In a warehouse, a sniper with a rifle poised Wait. President Kennedy died at 1 PM Central. I have a dream that one day, this nation will rise. Now you're John Lennon on Yes. That's right. What do you do in group, John? I play harmonica rhythm guitar. The sixties. How did a single decade move the needle so far, and in so many directions at once? Historian doctor Terry h Anderson aptly characterized this decade as an endless parade of political and cultural protests, a period
marked by seismic societal shifts. Peace in Vietnam was the basis for the London march, but many other causes and ideals were given an airing by their young champions. From the Vietnam War to the British invasion, Woodstock to the civil rights movement, and then JFK, Bobby Kennedy, and Martin Luther King Junior's assassinations, the 60s stand out as a pivotal era, a time of unparalleled transformation reshaped the fabric of Western society in ways that still
reverberate to this day. It was an era of upheaval when the status quo was challenged on multiple fronts, socially, culturally, and politically. Marginalized voices rose up against entrenched power structures. We had the civil rights movement, the women's rights movement, anti Vietnam war protests, all became rallying cries for change. For those who think that the women's liberation movement is a joke, may I disabuse you of that notion? It is about equal pay and equal opportunity in the job
market. And then the counterculture phenomena, the hippie movement, questioned traditional values and championed peace and communal living. And then we had the backdrop of cold war tensions, but the sixties also witnessed unprecedented advancements in technology and space exploration. The Apollo 11 mission's iconic moon landing symbolized not only human ingenuity, but possibly hope and progress on a global scale. It's one small step for man, one giant leap for mankind. And
creativity? Wow. Talk about a decade. I think of the music genres of arts and the mark they left on the cultural landscape. What's your real appeal to their fans, do you think? I think the appeal is mainly the same as any other pop artists. It's just they like the way you look, and they like the way you sound. That's all there was to it. Rock and roll icons like the Beatles and the Rolling Stones
redefine popular music. Folk legends such as Bob Dylan and Joan Baez use their art as a platform for social commentary. Motown brought soulful rhythms to the mainstream, and then there was psychedelic rock pushing the boundaries of musical expression with its experimental sounds and imagery. Together these musical movements reflected the spirit of rebellion and change that defined this era. And the heart of the 60s culture beats the charisma and
clairvoyance of my guest today, Prince Stache. Prince Stache is someone who lived his sixties and survived, and today he still thrives because of social media and his ability to captivate and inspire new generations. I can't tell you how endearing Lord Dylan was. Dylan cornered me and talked to me endlessly. You know, he talked at me. You couldn't get a word in edgewise, and his
mind was just popping all over the place. He performed and worked and hung out with various bands, including the Beatles, the Rolling Stones, Vince Taylor and the Playboys, David Bowie, Bob Dylan, Jimi Hendrix, and so many more who defined the swinging sixties
in London, Rome, Paris and Los Angeles. He's made him famous for his rest with the Rolling Stones founder, Brian Jones, his engagement to Italian superstar Romina Power, and for being a fashion icon launching the new romantic look that was all the rage well into the seventies. And it comes from a line of notoriety and nobility, and these are his stories. This is chatter that matters with Tony Chapman, presented by RBC. Britt Stash, welcome to Chatter That Matters. I'm honored to be your
guest, Tony. We're gonna spend some time unpacking the sixties. We're gonna talk a lot about the lessons in life you're giving the world
today. And the first question I have for you is, do you think that all you've lived, and we're gonna really understand that when I say all you've lived, has led you to this point in life where you are somewhat a modern day philosopher, a modern day Socrates that's just trying to compress the complexities of the world into these wonderful thoughts that you bring up? My secret philosophy, as I call it, is based on twin pillars. One is the innate faculty of inner
standing as opposed to understanding. And the other thing, it's ego freedom. That ego freedom means you can have a Ferrari at the door, you know, a racing Ferrari, and you the the the the ego freedom allows you to get in the the car, drive it, and park it. I love your lineage. I mean, your father was one of the most famous artists at the time, Batoos, the only living artist of his day to be in the Louvre. Your mom was an aristocrat.
When I was born during World War 2, pretty dark time, in October of, 1942, which and and I was born in Switzerland instead of being born in Paris where my parents had lived. They had left it just in time. So I was born in Switzerland and lived in these truly, truly exceptional circumstances. It's inconceivable in the 21st century to have lived. You know, there were servants, cooks, maids, etcetera. You know, those people
had children. We played with the children, but we had nannies, my brother and I. We didn't have the kind of, childhood that people have in the late 20th and the 21st century. You know, there were many degrees of separation between the adult world and the children's world. The one's parents had completely separate lives. I love when you talk first about being in boarding school, and instead of being, you know, you wanted to be a rebel without a cause. I went to boarding school at a very
early age. It was a very severe environment. There was a lot of corporal punishment and things like that. I fell in with with a tutor. And this tutor was quite said in almost as soon as he got to know me, he said, look here. I'm unqualified to really teach you the the coeculum, but I will if you give me a chance and don't blow the whistle on me, I
will teach you things you will never forget. And that's how that was my first introduction to the to the true classic, to a classic education and to philosophy. And finally, I ended up in a school, where I was supposed to finish my studies. It was my last year of high school. And an American school in Rome, that's when I was discovered by someone, who
was Lupino Visconti's assistant. It completely liberated me into a world of show business where I was suddenly flirting with David Gardner, seeing King Farouk, seeing all kinds of people at 17 years of age, having a very interesting dolce vita introduction, and then going to Paris, being a tireless explorer of the night and being up, you know, going to all the jazz clubs, and there were lots of African American musicians and artists and dancers like, Harold Nicholas and actors. And
those people were really, really interesting. And Miles Davis was there, you know, he would he recorded for Louis Malle Assincer Paul et Chafout, and and there was this this sense of that music didn't have to be very strict, structure. Thelonious Monk would say, you know, there's not one wrong note on the piano. It was a fabulous time. There was so much to so many people on the street. You would meet people like Man Ray. I, dated, Daniel Gobert was the star of, of 2 of
Marcel Carnet's films. And that's how I met Kenneth Anger, the underground filmmaker who was a Crowley disciple. I worked with, the film director, Marc Caligre, who had gone with Andre Gide to the Congo. I was both his actor and his assistant. He provided me with a letter of introduction to Sam Baldwin junior. And when I finally went to America in 1962, I called up Sam Baldwin's office, and, the secretary, put me through to him
right away. And he said, can you come tomorrow morning at 10, at 10 AM? So I did. And it put me in a connection, which is would not be available to anyone, be it the richest billionaire son, today because there's a backing order and, barriers in Hollywood are such that you cannot speak to above the line people. Whereas I was able to completely you know, on on Billy Wilder's set of The Un A La Deuce, it was very, I was an honored guest and so on. So I learned a lot of things about the film making
techniques. I learned so much from, from a variety of people, a succession of people. And then I went back to Paris and couldn't find anything interesting to do. That's when my old friend, Vince Taylor, who I met, 2 years previous to that approximately, he sort of suggested that I join me. You've always been in the music. Why don't you, join the band? And so I joined the band
as a percussion player. I was the one who pushed the band from the black leather rocking type of thing to a mold type of Vince Taylor suddenly had a ponytail, and I had the the hair and and the long hair and the, you know, modeled myself on the singer the English singer, Sandy Shore. A stripper in Paris introduced me. You know, I saw her wearing something that I'd never seen before, which was glitter. And she said, oh, Sherry, do you want
some? I'll give you some, etcetera. And and so I wore it on stage, which when we played against the Rolling Stones, you know, we were we were not opening for them as people normally would term it. We were what they called in France, verdette des americans, which was that in those days there were shows where 1 or 2 people would play 1 song, 2 songs max, and move on to another act, to another act, to another act. There was even a magician in the middle of it. Then we came on, and we
played our full set. It was not just one gig. This was the whole Easter weekend of 1965. And as we came off, Mick Drager very tartly said to Vince Taylor, you you been home like that. And they said, no. We rehearsed and and rushed straight past him without without stopping. Whereas Brian Jones, the stones were in the wings looking at us like that. You know? They were watching every move we made because let's face it, Vince Taylor had been
a huge star before they had started. So you were part of the whole because to me, Vince at the beginning was very Elvis, James Dean, leather jacket, you know, the slick hair. And I I did see him move much more into what I call more to that British invasion. You were his Merlin to the throne kinda encouraged in the band to sort of find that addendum? Yes. Because, the style, the idea of
this avant garde thing. You know, I started the black leather one one black leather glove, actually, for the reason that I'd hurt my hand. I was covering the bandages, but then it became stylish to wear a ring over the the the the black glove and and then to have it on all the time. And it was during the 65 tour of Spain that one actually became
a sex object. Instead of chasing the girls, the girls would be chasing 1. I was always fascinated in about Brian Jones versus Mick Jagger and Keith Richards and the early Rolling Stones, and you were right in the middle of that. So I'd love you to just share a couple of stories about your relationship with Jones, his relationship with Jagger and Richards, and
how that all tragically ended. I'm glad you're asking this because there's a lot of misconceptions, because people telescope timelines and forget that Brian Jones had it wasn't you know, some people go to the other extreme, say, he recruited everybody. Well, no. He put an ad, and, eventually, there was another band called Little Boy Blue and the and the Blue Boys, which, had Mick, Keith, and Dick Taylor. Dick Taylor was now who who then became the lead guitarist for the pretty things.
They were a unit with, I think it was Mick Ingrey, well, they they changed drummers many times before Charlie, joined. Brian did everything. He called people. He he was very intelligent, and he was the only one who had complete understanding of music. He was a great musician. His parents had been classically trained and so on. So he knew he he had perfect pitch. Everyone was in awe of him in the band, you know, and and that's one thing that people don't realize.
What did happen is that Brian, as soon as they started to get a measure of fame, he was living with his girlfriend in Windsor, at her parents' house, you know, which was very cushy. Whereas, Mick and Keith, had moved with Andrew Alderlin to an apartment, and Andrew, to his eternal credit, was the one who said, well, they can't go on doing, covers of obscure r and b records, you know, that nobody knows and that seem to be original material, but
they have to come up with their own stuff. So you had the stroke of genius of making Mick and Keith, start write insults. People say, well, why didn't they ask Branchels? Geography, my dear fellow. Geography, everyone forgets that. Brian Jones had no intention of sharing his rather uncomfortable things. He was in this organizing position of getting gigs and so on. He he had a special deal. He got a little bit more money, which seems insignificant today, But, in
bands, people resent that sort of thing. Like, it was an extra £5 he took a week or something. Right? Seems like nothing, but £5 when people made, you know, it was a very good salary to make £15 a week. You know, that was an amazing amount of money. You know, drivers worked very hard, got 15 quid a week. A secretary made £12 a week. You know, it was you have to put things in proportion. They just
went in different ways. Of course, 3 people who lived together are close-up, but it's ridiculous to imagine that Brian was ostracized. When we return, Prince Stache delves further into his unbelievable life. What a world. One that includes Jim Morrison, experiencing David Bowie's rise to fame, and even a phone call from Paul McCartney, who told him to come live with him in order to keep Prince Stache out of jail.
Hi. It's Tony Chapman, host of Chatter That Matters, presented by RBC. A big shout out to First Up with RBCX Music that promotes emerging Canadian artists. They provide a platform for these artists to perform, to find new fans through media exposure, and access industry experts and mentors. RBC is enabling Canadian talent to continue to hone their craft, progress their careers, and follow their passions. Supporting Canadian artists matters to RBC.
It was very difficult to do all the dance. Even the Beatles in 67, I played with them, and and I know how it went in the studio. You know, you had to reduce things to one track, and by then, you had 4 tracks. But when you only had 2, I can tell you it was a real chatter. You're listening to Chatter That Matters with Tony Chapman presented by RBC. Today my special guest is Prince Stache. I first discovered him on Instagram as he was sharing some of his photographs and memories.
And the culture that'll be remembered forever. That relationship with Brian Jones and, obviously, one of the things that's the arrest of Jagger, the arrest of Richardson Jones, you were part of that. I love what you had to say that this was really a statement of the establishment paralyzed with fear that this counterculture movement, the power that they relished and held on to, was evaporating. And this was sort of their way
of trying to fight back. So take us to that time in history where long hair and fashion and protests created such a level of comfort with the establishment that they were willing to go out of their way to treat you almost like you were in a third world country in terms of fabricating charges and doing anything they could to sort of censor what you were all about. Yes. And and and that brings us to to something that is completely incredible from a northern
perspective. When people are able to have piercings and, you know, rainbow hair without raising an eyebrow, you see many of, many customs officers, many police officers having earrings and things like that. In the days just where having a little bit of, longish hair, an earring was considered so revolutionary, everyone was immediately hostile, especially the male population. People were were thinking that something was assaulting their identity.
The public at large, I'm talking about, sensed it as a threat, which made all of us, bind very closely together because we said, okay. We're a bunch of freaks, so we're we're going to stick together. That's how these very deep friendships were forged between people. In America, it was even worse. In America, they came at you. We had to persuade, some strong armed people to come to to be our kind of voluntary bodyguards in
America in 1965, for instance. And the Rolling Stones had a very hard time in those days. What is hard to believe is that they couldn't distinguish one person from the other. Oh, this is one of the rolling stones, they would say. They didn't know who people were, what their name was mostly, and, they just thought those those guys have a very you know, there's drugs. There's all this sort of thing much. It was all exaggerated, and they were the the Rolling Stones were obviously perceived as
a as a threat to the establishment. So there was this famous incident where Brian, shot off his mouth to people. The press heard it. They thought it was Mick for some stupid reason. They wrote it, that it was Mick Jagger, and Mick sued the the newspaper. So they took their revenge by having an inside guy. I mean, the whole story is very unclear, and we could spend hours talking about it. But the the infamous Redlands bust happened then, and, you know,
after all, what did they find? Virtually nothing. Maybe 30 to 40 times the phone rang. We took turns answering it, and it was reporters that some of them we knew asking all the same question. Have you been busted? Which was absurd because somebody had brought the newspapers, and Mick and Keith were on the front page being tried at Chichester that very same day. So we thought this can't be, you know, me, and we wondered what the hell
would they have tried to come, and we were asleep. And, basically, that's when that raid did happen. You know, I I spare you the details, which I've gone over so many
times. But what did happen was that what is worth repeating is that the press, especially the TV and all media, had been told about it to the point that when the police finally gained entrance and presented a warrant to search the premises for drugs, when we were taken to to arrested and taken to the Chelsea police station, across the street was a
camera crew filming the whole event. When, we were at Chelsea police station, during these, what you would call the arraignment, I suppose, it was they read the charges, and then somebody bailed us out from the Stones office. And then, with the the advice of the police, the Rolls Brian Rolls came to the front door and was surrounded by 50 more reporters of photographers.
And we skipped out the back, jumped into a black cab, and went to, the London Hilton, where in the penthouse suite was Alan Klein who'd come to help make a piece. And as a direct result of that, you know, a couple of days later, it took Alan Klein's major tantrum with the Hilton, who wanted to kick us out. They didn't want us to stay there, you know. I was in in dire straits, but Paul McCartney rang the hotel room, and I answered the phone. I
said, oh, Brian's out. He said, I'm not calling Brian. I'm calling you. He said, I want you to pack your bags. I'm sending a car. You're coming to live with me because, they are going to try it again. And if they want to try it again, let me be arrested with you, and we'll see what happens then. You know, he was very sanguine about the whole thing. And so I went to live with, with Paul McCartney for quite a long time. Jane Ashore, at
the time, was away. It was very interesting because Linda Eastman comes into the picture just at the at that at that time, you know, as a casual, girlfriend for for for, you know, it was with bolts of support and that the Beatles took me under their wing. I spent a lot of time with them, socially and in the studio. You know, it was an extraordinary silver lining to an otherwise very nasty situation.
I have a question about the Beatles because I've obviously watched a lot of their journey as well, and I heard something recently. I think Ringo Starr actually said it. If it wasn't for Paul McCartney, we might have made 3 albums. But McCartney was the guy that was driven, a perfectionist.
He forced us back in the studio time and time again. Is that is that fair to say that that that incredible body of work that they produced in 8 years, a lot of credit has to go to to Paul being like you almost called Jones before the adults in the room? It was the the this extraordinary symbiotic relationship between Paul and John, how they worked, how they gelled, and George Martin behind the scenes. George Martin was always ready to,
immediately, you know, I arrived at the studio. He said, get in there, you know, and send somebody to put to mic me up and all that. And, you know, he because he was ready for anything. Anything that they might request, he would then facilitate. But Paul had all those extraordinary ideas, And Paul would always say, oh, let's reduce everything to one track and then, you know, bounce it all to one track and then start again and and so on and so forth. You know? It was it
was fascinating. And Linda Eastman, McCartney wanted, I believe, her dad to be the new manager. Was that the beginning of the end when they started the business side of the you know, they went from being these kids that grew up and and and evolved with the musicality. I don't think we'll ever witness again how far they went in such a short time. But was it the business of doing business, you think, that caused a lot of the friction in the
brand, or was it girlfriends? I mean, it was so much I tried. I had this, although I've been treated extremely well by Alan Klein personally, I saw a lot of things that had happened, which I didn't like with Cline, and I was correct in my perception, but that he was he could be financially quite tricky. I tried to tell the Beatles not to sign with Klein, but they were so shocked. They were saying I remember George Harrison coming to me and saying, then why don't they why don't the Stones
leave Klein if what you're saying is true? You know? And they still went with Klein and had occasion to regret that. Naturally, Paul didn't want to go with Klein and wanted to stick with Eastman, and that caused a rift. But, you know, by then, there was this fraying of those relationships. You know? I also wanna talk to you about 101 Cromwell because there's a time very similar year, I think, was Laurel Canyon where a neighborhood in
LA where these musicians all found themselves. You know, Neil Young was there, mom and the papas. They've been just an eclectic group of musicians. They came, Jackson Brown, and they helped to define that music scene in each other. And the way you talk about Cromwell was a very similar place. It's a complete fallacy, the Laurel Canyon thing. Okay. Because are you
familiar with the topography of Laurel Canyon? No. I had in 1965, the summer of 65, I had a house on Saint Ives Drive, which isn't which is above sunset at Doheny, leased a large estate, which became the headquarters for that whole scene they refer to. Every band used to come over to my house, including Hells Angels. You know, everybody was getting together at a place called Ben Frank's on Sunset. I'm talking about 1965, which is the first time that there's a hippie scene, but mostly constituted
out of artists. It's people from the bands like Love, the Turtles, the Grassroots, the Birds. You know, there's maybe 2, 300 of us who are long haired freaks. You know, most people are artists. Most people are musicians. There's a few black men like, the Chambers Brothers, Arthur Lee from Love. In Laurel Canyon, there are people living there. I mean, I knew Frank Zappa when he was totally unknown.
When we went from Ben Frank's, you know, driven away by by police interference, etcetera, we decided to move our nightly headquarters from Benfranc to Canter's on Fairfax Avenue. The so called Laurel Canyon thing. Laurel Canyon, very few, you know, people visited each other, but, you know, it's not the village in New York. So let's take take me to Cromwell because you talk about that apartment building
was an interesting place to be. Well, the apartment building was a bunch of artists and counterculture people like, Nigel and Jenny Lesmore Gordon had this apartment at 101 Cromwell Road. There was quite a bit of possibilities of scoring dope there. So it became very well known, and the whole building I mean, upstairs from this main apartment on, that Nigel and Jenny, different people where Chris Case, who worked for, who worked for Robert Fraser, different people lived
together there. And then upstairs, Pink Floyd lived there, and, you know, they were unknown. I, for 1, loved their their name, and I became friends with Syd Barrett at that time. And and then when they were a bit more famous, at the end of 67, there was this famous, with this group of people from 101 Cromwell Road. We went to the Black Mountains in Wales and had this extraordinary trip, at the end of which, Sid Barrett, you know, part of his consciousness was left in this
other dimension. It's interesting. So Sid Barrett, another parallel to me, Brian Jones, both, I think, unappreciated for how much talent they had, Vince Taylor, and yet all three of them really left a lot of what they have in the table when they went through substance abuse and or just not even Jim Morrison, you talk about not dealing with celebrity, not, like, trying
to understand who their identity was. To me, I thought there was pretty interesting parallels that there's some of the founders of these these bands, maybe with the exception of Morrison, don't get the credit they deserve. Well, Morrison was a much more interesting lyricist, and he was a powerful vocalist, etcetera, but he was so indulgent. He when when in 1970, I met Laurissen, as I said in in this video, you know, he wasn't
that he didn't really interest me as a person. I was but I was far more interested in his written output because he was a genuine poet. And what he wanted to be was a a kind of Parisian poet a la Arthur Rimbaud, you know, that kind. And that was his romantic vision of things. He wasn't really interested in being a rock star at the end, Morrison. I wanna talk about Bowie because I love what you had to say about David Bowie in terms of his theater, his
wit, his humor. But the fact that he actually you he he sort of discovered you, you discovered him through, I guess, Vince Taylor. Yeah. I mean, what he never said, but because David was also another one of those people who convinced himself of, we we we talked about these things, but David, you know, very conveniently, when he talked to Vince Taylor, he made up the story of meeting
him and looking at maps, etcetera. But he what he never said was that in 1965, when Vince Taylor went crazy literally and was out of his mind and, you know, our band broke up because Vince Taylor started smashing up all the equipment, like the who have all the letter, you know, which had the the organizers of the concert, which was meant to be trampoline to this major British invasion type of, we were meant to go backed by Drew Barbera's money on this big tour of
America, and it was only a matter of of showing what we could do that would have secured the deal. In the face of this absurd performance of his, where, after the 3rd or 4th number, Vince Taylor made it impossible for us to continue and walked off. He managed to persuade his brother-in-law that it was us who were responsible and that, you know, he had this diabolical ability that some people with what used to be termed schizophrenia, where he was able to convince people and to be completely
reasonable, and we couldn't get him any help. And instead, he got all this money from his brother-in-law and marched off to England where he proceeded to demolish a very swanky Belgravia apartment. Well, I happened to go, and there was the doors were sewn in half, and there was a conspiracy theory running around the walls. You know, this bizarre sort of stuff. And Vince Taylor himself looked grandiose with his hair in a in a ponytail,
this sort of white robes. And and then he was so he was like a sort of mad, beautiful, mad prophet. He was followed by these beautiful, adoring girls and one guy, one young man, and that young man was the future David Bowie. David Jones in those days, aren't Right? David Jones. Yes. David Jones who who observed and then, you know, used, as he puts it, but he he didn't say how closely tied to Vince
Taylor he was at one point. No wonder he was able to to, come up with this Ziggy Stardust because Vince Taylor was like a dynamo of ideas. You know, Vince Taylor had written this, what I considered an absolutely absurd list of names of possible names of band. And I remember my rejecting this list with in disgust, And it was so prophetic that all these San Francisco bands ended up being called things like that, chairman and the board. You know? Those type of
names. He had thought of them. He was a sort of mad prophet. Bowie sort of he said that a lot of inspiration for Ziggy Stardust came from that moment when Vince kinda left the real world and the musician world and tried to, you know, almost reposition himself as this modern day prophet. The real story is this. Before we were supposed to do the locomotive showcase concerts, I didn't have my my passport.
I had a bit of misfortune in 60 in in that year because I had tried to have my passport renewed, and there was an outstanding warrant for my arrest from the French army because, allegedly, I hadn't reported for the draft. Whereas everything, there had been a mix up in the paperwork. But be that as it may, I had been condemned to a year in jail. And Clive Donner was the director of of a film
called What's New Pussycat? In those days, you know, the the working hours were very lax, and we would all meet at Castel's, the nightclub in Paris, and, with Peter O'Toole. And we'd stay up all night partying and so on. And Clive Donna said, Stash, I've written a cameo straight for you. Come to the studio tomorrow. You'll really thank me. This is amazing. I've written it. And stupidly, I
thought, oh, I'll kill 2 birds with 1 stone. I'll go to the perfect toilet police, get my passport port renewed and then go to the studio, you know, because you were supposed to be there by, noon, 12:30, and then went there. Instead of this thing being facilitated, they made me
wait. There was a very uneasy moment. Then the Jean D'Armoury showed up, and I was arrested, marched off, through a series of very unpleasant things, and managed to bribe one of my guards and get him to call, Donald Campbell, you know, the future director of performance, who then called my mother, called my father, and at least there was some array of hope. So I was taken to a a disciplinary regent instead of being able to be at the studio and doing this
marvelous, cameo. I was driven from place to place all day long, signing documents, and then going on. We arrived at night in Fortinbleu in a disciplinary regiment where they dumped me with my long hair, my earring, and everything. And, you know, there was all these people who'd been arrested for various offenses who were in this
dorm, and I thought these guys are gonna kill me. Instead, when the lights went went out, little flashlights came on, and these kids, you know, all these tough kids who, for disciplinary reasons, were, in that disciplinary regimen, they all came, oh, not you. Man, they're gonna cut your hair. And they all were fans from magazines and so on, and they they were like like my bed piled up with all these offerings, you know. It was the sweetest thing. And, so that encouraged me the next day.
I went up to the commander of that disciplinary regiment, very fine looking officer, and I said, look, my father, this and that, and shouldn't have happened. And the man said, go and get a haircut. Put your uniform, and we'll talk about it afterwards. So I was crestfallen. When my guard said, what did the commander say? I thought I've got nothing to lose. I said, he said, take me to the infirmary.
So, they took me to the infirmary where the commander of the infirmary said, look, I can protect you, but do not move one foot out of this building. And so Vince Taylor came up and offered to that we would play a free concert for the troops, but they had to release me immediately. And the the captain from the infirmary sort of said, I'm sending you for a psychiatric evaluation. I'm sure you'll get off, you
know. When I went for that, I I really laid it on thick, you know, with with the psychiatrist, and they get they discharged me with an x x5. Now if you're completely insane, you know, and foaming at the mouth, you there's no x6. X5 was like you're a sociopath, a psychopath, and somebody who cannot be used. But at least it did the job. Make sure you come back for part 2, because Stash meets Jimmy Hendrix and Bob Dylan. There was this extraordinary constellation of stars and
people, around Bob Dylan, you know. And Bob Dylan was this bizarre creature, you know. He offers us some incredible lessons on love, his ideas and logic. Very dear friend of mine, this great sage, said love is not something you can fall into, nor is it something you can make a mess of. The sixties versus today, and so much more Stache is a stash away in the history of time. Time. I hope you're loving this
interview with Prince Stache as much as I am. In fact, he was there, alive, part of the culture, part of the conversation, and that he has such incredible insights into life. Chatter That Matters has been a presentation of RBC. Lots more to come. It's Tony Chapman. You're listening to Chatter That Matters.