November 4, 2024 • 15 mins
The extraordinary Bob Geldof joins Jonesy & Amanda live in the studio!
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Speaker 1 (00:00):
Jersey and Amanda gam Nation.
Speaker 2 (00:03):
Forty years ago, Bob Geldoff hit the stage for one
of the largest live shows the world ever seen, and
his empathetic heart changed the world. He's coming down under
to share stories from his extraordinary life through an evening
with Bob Geldoff. We've managed to catch him in the morning.
Speaker 3 (00:19):
So Bob, hello, here he is. That's pretty extraordinary to
custom in the morning.
Speaker 1 (00:24):
Doing well.
Speaker 4 (00:25):
Quincy Jones passed away yesterday and the story I was
just watching the greatest night in pop history and you
when Quincy introduced you to explain to all those artists
that must have been so surreal. Michael Jackson, Huey Lewis,
Sydney law b Bruce Springsteen, all in that room and
you had to get their attention.
Speaker 3 (00:45):
Well to do the song.
Speaker 1 (00:46):
I mean they were the least intimidating. Let's go through
the list, Ray Charles, Smokey Robinson, got some, Paul Simon,
Bob Dylan, Willie Nelson.
Speaker 3 (00:58):
You know.
Speaker 1 (00:59):
So I'm this dufus from Ireland who's pitched up because
Michael Jackson, Lionel Ritchie and Harry Belafonte asked me to
come because we'd done band aid, and this was going
to be the American version. And it's one thing being
in a room with you know, kids like boy George
and George Michael, and they were the generation kind after me.
(01:22):
It's another walking into a room which is your entire culture,
our entire culture, in front of you. And Quincy was
sort of like the headmaster. Everyone did what Quincy said,
because he was clearly a genius anyway. But he stood
there at his rostrum. He had a sort of rostrum there,
(01:42):
like like a schoolmaster, and he banged his bathtongue like
he's conductor, everyone, please pay attention. Come on, And they're
standing there on these steps like school choir. You have
this masked talent. And he says, right, everybody, pay attention,
Dylan please. So he's doing this and he says, right,
(02:05):
you all.
Speaker 3 (02:05):
Know Bob Geldoff.
Speaker 1 (02:07):
No nobody you Bob Geldoff. So like Bob's here to
tell you what it's all about.
Speaker 3 (02:13):
Why we're here, et cetera.
Speaker 1 (02:14):
So I had to kind of go into my thing,
and it was daunting. I haven't seen that film because
I don't like watching sort of anything, but.
Speaker 4 (02:24):
Well, you convinced them. You've got two minutes, and you
convinced them they were.
Speaker 1 (02:28):
On a high because they'd come out of very very cleverly.
You know, they'd arranged it around the American Music Awards,
so they were all going to be there. And after
these shows, there's not much to do. You have, maybe
there's a pre useless party or something. So Quincy and
if Quincy summons them, you know, he produced all everything
you know that had just come off of Thriller and
(02:49):
all those records they'd come and and so that was it.
That's how he got them all there, and my job
was to sort of take them down from the party
high almost. And I'd just come from Africa. I'd just
been trolling through the horror and it was to somehow
(03:10):
if I could, in my sort of fandom, if I
could get through that to translate what I'd just seen
and to informed, And that's what they were there for,
to give meaning to that evening.
Speaker 2 (03:24):
I love the idea of sliding doors in people's lives.
You walk past your television in nineteen eighty four and
you see a news story about civil war in Ethiopia
and the millions that are dying from starvation. You watching
that story being galvanized by it. Changed Africa changed you.
Do you ever think of the sliding doors and the
(03:45):
what ifs you hadn't What if you hadn't seen that story,
so many things would be so different.
Speaker 1 (03:54):
Yeah, I didn't change Africa, but thank you for the suggestion.
Certainly what happened was There are and this is weird
and it sounds immodest to say it because it's not
down to me anyway. There are hundreds of thousands and
probably millions alive today because of watching that, coming home
(04:15):
early and seeing the news that night. In fact, I've
just come from Montreal where there's a play about all
of this called Just for One Day, which is in
the West End and it's huge, and it's opening in Montreal.
It's opening in Canada in January. And band Aid get
ten percent because we still do it every day. It
(04:36):
gets ten percent of the money. So it is there
to plug that and the I was ordering breakfast in
the room because I didn't have to get up early
too early, borning bloody radio, and the phone came through
and my wife answeredainly, says, do you mind if I
(04:58):
come up and give you your breakth It's not my job.
Speaker 3 (05:01):
I'm on the mantras.
Speaker 1 (05:02):
I said, yeah, you know, he says, I'd just like
to meet Bob if I can. I said, yeah, yeah,
come up. Anyway, this guy came up, suited, small guy.
He had been two in those fields of horror, as
I said, and his parents had died and he did
(05:23):
no idea where he came from. But he had his
sister who was four, and so the two of them
were together and they because of that record and that concert,
they were kept alive and brought up in the orphanages
that were built and stuff like that. So it came
up and he was there and I was, you know,
(05:44):
in my undies and T shirt and groggy and just
wanting my coffee. And he came over and he said,
can I give you a hug? And he just said
thank you very much for my life.
Speaker 4 (05:54):
Wow, and with your with your show that you're doing.
So this is pretty much it. Do you have a plan,
do you get up on stage or look there's so
many strong stage.
Speaker 3 (06:04):
There's so many stories. Yeah.
Speaker 1 (06:06):
I mean, next year, as I said, is full on.
It's the Rats fifty and so tours, the big festivals,
it's live aid. So the BBC are doing three one
hours then showing the concerts. CNN are doing four forty
five minutes showing the concert There's stuff happening in Australia,
but I need to park off. I need to distance
myself somewhat, even though it's every single day of the week.
(06:27):
So someone suggested, you know, stop telling us the stories
in the pub. You know, why don't you go out
and tell them because they're not known and there's so
many films. There's so much film, there's so much, so
many pictures, there's so many stories. And the only way
I can do that is by playing tunes around the story.
So you know, I'll play some of the songs you
(06:48):
just played there in the background and all those other ones,
but plus other songs that you know, relate to the
events of that life, you know, which I saw when
I came here with something these stories of an extraordinary
life or something again that sounds of modest, but it's true.
Speaker 3 (07:05):
I haven't a clue what's going on.
Speaker 1 (07:07):
I don't know what the hell happened to me, you know,
I really don't. So I've called it life WTF.
Speaker 3 (07:12):
You know, That's what I'm changing it to.
Speaker 1 (07:14):
It's a bit like your calls on WSF.
Speaker 4 (07:19):
But it's true your life is and it's almost like
a forest Gump existed in the world, like when you
look and you should watch that one night in that popcast,
I know, but you just watch it and how that
actually happened?
Speaker 5 (07:32):
How does stuff happen?
Speaker 1 (07:33):
Well, it's like, sorry, I got to think you're all
drinking water?
Speaker 5 (07:38):
Would you like to sit from our jib my water bottles?
Speaker 3 (07:40):
They've got their hydropower tin cans.
Speaker 1 (07:42):
You know, it's weird. I mean, the weirdest thing I
think was things were never great. I was growing up,
a mother died at seven. Dad's old towels around the
countryside of rural Ireland in the fifties and sixties. We
left on Monday, came back on Friday, no money, so
me and my sisters were kind of left to our
(08:04):
own devices. And you know, I didn't think was crap then.
It's only retrospectively I feel sad for that kid, you know,
but I didn't then. I was just getting on with that.
But those things tend to make you organize yourself and
independence and very dogmatic in your points of view. And
rock and roll was beginning to really happen, you know,
(08:27):
with the beatles and stuff like that. So I was
We didn't have money, so we didn't have a telly
or a fridge or a phone at that so the
only thing we had was a radio. No one at
home to make me do homework. I read the books
from the school library, went into school. Didn't understand why
they were allowed to beat me. Yes, there was no
authority at home.
Speaker 3 (08:43):
I didn't.
Speaker 1 (08:44):
I never grew up with that understanding of the parameters
within which you must live your life. And then I
bumped into the police and that wasn't good. And you know,
so all the time is this authority thing, And the
only way out, really inevitably retrospectively, was going to be music.
And then what do you do with that? So fame
(09:05):
as a currency, it's like any type of currency, how
do you spend it?
Speaker 3 (09:09):
And arsa.
Speaker 1 (09:10):
We came in the punk period, the rats we want
to Change. All the songs were about that. So when
I saw something that was put any problem I had
into a towering, pathetic perspective. Then luckily I could write tunes.
I was in a band, I had mates in rock
and roll, and this required something of the self rather
(09:32):
than putting a quid in the ox Vam Bucket or something.
I could write a tune, it's guaranteed to be a hit.
If the stars of the moment do it so one
thing for the other one night, then that becomes a phenomenon.
Millions are raised. I thought we'd get one hundred thousand
one night Harry Belafonte and Michael Jackson Corby.
Speaker 3 (09:51):
That's not normal.
Speaker 1 (09:53):
And Harry Belafonte, for those who don't remember him, was
a hero to me. He was this beautiful black man,
the first black guy to have a networked American television show.
They didn't notice he was black because he was so pretty,
like Tally really. And he also took slave songs from
the Islands. Come mister Talley Man. You put them number
one of the charts, but nobody knew they were slave songs.
He was a Marxist and he backed this young preacher,
(10:16):
Martin Luther King. When Martin Luther King was a kid,
he took Frank Sinatra to the Southern States to say,
this is why there aren't black people in your audience.
Speaker 3 (10:23):
And Frank wouldn't play anymore if there weren't black people.
Speaker 1 (10:26):
This guy was a dude. And so when Harry Belafonte
calls me, goes, is there, Bob Gildwarf And I say yeah,
and he goes, We're fucking embarrassed by what you grit
kids did. I said, I'm Irish, Harry, same thing, so
much from Marcus dialectic so and then he goes.
Speaker 3 (10:44):
I got Mike clear, Hi, Bob, you know. So so Michael.
Speaker 5 (10:48):
Was there, Harry Bellafante and both on the same fight.
Speaker 3 (10:51):
So I'm going to follow him. I Missy, I'm going.
Speaker 1 (10:55):
She's sort of jumping up and down, and she says,
come over, We're we're going to do your thing. Come
over and you know, help us.
Speaker 3 (11:03):
So I did.
Speaker 1 (11:03):
And then it was logical, you know, put these two
things together. The Canadians did theirs. Brian Adams wrote a tune,
and Neli Young and Joni Mitchell showed up in the
taxi and did it. The French did their thing chan
Sansan Fontier. The Germans mentioned, for mention the Dutch that
so I just thought, bang them all together and make
a concert. There must be enough satellites, there has to be,
(11:25):
you know, to speak to everyone.
Speaker 3 (11:28):
And so one thing follows the other.
Speaker 1 (11:32):
But the biggest what did you call a passing window
sliding sliding the biggest one.
Speaker 3 (11:37):
I talked to my mate, who's here with me? Come back.
Speaker 1 (11:42):
I was thrown out of Canto. I was an illegal
and I was working on the underground newspaper there and
become a bit of a smart ars, you know, my
name was getting around by things, and the Mounties got
their man and threw me out.
Speaker 3 (11:53):
So I went back to Arn.
Speaker 1 (11:54):
I was going to apply for full citizenship, you know,
because I loved in Vancouver. And one day I was
so bored it wasn't happening spring evening. I decided I'd
go to the pub. Now I never went to the
pub and there and I just didn't like pub life.
You know, people talked up a night and then there's
closing time. The ideas evaporated. There was nowhere to go anyway,
(12:16):
it was zero economy. So I decided i'd walk just
in a lovely spring evening, I walk along the rail
cuttings to the village beside where I lived in Donelearly
sat Dublin called glass Hoole, and I went to a
pub I wouldn't anyway normally go to. And I walked
in and there were two guys from down the road
and they were talking about starting a band with an
acoustic guitar and upright piano. I was just saying, if
(12:39):
I'd been five minutes later, you know, i'd have walked in,
been by myself, had a pint, gone home. If I
decided not to go to that unusual pub and that
unusual town, any decision there was slightly left or right
of that. Then you don't get the band. You don't
get the hits, you don't get the stadiums, you don't
(13:02):
get the live age, you don't get you don't get this,
and you don't get you don't get a lot of
people alive. That's that's the weirdest thing, you know. And
I woke up this morning again to eleven ten emails
describing the new horrors in the Sudan. I mean, we're all,
we're all stuck with Ukraine and Palestine, but what's going
(13:22):
on there is unbelievable. So it's you described it already
and talking about Ethiopia eighty four, but over there it's grim.
So bandaid goes on and we do it every day,
and I do the music every day, and then I
just need a break. I need to sort of almost
download it and see it in context. So that's why
I'll be pitching up here in March in April.
Speaker 4 (13:44):
Well, you're going to take a breather, that's what it is, Bob.
We could talk to you all day. I will give
you a horse for a Melbourne cap.
Speaker 5 (13:50):
Can we do that? Are you?
Speaker 3 (13:51):
I'm going?
Speaker 5 (13:51):
You're going? So we're giving I've got our horse for Sabob.
Speaker 1 (13:55):
What are we going to do?
Speaker 2 (13:56):
You were going to give you the map with the
map likeweet.
Speaker 4 (13:59):
Well it's fifty one dollars and likes Flemington. But I
just don't think he's going well enough. This preparation, this.
Speaker 3 (14:07):
Preparation, I don't know.
Speaker 5 (14:08):
That's what That's what the saying. That's what the pandas
are saying.
Speaker 1 (14:11):
Don't give that horse talking to Okay. So we used
to have this Spanish teacher priest, and he'd come in
every day to Spanish class and I'd say, Geldof, get
up and do your declensions. And I'd say me, Corathon.
He'd say, what me, Carrathon, father? What's wrong with your voice?
Speaker 3 (14:30):
Nothing?
Speaker 1 (14:31):
He goes, why are you saying, Carson? But they say
Corrathon and Spain, father, We're not in Spain, Gelda, We're
in Ireland and so on Wednesdays he'd say, sit down,
sit down, open your open your copy books. We open
our stays, now take it down. The three o'clock at
Doncaster looking good, you know, five to one, so on so,
(14:52):
and he'd give us tips and on Friday we'd have
to report whether we'd want or not, you know, like
other thing. So that was the education I received.
Speaker 3 (14:59):
Card.
Speaker 5 (15:02):
It's been an education for us.
Speaker 4 (15:03):
The tickets to see Sir Bob Geldoff go and sale
today our Thursday at TEG Dainty dot com.
Speaker 5 (15:09):
Sir Bob, thank you for joining us.
Speaker 3 (15:11):
Thanks guys, pleasure
Jersey and Amanda gam Nation.
Speaker 2 (00:03):
Forty years ago, Bob Geldoff hit the stage for one
of the largest live shows the world ever seen, and
his empathetic heart changed the world. He's coming down under
to share stories from his extraordinary life through an evening
with Bob Geldoff. We've managed to catch him in the morning.
Speaker 3 (00:19):
So Bob, hello, here he is. That's pretty extraordinary to
custom in the morning.
Speaker 1 (00:24):
Doing well.
Speaker 4 (00:25):
Quincy Jones passed away yesterday and the story I was
just watching the greatest night in pop history and you
when Quincy introduced you to explain to all those artists
that must have been so surreal. Michael Jackson, Huey Lewis,
Sydney law b Bruce Springsteen, all in that room and
you had to get their attention.
Speaker 3 (00:45):
Well to do the song.
Speaker 1 (00:46):
I mean they were the least intimidating. Let's go through
the list, Ray Charles, Smokey Robinson, got some, Paul Simon,
Bob Dylan, Willie Nelson.
Speaker 3 (00:58):
You know.
Speaker 1 (00:59):
So I'm this dufus from Ireland who's pitched up because
Michael Jackson, Lionel Ritchie and Harry Belafonte asked me to
come because we'd done band aid, and this was going
to be the American version. And it's one thing being
in a room with you know, kids like boy George
and George Michael, and they were the generation kind after me.
(01:22):
It's another walking into a room which is your entire culture,
our entire culture, in front of you. And Quincy was
sort of like the headmaster. Everyone did what Quincy said,
because he was clearly a genius anyway. But he stood
there at his rostrum. He had a sort of rostrum there,
(01:42):
like like a schoolmaster, and he banged his bathtongue like
he's conductor, everyone, please pay attention. Come on, And they're
standing there on these steps like school choir. You have
this masked talent. And he says, right, everybody, pay attention,
Dylan please. So he's doing this and he says, right,
(02:05):
you all.
Speaker 3 (02:05):
Know Bob Geldoff.
Speaker 1 (02:07):
No nobody you Bob Geldoff. So like Bob's here to
tell you what it's all about.
Speaker 3 (02:13):
Why we're here, et cetera.
Speaker 1 (02:14):
So I had to kind of go into my thing,
and it was daunting. I haven't seen that film because
I don't like watching sort of anything, but.
Speaker 4 (02:24):
Well, you convinced them. You've got two minutes, and you
convinced them they were.
Speaker 1 (02:28):
On a high because they'd come out of very very cleverly.
You know, they'd arranged it around the American Music Awards,
so they were all going to be there. And after
these shows, there's not much to do. You have, maybe
there's a pre useless party or something. So Quincy and
if Quincy summons them, you know, he produced all everything
you know that had just come off of Thriller and
(02:49):
all those records they'd come and and so that was it.
That's how he got them all there, and my job
was to sort of take them down from the party
high almost. And I'd just come from Africa. I'd just
been trolling through the horror and it was to somehow
(03:10):
if I could, in my sort of fandom, if I
could get through that to translate what I'd just seen
and to informed, And that's what they were there for,
to give meaning to that evening.
Speaker 2 (03:24):
I love the idea of sliding doors in people's lives.
You walk past your television in nineteen eighty four and
you see a news story about civil war in Ethiopia
and the millions that are dying from starvation. You watching
that story being galvanized by it. Changed Africa changed you.
Do you ever think of the sliding doors and the
(03:45):
what ifs you hadn't What if you hadn't seen that story,
so many things would be so different.
Speaker 1 (03:54):
Yeah, I didn't change Africa, but thank you for the suggestion.
Certainly what happened was There are and this is weird
and it sounds immodest to say it because it's not
down to me anyway. There are hundreds of thousands and
probably millions alive today because of watching that, coming home
(04:15):
early and seeing the news that night. In fact, I've
just come from Montreal where there's a play about all
of this called Just for One Day, which is in
the West End and it's huge, and it's opening in Montreal.
It's opening in Canada in January. And band Aid get
ten percent because we still do it every day. It
(04:36):
gets ten percent of the money. So it is there
to plug that and the I was ordering breakfast in
the room because I didn't have to get up early
too early, borning bloody radio, and the phone came through
and my wife answeredainly, says, do you mind if I
(04:58):
come up and give you your breakth It's not my job.
Speaker 3 (05:01):
I'm on the mantras.
Speaker 1 (05:02):
I said, yeah, you know, he says, I'd just like
to meet Bob if I can. I said, yeah, yeah,
come up. Anyway, this guy came up, suited, small guy.
He had been two in those fields of horror, as
I said, and his parents had died and he did
(05:23):
no idea where he came from. But he had his
sister who was four, and so the two of them
were together and they because of that record and that concert,
they were kept alive and brought up in the orphanages
that were built and stuff like that. So it came
up and he was there and I was, you know,
(05:44):
in my undies and T shirt and groggy and just
wanting my coffee. And he came over and he said,
can I give you a hug? And he just said
thank you very much for my life.
Speaker 4 (05:54):
Wow, and with your with your show that you're doing.
So this is pretty much it. Do you have a plan,
do you get up on stage or look there's so
many strong stage.
Speaker 3 (06:04):
There's so many stories. Yeah.
Speaker 1 (06:06):
I mean, next year, as I said, is full on.
It's the Rats fifty and so tours, the big festivals,
it's live aid. So the BBC are doing three one
hours then showing the concerts. CNN are doing four forty
five minutes showing the concert There's stuff happening in Australia,
but I need to park off. I need to distance
myself somewhat, even though it's every single day of the week.
(06:27):
So someone suggested, you know, stop telling us the stories
in the pub. You know, why don't you go out
and tell them because they're not known and there's so
many films. There's so much film, there's so much, so
many pictures, there's so many stories. And the only way
I can do that is by playing tunes around the story.
So you know, I'll play some of the songs you
(06:48):
just played there in the background and all those other ones,
but plus other songs that you know, relate to the
events of that life, you know, which I saw when
I came here with something these stories of an extraordinary
life or something again that sounds of modest, but it's true.
Speaker 3 (07:05):
I haven't a clue what's going on.
Speaker 1 (07:07):
I don't know what the hell happened to me, you know,
I really don't. So I've called it life WTF.
Speaker 3 (07:12):
You know, That's what I'm changing it to.
Speaker 1 (07:14):
It's a bit like your calls on WSF.
Speaker 4 (07:19):
But it's true your life is and it's almost like
a forest Gump existed in the world, like when you
look and you should watch that one night in that popcast,
I know, but you just watch it and how that
actually happened?
Speaker 5 (07:32):
How does stuff happen?
Speaker 1 (07:33):
Well, it's like, sorry, I got to think you're all
drinking water?
Speaker 5 (07:38):
Would you like to sit from our jib my water bottles?
Speaker 3 (07:40):
They've got their hydropower tin cans.
Speaker 1 (07:42):
You know, it's weird. I mean, the weirdest thing I
think was things were never great. I was growing up,
a mother died at seven. Dad's old towels around the
countryside of rural Ireland in the fifties and sixties. We
left on Monday, came back on Friday, no money, so
me and my sisters were kind of left to our
(08:04):
own devices. And you know, I didn't think was crap then.
It's only retrospectively I feel sad for that kid, you know,
but I didn't then. I was just getting on with that.
But those things tend to make you organize yourself and
independence and very dogmatic in your points of view. And
rock and roll was beginning to really happen, you know,
(08:27):
with the beatles and stuff like that. So I was
We didn't have money, so we didn't have a telly
or a fridge or a phone at that so the
only thing we had was a radio. No one at
home to make me do homework. I read the books
from the school library, went into school. Didn't understand why
they were allowed to beat me. Yes, there was no
authority at home.
Speaker 3 (08:43):
I didn't.
Speaker 1 (08:44):
I never grew up with that understanding of the parameters
within which you must live your life. And then I
bumped into the police and that wasn't good. And you know,
so all the time is this authority thing, And the
only way out, really inevitably retrospectively, was going to be music.
And then what do you do with that? So fame
(09:05):
as a currency, it's like any type of currency, how
do you spend it?
Speaker 3 (09:09):
And arsa.
Speaker 1 (09:10):
We came in the punk period, the rats we want
to Change. All the songs were about that. So when
I saw something that was put any problem I had
into a towering, pathetic perspective. Then luckily I could write tunes.
I was in a band, I had mates in rock
and roll, and this required something of the self rather
(09:32):
than putting a quid in the ox Vam Bucket or something.
I could write a tune, it's guaranteed to be a hit.
If the stars of the moment do it so one
thing for the other one night, then that becomes a phenomenon.
Millions are raised. I thought we'd get one hundred thousand
one night Harry Belafonte and Michael Jackson Corby.
Speaker 3 (09:51):
That's not normal.
Speaker 1 (09:53):
And Harry Belafonte, for those who don't remember him, was
a hero to me. He was this beautiful black man,
the first black guy to have a networked American television show.
They didn't notice he was black because he was so pretty,
like Tally really. And he also took slave songs from
the Islands. Come mister Talley Man. You put them number
one of the charts, but nobody knew they were slave songs.
He was a Marxist and he backed this young preacher,
(10:16):
Martin Luther King. When Martin Luther King was a kid,
he took Frank Sinatra to the Southern States to say,
this is why there aren't black people in your audience.
Speaker 3 (10:23):
And Frank wouldn't play anymore if there weren't black people.
Speaker 1 (10:26):
This guy was a dude. And so when Harry Belafonte
calls me, goes, is there, Bob Gildwarf And I say yeah,
and he goes, We're fucking embarrassed by what you grit
kids did. I said, I'm Irish, Harry, same thing, so
much from Marcus dialectic so and then he goes.
Speaker 3 (10:44):
I got Mike clear, Hi, Bob, you know. So so Michael.
Speaker 5 (10:48):
Was there, Harry Bellafante and both on the same fight.
Speaker 3 (10:51):
So I'm going to follow him. I Missy, I'm going.
Speaker 1 (10:55):
She's sort of jumping up and down, and she says,
come over, We're we're going to do your thing. Come
over and you know, help us.
Speaker 3 (11:03):
So I did.
Speaker 1 (11:03):
And then it was logical, you know, put these two
things together. The Canadians did theirs. Brian Adams wrote a tune,
and Neli Young and Joni Mitchell showed up in the
taxi and did it. The French did their thing chan
Sansan Fontier. The Germans mentioned, for mention the Dutch that
so I just thought, bang them all together and make
a concert. There must be enough satellites, there has to be,
(11:25):
you know, to speak to everyone.
Speaker 3 (11:28):
And so one thing follows the other.
Speaker 1 (11:32):
But the biggest what did you call a passing window
sliding sliding the biggest one.
Speaker 3 (11:37):
I talked to my mate, who's here with me? Come back.
Speaker 1 (11:42):
I was thrown out of Canto. I was an illegal
and I was working on the underground newspaper there and
become a bit of a smart ars, you know, my
name was getting around by things, and the Mounties got
their man and threw me out.
Speaker 3 (11:53):
So I went back to Arn.
Speaker 1 (11:54):
I was going to apply for full citizenship, you know,
because I loved in Vancouver. And one day I was
so bored it wasn't happening spring evening. I decided I'd
go to the pub. Now I never went to the
pub and there and I just didn't like pub life.
You know, people talked up a night and then there's
closing time. The ideas evaporated. There was nowhere to go anyway,
(12:16):
it was zero economy. So I decided i'd walk just
in a lovely spring evening, I walk along the rail
cuttings to the village beside where I lived in Donelearly
sat Dublin called glass Hoole, and I went to a
pub I wouldn't anyway normally go to. And I walked
in and there were two guys from down the road
and they were talking about starting a band with an
acoustic guitar and upright piano. I was just saying, if
(12:39):
I'd been five minutes later, you know, i'd have walked in,
been by myself, had a pint, gone home. If I
decided not to go to that unusual pub and that
unusual town, any decision there was slightly left or right
of that. Then you don't get the band. You don't
get the hits, you don't get the stadiums, you don't
(13:02):
get the live age, you don't get you don't get this,
and you don't get you don't get a lot of
people alive. That's that's the weirdest thing, you know. And
I woke up this morning again to eleven ten emails
describing the new horrors in the Sudan. I mean, we're all,
we're all stuck with Ukraine and Palestine, but what's going
(13:22):
on there is unbelievable. So it's you described it already
and talking about Ethiopia eighty four, but over there it's grim.
So bandaid goes on and we do it every day,
and I do the music every day, and then I
just need a break. I need to sort of almost
download it and see it in context. So that's why
I'll be pitching up here in March in April.
Speaker 4 (13:44):
Well, you're going to take a breather, that's what it is, Bob.
We could talk to you all day. I will give
you a horse for a Melbourne cap.
Speaker 5 (13:50):
Can we do that? Are you?
Speaker 3 (13:51):
I'm going?
Speaker 5 (13:51):
You're going? So we're giving I've got our horse for Sabob.
Speaker 1 (13:55):
What are we going to do?
Speaker 2 (13:56):
You were going to give you the map with the
map likeweet.
Speaker 4 (13:59):
Well it's fifty one dollars and likes Flemington. But I
just don't think he's going well enough. This preparation, this.
Speaker 3 (14:07):
Preparation, I don't know.
Speaker 5 (14:08):
That's what That's what the saying. That's what the pandas
are saying.
Speaker 1 (14:11):
Don't give that horse talking to Okay. So we used
to have this Spanish teacher priest, and he'd come in
every day to Spanish class and I'd say, Geldof, get
up and do your declensions. And I'd say me, Corathon.
He'd say, what me, Carrathon, father? What's wrong with your voice?
Speaker 3 (14:30):
Nothing?
Speaker 1 (14:31):
He goes, why are you saying, Carson? But they say
Corrathon and Spain, father, We're not in Spain, Gelda, We're
in Ireland and so on Wednesdays he'd say, sit down,
sit down, open your open your copy books. We open
our stays, now take it down. The three o'clock at
Doncaster looking good, you know, five to one, so on so,
(14:52):
and he'd give us tips and on Friday we'd have
to report whether we'd want or not, you know, like
other thing. So that was the education I received.
Speaker 3 (14:59):
Card.
Speaker 5 (15:02):
It's been an education for us.
Speaker 4 (15:03):
The tickets to see Sir Bob Geldoff go and sale
today our Thursday at TEG Dainty dot com.
Speaker 5 (15:09):
Sir Bob, thank you for joining us.
Speaker 3 (15:11):
Thanks guys, pleasure
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