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Enough Rope With Andrew Denton (ABC Television - Australia) Aired 11 March 2005 Transcript and video links at http://www.abc.net.au/tv/enoughrope/transcripts/s1343226.htm Andrew's Introduction: Sir Bob Geldof describes himself this way: pop star, poet, open-plan politician, living saint and big-mouth gob-shite. He's also truly an inspiration. A man who not only decided to change the world but actually went ahead and did it. 20 years ago, he drew the attention of the West to Africa's disastrous famines by opening his Rolodex and rounding up everyone he could find to take part in the largest-ever televised concert. He's a man who's never taken no for an answer, who tweaks the consciences of global leaders everywhere. Away from Africa, he's survived some very public tragedies in his own backyard, and continued to do what gives him the most pleasure of all, play music. He's Sir Bob Geldof, and I caught up with him recently in London. ANDREW DENTON: Bob, welcome. SIR BOB GELDOF: Thanks. ANDREW DENTON: Should I call you Sir Bob? SIR BOB GELDOF: Whatever you like, Andrew. ANDREW DENTON: Do people call you Sir Bob? SIR BOB GELDOF: Should I call you Andrew? ANDREW DENTON: They do, yeah, all the time, yeah. Doesn't that seem a bit weird to you, "Sir" Bob? SIR BOB GELDOF: Not after 20 years. ANDREW DENTON: Yes, it's a long time. Congratulations on your Lifetime Achievement Award. SIR BOB GELDOF: Thanks. ANDREW DENTON: You said, when accepting it, "This may not mean a lot to you, but it means a lot to me." What did it mean to you? SIR BOB GELDOF: Well,
that's a line from one of my songs, but it was one of my solo
albums, so I realised nobody would understand that. Well, it
does mean a lot, because it's music, and as you just pointed
out, I've got all these baubles and things hurled at me for a
long time now and, frankly, of course it's nice, but measure
them against something for music, and I could put them all in a
drawer and never look at them again. ANDREW DENTON: You've described pop music as incredibly unimportant, but you've also said music is central to who you are. What is it about music that... SIR BOB GELDOF: I think pop music is unimportant in the scheme of things, but to me it's critically central. ANDREW DENTON: Why does it seduce you? What is it about music? SIR BOB GELDOF: Because it gave me a life, Andrew. It's a terrible cliche, but a lot of these people who are in pop music, I don't know really what would have happened to them. They would have been very bad salesmen or very bad, you know, garage attendants, or very bad at working in an insurance company. They wouldn't have been good at that. ANDREW DENTON: What would you have been? SIR BOB GELDOF: Probably a journalist. Could have ended up being that. I was writing in Canada, in Vancouver, before the Mounties got their man, which was me, because I was an illegal immigrant, and I was doing okay. It turned out I could write. I'd suspected I could but I didn't know and I lied my way into the job, and it turned out I was okay. And, you know, pathetically, that little tickle of fame that is your byline, and the fact that the people who ran the paper praised you and just said, "Do more", those things just allowed me to sort of blossom a little bit, believe in yourself, and I needed that to happen because I'd failed dismally in school, indeed, at life, up to that point. And, next minute, back in Ireland, one night in the pub - by pure chance I was down there - and there were two guys I knew, 30 years ago, and out of boredom one of them said, "Why don't we start a band?" And at that first gig in a classroom on Halloween night in 1975 it really did feel something happened that was correct, and of course it was just attention-seeking, that's what was correct - people applauded me. And, for the first time, I'd done something good, but that felt wholly natural. ANDREW DENTON: Is it primal, too, when you're up on the stage? 'Cause when you wrote about those early gigs you said it was like, "I'd go home and I'd sleep really well. It was the only time I'd sleep well." SIR BOB GELDOF: Still do. ANDREW DENTON: After a gig? SIR BOB GELDOF: I'm not sure it's primal. What it is utterly satisfying to me. It is cathartic. It's a purgative and, as a result, the demons are gotten rid of, so you sleep the sleep of the just, which is unusual for me. I have fitful sleep. It's the discipline. It's very like an army discipline. You probably know, you do this job so often, if you're having to do a tour and do interviews, you get up at a certain time, you're in this at a certain time, you're there, there's a regular routine to it, and that isn't normal in my life either. ANDREW DENTON: It's the Keith Richards School of Fitness? SIR BOB GELDOF: No, it's not Keith, but Keith has thrived on that, bizarrely. But he is, of course, the healthiest man on the planet, you're absolutely right. ANDREW DENTON: Thousands of drugs have gone into his body and died. SIR BOB GELDOF: Well, I've got this theory that heroin must have some incredible properties to it that sort of keep you alive. For a long time, the Rolling Stones have had the largest mass crop of hair of any bands on the planet. They all have this bizarre bush of hair. If you looked at Ronnie Wood or Mick's. And they're all ancient. Keith's is seriously going wrong at the moment, but I thought, you know, like Viagra was an offshoot of this heart pill? ANDREW DENTON: Yeah. SIR BOB GELDOF: Check out heroin; there's something there that's to do with baldness. ANDREW DENTON: I can see a product, 'Hairoin'. SIR BOB GELDOF: Like it. You and me, we're in this together. We're gonna clean up on this. ANDREW DENTON: You left out one thing when you talked about the benefits of music, which is sex. After your first gig, you got laid. What is it about rock'n'roll that leads to this? SIR BOB GELDOF: Well,
talk about the Stones, I mean, you know, Live Aid, I don't want
to leap on to Live Aid, but it's a clear proof of what I'm about
to say. The lingua franca of the planet is not English, it's
pop music. And it translates across all cultures, all of
them, and that's because, when the Rolling Stones, and Keith
goes, "Dah,
di...di, dah", it's about fucking. Mick can sing what he
likes, but we get it, you know, we just feel this thing. The
music, it's essentially the music of frustration, and a lot of
it is a sexual frustration. There's a preponderance of boy/girl
songs in this sort of music, and a lot of it is very overt, and
a lot of it isn't, a lot of it is a howling scream of rage at
not being allowed in to whatever's going on, but essentially
it's not being allowed into girls, basically, I think. So when I
pitch up and there's 30 people in a classroom in Catholic
Ireland in 1975 with this cultural claustrophobia of the
State/Church compact, and I'd read in these girlie magazines,
that are only in England, 'cause they're not allowed in Ireland
- nor are condoms allowed in Ireland - you know, all these sort
of lurid fantasies in the magazines, and halfway through the
gig, a girl casually walks up to me in the break and says,
"I want to fuck you" - it's, you know, every
frustrated young boy's dream. And I thought, "God, I'm in a
band!" And I said, "Hold on a minute", and I
turned around and walked over to this classroom blackboard, and
I rubbed out the name the "Nightlife Thugs", which we
were for a day, and I wrote the "Boomtown Rats" up
there, 'cause there was something more important than getting
shagged, and that was to change the name of the band. ANDREW DENTON: I'm retrospectively jealous. SIR BOB GELDOF: And I think that's why I got the award last night. ANDREW DENTON: Very well done, you. You said you don't want to talk about this, moving on to Live Aid. I'd like to, because we're coming up to the 20th anniversary of that extraordinary concert. Now, I've watched the DVD, and I was astonished - even though I saw it at the time - by the incredible breadth of it, the size of it. As you were putting this together, how scared were you? SIR BOB GELDOF: I was really scared. Primarily, I was afraid I'd fail, and you're very powerless in the face of that fear, so you put it down, but at night Paula, my wife, would put these towels underneath my side of the bed because, as per the cliche - I'd never experienced it myself, maybe people watching have - I would have cold sweat in the night and I'd wake up, freezing, in my own perspiration, because none of the bands were contracted. Not a single contract. Not a single contract with a TV station. Not a single contract with the lighting guy, never mind the lighting company. ANDREW DENTON: So it was possible, on the day, you could have turned up and no-one was there, theoretically? SIR BOB GELDOF: It was quite possible that even 17 hours of the Boomtown Rats might have been a little too much for me. ANDREW DENTON: When you were ringing around and getting all these people involved - Bono and Sting and Elton John and all those people you were dealing with - was there a moment where you actually thought, through all this fear, "This is going to work"? SIR BOB GELDOF: There was never a moment that I thought it wasn't going to work. There possibly was a moment where I thought it wouldn't happen. If it happened, it was going to work. And Sting and Bono weren't the Sting and Bono of today. Sting was my absolute contemporary. Bono was like my little brother. You know, still is. I mean, he doesn't think I'm his big brother, but sort of, you know I have that, because since we've been friends for 25 years, and he used to come to the Rats when we were in Dublin. I actually didn't want him on the stage, 'cause his haircut at the time was so appalling, you know, but, hey... ANDREW DENTON: A mullet you could see from Mars. SIR BOB GELDOF: It was, yeah. King Mullet. There was no question of it. I think Live Aid was one of the things that made everyone see what an exceptional band this was. But it wasn't ever supposed to be about music, and they took it in that sense, which possibly explains why the music is deathless. I know these bands, and their performances, are at another level altogether. Some of them, frankly, are not capable of the performance they gave on that day, and probably haven't superseded it since, but for whatever reason there was this communal sense of possibility. ANDREW DENTON: Yes. SIR BOB GELDOF: And as I said, pop music suddenly became the lingua franca, and I think that elevated it, and all those things were why it worked. I could never have predicted that, leading up to it. I had no sense of the romantic, or no sense of the giganticism that it was. It was only when I walked out on stage with my band, the band I was in, as the pop singer in that band, that I got it. And it pulled me up sharp. ANDREW DENTON: Oh, I can imagine - one and a half million people. Did you, when you walked out, knowing that this audience was there - I think there was that moment, during "I Don't Like Mondays", where you just raised your fist. SIR BOB GELDOF: Yeah,
I did, because, I'd just been told - Billy Connolly came out and
he'd been handed the statistics. 98 per cent of the available
television sets in the world were on this thing. I'd just been
told that, so I did walk out with that sense that there's
someone in Vladivostok, there's someone in Tierra del Fuego,
there's someone in Shanghai or whatever watching this now. Here.
Now. This moment. And everyone I'd probably ever said hello to
as a kid was probably watching - not 'cause of me, just 'cause
they were watching this thing. ANDREW DENTON: What sparked all this was Michael Burke's original story on BBC about the famine in Ethiopia. That wrenched you out of your life and set what became Live Aid in motion. And I noticed the press release for the Live Aid DVD said it changed the global political agenda forever. SIR BOB GELDOF: Mm. ANDREW DENTON: Last year Michael Burke went back to Ethiopia and made a documentary, and he said that there are twice as many people starving there now as there were in 1984. For all the extraordinary work you and others have put in, how do you effect lasting change? SIR BOB GELDOF: Well, he's wrong, that's the first thing. There aren't. You'll always have endemic drought. Sorry to be nerdy about this. Ethiopia can never feed the full number of people it has. It can only feed 90 per cent, so you'll have malnutrition, which is commonplace in Africa, that's what's mad. More people die of hunger every year in Africa than AIDS, TB, malaria, polio and war combined, in a world of food surplus. Africa gets less aid than any continent on the planet. It gets a pathetic amount of aid. It gets about $12 to $20 billion a year, which given the UK budget alone, never mind the US one, and Australia's very remiss in this regard. Very remiss. They sign their name off to all these agreements, but they don't come forward. And that's true of everyone. ANDREW DENTON: Can we talk about the psyche, though, of aid? You said there's still people starving in a world of surplus, as there were at the time of Live Aid. SIR BOB GELDOF: Well, they're hungry. ANDREW DENTON: All right. Hungry, starving. SIR BOB GELDOF: No, starving's different. You're gonna die. ANDREW DENTON: Hungry, okay. In a world of surplus, it's immoral. SIR BOB GELDOF: Completely. But it's worse. It's an intellectual nonsense. And it's morally repulsive. ANDREW DENTON: How do you bridge that gap? Why is it, for instance, that the world will open its heart to tsunami victims but close its eyes to what's happening in Darfur? Why does that happen? SIR BOB GELDOF: The tsunami is a particular case because, particularly for Australians, it's next door. But the main thing that happens is that you get a confusion between an act of God or an act of nature, whatever you wish to call it, and an act of man. And half the shock is that as humans, it's our hubris as humans that we believe we can control everything. The reality is we can control nothing, and the tsunami or something like that brings it home to us, and we freak out, we throw money at it in order to control it. It is also an indication of people's pity for others who are suffering, and that's the very good upside about it. People will always reach over the impenetrable roar of political discourse to help a human on the other side. And that's what the tsunami indicated. Meanwhile, you have a daily tsunami in Africa. Whether it's malaria - five million a year, malaria. A fly bite - five million die every year. ANDREW DENTON: You refer to silent tsunamis happening every day. How do you keep people focused on this, because it's silent? Live Aid made a lot of noise. How do you keep people focused on something that's silent? SIR BOB GELDOF: Well, Live Aid did achieve its objectives. What I was doing was seeking to raise a political lobby for change. And that agenda's worked. Blair and Brown are the same age as me, they watched this thing all day, They cut their political teeth on the fact that, "Hold on - something's happened here. There's been a shift." So these are Live Aid babies. And it's taken 20 years to take from an idea of charity to one of justice. It's taken 20 years, and the guys with guitars and keyboards can now help to write world policy. I remember Pete Townsend said to Michael Moore, when Michael Moore was miffed that Pete wouldn't be in one of his films, and Pete said, "It'll take me a lot of convincing, Michael, that a man with a camera can change the world quicker than a man with a guitar." And Pete's right. He's absolutely right, because charity as per the tsunami is an immediate, an instinctive act of human emotion, which is correct. And then, politics aren't going to stop earthquakes. Politics will stop death by malaria, death by AIDS, death by polio, death by war, death by hunger. They are all stoppable. How do we do it? Only politics can do that. And then the question is, "Why don't you?" Put up your hands those who say, "Do that now", because it doesn't cost us that (snaps fingers). I'm serious. Not even that. So why isn't it done? ANDREW DENTON: You said of politicians that you know their language. For the last 20 years you've been dealing with them. Is it possible to deal with them as people, or are they always politicians? SIR BOB GELDOF: It's very good to deal with Blair as a person. But it's easy, because - he's not my friend, but I'm friendly with him. You know, I can ring up and be furious. ANDREW DENTON: What's being furious with Tony Blair? What does that mean? SIR BOB GELDOF: Oh, you know, going ape-shit. You know, but he gets it. He'd say, "Look, you know, we can only do this", or, you know, "Then you help to do this." And Bono and I have started this little lobby group in Washington and London, and we have a lot of access. How much do we move the agenda? I think, quite successfully. We've got some very high-powered people there. I think it's more a phenomenon of the celebritisation of politics than the politicisation of celebrity. It's not as if pop stars suddenly became politicians. Dylan, Jagger, Lennon always wrote political-type songs, and quite adroitly, you know. It's that we've become confused, with mass media, about what politicians are. Politicians started dragging their wives and children on to cameras because we demanded it. We wanted to know more about them. So they've become confused about whether they're leaders or celebrities, whereas the celebrities are quite clear that they just want to get on the stage with a guitar, and, well - shag, to go back to the beginning of the interview. ANDREW DENTON: But that's very disingenuous. I mean, that is true, but it is also true your commitment, Bono's commitment to these issues is not just what some people describe as celebrity do-gooders. You guys are seriously engaged with this - have been for a long time, and know your stuff. SIR BOB GELDOF: Yes,
we do know our stuff. I know this stuff back to front. There's
a problem with that, and I'll use a musical metaphor or analogy.
When you're a kid and you just know the three chords you just
plug into some primal, vital world and you write the best tunes
I've ever written, and then after three or four, five years,
you know just too much music. You know diminished chords,
and you know all these things and you're not in - you kind
of go, "Ling, ling, ling", and you think, "Oh, God,
that's a nice one. I'll put that in there." And it's sort
of redundant, and it's too much knowledge. ANDREW DENTON: Is it true that the Pope rang you at home once? SIR BOB GELDOF: Yeah, he did, yeah. Very, very difficult to understand him, obviously. I was watching - do you remember Dallas? ANDREW DENTON: Oh, yes. SIR BOB GELDOF: I was mad for Dallas or Dynasty, it was Dynasty. God, yeah. Even better, really. And the phone rang, I suppose at half eight/nine, you know, at night. "Hello?" "Bob, is that you?" "Yeah." "It's Sister Mary Magatata", or something like that. "How's your father, Bob?" I said, "He's great, sister. What can I do you?" "Listen, I'm here in the Vatican. Have you got a minute for the Holy Father?" "Yeah." She says, "Hold on a minute, then, I'll put him through." I mean, literally like that, and so the Pope came on. But the thing that was amazing was this little Irish nun. I sort of got this idea we're in the Vatican In this cubby hole. "Hold on a minute, Bob, I'll put you through to the Holy Father." ANDREW DENTON: Speaking of matters of the soul, since we're talking about the Pope, you've described yourself as perennially empty - an empty person. Why is that? SIR BOB GELDOF: I'm fairly melancholic by disposition, you know. I'm hardly Captain Chuckles. ANDREW DENTON: But you've got a very deep compassion. That's clear in... SIR BOB GELDOF: It's probably all part of the same thing, without getting corny and Hollywoodish. My mum died when I was seven. And that's - doesn't matter who you are, if that happens, even though it doesn't feel that much at the time, a seven-year-old has no concept of forever, and, you know, children are extremely resilient - you get on with it. But then when you start having other things happen to you at, say, 11, it kicks in. And I just bailed out, really. I just gave up on everything and became hopeless, and I was crap in school and sought attention all the time. So there was always an incoherent emptiness - a sense of loss, I suppose. Now, of course, being a middle-aged, man, I understand exactly what it is and where it stems from, but it is physical and it feels, in the cliche, like a void, here, not just your stomach hole, but a void, a metaphysical void. People now would say, "Bob, it's a God-shaped hole." No, it's not. "It's a mum-shaped hole." No, it's not. Those things... It's not filled. It's filled by love, if I can be tragic and sad for a moment. ANDREW DENTON: That is not tragic and sad, that's fantastic. SIR BOB GELDOF: It is filled by that. I mean, when you're held and kissed, when you're with your kids, it goes. That's the reality of it. When you're singing, that emptiness, it's not there, because you're looking at it and you're saying, "I know you, you fucker, get back in there." It is filled by that, and so you crave that, is the truth. ANDREW DENTON: When Paula left, you described an almost literal, physical heartbreak, and you said life without love is meaningless. Does this make love, now, with Jeanne, does it make it richer, does it make it scarier? SIR BOB GELDOF: I'm petrified of being left again. I know that's being tragic, and get over it, you know, but that is what happened when Paula went. I mean, I loved her deeply, and it was a surprise and all that, and a shock, and I couldn't understand why my kids went as well, you know, just everything that was of any meaning to be gone, for what? I didn't get it, you know. And I think, again, that it must have been self-evident to everyone who visibly watched this psychodrama that I clearly collapsed. But it was so overwhelming to me, clawing my way through those years, that there was something other going on, and I think - you know, amateur psychology - that it was what I should have felt when I was seven, I was feeling now, but doubled because here was the person I adored, really, and so that's what happened. It was sort of almost like this thing had been lurking there, and as an adult, I actually understood what that thing now was. As a kid I didn't, so I just clamped it down. But what I do think, Andrew, is that I've sort of ensured that I will never be hit so hard again, and you are very different afterwards. I'm far less trusting, and always anticipating that it's not going to last, so that, you know, if it does happen - and, of course, that's deathly. ANDREW DENTON: How do you ensure that that never happens again? SIR BOB GELDOF: You don't. ANDREW DENTON: It's the antithesis of a relationship to be flinching, waiting for the blow, isn't it? SIR BOB GELDOF: Yeah, Yeah. I did a talk show the night before last with Bruce Willis, and he started talking about this sort of stuff. Michael Parkinson said to him, "But are you going to get married again?" He said, "I don't know", and he was bullshitting. And I said, "Bruce, this is bullshit, what you're saying," and it is. You are always flinching, but I'm not like that, you know. I do let it go and love the person, but I think it's a struggle for the other one. ANDREW DENTON: Yes. And of course, the other thing that you can never walk away from is being a father. SIR BOB GELDOF: Mm-hm. ANDREW DENTON: When all this stuff with Paula and Michael happened and it was played out so publicly, how do you protect your kids from that? And there was - well, I don't have to tell you - some really horrible stuff. SIR BOB GELDOF: Well, I didn't read any of it. And that's the way you deal with the press. I absolutely go along with an utterly free press. Intellectually, it must be so. If intellectually that must be so, that it's much more important that they're utterly free, then you have to accept everything that goes with it, and I do. But you also have to trust that maybe they'll just be humans a little bit, and sometimes they're not, and they forget their humanity. ANDREW DENTON: It takes, I think, a very big man to say what you're saying, because I remember - and I'm sure you do, too - the sorts of things that were written about you, were written about Paula. I remember when Paula was pregnant, and there was one headline which referred to "Abortion of the Year". You know, really poisonous stuff. SIR BOB GELDOF: One of the papers said "One Geldof Bastard is Enough", when she all proudly announced her pregnancy. It wasn't just that moment. There have been exceptional things written about all of us. ANDREW DENTON: But for a self-confessed angry man, an argumentative man, how have you managed to subsume the anger you must have felt? SIR BOB GELDOF: Because it was nothing compared to the pain. ANDREW DENTON: When Tiger Lily - I think she's nine now, is that right? SIR BOB GELDOF: Eight. ANDREW DENTON: Eight. When she's old enough, how are you going to explain to her about her mum and dad? SIR BOB GELDOF: I don't really talk about the kids, if you don't mind. It's not that I'm being snitty, now. ANDREW DENTON: No, no, no. I understand that. I'm actually more asking as a father to a father, if you can get the distinction. SIR BOB GELDOF: No, I just talk in general. I don't talk about them individually. It definitely will massively inform their characters. They were born into situations, anyway, that are not normal. Their mums and dads were famous people in a country where rock'n'roll is the Hollywood. Britain doesn't have Hollywood. Our stars are not allowed to be megastars. Our movie stars have got to be down home, and they can't put on airs, they can't be glamorous, whereas the rock stars are all over the tabloids. So the glamour is in rock, and those kids were born into that sort of atmosphere. However, in one of the cases, not a very glamorous father. So from dot, they grew up thinking that things may not be like their mates. They're great kids. They really are great. They're such fun. Last night, as I said goodnight to Fif, she said, "I'm really proud of you, you know", which is great, if you're a dad. ANDREW DENTON: Yes. SIR BOB GELDOF: No kids say that. ANDREW DENTON: No. SIR BOB GELDOF: And it was really great. And I said, "Oh, thanks, babe." ANDREW DENTON: If you want something to wash away the pain, that's it. SIR BOB GELDOF: Exactly. Yeah. ANDREW DENTON: You said a couple of weeks ago you're tired of being Mr bloody Africa, and I know you said it ironically, but after 20 years is there a part of you that would just like to put this all aside and just play guitar, be the musician that you feel yourself to be? SIR BOB GELDOF: In theory, but it just wouldn't be possible, because my mind wouldn't stop working in that way. You've got to remember that I hit pop at exactly the cusp moment. I was 11 when the Beatles, the Stones and Dylan came, and I was 12 and 13 when the Who and the Kinks came. And they completely articulated what a young 13-year-old at the beginning of the '60s through '62, '63. And I saw them all at the Adelphi Cinema in Dublin. Indeed, I met the Beatles and the Stones. In fact, I still... How weird is this? Mick was drinking coffee, and with my sister we got in the side door of the cinema, and he was with Brian Jones. Mick put down the coffee and he got up to practice, I thought. In fact, it was a sound check. And he left his cup. I grabbed his coffee cup and put it in my pocket, and I still have it. Now forgive me, I'm not sort of name-dropping, but Mick is a friend, and if we were having coffee and Mick's here and he said, "Do you want to keep my cup?" I'd go, "Fuck off!" But I keep the cup of Mick Jagger. What is that? And it still means something to me. ANDREW DENTON: It's the magic of that time. SIR BOB GELDOF: And it's the kids' thing about, "I heard a Bob Geldof track today" and, like, "I heard a Rolling Stones track. That's that." And then there's the geezer, like, who I'll chat with, and that's something else, different completely. ANDREW DENTON: It's an amazingly full life, and your commitment is really impressive. People watching tonight - your phrase, "The moral failure of starvation." They think, well, blame the government for everything, governments can't fix it. But it's an individual responsibility, too, as you've shown. What can individuals do to change what appears to be something bigger than them? SIR BOB GELDOF: We work on the basis of individualism, our society. The Africans work on a collective society, which is why we've always had this disconnect. We've imposed ideas on them coming from an idea of individuals that can't possibly work. And we've never listened or looked at the way they actually achieved their society. But the paradox of individualism, without being too boring, is that it can only work when it works in a collective manner for the common good. That's how individualism works, and that's how, when you ask what can the individual do, working in a collective manner towards the common good, you will succeed in changing things. ANDREW DENTON: Sir Bob Geldof, it's been a real pleasure. Thank you. SIR BOB GELDOF: Thanks, Andrew. Cheers.
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