet said, you know. | 0:57:54 | 0:57:58 | |
you should be in this world. | 0:58:01 | 0:58:03 | |
You know, I take the road less | 0:58:06 | 0:58:09 | |
when you get back from Space. | 0:58:12 | 0:58:15 | |
I hope I'm made an honorary colonel | 0:58:17 | 0:58:20 | |
# You've been caught in a rat trap | 0:58:23 | 0:58:25 | |
# You've been caught in a rat trap | 0:58:25 | 0:58:28 | |
# You've been caught in a rat trap | 0:58:28 | 0:58:31 | |
# You've been caught in a rat trap | 0:58:31 | 0:58:34 | |
# You've been caught in a rat trap | 0:58:35 | 0:58:37 | |
# Did the whole world know your name? | 0:58:37 | 0:58:39 | |
# You've been caught in a rat trap | 0:58:39 | 0:58:41 | |
# You've been caught in a rat trap. # | 0:58:41 | 0:58:44 | |
Subtitles by Red Bee Media Ltd | 0:58:44 | 0:58:46 |