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Annie Nightingale: Bird on the Wireless (2011) is a documentary celebrating the career of legendary broadcaster Annie Nightingale, the first female DJ on BBC Radio 1. The film explores her groundbreaking journey in radio and television, her influence on music culture, and her role in paving the way for future generations. Featuring rare interviews, archival footage, and stories from artists who were inspired by her, the documentary captures both her legacy and her continuing passion for music and broadcasting.
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00:00Sous-titrage Société Radio-Canada
00:30My name is Annie Nightingale. I'm a Radio 1 DJ and I have been now for four decades.
00:36I may have done other things in my life, but this film is a personal account of my life in music
00:41and of some of the artists I've been passionate about.
00:44I'm still crazy about music and I'm always looking for something new and exciting.
00:48MUSIC
00:57Probably once a week somebody says, what's your all-time top ten?
01:03And you think, oh, don't ask me that. That is so difficult.
01:08Or what's your favourite tune of all time?
01:09I go, well, I might tell you one today, but it would be different from the one last week.
01:13And the point is, you're never looking back, you're always looking forward.
01:16You haven't got time to look back.
01:20Annie Nightingale.
01:21Annie Nightingale.
01:22On BBC Radio 1.
01:24What happens with most people is their interest in pop music is greatest when they're teenagers,
01:30when they're perhaps into their early 20s,
01:33and then you have rather more important things to take up your time.
01:38And for some reason for me, I've gone on on that interest in the new music,
01:44the undiscovered, the underground, and seeing it, nurturing it, really.
01:49The length of her life, she's been on the radio, four decades,
01:52and she's still down, she's still cool with it.
01:54She's a legend, man.
01:56She gives a lot of people breaks,
01:57and she's got the spirit that she's always stuck with the music, you know.
02:00She's into what she does, and she's not in any way like a celebrity DJ, is she?
02:05And, you know, she's here for the music, she loves what she does.
02:09I, unfortunately, was not born with a great singing voice,
02:13which is the more embarrassing if your name is Nightingale.
02:15And I certainly didn't feel confident enough to become a professional musician,
02:22much as I would love to have done it.
02:24And so that's how becoming a DJ, appreciating music,
02:28playing it, huge enthusiasm for it,
02:31and wanting to spread the word to other people,
02:33that is how this job happened.
02:37It's actually like being on the phone.
02:40Being on the phone to your friend and saying,
02:43I just heard this great tune, I'd love to play it to you,
02:45I want to play it down on the phone to you, have a listen, see what you think.
02:49You've got to be honest to yourself.
02:51I don't play anything I don't like.
02:54You know, you play a tune until it's peaked.
02:57If it's going to be something that's in the charts,
02:59then as soon as it's peaked in the charts, then you don't play it anymore,
03:02because you've got all these other tunes going,
03:05please play me.
03:08If you have a radio show, or if you have a music column
03:11in a magazine or a newspaper,
03:14then you'll be deluged, inundated.
03:16Everyone wants a review,
03:18or everyone wants airplay.
03:21My role is just the conduit,
03:25get the good music out there.
03:28So on what basis do you choose what to listen to?
03:31I can't tell you that.
03:32If it gets some kind of emotional response from me,
03:35that is what you want.
03:36Now what makes an emotional response is very difficult to say.
03:39As John Peel rightly said,
03:42I just want to hear something I haven't heard before.
03:45We're never off Tuesday.
03:46I'm at home, I've got, you know, one set up in the kitchen,
03:49my deck's in the living room,
03:52and then laptop on my bed or something.
03:55So I've got all these different tunes,
03:57all poised to listen to,
04:01simply because I want to get to hear everything.
04:04Getting played on the radio in the days pre-internet,
04:08getting played on the radio was your bread and butter.
04:10That's the only way that people could really hear you,
04:12apart from playing gigs.
04:13And so getting support from specialist DJs
04:17who would play something that wasn't in the charts,
04:19Annie and John Peel broke so many bands.
04:22They were kind of our only real voice.
04:24She was a great help to Primal Scream in the early days,
04:26and she's always championed us,
04:28and she's a love, you know, for doing that.
04:32A tune that hasn't got a plugger behind it,
04:36or hasn't got money behind it to promote it.
04:39This is somebody at the beginning of their career
04:40they can't afford to have.
04:42They haven't even got a record deal,
04:44they haven't got a big label behind them.
04:46How is that going to get played?
04:47Who's going to play that?
04:49And so that's why the evening DJs on Radio 1
04:52were much more likely to give those tunes an airing,
04:56because they weren't playlist material, possibly,
04:59and that's where I've always been.
05:01The first time I can remember
05:02was when the Stone Roses played at Alexandria Palace,
05:05and just after the gig,
05:07we were on this, like, fire escape,
05:08having a crafty smoke,
05:11and we saw her go meet you to the cross
05:13with Stuart Copeland out at the police,
05:15and I think I give him a bit of cheek or something,
05:18and I got a good laugh out of her,
05:19but she's always been around
05:20and always been very supportive,
05:22and she's a great lady.
05:23She is the grand dam of Radio 1, man.
05:25This thirst for the new,
05:38it's something that came from deep inside me,
05:40probably connected with my childhood.
05:44Growing up in this post-World War II environment
05:49was not at all a bad thing.
05:53Obviously, you only have one childhood,
05:55so I couldn't compare it with anyone
05:57who's grown up in any other era.
05:59To me, it was not a bad thing.
06:01It was very exciting,
06:03because it was a bit like having bonfire night every day.
06:09Obviously, people had suffered terribly,
06:11but you don't realise that as a small child.
06:14I didn't know any different.
06:15It didn't bother me in the slightest.
06:17It wasn't just for me.
06:22It was like that all over the UK.
06:26Growing up in Liverpool,
06:28can you remember what the landscape was like?
06:31Places we would play, we called bommies.
06:34So we're going down a bommie, you know,
06:36and then only later you realise
06:38you're talking about a bomb site,
06:39and then that still didn't click.
06:42It was only later you thought,
06:43oh, there was a house there and a bomb destroyed it
06:47and now we're playing football on it.
06:49One of the other things I remember
06:50is you'd see what I now realise
06:52was servicemen coming back from the war
06:56with shell shock.
06:59You'd see guys walking down the street
07:01and they'd be sort of twitching
07:02and you'd say, you know, what's that?
07:04What's up with him?
07:06And the grown-ups would say,
07:07that's shell shock, you know.
07:09When I was growing up,
07:10all my relatives were talking about
07:11the wars that they'd been through
07:13and I thought, I don't want this to happen again.
07:16I don't want to go through what they went through.
07:18I do remember once talking to my dad
07:21and this is probably why I asked the question.
07:25I said, do people want peace?
07:27And he said, yeah.
07:29He said, people everywhere want peace.
07:32He said, it's the governments that screw it up.
07:37The 50s, now considered dull and austere,
07:40that I found really exciting.
07:43Mainly due to the sounds coming out of the family radiogram.
07:49The radiogram that I remember growing up with
07:53was the kind of focal point of the room
07:56and it was from there that this music came out.
07:59The first memories I had were violins making me cry
08:12buckets and it still does.
08:15I'm terrified.
08:16You know, things like symphonies and symphony orchestras,
08:19I have to run away because it affects me so much.
08:22I don't know why and it still does.
08:24As soon as, you know,
08:33the kind of remnants of World War II had gone,
08:36we're in the space age.
08:37This was very, very new and exciting.
08:46And also, this was beginning of things like
08:48the BBC Radiophonic Workshop
08:50and strange sounds coming out of the radio
08:52which were not conventional music
08:55and were not orchestras or popular music
08:58or crooners or whatever.
08:59It was like, what is this?
09:01I was obviously very, very open
09:08to all these sounds
09:10and I still am.
09:13And I guess that's why I end up doing what I do.
09:20The rebellious and independent streak I'm known for,
09:24I'm still really not sure where that came from.
09:26I was not approved of at school.
09:32I mean, looking back on it,
09:33possibly it did build that sense of independence,
09:37independent girls-only school.
09:39It didn't encourage this very left-field,
09:42weird, raver person.
09:43Gonna keep a-shakin', gonna keep a-movin', baby,
09:46don't you grab my stock and I'm a real wild child.
09:49When I was 17, despite my parents' wishes,
09:52I was hell-bent on doing a journalism course.
09:54I think it was the movies
09:57that was my other great passion,
09:59you know, as a youth was going to the movies.
10:02And it was something like Roman Holiday
10:03in which a journalist was having a really good time
10:07and I think I thought,
10:08well, that looks like a really exciting life.
10:10You're running around in sports cars
10:12and you're going, hold the front page
10:14and you're on the phone
10:15or you're, you know, chasing criminals,
10:17whatever, exposing corruption.
10:18It was purely Hollywood fantasy, I suppose,
10:22of what I thought a journalist would be.
10:24Come on, baby, that's a good time, bro.
10:28It was a growing-up process.
10:29It was as much, you know, a year of leaving school
10:32and, you know, experiencing the big, wide world,
10:35which I desperately needed to do.
10:37One of the interesting parts about this college
10:40was that every Friday there would be a get-together
10:42in the main sort of hall of the Polytechnic on Regent Street.
10:48It was like a disco, really.
10:50The music wasn't all that great
10:53because this was just pre-Beatles
10:55and it was things like Bobby V,
10:58rubber ball bouncing back to you.
11:02It was not a very good period of music.
11:04and I would notice that in one corner
11:08there was this very cool gang
11:11and they were the art school.
11:14These people looked amazing
11:16and I thought, I'd like to be friends with them
11:19and it took a whole turn,
11:22I mean, which was a lifetime in those days.
11:24I was only doing a one-year course
11:25to be accepted by any of them.
11:32Meeting these art students changed everything for me.
11:35They opened the doors to a whole new world,
11:38from beat poetry to French New Wave films.
11:45That became the Beatles' world.
11:47The art school thing was a very important phenomenon.
11:52I think it allowed kids like us
11:55to think more freely
11:57than we'd been encouraged to think to that point,
12:01which is like one of the points of art school.
12:04You know, you look at a thing
12:05and you're going to make an abstract painting of it
12:08or a figurative,
12:09and it frees your mind up.
12:13We'd kind of cobbled together this identity,
12:16which was happening anyway amongst the youth.
12:21You know, there were like millions of art students
12:23who were kind of looking like we look.
12:30My father brought me a little,
12:34I'm sure he wished he hadn't after,
12:36this very small white,
12:39I guess it was called Bakelite radio,
12:42which now I had to also myself,
12:44I didn't have to share this musical choices with my parents,
12:47I could have whatever I like.
12:49And that's when one found Radio Luxembourg.
12:51You ain't nothing but a hound dog girl
12:53You're crying all the time
12:55Well, you ain't never caught a rabbit
12:59and you ain't no friend of mine
13:01Goodness, grace, just great balls of fire
13:04This was the opening into this world,
13:07this completely different world of different music,
13:10which was for teenagers
13:11This generation who were not children
13:17and we weren't adults
13:19and it was incredibly exciting.
13:25And years later, you know,
13:26you hear from The Who
13:28and the Rolling Stones and the Beatles
13:30that they were also listening to Radio Luxembourg
13:34and that's what brought us all together
13:37Elvis appeared,
13:40Little Richard, Buddy Holly, Jerry Lee, Lewis
13:43and all these people we loved
13:44and that was the big shockwave
13:47That was it, it was like
13:51Through all these little influences
14:13the whole generation was going through a change
14:16and so that positioned us
14:18that we sort of came on the scene
14:20and everyone just looked and went
14:22Yeah, I could do that.
14:30Shortly after my one year as a student
14:33and I became a journalist
14:37and met somebody who was married
14:41we ran away to Brighton
14:43Love, love me too
14:45You know I love you
14:48When the whole beat boom happened
14:52all the bands like the Beatles
14:55they all came to, they toured endlessly
14:57that's how they had to, they had to get known
14:59and so of course they came to Brighton
15:00and I by then had got a job on the local newspaper
15:04and I got to interview anybody I liked
15:08When I saw the Beatles the first time
15:12I clicked, I thought, I know these people
15:14I sense I know these people
15:15they were all like the art students I knew
15:17and I said, famously I was told
15:20that I launched my career by insulting John Lennon
15:23which is not strictly true
15:24but I just said, oh you're the difficult one
15:26and he went, you know
15:27and it caught his attention
15:28Going to cover a pop concert
15:38or do an interview with a pop star
15:40for some journalists
15:41might have just been part of the job
15:43and they'd be going, yeah, okay
15:44so what's your name, John George
15:46and they would just, that would be that
15:48I was obviously insanely excited about all this
15:51and to have the chance to meet them
15:53and was, you know, I was a fan
15:55I felt that rapport because
16:02it was an echo of, you know
16:04the people I'd met
16:06the art students I'd met particularly
16:08with that attitude
16:09and that kind of really irreverent attitude
16:13that you had not had that
16:15in show business before
16:16Although I was still living in Brighton
16:22I started writing music reviews
16:24for London-based newspapers and magazines
16:26I see a red door
16:28and I want it into black
16:31I started working in Fleece Journal
16:33and National Paper
16:33and I have a column in the
16:34now-derided Daily Express
16:38and another paper
16:40which doesn't exist anymore
16:41called the Daily Sketch
16:41so I became the pop columnist
16:43There weren't music journalists really
16:45apart from those at NME
16:47and Melody Maker
16:48but working on sort of
16:50local and national papers
16:52there weren't really people who specialised
16:53because it had only just begun
16:55I was excited by
17:00That Was The Week That Was
17:01by Satire
17:02by Private Eye
17:03Peter Cook and Dudley Moore
17:05Beyond The Fringe
17:06that was all part of how
17:08society was completely changing
17:10and the Beatles were the musical reflection of that
17:14and they just reflected this groundswell
17:17of change and excitement
17:18that this young generation were bringing
17:22also it didn't matter what background you came from
17:25it didn't matter if you had a working class accent
17:30in fact now it was suddenly deemed to be brilliant
17:33to come from Liverpool
17:33a lot of things were possible
17:39and they were possible for young people
17:42who hadn't had good education
17:43that's why it's so important
17:46social revolution opened up the world
17:48to a lot of people
17:50and the opportunities just got in there
17:51and got on with it
17:52I felt I had to contribute something to this
17:57because you could feel it was changing
17:59it was changing everything
18:00part of this social revolution that was happening
18:03so it was happening in television
18:05and it was happening with music
18:08but we still had the BBC
18:12who were not keen on all this pop music
18:21and then along came a pirate ship
18:27playing pop music in international waters
18:29so therefore not restricted by any British laws
18:32we're going to do the thing right here
18:35with the Emperor Roscoe on Caroline South
18:37along with Radio Caroline
18:40other pirate radios also broadcast
18:42from international waters
18:43I mean it's a brilliant idea
18:46they changed everything
18:47because they were playing brilliant
18:50I mean great tunes all day long
18:51wonderful radio London
18:55Luxembourg it was only I think on in the evenings
19:03or something
19:03but this was all day long
19:05and it was a sort of American style radio
19:07and it was helping all the young music
19:12it was just another part of this youth revolution
19:15that was affecting all areas
19:17and it was just hugely enjoyable
19:19and it was just a feeling
19:19that you could do anything you wanted to do
19:21the opportunities were there
19:23go on have a go
19:35you may well be able to do it
19:36don't be afraid to try something
19:37the opportunities were there
19:40the first opportunity I had to do a bit of radio
19:47was actually a little unmanned studio
19:50inside the Royal Pavilion in Brighton
19:52which may still be there
19:53and it was sort of automated studios
19:56there was nobody else there except me
19:58and I had to put these headphones on
20:00and then somebody would speak to me
20:01who was in Bristol or somewhere
20:03and once I started doing it
20:05it felt great
20:06I thought this comes naturally to me
20:09having seen Broadcasting House every day
20:16when I was at Regent Seek Polytechnic
20:19I never imagined
20:20that I would end up working there
20:23because it was this kind of
20:25part of the establishment
20:26then again I couldn't really see myself at sea
20:32with the pirates either
20:33but then they got shut down
20:35and the BBC started their own pop station
20:37Radio 1
20:39in 1967
20:39Radio 1
20:42good time music
20:43right
20:44right
20:45right
20:46and it is
20:48three minutes past the hour of one o'clock
20:49on a Monday afternoon
20:51Radio 1 had begun
20:52and there were
20:53it was all male
20:54and I was quite
20:56more than shocked
20:57to hear that
20:57no no no women
20:59this joke is a husband substitute
21:00this is what they said
21:02I couldn't believe this
21:03and therefore
21:05they don't want women broadcasting
21:07there's nothing you can do that can't be done
21:10this is ridiculous
21:12what was so special about this pop radio station
21:15that it could not
21:17you know it had to be male only
21:19I just didn't get it
21:21I couldn't understand it
21:21it didn't make any sense to me at all
21:23by now I was coming
21:24becoming quite a feminist
21:25I had a column on Cosmopolitan magazine
21:27I was quite
21:29felt quite strong about
21:30feminism generally
21:31and so I couldn't understand it
21:34so I'd write attacking
21:35attacking them
21:36and so eventually
21:37I think they thought
21:38we'll have to have one
21:41who do we know
21:43and so I became the token woman
21:48then they went
21:51can you work a desk
21:52and go
21:53what do you mean
21:55what do you mean
21:56work a desk
21:56what does that mean
21:57and
21:58because I hadn't thought about that
21:59I thought you know
22:00you speak in the microphone
22:01somehow the music
22:03just gets played
22:03and that's it
22:04but
22:05there's a whole
22:06technical
22:06aspect of it
22:08which was actually
22:09far more
22:09that was intimidating
22:10because you have this
22:11whole
22:11like a
22:12like a recording studio
22:13all these failures
22:14and thinking
22:15I don't know
22:16how that would work
22:17and this was the big problem
22:18and then the very first
22:20show I did
22:21I stopped the record
22:22that was actually being broadcast
22:23because I thought
22:24I'll do something useful
22:25we were half
22:26doing the desk
22:28half me and half the producer
22:29so I thought
22:30oh well that's just
22:31going round and round
22:31why don't I just do something useful
22:33stop it
22:33and let it stop
22:35but it didn't just stop
22:36it ground slowly
22:38to a halt
22:398 seconds of dead air
22:44which is a lifetime
22:44so that was quite
22:45that was quite a tough look
22:47burning curve
22:47my first show at radio
22:51one after the sort of tryouts
22:53was kind of
22:54in the middle of the afternoon
22:55and there were very
22:56great restrictions
22:57on playing records
22:58it was called needle time
22:59so we had nothing like
23:01you have today
23:01when you have a pop station
23:02playing music
23:0424 hours a day
23:05that didn't exist
23:06there were very strict rules
23:07about it
23:07so other hours
23:09were given to
23:10it was a loophole really
23:12so it was like
23:13reviewing records
23:14so because I'd been
23:15and they said to me
23:17at one point
23:17the only reason we've
23:18accepted you here
23:19is because you're a journalist
23:20so not really a proper
23:22DDo
23:23I was a journalist
23:24who'd been allowed in
23:26but it made that
23:27meant that I could
23:29I could do a show
23:31where we would play
23:32new records
23:33and say
23:33this is a new one
23:34by whoever it was
23:36and it's on this label
23:37and the number is
23:38so and so
23:39rather than you're going
23:40hey everybody
23:41have a good time
23:42bang bang bang
23:43you know
23:43it was a device
23:45so we could fill the airways
23:48with more new music
23:49in certainly in the UK
23:53certainly Radio 1
23:54you're either a specialist DJ
23:57who plays music
23:59of your own choice
24:00you bring the music with you
24:01or you're a daytime presenter
24:04who plays the playlist
24:06and you don't have
24:07any free choice
24:09or very little
24:09whether they intended me
24:11to be a daytime DJ
24:13I don't know
24:14because Radio 1
24:16was still relatively young
24:18but I noticed
24:20that people on in the evening
24:21were able to play
24:23more adventurous music
24:25so I said
24:25I want to be on in the evening
24:27and they went
24:28oh okay then
24:29because it seemed to me
24:30that you were more
24:31again underground
24:33you could play more
24:34underground music
24:34there was still
24:42a very
24:43chauvinistic attitude
24:44and in those days
24:46there'd be an engineer
24:46through the glass
24:47and so
24:48they could talk to me
24:50on the talkback
24:51and they'd be going
24:51oh this is rubbish
24:52isn't it
24:53and these are all tunes
24:54that I've personally chosen
24:56so I thought
24:56it was an insult
24:57to the music
24:58it would drain you
24:59any confidence
25:00that you were building
25:01I was years and years
25:02of that
25:03but it took me
25:03a huge amount of time
25:05I didn't have any problem
25:06with talking
25:07about the music
25:09or any of that
25:10but it was a technical side
25:11it was this whole
25:12I had this
25:12a woman driver complex
25:14and the feeling
25:14that they were waiting
25:15for me to make
25:16some very big mistake
25:17and of course
25:18people made mistakes
25:19it didn't matter actually
25:20then television
25:25started exploding
25:26and we had
25:27a programme
25:28called Ready, Steady, Go
25:29which is one of the best
25:30pop music programmes ever
25:32and the editor of it
25:35is Vicky Wickham
25:36who is also managing
25:38a very close friend
25:39of Dusty Springfield
25:39one Sunday night
25:41literally on an impulse
25:43I thought
25:44I should really go
25:45and see Dusty Springfield
25:46at somewhere called
25:48the Isolde
25:49in North Street, Brighton
25:50Anyone with her heart
25:52will take me
25:54in his arms
25:56and love me too
25:57Went to interview
25:59in her dressing room
26:00Dusty said to me
26:02oh this is Vicky Wickham
26:03I went
26:03oh really
26:04she went
26:04we're starting to do
26:06a new show
26:07and we're looking
26:07for a presenter
26:08would you be interested
26:09and that became
26:10my first TV series
26:12it's all live
26:14there's no recordings
26:15of it exist
26:16and it was called
26:17That's For Me
26:17so now I'm in another world
26:19and I'm going to
26:20ready to go
26:20every week
26:21and you all go out
26:23to a meal artist
26:25and then you all go
26:25to the Ad Lib Club
26:26and there's the Stones
26:27and the Beatles
26:27and Michael Caine
26:28everyone all around you
26:30and it's suddenly
26:30in the midst
26:32of this extraordinary world
26:34the end of the 60s
26:38and the end of the Beatles
26:39felt very much
26:40like the end of a chapter
26:41when the Beatles broke up
26:47everyone was looking for
26:48who would be the band
26:49who replaced the Beatles
26:50and then I realised
26:51it wasn't a band
26:53it wasn't a band at all
26:55it was David Bowie
26:57ground control
26:59to Major Tom
27:01I'd been to see him play
27:03at the Dome in Brighton
27:04he sat on a wooden stool
27:05and he sat wearing
27:06a pair of jeans
27:07and a white shirt
27:08playing acoustic guitar
27:09he was magnetic
27:11he could not take
27:12your eyes off him
27:13and I thought
27:30this guy's the future
27:31that was always what
27:34the music's always been about
27:35change
27:35you've got to do something
27:37that sweeps away the past
27:39suddenly this androgynous look
27:52and blokes
27:53very thin blokes
27:54but dyeing their hair
27:55bright colours
27:57wearing make-up
27:58which a few years
27:59would have been unthinkable
28:01David Bowie was part of
28:07a great art movement
28:09he was very involved
28:10with art on many levels
28:11you know
28:12he was the man
28:12and then he took
28:14this whole generation
28:14with him
28:15that became
28:18the 70s
28:20you're dirty and sweet
28:22clack, clack
28:24don't look back
28:25and I love you
28:26you're dirty and sweet
28:28oh yeah
28:30get it on
28:33bag of gold
28:35Mark Bowie
28:37he and Bowie
28:38we were very very close
28:39and you know
28:41what he's called
28:42glam rock
28:43was actually quite a short period of time
28:45he was a very good friend
28:48I remember him saying that
28:49they had to shorten the name
28:51of Tyrannosaurus Rex
28:52to T-Rex
28:53because they thought
28:54that radio DJs
28:55wouldn't be able to pronounce it
28:56that's what has kept British music
29:05so exciting and refreshing
29:07because someone comes along
29:09and changes it all again
29:10and we seem to welcome those changes
29:13which I don't think necessarily happens in other countries
29:15the 70s not only gave us glam rock
29:18but rather more dubiously
29:19prog rock
29:20and bundled up in that
29:23mainly regrettable genre
29:25was King Crimson
29:26still special to me today
29:28this album arrived
29:31with an extraordinary cover
29:36which was really quite scary
29:38it was like a troll
29:39or something out of Grimm's fairy tales
29:42I was absolutely transfixed by it
29:51and I was so excited
29:52I thought I've never heard anything like this before
29:54I remember the next day thinking
29:56I want to put it on
29:57first thing as soon as I woke up
29:59to see if it's still as good
30:00as it sounded the night before
30:02and it was
30:03so then I was a passionate follower
30:08of this band
30:09and I became very friendly
30:11with Robert Fritt
30:11who's the main protagonist
30:13you know that band was very
30:15very important to me
30:16and I became very evangelical about them
30:19because I could hear things
30:20I had not heard anywhere before
30:23that's what you're always looking for
30:30I just want to hear something
30:31I haven't heard before
30:32and that was certainly true of them
30:36it's quite interesting that Kanye West sampled 21st century schizoid moments I absolutely love
31:00and I've brought that back to life
31:01that sort of spans the areas between the two to me very brutally
31:10do you want to go on to punk now brilliant
31:12do you want to go on to punk now brilliant
31:17I think one of the reasons punk happened was because of the pump
31:35rock
31:43self-indulgent pretentious long long awful boring long guitar solo
31:53self-indulgent pretentious long long long awful boring long guitar solo
32:00Guitars solos.
32:09Mais quand vous avez le point
32:11où vous avez Rick Wakeman
32:14qui fait des shows de l'ice.
32:18C'était vraiment ridicule.
32:23C'était quand je pense que tout le monde était en off.
32:26Sous-titrage Société Radio-Canada
32:56a whole generation comes rushing through.
33:02How do you shock people?
33:04You know, the Stones had done urinating against walls
33:07and, you know, would you let your daughter go out
33:09and all that, they'd shock one generation.
33:12It was now quite difficult to be shocking
33:14because it had all been done.
33:15How do you, what can you do now?
33:17There's no future
33:19We're also into
33:23a very difficult time
33:25for most people
33:27financially.
33:29The 70s, it was miserable.
33:32You know, music reflects what's happening.
33:34There's no future for you
33:36that I did the queen
33:39We made it mad
33:42We're out of our queen
33:45God's
33:47With the Sex Pism, I mean,
33:49you kind of needed to have
33:51more than one band
33:52to create a movement
33:54So, you know, we had the Sex Pism, the Clash
33:56and many, many others.
33:58The Clash stood for incredible defiance.
34:10I mean, there were,
34:12there were always,
34:13there were always,
34:13there were always,
34:13there were always thought
34:13something that Joe Strummer,
34:15son of Diplomat,
34:16how could he have the proper
34:18working class credentials
34:21that you were supposed to have
34:23if you were going to be
34:25a credited punk band?
34:27But they were coming out
34:28with incredible, incredible music,
34:31incredible gigs.
34:32I mean, they were amazing
34:33to see them live
34:35and that they,
34:36they were very much,
34:37that was what they were about,
34:39I think, with live.
34:40but had that kind of call to arms.
34:47You know, they captured
34:48that, that voice of the nation.
34:53Co-founding member of the Clash,
34:55Mick Jones represents that generation.
34:58I joined him in West London
35:00where he was rehearsing
35:01with the newly reformed
35:02Big Audio Dynamite
35:03to find out what has fed
35:04his musical passion.
35:10Oh, so, is this the Clash Cave?
35:14Yeah, it's a Clashopolis.
35:17Oh, it's not only Clashopolis,
35:18but it's all the other stuff.
35:20It's like a personal collection
35:23running alongside a cultural collection
35:26of all the other stuff
35:27that went alongside it
35:28and what informed it
35:30that came before it.
35:31and so I've been collecting
35:33since I was a kid.
35:38People who went to art college,
35:40not to do fine art necessarily,
35:42but just to form bands and all that,
35:44were you part of that?
35:45Well, actually,
35:46all the people I liked
35:48had gone to art college
35:49and so I knew I wanted to go to art college
35:51if I wanted to be in a band.
35:54The only reason I went to art college,
35:56to be honest,
35:56is for the grant,
35:58which I used to spend immediately
36:00on amplification and guitar strings.
36:05All the people before me,
36:08in the generation before,
36:09had all gone to art college,
36:10all the people I liked,
36:11and so I knew that was my route to music,
36:14but I only went to music,
36:15but I did fine art,
36:15and then by the end of art college,
36:19I was doing the clash.
36:21They were going like,
36:22have you done any paintings?
36:24And I go like,
36:25yeah, look at my shirt.
36:26A couple of years
36:28we've gone down
36:29and we're good
36:30My drinks are tight
36:33sitting on a treasure trove
36:35Music changes people's lives.
36:38It was so great
36:39that we went so far
36:40from a council block
36:42to untold,
36:44do you know what I mean?
36:44And that wouldn't have happened
36:47before the 60s as well
36:48because there was
36:49that class disassemblation,
36:52and that's what took us on
36:53to what happened
36:54with punk and stuff.
36:56When punk came in,
36:57it was about that
36:59anybody could do it
37:01for a start,
37:02and it was that
37:02do-it-yourself ethic,
37:04but also,
37:05if the class barriers
37:06hadn't gone down
37:07in the 60s,
37:08that wouldn't have happened.
37:10You know what I mean?
37:10So it's still connected,
37:12even though it was supposed
37:13to be the end of days
37:14and year zero,
37:16there was a big connection
37:17for a lot of us.
37:18We'd come out of that.
37:20We still studied
37:21and followed the counterculture.
37:22Baby, go, my baby,
37:24brand new,
37:25got a lie
37:26I wrote most of my best songs
37:35on the bus.
37:36You know what I mean?
37:36The rumble of the bus
37:38actually starts the tune,
37:39and then the next thing you know,
37:41it's like
37:41Janie Jones or something.
37:43It was written
37:44on the number 31 bus.
37:46I do need to kind of
37:55be able to walk around
37:56and stuff,
37:57and so I just like trying to,
37:59I try to look to the future.
38:00I always think it's like
38:01in the Second World War
38:03they had a gun
38:04that shot round corners,
38:05and I always think
38:06it's like
38:07the next thing I'm going to do
38:08if I go round the corner
38:09might be the really good thing.
38:11You know what I mean?
38:12So I try to keep
38:13looking forward,
38:15you know,
38:15in what I do.
38:16Yeah, the old ones
38:21are still the good ones.
38:23Thank you very much.
38:24Thank you.
38:26BBC was very behind
38:28with punk.
38:29I'd been playing
38:29John Peeler,
38:30obviously been playing
38:31a lot of punk
38:32on Radio 1,
38:33but, you know,
38:33it was quite hard
38:34to get that music across.
38:40At the time,
38:41the most significant
38:42music programme
38:42on television
38:43was the old
38:43Grey Whittletoe.
38:46When punk came on,
38:47the punks hated it.
38:49They wanted nothing
38:50to do with
38:51the show as it was.
38:54It was with great interest
38:55that I watched
38:55the piece of film
38:56that we're going to show
38:57in a second.
38:57It really was.
38:58I think it's an important
39:00piece of reference.
39:01Bob Harris,
39:02who'd been a presenter,
39:03an unfortunate incident
39:05in a club with one
39:06of Sid Vicious' mates
39:08and Bob's mate
39:10got glass in the face.
39:11Bit of a surprise,
39:12that.
39:14Bob went,
39:15this is not my kind
39:16of thing.
39:16It's not my kind
39:17of music.
39:18At which point,
39:19the show was
39:20hand over to me.
39:23They said,
39:23would you like to
39:24become the presenter?
39:26And I hadn't
39:26had a problem
39:26with punk.
39:27So I went,
39:28yeah,
39:28that would be great.
39:29Ladies and gentlemen,
39:31The Damned.
39:37Susie and the Banshees.
39:46The Skids.
39:50I ended up
39:51presenting the show
39:52for five years,
39:53embracing not only punk
39:54but introducing
39:55an eclectic variety
39:57of other acts.
39:58Please welcome
39:58Elton John.
39:59You're not supposed
40:04to be playing
40:04the Supertime
40:05New Orleans tonight.
40:05It's not you.
40:06No, no, no.
40:06Some other Queen's
40:07playing this.
40:08Gary Newman with me.
40:09I disconnect from you.
40:18First of all,
40:18I can remember
40:19the last time
40:20and first time
40:20I ever met you
40:21was in a hotel room
40:22and you used to say
40:23then that if any
40:24of your band
40:25were found
40:26with dope on them,
40:27they were fired.
40:28Yeah.
40:28Have you stuck
40:30to that all these years?
40:31I've bent the rules
40:32a couple of times,
40:33yeah.
40:34These studios
40:52are haunted by the Who.
40:54Let's go!
40:57Every few years
40:58there was a peak artist
40:59and this one happened
41:01through a label,
41:03through Stiff Records.
41:04Along came to me
41:05one of the greatest
41:06albums of all time
41:07was New Boots
41:07and Panties
41:08by Ian Dury
41:09and the blockhead.
41:09I could be the driver
41:11I could be the driver
41:11in articulated lorry
41:12I could be a poet
41:14I wouldn't need to worry
41:15I could be a teacher
41:17in a classroom
41:17full of scholars
41:18I could be the sergeant
41:20in a squadron
41:20full of worlders
41:21What a waste
41:22What a waste
41:25What a waste
41:28What a waste
41:31Because I chose
41:33to play the fool
41:34in a six-minute span
41:36First nine nerves
41:37Every one I stand
41:39I should
41:39One of the threads
41:41of my interest in music
41:42has been lyrics,
41:44like great lyricists
41:45and words,
41:47you know,
41:47lyrics or a line
41:48and a song
41:49that really resonates
41:50with you
41:50and that stops you
41:51in your tracks.
41:52Sex and drugs
41:53and rock and roll
41:55Is all my brain
41:58and body need
41:59This guy's a poet
42:03Purely and simply
42:04He's very, very well known
42:06Now everyone knows
42:08the songs on that arm
42:09Things like Billerickie,
42:11Dickie and Clever,
42:11Trevor
42:12They were all naughty
42:13They were always going to be
42:15difficult to play
42:16on the radio
42:17There was a B-side
42:18called Razzle in My Pocket
42:19which I got away with playing
42:20In my yellow jersey
42:22I went out on the Knick
42:24South Street, Rumford
42:26Shopping, Arcade
42:27Got a Razzle magazine
42:29I never paid
42:31Inside my jacket
42:33And a white double queen
42:35Fascinating character
42:37You know, he'd had polio
42:39He was, you know,
42:41quite severely crippled
42:42I think I didn't know
42:43the expression
42:44Raspberry Ripple
42:45before I knew Ian
42:47And to become a sex symbol
42:49Being a tiny guy
42:51with a withered arm
42:53and who could hardly walk
42:54That was quite something
42:55to achieve
42:56I remember saying to him once
42:58When did you realise
42:59that you actually
43:00had become famous
43:01and something was happening
43:01He said,
43:02When you wrote about me
43:03In the deserts of Sudan
43:06And the gardens of...
43:10I found a telegram
43:11from him saying
43:13I couldn't have done it without you
43:14or something quite amazing
43:15which, you know,
43:17as he's long,
43:18quite a long time deceased
43:20means a huge amount to me
43:22Hit me with your rhythm stick
43:24Hit me
43:25Hit me
43:26Shit I thought
43:27I'd leave a day
43:28Hit me
43:29Hit me
43:30Hit me
43:31Hit me
43:32Hit me with your rhythm stick
43:33Hit me slowly
43:34Hit me quick
43:36Hit me
43:36Hit me
43:38Hit me
43:39I do think it was
43:41grossly unfair
43:44but he,
43:45having battled with polio
43:48and then he used to get
43:50his diet of cancer
43:51he was just really,
43:51really not on
43:52Pretty disappointed for him
43:54Hit me with your rhythm stick
43:56It's nice to be a lunatic
43:58Hit me
43:59Hit me
44:01Hit me
44:02It's interesting to me
44:06that every few,
44:08maybe every few decades
44:09or generations
44:11this desire to express
44:14your music
44:15with,
44:16with really original
44:19witty lyrics
44:20the opposite
44:21of what we call
44:21Hallmark
44:22greetings cards
44:24lyrics
44:24as in
44:25everything I do
44:26I do it for you
44:27Everything I do
44:29I do it for you
44:33Lazy
44:34And I
44:36I
44:38We'll always love you
44:43Cliché rhythm
44:44We'll stay
44:47Forever this way
44:51And drones
44:52that I,
44:53I find it hard to believe
44:55that they've been number one
44:57for,
44:58for years
44:59so sometimes it feels
45:00for years
45:01I feel it in my fingers
45:04I feel it in my toes
45:07It obviously works
45:09on some level
45:10that resonates
45:11with our audience
45:12Love is all around me
45:15And I saw the feeling grow
45:18But I prefer something,
45:21you know,
45:22wittier
45:22And we have it
45:24Dear Slim,
45:25I wrote you
45:26what you still ain't calling
45:27I left my cell,
45:28my pager
45:28and my home phone
45:29at the bottom
45:30I sent two letters
45:31back in autumn
45:32You must not have got them
45:33The property was a problem
45:34in the post office
45:35or something
45:36Sometimes I scribble
45:37a dress
45:37that's too sloppy
45:38when I jot them
45:39But anyways
45:40What's been up man
45:41How's your daughter
45:42My girlfriend's pregnant too
45:43I'm about to be your father
45:44If I have a daughter
45:45Guess what I'm a
45:46Obviously it's come from
45:47hip-hop and rap
45:48which is all about
45:49words
45:50and extraordinary
45:51I mean I'm a huge Eminem fan
45:54I know you probably hear
45:55this every day
45:56But I'm your biggest fan
45:57I even got the underground
45:59that you did with Scam
46:00I got a room full of your posters
46:02and your pictures man
46:03We've had a long period
46:04of dance music
46:05instrumental music
46:06which I love as well
46:07but right recently
46:09there seems to be
46:10a great resurgence
46:11amongst what is loosely
46:15called the urban performance
46:16It's brilliant
46:17It's genius
46:18And it's only right
46:19You ain't feeling
46:20Lay it on rain
46:20And die
46:21But baby
46:21It's a fight
46:22It's in the latest
46:23I've had to live by that
46:25I've spent that
46:25Skipper just flat
46:27And I know that
46:28fool alone is ill
46:29If the next taste
46:30in your mouth
46:30Fuck a drink on show
46:31Yeah
46:32We bring the stars out
46:33We bring the women
46:34in the cars
46:35and the cars out
46:36Let's have a toast
46:37at celebration
46:37get a glass out
46:39And we can do this
46:40until we pass out
46:41I rise my
46:43I rise my
46:43I rise my
46:44I rise my
46:46I rise my
46:46I rise my
46:47I rise my
46:48I rise my
46:49I rise my
46:50I rise my
46:51I rise my
46:52I rise my
46:53Tiny Temper
46:54There'll be so many
46:55at Wrex32
46:56There's so many
46:57joining in
46:58this incredibly rich period
46:59that we're going through
47:00in the UK
47:01And there's a lot of wit going on
47:03My life's down
47:04Tearing me wild
47:05But you never catch me
47:07On the Jeremy Carl show
47:08That line was enough
47:10to catch people's attention
47:14Despite what some people thought
47:24The 70s were really creative musically
47:27Once I'd heard German electronic music
47:40To me it was like
47:42the invention of the atomic bomb
47:44You could not uninvent it
47:47I absolutely loved it
47:59But from then on
48:01there was always going to be
48:02this backlash
48:02of people talking about
48:04real instruments
48:05and thinking that synthesiser
48:07was something horrible
48:08They're not
48:09Electronic music
48:10just changed everything
48:12And I knew it would
48:13She's a model
48:15And she's looking good
48:17I'd like to take a home
48:23Craft work are
48:24fated and honoured
48:25to this day of their contribution
48:27And rightly so
48:29We accept electronic music now
48:31Totally
48:32Nobody goes
48:33That's not a real piano
48:34Or that's not a real guitar
48:36And I am amazed
48:39at the fact that
48:39a box of tricks
48:41of electronic tricks
48:42You could create that sound
48:44Why wouldn't you?
48:48It's originality
48:49To me
48:50It's what music should be about
48:51So
48:54So
48:54Woke up one morning
48:56And the beat has changed
48:57That is what causes
49:01The main changes in popular music
49:02Is when the beat changes
49:03We'd had this rock beat
49:05That'd been going for
49:0620 years
49:07Or whatever
49:08More
49:08That had come out of blues
49:10That was
49:111, 2, 3, 4
49:12Now
49:13It was
49:141, 2, 3
49:16And a 4
49:161, 2, 3
49:18And a 4
49:19It became
49:21Called Acid House
49:22You're unbelievable
49:24Oh yeah
49:25Oh yeah
49:26Several DJs
49:30Went on holiday
49:30To Ibiza
49:31And found that there were
49:33DJs in the clubs there
49:34Which stayed open all night
49:36Which was unheard of
49:38In the UK
49:39And they were mixing music together
49:41They were mixing guitar music
49:43And flamenco
49:44With Chicago house music
49:47And this became the basis
49:49Of Acid House
49:51And so they came back
49:53From their holiday
49:54As you do
49:56In your holiday clothes
49:57Thinking
49:57Oh well that was great
49:59Why can't we carry this on
50:00And so the whole
50:02Rave scene
50:03Developed
50:04You're unbelievable
50:05One of the figureheads
50:07Of this new musical movement
50:08That started in the late 80s
50:10Was Primal Scream
50:11And they came to make
50:13This album called
50:14Screamer Delica
50:15Which they put together
50:15In bits and pieces
50:17But that became
50:19One of the defining albums
50:21At that time
50:22Now this lot
50:23Were a Scots band
50:24That came to live in Brighton
50:25Who'd started out
50:27By being influenced
50:28By the Byrds
50:28Who were one of my first
50:30You know
50:31Hero bands
50:32And so we all started
50:33To hang out together
50:35They met
50:39A guy who was
50:40Running a fanzine
50:41Who was a part journalist
50:42Part all sorts of things
50:43Called Andrew Wetherill
50:44And they gave him
50:45This track that they were doing
50:47And they said
50:53Would you like to do
50:53A remix of it
50:54So he changed
50:56The whole thing
50:56And he put
50:57Horns in
50:59And he put all kinds
50:59Of things
51:00And he completely
51:00Changed it
51:01And it became
51:02Loaded
51:02Which became
51:05The tune of that generation
51:06That's
51:15Drama Scream
51:15Happy Mondays
51:17Stone Roses
51:18If we had to have bands
51:20Then they were the bands
51:21But they worked with DJs
51:22And then they would put on
51:23An event
51:24Where the DJ would play first
51:25Then they would play
51:26And then the DJ would play
51:28Till 5 o'clock in the morning
51:29And people weren't used to this
51:30At rock gigs
51:31It wasn't the thing to do
51:32You know
51:32You saw the band
51:33You went home
51:34But no
51:34No you stay
51:36And because of
51:36Everyone's Ede up as well
51:39They always stay awake
51:40Acid House was very much
51:46About colour
51:47And the main thing
51:48Was that the DJ
51:49Became the star
51:51This was a new generation
51:55Now we had this new drug
52:00Called ecstasy
52:00But the problem is
52:02Nobody wanted to outlaw it
52:04I don't think the police
52:05Wanted to do
52:05They were all a bunch
52:06Of ravers as well
52:07The 90s were actually a bit like the 60s
52:17You know exuberance
52:18Creative and very inclusive
52:20It was just a wonderful party
52:22So there's this new feeling of camaraderie and love
52:25This reminded me of the kind of 60s thing
52:30But they weren't hippies
52:31With the new heroes who were DJs
52:34Not bands
52:35New environments which were raves
52:37Or they were outside in fields
52:39Which then revived the whole idea of festivals
52:43I was in Brighton
52:45Where we had the zap club
52:47So we had that kind of north-south
52:48And in between
52:49And all around
52:50These raves were happening
52:51The government's considering
52:53Giving local councils new powers
52:55To control acid house parties
52:56On Saturday night
52:57Several policemen were hurt
52:59As they tried unsuccessfully
53:01To stop a party
53:02Going ahead near Reigate
53:03The government were furious about it
53:06A bill to ban acid house parties
53:08Has been given an unopposed second reading
53:11In the Commons
53:12The illegal parties
53:13With tickets costing up to £30
53:15Have led to running battles with police
53:17A barrage of complaints
53:19Over noise levels
53:20Drug abuse
53:20And concern over inadequate safety
53:22And fire precautions
53:23Government ministers support the bill
53:26I don't think it's stuffy
53:28Or boring
53:29To tell young people to watch it
53:31It couldn't be worked
53:34It was unworkable
53:35To me the effect of acid house
53:39Which is from what
53:411988
53:4287, 88 onwards
53:43Is still
53:45The whole effect
53:45Is still there
53:46Much more so
53:48Than punk
53:49Really
53:49And yet
53:50It doesn't seem to be recognised
53:52So that's my
53:53Personal platform
53:54This was this green mix
54:00Of Cassius
54:01I love you so
54:03The second time I heard it
54:10I thought this is genius
54:11First time I heard it
54:11I thought these squeaky
54:13Girls at the beginning
54:15I thought
54:15I don't know really
54:17I don't know
54:17But then I heard it
54:19I thought it's absolutely brilliant
54:21It's genius
54:22You've changed the music
54:24I mean are you aware of that
54:26There's a team of us
54:27We've solidified a genre
54:28We've brought a genre
54:29Like a solid genre now
54:32That I think
54:33I can't see where it's going
54:34And it's just not like
54:35It's sort of been proved
54:36It's not a fad
54:36Rhyme and dubstep
54:38And has its resonance
54:40With people like
54:41Linty Crazy Johnson
54:43Who's now recognised
54:44Very much as a sort of
54:45Godfather of dubstep
54:47And grime
54:48Scream remixes to me
54:51Are very special
54:51He puts the gaps in
54:53He's not afraid of silence
54:54You know
54:55Most people are
54:55So
54:56You know
54:57Just why everyone else
54:58Is filling it up
54:59With so much tune
55:00And so much noise
55:01And so much rhythm
55:02And so much RPM
55:04He would just make it
55:05Completely silent
55:06So here it is
55:08It's taught me
55:22Never ever to get
55:24Disheartened
55:24Because something will
55:25Come up through
55:27Up through the cracks
55:29Up through the pavement
55:30As it has just
55:32Just done right now
55:33With grime and dubstep
55:34You're going to play
55:35Coachella
55:35Tell me where the
55:37Billing is for you
55:38For Magnetic Man
55:39Yeah we're just
55:39On the same line
55:41As Lauren Hill
55:42And just under
55:43Sort of Kanye West
55:44And I can't remember
55:44Who else was headlining
55:45That night
55:46But yeah
55:47It's pretty
55:47So you're going
55:49So you're going to go through it
55:49Which is very exciting
55:50Yeah
55:51First album by
55:58Magnetic Man
56:00Went into number five
56:03In the charts
56:03In late summer of 2010
56:06I had a message on Facebook
56:09Saying oh so dubstep's gone commercial
56:11Then so what's going to happen
56:13I think hang on
56:13This is one band
56:15With that one record
56:16Going to number five
56:17So already you know
56:19They've been dismissed
56:20As having gone commercial
56:21All those youth moves
56:22That always happens
56:23So that underground
56:25Might stay underground
56:26It may go over ground
56:28You know
56:29And when it goes over ground
56:31I go great you know
56:32They're off on their journey now
56:33They don't need me anymore
56:34This now is informing
56:36What goes forward
56:37And so there'll be variations on that
56:39Now everybody is playing dubstep
56:42Because that's changed the beat
56:44See that's like
56:45Acid House changed the beat
56:47House changed the beat
56:48When that happens
56:50There's a major step change
56:52When that happens
56:53And so everyone then
56:56Who's in
56:56Well nearly everyone
56:58In contemporary music
56:59Will become involved in it
57:02Because otherwise
57:02You sound really dating
57:03Life has taken me on
57:18The most extraordinary
57:19Musical journey
57:20And I'd be fortunate enough
57:22To experience many changes
57:23Along the way
57:24I'm still passionate about
57:26Finding new talented people
57:28And I hope that perhaps
57:29I can help some of them
57:30Along the way
57:31I'm a freak really
57:34I don't understand
57:35Why the only other person
57:36I ever knew
57:37Who was like this
57:37Was John Peel
57:38Who had this passion
57:40For new music as well
57:42And as he's no longer with us
57:44I kind of feel that
57:45It's good to keep that flag flying as well
57:48As someone who's
57:49You know
57:50Of my kind of
57:51His generation
57:51I'm beautiful in the way
57:53Cause I make no mistakes
57:55I'm on the right track
57:57Baby
57:57I was born on this way
57:59Don't have yourself
58:00I don't seem to forget tune
58:09I might forget
58:09A lot of other things
58:11Friends, names and stuff
58:12But you don't forget a tune
58:14And what it is
58:15And when you heard it
58:16Baby
58:17I was born on the right track
58:21Baby
58:22I was born on this way
58:23I was born on this way
58:25I was born on this way
58:27I'm on the right track
58:29Baby
58:29I was born on this way
58:31I was born on this way
58:33I was born on this way
58:35I'm on the right track
58:37Baby
58:37I was born on this way
58:39Hey!
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