This is Alec Baldwin and you are listening to Here's the Thing from iHeart Radio. My guest today is a Grammy nominated musician whose records have topped the charts in the US, the UK, and Australia. He is also a world class photographer whose work has been exhibited in the US and abroad. He is also the son of one of the most famous musicians of all time. Julian Lenin's current photography work is on display in the recently published book Life's Fragile Moments. In addition, Lenin is the Chief Visionary Officer of the White Feather Foundation, which partners with philanthropists and charities around the world to support various humanitarian projects. Julian Lenin is kind, talented, and enormously generous, and despite growing up in an unimaginably famous family, Lenin has made a name for himself through his various creative and humanitarian endeavors. It's a career that demands an impressive work ethic.

This is Alec Baldwin and you are listening to Here's the Thing from iHeart Radio. My guest today is a Grammy nominated musician whose records have topped the charts in the US, the UK, and Australia. He is also a world class photographer whose work has been exhibited in the US and abroad. He is also the son of one of the most famous musicians of all time. Julian Lenin's current photography work is on display in the recently published book Life's Fragile Moments. In addition, Lenin is the Chief Visionary Officer of the White Feather Foundation, which partners with philanthropists and charities around the world to support various humanitarian projects. Julian Lenin is kind, talented, and enormously generous, and despite growing up in an unimaginably famous family, Lenin has made a name for himself through his various creative and humanitarian endeavors. It's a career that demands an impressive work ethic.

I'm pretty full on really when it comes to work, and you know, if I have started something, I have to finish it.

I'm pretty full on really when it comes to work, and you know, if I have started something, I have to finish it.

You know.

You know.

It's just it's just this driving purpose that I have inside to get things done, to two books like this, Yeah, because it just makes me feel like I'm worthy of something, you know, And initially that's really to prove it to myself that I'm not just a lazy piece of shit, but that I have worth. And so doing all these things has been very, very even more important in my position because you know, I really felt like, especially over the last five ten years, that I needed to lay a foundation down of all the things that I'm interested in and all the work that I want to do where nobody could deny the fact that I've actually am capable of these projects, you know, from whether it's from the White Feather Foundation, whether it's from Yes, whether it's working on documentary projects, whether it's writing children's books, environmental humanitarian stuff, whether it's you know. Now, photography has been the main stay because I've just fallen in love with it. And also that thing of being behind the camera, which is I don't mind and I've said this before being a bit of a goof in front on occasion, but again I really get that anxiety being in.

It's just it's just this driving purpose that I have inside to get things done, to two books like this, Yeah, because it just makes me feel like I'm worthy of something, you know, And initially that's really to prove it to myself that I'm not just a lazy piece of shit, but that I have worth. And so doing all these things has been very, very even more important in my position because you know, I really felt like, especially over the last five ten years, that I needed to lay a foundation down of all the things that I'm interested in and all the work that I want to do where nobody could deny the fact that I've actually am capable of these projects, you know, from whether it's from the White Feather Foundation, whether it's from Yes, whether it's working on documentary projects, whether it's writing children's books, environmental humanitarian stuff, whether it's you know. Now, photography has been the main stay because I've just fallen in love with it. And also that thing of being behind the camera, which is I don't mind and I've said this before being a bit of a goof in front on occasion, but again I really get that anxiety being in.

Front of the camera. Did you say, goof yeah, goofball.

Front of the camera. Did you say, goof yeah, goofball.

I wonder where that, if your personality comes from well, yeah.

I wonder where that, if your personality comes from well, yeah.

Oh yeah, no, certainly that was. He was a complete nut job, you know. I mean I'm so jealous of his days with Peter Sellers, you know, and obviously George with the Monty Python crew, because I mean I grew up on that stuff. You know, I absolutely adore and love. You know, that is number one for me, that kind of humor, that kind of twisted, slightly English, you know, left of field approach, and they were goofballs beyond the luck.

Oh yeah, no, certainly that was. He was a complete nut job, you know. I mean I'm so jealous of his days with Peter Sellers, you know, and obviously George with the Monty Python crew, because I mean I grew up on that stuff. You know, I absolutely adore and love. You know, that is number one for me, that kind of humor, that kind of twisted, slightly English, you know, left of field approach, and they were goofballs beyond the luck.

Yeah yeah, among the best, Yeah, for sure, for sure. So I always say that's the difference.

Yeah yeah, among the best, Yeah, for sure, for sure. So I always say that's the difference.

It's a pleasure to watch them in the old movies, you know, just the quirks, the comments, the wit, you know, the speed of that wit as well. From the old days.

It's a pleasure to watch them in the old movies, you know, just the quirks, the comments, the wit, you know, the speed of that wit as well. From the old days.

Lester knew he just like I mean, Lester. I always say that Lester was a genius. He just got out of their way, just film to put a camera on and do whatever the fuck they wanted to.

Lester knew he just like I mean, Lester. I always say that Lester was a genius. He just got out of their way, just film to put a camera on and do whatever the fuck they wanted to.

But we don't like we'll throw out or we like.

But we don't like we'll throw out or we like.

That's the best thing you can do.

That's the best thing you can do.

Now, I want to talk.

Now, I want to talk.

About your mom, and I want to talk about her because of course you're raised by your mom. Your dad was off doing his thing, and your mom, who is always seems like this really really like beautiful, stoic figure. She was somebody who accepted how she was treated and how she was dealt with and moved on to raise you. You're only her only correct. She had one child and she raised you correct.

About your mom, and I want to talk about her because of course you're raised by your mom. Your dad was off doing his thing, and your mom, who is always seems like this really really like beautiful, stoic figure. She was somebody who accepted how she was treated and how she was dealt with and moved on to raise you. You're only her only correct. She had one child and she raised you correct.

Yeah.

Yeah.

Yeah, And what was that like for you in terms of I don't want to say in a broad sense, but what was that like for you in terms of your life and the reverberance of this other valley over there of something else as well.

Yeah, And what was that like for you in terms of I don't want to say in a broad sense, but what was that like for you in terms of your life and the reverberance of this other valley over there of something else as well.

No, reverberance didn't really affect me at all. I mean, that didn't exist in my life as a young kid. It really didn't know, not at all. I mean when Dad left when I was about three or four or whatever, it was apparently I used to have nightmares about it because obviously he was dad at that point in time. But once, you know, other people filled that void.

No, reverberance didn't really affect me at all. I mean, that didn't exist in my life as a young kid. It really didn't know, not at all. I mean when Dad left when I was about three or four or whatever, it was apparently I used to have nightmares about it because obviously he was dad at that point in time. But once, you know, other people filled that void.

You know.

You know.

My first stepfather, who was Italian, was like an older brother to me, another nutjob and someone who I looked up to massively, and we continued that relationship until his death about twenty years ago. But yeah, it was just Mom and I, you know, and I think I am the way I am truly because of her and because well how she dealt with the situation she was left in that she had no choice. You know, she could have screamed and shouted about it, but she didn't. I felt that she just had dignity and grace and moved on with her life as best she could, and you know, survived it pretty done well. And I carried that, and I definitely feel I carried that. And without question, this is one thing she said to me, and I certainly took it to heart when I was a bit more rough around the edges, which was that I was very much like Mum in the week and Dad at the weekends. So that the other way that was true to form back in the day, no question about that. Not so long ago, but long enough.

My first stepfather, who was Italian, was like an older brother to me, another nutjob and someone who I looked up to massively, and we continued that relationship until his death about twenty years ago. But yeah, it was just Mom and I, you know, and I think I am the way I am truly because of her and because well how she dealt with the situation she was left in that she had no choice. You know, she could have screamed and shouted about it, but she didn't. I felt that she just had dignity and grace and moved on with her life as best she could, and you know, survived it pretty done well. And I carried that, and I definitely feel I carried that. And without question, this is one thing she said to me, and I certainly took it to heart when I was a bit more rough around the edges, which was that I was very much like Mum in the week and Dad at the weekends. So that the other way that was true to form back in the day, no question about that. Not so long ago, but long enough.

You run.

You run.

Oh yeah, I had a few runs, and I had runs in Europe. I had runs in New York, runs in LA runs back in Europe. But now you know, I actually likely and I like waking up feeling good. I like working, I like all the projects that I do, and I enjoy life, you know, and I do everything now that I possibly can to maintain and live a longer and better and healthier and happier life.

Oh yeah, I had a few runs, and I had runs in Europe. I had runs in New York, runs in LA runs back in Europe. But now you know, I actually likely and I like waking up feeling good. I like working, I like all the projects that I do, and I enjoy life, you know, and I do everything now that I possibly can to maintain and live a longer and better and healthier and happier life.

Well, I say to people, I said, I realized that drugs are like a toy, like when you're a kid.

Well, I say to people, I said, I realized that drugs are like a toy, like when you're a kid.

But eventually you got to put it down like other toys. And I'm glad, I you know, for me, I just had to put it down. Now.

But eventually you got to put it down like other toys. And I'm glad, I you know, for me, I just had to put it down. Now.

The thing that I'm think again about your mom is that, I mean, nothing has seeped in more lore and bullshit than your whole family and the whole situation.

The thing that I'm think again about your mom is that, I mean, nothing has seeped in more lore and bullshit than your whole family and the whole situation.

No, but I mean people making up shit. Oh yeah, we have the fact.

No, but I mean people making up shit. Oh yeah, we have the fact.

But I remember this story somebody tell me, were like, they're all running to get on a train, You're left behind. That was a metaphor for the whole thing. They're all going where they're going, and I'm not going with them.

But I remember this story somebody tell me, were like, they're all running to get on a train, You're left behind. That was a metaphor for the whole thing. They're all going where they're going, and I'm not going with them.

That was real.

That was real.

That is real, absolutely real. She was left on the stage train station. Oh yeah. And it was only after the train gone that she was you know that they realized, or site Brian realized, really because he kind of took care of mom as best as he could, you know, because obviously she was not supposed to be around either. You know, back in those days, none of the boys were supposed to be married or had girlfriends, you know, kids or kids. Thank you very much out of here. Yeah sure, so, yeah, she was left on this train. There's actually a picture of her standing on that train station on her own after the train left the station. You want to talk about representation, Yeah, well that's it right there.

That is real, absolutely real. She was left on the stage train station. Oh yeah. And it was only after the train gone that she was you know that they realized, or site Brian realized, really because he kind of took care of mom as best as he could, you know, because obviously she was not supposed to be around either. You know, back in those days, none of the boys were supposed to be married or had girlfriends, you know, kids or kids. Thank you very much out of here. Yeah sure, so, yeah, she was left on this train. There's actually a picture of her standing on that train station on her own after the train left the station. You want to talk about representation, Yeah, well that's it right there.

Now.

Now.

The thing I find interesting when you talk about it or this is my take, so forgive me if i'm and that is one of the things that was lost in his life, your father, because of his success, because of his preternatural no one lived that life before them, and because of all that shit with your father, what was robed from him was a chance to be something I think he would have been pretty good at, which was a dad.

The thing I find interesting when you talk about it or this is my take, so forgive me if i'm and that is one of the things that was lost in his life, your father, because of his success, because of his preternatural no one lived that life before them, and because of all that shit with your father, what was robed from him was a chance to be something I think he would have been pretty good at, which was a dad.

Oh yeah, for sure. He began to be that with Sean for years and during Sean's upbringing as well. And that's why I love him so much. And because of what I went through, I don't want to see him, you know, go through the same kind of crap that I did. And you know, he's certainly gone through what I did, and if not worse, you know, having me as another element to contend with. But he's made his way through. He's a talented mofo. And yeah, I saw him the last two nights and we rarely get to see each other, but we just hang and we order in and we just talk about life and where we're at and how we're doing, and we're still here thankfully, and that we love each other, and that's the most important thing in the world, regardless of our positions or where we ended up.

Oh yeah, for sure. He began to be that with Sean for years and during Sean's upbringing as well. And that's why I love him so much. And because of what I went through, I don't want to see him, you know, go through the same kind of crap that I did. And you know, he's certainly gone through what I did, and if not worse, you know, having me as another element to contend with. But he's made his way through. He's a talented mofo. And yeah, I saw him the last two nights and we rarely get to see each other, but we just hang and we order in and we just talk about life and where we're at and how we're doing, and we're still here thankfully, and that we love each other, and that's the most important thing in the world, regardless of our positions or where we ended up.

When you were a child, you picked up musical instruments to play them, at least within a thought of being serious about it. You know, one thing to be three years old, But another thing, when did it really start to kick in for you?

When you were a child, you picked up musical instruments to play them, at least within a thought of being serious about it. You know, one thing to be three years old, But another thing, when did it really start to kick in for you?

When you were How old your music? Well?

When you were How old your music? Well?

I well, the thing was, I think I started playing a little bit in school about the age of eleven or two of thirteen. And it was actually my best friend, Justin Clayton, who's still my best friends from since we were eleven years old and I still work with him to this day. He co produced the last album Dude with Me and co wrote a lot of stuff. It was actually him that would go to these guitar lessons to learn how to play rock and roll with the guitar teacher who had one of those da haircuts. Sorry, he was a gym teacher. He was a pe teacher who had a da you know, ducks on grease back haircuts, and whenever there were breaks, Justin would go and I'm going, where are you going? What are you doing? And you know, he'd be there with a few other friends learning puff the Magic Dragon at first, but then Johnny be Good and I started getting interested in that. I started playing that, and then Dad heard about that, and so when I actually went to visit him in New York when I was about eleven, I think it was about that time. You know, he would start teaching me a couple of basic chords on guitar too. But I actually had an interest in acting, I believe it. I know I was going to get before that. Before yeah, before I got a serious interest in music. Yeah, because I did a fair amount of I did the year end plays that's in school, and I had an offer for the Shakespeare Company. They were scouting and I was picked out as one of the potentials. But then I learned how to play four chords and the girls got up and screamed at.

I well, the thing was, I think I started playing a little bit in school about the age of eleven or two of thirteen. And it was actually my best friend, Justin Clayton, who's still my best friends from since we were eleven years old and I still work with him to this day. He co produced the last album Dude with Me and co wrote a lot of stuff. It was actually him that would go to these guitar lessons to learn how to play rock and roll with the guitar teacher who had one of those da haircuts. Sorry, he was a gym teacher. He was a pe teacher who had a da you know, ducks on grease back haircuts, and whenever there were breaks, Justin would go and I'm going, where are you going? What are you doing? And you know, he'd be there with a few other friends learning puff the Magic Dragon at first, but then Johnny be Good and I started getting interested in that. I started playing that, and then Dad heard about that, and so when I actually went to visit him in New York when I was about eleven, I think it was about that time. You know, he would start teaching me a couple of basic chords on guitar too. But I actually had an interest in acting, I believe it. I know I was going to get before that. Before yeah, before I got a serious interest in music. Yeah, because I did a fair amount of I did the year end plays that's in school, and I had an offer for the Shakespeare Company. They were scouting and I was picked out as one of the potentials. But then I learned how to play four chords and the girls got up and screamed at.

You for you know.

You for you know.

Yeah, so that was the end of it, you know, But I guess I really got closer and closer to it. Justin and I we got heavily you know, as kids to teenagers, do you start listening to stuff that you love, whether it's the Beatles or led Zeppelin or a CDC or Peter Frampton or Keith Jarrett. You know, so steely Dan, You know, I really fell in love with music in that regard. And again after learning how to play a couple of chords and starting to sing a little bit, that's really where that kind of took off. And he just in a nice I died writing songs about fifteen sixteen seventeen.

Yeah, so that was the end of it, you know, But I guess I really got closer and closer to it. Justin and I we got heavily you know, as kids to teenagers, do you start listening to stuff that you love, whether it's the Beatles or led Zeppelin or a CDC or Peter Frampton or Keith Jarrett. You know, so steely Dan, You know, I really fell in love with music in that regard. And again after learning how to play a couple of chords and starting to sing a little bit, that's really where that kind of took off. And he just in a nice I died writing songs about fifteen sixteen seventeen.

Was the acting before that week? Yeah? The was before then? Why didn't the acting last?

Was the acting before that week? Yeah? The was before then? Why didn't the acting last?

I mean I did enjoy it, and I always thought I'd be an actor later on in life. Still do still did well, I don't know about do because I always loved the older actors like Albert Finney, you know, that deep emotional dark side of acting.

I mean I did enjoy it, and I always thought I'd be an actor later on in life. Still do still did well, I don't know about do because I always loved the older actors like Albert Finney, you know, that deep emotional dark side of acting.

Do you did it for that brief period then you walked away because of music? Yeah?

Do you did it for that brief period then you walked away because of music? Yeah?

Yeah, I just fell head over heels for the music. Also, one of one of the problems that I still endured to this day is that I have a terrible memory. So remembering lines was a big thing for me, and even remembering lyrics and songs these days as a problem for me.

Yeah, I just fell head over heels for the music. Also, one of one of the problems that I still endured to this day is that I have a terrible memory. So remembering lines was a big thing for me, and even remembering lyrics and songs these days as a problem for me.

When you started to make your music, were you just really conscious of just doing what you wanted to do when you're what you felt, let the echoes fall where they may, and you didn't really care exactly right?

When you started to make your music, were you just really conscious of just doing what you wanted to do when you're what you felt, let the echoes fall where they may, and you didn't really care exactly right?

Well, I mean I cared, you know. I was concerned about the responses I was going to get. But it was just a question of enjoying the moment and going through it and plowing on. And that's what I did, you know, And.

Well, I mean I cared, you know. I was concerned about the responses I was going to get. But it was just a question of enjoying the moment and going through it and plowing on. And that's what I did, you know, And.

Did you have your George Martin, somebody who said with you and saying do this, don't do this, this is better, this is weaker.

Did you have your George Martin, somebody who said with you and saying do this, don't do this, this is better, this is weaker.

I would have to say that a lot of the earlier stuff was being pushed around a lot. I mean, I you know, I went with the flow, but I did follow the rules back then. I think it was when I started not following the rules that I was. I became a diva and the difficult one, and I started getting dropped by management, dropped by record companies.

I would have to say that a lot of the earlier stuff was being pushed around a lot. I mean, I you know, I went with the flow, but I did follow the rules back then. I think it was when I started not following the rules that I was. I became a diva and the difficult one, and I started getting dropped by management, dropped by record companies.

Because you wanted to do what you want to do.

Because you wanted to do what you want to do.

Now, I just didn't want to do that what they wanted me to do anymore, and I just said no, I'm not you know, I feel for the kids these days, because I mean, if we thought we had a lot to do on the promotional front back in the day, there's you know, one hundred gazillion times more things to be done these days. You know, where you can't even breathe, you.

Now, I just didn't want to do that what they wanted me to do anymore, and I just said no, I'm not you know, I feel for the kids these days, because I mean, if we thought we had a lot to do on the promotional front back in the day, there's you know, one hundred gazillion times more things to be done these days. You know, where you can't even breathe, you.

Want Johnny Carson when you were twenty one years old?

Want Johnny Carson when you were twenty one years old?

Yeah, yeah, I mean that was fabulous.

Yeah, yeah, I mean that was fabulous.

I mean, Jesus Christ, how much more pressure can you have? Twenty one?

I mean, Jesus Christ, how much more pressure can you have? Twenty one?

But I know it was all a bit of fun back there, you know, I mean, no, yes, anxiety, but it was you know, I was with the band. I always considered that I was with the band because that's where I felt comfortable. It's like a lot of the TV shows that I ended up doing throughout Europe and America too, that they'd always want to put me on this podium or platform way in front of the band and the band behind me. I'm going, no, no, no, no, no no. You're lining me up with the band so I can react with the other players that I'm singing and playing with. I want that, I need that. I don't feel like this solo artist that should be just standalone way up in the front there. Although there were occasions that I had no control over. But for the most part, I would always try to have the band be inclusive of whatever scenario I was going through, because that was the camaraderie. That's where I felt a little safe for part of a part of and where the boys joke around. You know. It was a familiarity to what I'd seen, you know, in the Beatles films and all of that stuff, where you know, it was this the lads having a bit of fun, you know. But don't get me being solo, you know, on your own in front of all that, with the rest of that kept away from you. There were a few occasions like that that with the management. I just I can't be like that.

But I know it was all a bit of fun back there, you know, I mean, no, yes, anxiety, but it was you know, I was with the band. I always considered that I was with the band because that's where I felt comfortable. It's like a lot of the TV shows that I ended up doing throughout Europe and America too, that they'd always want to put me on this podium or platform way in front of the band and the band behind me. I'm going, no, no, no, no, no no. You're lining me up with the band so I can react with the other players that I'm singing and playing with. I want that, I need that. I don't feel like this solo artist that should be just standalone way up in the front there. Although there were occasions that I had no control over. But for the most part, I would always try to have the band be inclusive of whatever scenario I was going through, because that was the camaraderie. That's where I felt a little safe for part of a part of and where the boys joke around. You know. It was a familiarity to what I'd seen, you know, in the Beatles films and all of that stuff, where you know, it was this the lads having a bit of fun, you know. But don't get me being solo, you know, on your own in front of all that, with the rest of that kept away from you. There were a few occasions like that that with the management. I just I can't be like that.

Julian Lennon and the Hurricanes.

Julian Lennon and the Hurricanes.

I know, I had to be in it, you know, in it with the boys.

I know, I had to be in it, you know, in it with the boys.

Wow.

Wow.

Musician, photographer, and philanthropist Julian Lennon. If you enjoy conversations with the most creative minds in music, check out my episode with radio Heads Tom York.

Musician, photographer, and philanthropist Julian Lennon. If you enjoy conversations with the most creative minds in music, check out my episode with radio Heads Tom York.

There's always really exciting music being made. It's never not being made. It's a question of whether you're going to get to hear it or not. I mean, I kind of knew the game was up a few years ago when one of our sort of team of people came in saying, Nokia wants to offer you, did it are millions of pounds because they want content for their phones? And this is like in two thousand, I don't know, early two thousands, and you're like content, what you know? Content? What do you mean music?

There's always really exciting music being made. It's never not being made. It's a question of whether you're going to get to hear it or not. I mean, I kind of knew the game was up a few years ago when one of our sort of team of people came in saying, Nokia wants to offer you, did it are millions of pounds because they want content for their phones? And this is like in two thousand, I don't know, early two thousands, and you're like content, what you know? Content? What do you mean music?

Yes to hear more of my conversation with Tom Yorke, go to Here's the Thing dot Org. After the break, Julian Lennon shares his thoughts on the music industry today and what he enjoys listening to in his downtime. I'm Alec Baldwin and you're listening to Here's the Thing. Julian Lenin has released seven albums of his own music since nineteen eighty four. He's an artist with a rich and diverse background of life experiences to draw inspiration from. I was curious about Lennon's thoughts on current music and what the son of a beatle and enjoys listening to in his free time.

Yes to hear more of my conversation with Tom Yorke, go to Here's the Thing dot Org. After the break, Julian Lennon shares his thoughts on the music industry today and what he enjoys listening to in his downtime. I'm Alec Baldwin and you're listening to Here's the Thing. Julian Lenin has released seven albums of his own music since nineteen eighty four. He's an artist with a rich and diverse background of life experiences to draw inspiration from. I was curious about Lennon's thoughts on current music and what the son of a beatle and enjoys listening to in his free time.

There's a few new artists that I love out there that are fusion and jazz orientated. There's a band called Snarky Puppy. I don't know if you know those down Snarky Puppy. They can be between up to at least twenty people in the band, and they're all soloists in their own right. They have their own albums and they do their own tours independently, but they also work as trios, quartets and as this kind of eighteen twenty piece group, and they come together several times a year to do an album or two and they tour all together as well. A friend of mine who actually played on this album. Two of the founding members of Snarky Puppy, Michael leegh is an incredible multi instrumentalist bass player, and Bill Lawrence, who did some piano with me. And we've written a few things that will come out down the road. But there's a couple of radiotions I listened to in particular that play independent stream interesting. Yeah that while I'm while I'm editing photos, I'm doing stuff like that, or just working in general, I'll have that music on in the background, and every time I catch something I like, I'll you know, shizam it and put it in.

There's a few new artists that I love out there that are fusion and jazz orientated. There's a band called Snarky Puppy. I don't know if you know those down Snarky Puppy. They can be between up to at least twenty people in the band, and they're all soloists in their own right. They have their own albums and they do their own tours independently, but they also work as trios, quartets and as this kind of eighteen twenty piece group, and they come together several times a year to do an album or two and they tour all together as well. A friend of mine who actually played on this album. Two of the founding members of Snarky Puppy, Michael leegh is an incredible multi instrumentalist bass player, and Bill Lawrence, who did some piano with me. And we've written a few things that will come out down the road. But there's a couple of radiotions I listened to in particular that play independent stream interesting. Yeah that while I'm while I'm editing photos, I'm doing stuff like that, or just working in general, I'll have that music on in the background, and every time I catch something I like, I'll you know, shizam it and put it in.

A standing on chairs and restaurants.

A standing on chairs and restaurants.

But I'll just be able to you know then and there, put my phone up and go and I'll have a Shazam playlist, which is about two or three hundred songs now that I'll just rotate in between listening to one or two of those radio stations.

But I'll just be able to you know then and there, put my phone up and go and I'll have a Shazam playlist, which is about two or three hundred songs now that I'll just rotate in between listening to one or two of those radio stations.

In my mind in the way that we experience music, all the music that goes into your brain in your youth, and the things that helped to shape you in terms of your emotional fragility. Like I run out the door and I see to myself. I got to make as much money as I can. My father had no money, right, Having no money destroyed my father. He died when he was fifty five years old. He had cancer, rabid form of cancer. And I look at my dad and I go my father working as hard as he did, not having any money as were killed him.

In my mind in the way that we experience music, all the music that goes into your brain in your youth, and the things that helped to shape you in terms of your emotional fragility. Like I run out the door and I see to myself. I got to make as much money as I can. My father had no money, right, Having no money destroyed my father. He died when he was fifty five years old. He had cancer, rabid form of cancer. And I look at my dad and I go my father working as hard as he did, not having any money as were killed him.

Right.

Right.

He had six kids, no money, his school teacher, and I said, I can't. I mean, I remember like walking around LA when I was first. Don't end up like dad. Don't end up like that. Don't end up like dad. I started working when I was twelve, So as you get older, I can only listen to that music to soothe me.

He had six kids, no money, his school teacher, and I said, I can't. I mean, I remember like walking around LA when I was first. Don't end up like dad. Don't end up like that. Don't end up like dad. I started working when I was twelve, So as you get older, I can only listen to that music to soothe me.

Yes, that's my music.

Yes, that's my music.

Yeah, it's a safety in it.

Yeah, it's a safety in it.

Yeah, it's a part of me. Yeah.

Yeah, it's a part of me. Yeah.

Well, you know, I agree. I fell in love with that kind of all the variations of that kind of music back in the day, and they and half of the stuff that I still listened to was certainly at a relatively relevant point in my life, different moments in my life that I went through where I was growing up that I can go, you know very much, or a reminder of a time and a place which I don't today's music necessarily does, and the same manner at all. You know, there's certainly a level of emotion that's disappeared and depth of quality.

Well, you know, I agree. I fell in love with that kind of all the variations of that kind of music back in the day, and they and half of the stuff that I still listened to was certainly at a relatively relevant point in my life, different moments in my life that I went through where I was growing up that I can go, you know very much, or a reminder of a time and a place which I don't today's music necessarily does, and the same manner at all. You know, there's certainly a level of emotion that's disappeared and depth of quality.

No, but I mean you're like, you sit there and you go father Mackenzie wiping the dirt from his hands as he walks from the grave.

No, but I mean you're like, you sit there and you go father Mackenzie wiping the dirt from his hands as he walks from the grave.

No one was saved. You sit there and go, who the fuck's going to write that? Now?

No one was saved. You sit there and go, who the fuck's going to write that? Now?

Maybe Tom York, Maybe Tom New York.

Maybe Tom York, Maybe Tom New York.

He did our show.

He did our show.

Yeah, I know he did. I listened to the show that's why. Yeah, that's what made me want to come on that and I went, yeah, that was a great show. So actually one of the first times I've actually heard him speak and be comfortable and natural on the show.

Yeah, I know he did. I listened to the show that's why. Yeah, that's what made me want to come on that and I went, yeah, that was a great show. So actually one of the first times I've actually heard him speak and be comfortable and natural on the show.

We've been people in here. We just really love them.

We've been people in here. We just really love them.

Now since you're twenty one years old, officer, even before you're surfing in between. In terms of music, you have a music career and you start making films. You made films, directed and produced.

Now since you're twenty one years old, officer, even before you're surfing in between. In terms of music, you have a music career and you start making films. You made films, directed and produced.

Well, no, what happened was now, and this was much later in life. It was over twenty five years ago, that's for sure. But I had a song called salt Wa, which was an environmental and humanitarian song that pretty much was top ten, top five worldwide except for America, where I had a really shitty record company that did no promotion whatsoever. But I was number one in Australia. So I went over there and I was touring, doing promo tour and playing live at the same time, and I was this was the birth of the White Feather Foundation as well. We were number one in Australia. I was hosting all kinds of shows. Saltwater was playing all over the place. I was invited by the hotel down to the lobby who said, you know, we've got an indigenous drive down here that want to talk to you. And I said, You've got to be kidding, right, You know, on the road you get these pranks people have played. So I'm thinking, yeah, sure, sure, going to be hanging out in the lobby, but they were and with several news crews, and so I went downstairs. Elevator door opened, and I don't know thirty forty fifty, I couldn't tell how many people, you know, It was a bit fuzzy on the outside of the vision, and there was this little platform and I stepped up and Indigenous people there, and this woman who is the elder called Iris sadly passed a year or two ago from quite possibly the oldest Indigenous you know, group of people survives in the world, you know. And she walks up to me in the middle of the semicircle, hands me this male swan's white feather and says, you know, can you help us? You have a voice, can you help us? And I'm like, oh, you know, do I just continue to be a rock and roller or do I kind of step up to the plate. I mean, you know, the song, which is number one, is about humanitarian and environmental issues. But he's clincher on this one. And I've told this many times before, but every time it still affects me too that Dad had told me that at some point in my life. And I cannot tell you when or where, but it happened, and I thought it was peculiar at the time because I thought this is a weird thing to say to me. But he said, if something happens to me, the way that I'll let you know that I'm going to be okay or that everything's going to be okay will be in the form of a white feather. So when they elder, this woman from the oldest indigenous tribe on the planet hands me a white feather, you know, the goose. I get goosebumps every time I'm going I'm sorry. Whatever you believe in, this is undeniable, absolutely undeniable spiritual connection. And so I went, okay, right, that's it, step up, get on with it. So I spent ten years with the director Kim Kindersley as a dear friend of mine, making a documentary about them, called Whale Dreamers. Not only about the Moaning Tribe, eighty other tribes, indigenous tribes around the world who were suffering the same fate, the same plight as the indigenous in Australia and being thrown off their land for nuclear testing da da dada onto warring tribes lands and ongoing you know, the lands had been stolen from them. We're still fighting with them now to get their land back, you know, and we're winning at the moment, So knock on wood, that continues again. We weren't supported, we didn't have backers. It was just a little independent film. We won eight International Independent Film Awards, so we did quite well. But with the advent of the Internet, I decided to put a website together so I could sell the film because I said that, you know, if this film makes any money in any way, shape or form, I wanted to go back to the Morning people, the Mirning tribe m I R N I.

Well, no, what happened was now, and this was much later in life. It was over twenty five years ago, that's for sure. But I had a song called salt Wa, which was an environmental and humanitarian song that pretty much was top ten, top five worldwide except for America, where I had a really shitty record company that did no promotion whatsoever. But I was number one in Australia. So I went over there and I was touring, doing promo tour and playing live at the same time, and I was this was the birth of the White Feather Foundation as well. We were number one in Australia. I was hosting all kinds of shows. Saltwater was playing all over the place. I was invited by the hotel down to the lobby who said, you know, we've got an indigenous drive down here that want to talk to you. And I said, You've got to be kidding, right, You know, on the road you get these pranks people have played. So I'm thinking, yeah, sure, sure, going to be hanging out in the lobby, but they were and with several news crews, and so I went downstairs. Elevator door opened, and I don't know thirty forty fifty, I couldn't tell how many people, you know, It was a bit fuzzy on the outside of the vision, and there was this little platform and I stepped up and Indigenous people there, and this woman who is the elder called Iris sadly passed a year or two ago from quite possibly the oldest Indigenous you know, group of people survives in the world, you know. And she walks up to me in the middle of the semicircle, hands me this male swan's white feather and says, you know, can you help us? You have a voice, can you help us? And I'm like, oh, you know, do I just continue to be a rock and roller or do I kind of step up to the plate. I mean, you know, the song, which is number one, is about humanitarian and environmental issues. But he's clincher on this one. And I've told this many times before, but every time it still affects me too that Dad had told me that at some point in my life. And I cannot tell you when or where, but it happened, and I thought it was peculiar at the time because I thought this is a weird thing to say to me. But he said, if something happens to me, the way that I'll let you know that I'm going to be okay or that everything's going to be okay will be in the form of a white feather. So when they elder, this woman from the oldest indigenous tribe on the planet hands me a white feather, you know, the goose. I get goosebumps every time I'm going I'm sorry. Whatever you believe in, this is undeniable, absolutely undeniable spiritual connection. And so I went, okay, right, that's it, step up, get on with it. So I spent ten years with the director Kim Kindersley as a dear friend of mine, making a documentary about them, called Whale Dreamers. Not only about the Moaning Tribe, eighty other tribes, indigenous tribes around the world who were suffering the same fate, the same plight as the indigenous in Australia and being thrown off their land for nuclear testing da da dada onto warring tribes lands and ongoing you know, the lands had been stolen from them. We're still fighting with them now to get their land back, you know, and we're winning at the moment, So knock on wood, that continues again. We weren't supported, we didn't have backers. It was just a little independent film. We won eight International Independent Film Awards, so we did quite well. But with the advent of the Internet, I decided to put a website together so I could sell the film because I said that, you know, if this film makes any money in any way, shape or form, I wanted to go back to the Morning people, the Mirning tribe m I R N I.

N G mourning, Mourning, urning.

N G mourning, Mourning, urning.

But the only way I was told that that point in time to be able to do that was to start a foundation. So henceforth, the White Feather Foundation was born purely as a vehicle to get money from the sales of the film to the Morning Tribe. Then, over the course of time, I'd start getting these emails going, well, can you help us? And can you help us? And I'm going, well, listen, I'm not really a foundation as such, you know. But then I thought, you know, I am in a position to try and help. So I started looking at things that personally I would like to help with that affected me obviously, indigenous cultures around the world. That was number one on the list, with you know, buying back their land and preserving their land and their culture and their heritage.

But the only way I was told that that point in time to be able to do that was to start a foundation. So henceforth, the White Feather Foundation was born purely as a vehicle to get money from the sales of the film to the Morning Tribe. Then, over the course of time, I'd start getting these emails going, well, can you help us? And can you help us? And I'm going, well, listen, I'm not really a foundation as such, you know. But then I thought, you know, I am in a position to try and help. So I started looking at things that personally I would like to help with that affected me obviously, indigenous cultures around the world. That was number one on the list, with you know, buying back their land and preserving their land and their culture and their heritage.

And then you.

And then you.

Know, there are many many organizations out there that deal with clean water, but that's still a necessity. So we still you know, and I guess you could say how we are. We're a small group. There's only a few people in fact, me, you know, to do others. But we live on donations by the public. So it's public that really help us help them, you know. And I guess our position, or at least what I've felt about it, is that we're trying to catch the ones who fall between the cracks of the big organizations that can't take care of everybody. So it's the little people and the little problems that happen here, there and everywhere that we try and save and help.

Know, there are many many organizations out there that deal with clean water, but that's still a necessity. So we still you know, and I guess you could say how we are. We're a small group. There's only a few people in fact, me, you know, to do others. But we live on donations by the public. So it's public that really help us help them, you know. And I guess our position, or at least what I've felt about it, is that we're trying to catch the ones who fall between the cracks of the big organizations that can't take care of everybody. So it's the little people and the little problems that happen here, there and everywhere that we try and save and help.

So apart from.

So apart from.

That, the other elements are health and education for girls. And I started a scholarship in my mother's name after she passed because I felt it was a wait to honor her, you know. So it's the Cynthia Lennon scholarship for girls.

That, the other elements are health and education for girls. And I started a scholarship in my mother's name after she passed because I felt it was a wait to honor her, you know. So it's the Cynthia Lennon scholarship for girls.

Yeah.

Yeah.

Yeah, so I'm proud of that. We've helped a lot of girls go through the college and university to come back again and protect their families and their towns and their people, yeah, their cultures. So I'm very proud of that.

Yeah, so I'm proud of that. We've helped a lot of girls go through the college and university to come back again and protect their families and their towns and their people, yeah, their cultures. So I'm very proud of that.

Have you done many benefit by performances.

Have you done many benefit by performances.

We did one gala once. It was in Monaco, actually, but the stress and the cost of putting it on was more than it was worth at the end of the day, to be honest with you, and walked away exactly exactly. So that's my preference. It's just you know, I'll keep shaking hands and trying to get some donations brought in, but the whole gala thing, I mean, I myself became a little sick and tired of going to those kind of things. You know. What happens in my circumstance is that with everything that I do, whatever hat I'm wearing, a good proportion of what I earn goes to the White Feather Foundation. Whether it's from the books, whether it's from music, whether it's from the documentaries or you name it.

We did one gala once. It was in Monaco, actually, but the stress and the cost of putting it on was more than it was worth at the end of the day, to be honest with you, and walked away exactly exactly. So that's my preference. It's just you know, I'll keep shaking hands and trying to get some donations brought in, but the whole gala thing, I mean, I myself became a little sick and tired of going to those kind of things. You know. What happens in my circumstance is that with everything that I do, whatever hat I'm wearing, a good proportion of what I earn goes to the White Feather Foundation. Whether it's from the books, whether it's from music, whether it's from the documentaries or you name it.

Now, you lived in places in the United States for periods of time, Yeah, New York and La, I would imagine, and you were different for years.

Now, you lived in places in the United States for periods of time, Yeah, New York and La, I would imagine, and you were different for years.

I was in New York in the late eighties and I thought I might die here because the party scene back then in the late eighties was quite serious, robust. Oh yeah, the Limelight Arena and you know, and everybody was out, I mean everybody was on the town every night, you know. And then I went out to LA and a friend of mine picked me up in an old convertible and drove me along Mulholland and I went, ah, this is nice. And then of course, you know, most bars close up, you know, the last orders at one thirty two o'clock, and you think you're safe. No, you're not safe, because that's when everybody goes back to everybody houses and it's worse than New York and so you know, a.

I was in New York in the late eighties and I thought I might die here because the party scene back then in the late eighties was quite serious, robust. Oh yeah, the Limelight Arena and you know, and everybody was out, I mean everybody was on the town every night, you know. And then I went out to LA and a friend of mine picked me up in an old convertible and drove me along Mulholland and I went, ah, this is nice. And then of course, you know, most bars close up, you know, the last orders at one thirty two o'clock, and you think you're safe. No, you're not safe, because that's when everybody goes back to everybody houses and it's worse than New York and so you know, a.

Chef that makes dinner everything right there.

Chef that makes dinner everything right there.

Oh yeah, yeah, No, it was very I mean I did enjoy it. I had one of the best times of my life in LA because I became part of a brat pack biker crew, you know, with Harley's and you know the likes of me and Billie Idol, and every sun day, regardless of our condition, we'd be off bike riding down the Angelus Crest and oh yeah, but it was a fabulous time, an enjoyable time back in the day. I had a good probably five six years there, and then the seventh and eighth year I became a little numb, and that's that's when I ended up back in Europe. I actually went back to see a film, the film premiere of Backbeat, which is about the Beatles early days in Hamburg, and I met a friend of a friend who was a line producer, and he said to me, you've ever been to Monico before? And I said no, And he said do you like the Grand Prix? Do you like Grand Prix? I said, I don't really care one way or the other. He said, well, what are you doing this weekend? I said, well, going back to La to be numb. Why he said, well, listen, you know I've got a spare room apartment down in Monaco. I know everybody'd been living there for years. Why don't you come down. I'll take care of you. Daddy, Daddy da. So we go down and I find myself on the very famous Rascass Corner, which is where they come shooting down after the tunnel coming at you at about one hundred and eighty miles an hour while you're eating a shrimp cocktail and all you've got is chicken wire fencing between you and the car, and I'm going, this is great, you know. So I spent the summer there and again it was one of those moments. I had one of the best times of my life. And I just I had a little bungalow up on Mulholland and Cold Water, and I had a caretaker, and I just said, pack up the house, I'm not coming back. And I just lived in what I call a Miami vice apartment in Monaco, which was just this bare room that was kind of white, marble mirrors, yeah, yeah, yeah, with a little TV on a chest, a trunk, a couch from the floor, in habitat, a mattress on the floor. And I lived like that for a couple of years until I figured out what I was doing. Again, and you're still there, I'm actually well, the thing was, I didn't become a resident at that point, so I do now. I became a resident. Yeah, and I work with Prince Albert and his foundation with White Feather as well. We've were looking at a few projects. So but yeah, I find it. I just it's a listener. It's a beautiful location. Italy's twenty minutes away, you know, and I love Italy because of my Italian stepfather, Roberto Bassanini. And you know, France is beautiful too, Spain's just down the road for me. Location, location, location, It's just And I'm a biker now still, So whether it's in a convertible, little mini or Catholic, is that so?

Oh yeah, yeah, No, it was very I mean I did enjoy it. I had one of the best times of my life in LA because I became part of a brat pack biker crew, you know, with Harley's and you know the likes of me and Billie Idol, and every sun day, regardless of our condition, we'd be off bike riding down the Angelus Crest and oh yeah, but it was a fabulous time, an enjoyable time back in the day. I had a good probably five six years there, and then the seventh and eighth year I became a little numb, and that's that's when I ended up back in Europe. I actually went back to see a film, the film premiere of Backbeat, which is about the Beatles early days in Hamburg, and I met a friend of a friend who was a line producer, and he said to me, you've ever been to Monico before? And I said no, And he said do you like the Grand Prix? Do you like Grand Prix? I said, I don't really care one way or the other. He said, well, what are you doing this weekend? I said, well, going back to La to be numb. Why he said, well, listen, you know I've got a spare room apartment down in Monaco. I know everybody'd been living there for years. Why don't you come down. I'll take care of you. Daddy, Daddy da. So we go down and I find myself on the very famous Rascass Corner, which is where they come shooting down after the tunnel coming at you at about one hundred and eighty miles an hour while you're eating a shrimp cocktail and all you've got is chicken wire fencing between you and the car, and I'm going, this is great, you know. So I spent the summer there and again it was one of those moments. I had one of the best times of my life. And I just I had a little bungalow up on Mulholland and Cold Water, and I had a caretaker, and I just said, pack up the house, I'm not coming back. And I just lived in what I call a Miami vice apartment in Monaco, which was just this bare room that was kind of white, marble mirrors, yeah, yeah, yeah, with a little TV on a chest, a trunk, a couch from the floor, in habitat, a mattress on the floor. And I lived like that for a couple of years until I figured out what I was doing. Again, and you're still there, I'm actually well, the thing was, I didn't become a resident at that point, so I do now. I became a resident. Yeah, and I work with Prince Albert and his foundation with White Feather as well. We've were looking at a few projects. So but yeah, I find it. I just it's a listener. It's a beautiful location. Italy's twenty minutes away, you know, and I love Italy because of my Italian stepfather, Roberto Bassanini. And you know, France is beautiful too, Spain's just down the road for me. Location, location, location, It's just And I'm a biker now still, So whether it's in a convertible, little mini or Catholic, is that so?

Yeah? You come back?

Yeah? You come back?

So yeah, when I have time, I get on the bike and I go and that countryside throughout Europe is just jaw dropping and I, you know, forever in love with that.

So yeah, when I have time, I get on the bike and I go and that countryside throughout Europe is just jaw dropping and I, you know, forever in love with that.

Julian Lennon.

Julian Lennon.

If you're enjoying this conversation, tell a friend and be sure to follow Here's the Thing on the iHeartRadio app, Spotify or wherever you get your podcasts. When we come back. The Story of the Real Life Princess on the cover of Julian Lennon's new photography book, Life's Fragile Moments. I'm Alec Baldwin and you're listening to Here's the Thing. Over the past two decades, Julian Lennon has amassed and impressive portfolio of work behind the camera, looking through his recent book of photography. I was so moved by the images he captured. I was curious about when he first began pursuing photography and what inspired him to start taking it seriously as an art form.

If you're enjoying this conversation, tell a friend and be sure to follow Here's the Thing on the iHeartRadio app, Spotify or wherever you get your podcasts. When we come back. The Story of the Real Life Princess on the cover of Julian Lennon's new photography book, Life's Fragile Moments. I'm Alec Baldwin and you're listening to Here's the Thing. Over the past two decades, Julian Lennon has amassed and impressive portfolio of work behind the camera, looking through his recent book of photography. I was so moved by the images he captured. I was curious about when he first began pursuing photography and what inspired him to start taking it seriously as an art form.

When I actually came to see Dad when I was about eleven again and maybe even earlier than that, he had this camera called the Polaroid ssex seventy lamp camera, the ones that flipped up, folded, and I love those. I was just fascinated, more so because of the instant gratification of having the pictures come alive right in front of you like it is now. Yeah. So I tried being a real photographer with film, but I made mistakes all the time and screwed the film bah blah blah. So I kind of gave it a rest until digital photography really came into play. And then when it did, I vowed to myself. I said, well, well I would like to do and I'm self taught all the way down the line music, photography, whatever, documentaries, you know, children's books. You know, I just want to do the best that I can do, and so I challenged myself to try to make the digital photography as good as film photography. And what happened was I did an exhibition in Amsterdam ten years ago maybe where it was all brit pop kind of thing. Couple of photographers and musicians doing this exhibition, and I was cornered by this elderly American photography critic. And I'm quite shy and quite reserved most of the time, and I can be quite shut off, and she had me in the corner I couldn't get out and yes, okay, and I was trying to be as polite as possible. And then at the very end of it, she said, so tell me do you shoot with film or is it digital? I went, you tell me and that was it. That's when I went, all right, I'm doing a good job. And I think I'm doing a good job from and that's when I just went, yeah, all right. But how a lot of this came about was when I went on journeys on behalf of the White Feather Foundation to Ethiopia with a charity, Water, Scott Harrison Charity Water, who were an incredible organization. I think they provided more fresh water to people worldwide than any other. He invited me to go along to Ethiopia and I it was my first trip to Africa, and it was mind blowing, and so I thought, you know, take my camera, you know, just purely as the point of cataloging and making note of the moments and times I was going through, not as a professional photographer by any means. That same trip, I'd gone to Kenya to schools and health clinics and a few other things like that. That's where a lot of the White Feather stuff was born, out of visiting these places trying to help these plans. That's very importantiation, right, yeah, yeah, no, absolutely absolutely. So anyway, I started taking a lot of pictures of all of that stuff, and then when I had a few moments back home, I put him on a big screen and I'd start looking at stuff and go, well, this is really quite beautiful or quite poignant, or quite you know, deep and dark, and you know, maybe people should see some of this stuff, you know, or even the happiest stuff, or just the landscapes.

When I actually came to see Dad when I was about eleven again and maybe even earlier than that, he had this camera called the Polaroid ssex seventy lamp camera, the ones that flipped up, folded, and I love those. I was just fascinated, more so because of the instant gratification of having the pictures come alive right in front of you like it is now. Yeah. So I tried being a real photographer with film, but I made mistakes all the time and screwed the film bah blah blah. So I kind of gave it a rest until digital photography really came into play. And then when it did, I vowed to myself. I said, well, well I would like to do and I'm self taught all the way down the line music, photography, whatever, documentaries, you know, children's books. You know, I just want to do the best that I can do, and so I challenged myself to try to make the digital photography as good as film photography. And what happened was I did an exhibition in Amsterdam ten years ago maybe where it was all brit pop kind of thing. Couple of photographers and musicians doing this exhibition, and I was cornered by this elderly American photography critic. And I'm quite shy and quite reserved most of the time, and I can be quite shut off, and she had me in the corner I couldn't get out and yes, okay, and I was trying to be as polite as possible. And then at the very end of it, she said, so tell me do you shoot with film or is it digital? I went, you tell me and that was it. That's when I went, all right, I'm doing a good job. And I think I'm doing a good job from and that's when I just went, yeah, all right. But how a lot of this came about was when I went on journeys on behalf of the White Feather Foundation to Ethiopia with a charity, Water, Scott Harrison Charity Water, who were an incredible organization. I think they provided more fresh water to people worldwide than any other. He invited me to go along to Ethiopia and I it was my first trip to Africa, and it was mind blowing, and so I thought, you know, take my camera, you know, just purely as the point of cataloging and making note of the moments and times I was going through, not as a professional photographer by any means. That same trip, I'd gone to Kenya to schools and health clinics and a few other things like that. That's where a lot of the White Feather stuff was born, out of visiting these places trying to help these plans. That's very importantiation, right, yeah, yeah, no, absolutely absolutely. So anyway, I started taking a lot of pictures of all of that stuff, and then when I had a few moments back home, I put him on a big screen and I'd start looking at stuff and go, well, this is really quite beautiful or quite poignant, or quite you know, deep and dark, and you know, maybe people should see some of this stuff, you know, or even the happiest stuff, or just the landscapes.

You know.

You know.

And so I started just editing that kind of stuff and putting it all together into these little collections, and so that's how that kind of began. But on the other side, there's another side to it too, which is when I used to go on the road and do world tours and all that, you know, back in the day on TWA and the big old Boeing seven for seven, so you know, you used to we're talking forty years ago. Whenever, you know, they'd have a projector of one film if you were lucky, and then you have a bite to eat and go to sleep on these long hauls flights, and I could never go to sleep, so I'd always be staring out the window. And I just became fascinated with clouds. I mean, the first my first exhibition was initially just going to be because I fell in love with them. I fell in love with the shape, the color, their form, sunsets, sunrise, and it became a moment where I'd look out the window and I'd go I'd either think of nothing at all, just empty my mind and just be in the moment, or I think about everything, and I just noticed that the clouds only lasted a moment, or the light or the shape only lasted a moment. So it was all fleeting, really fleeting, And so I started relating that to my life and what was going on and everything else. And so that's what became important about photography for me is just trying to catch those moments that are not set up, that are not lit properly, that are not you know, and there you go.

And so I started just editing that kind of stuff and putting it all together into these little collections, and so that's how that kind of began. But on the other side, there's another side to it too, which is when I used to go on the road and do world tours and all that, you know, back in the day on TWA and the big old Boeing seven for seven, so you know, you used to we're talking forty years ago. Whenever, you know, they'd have a projector of one film if you were lucky, and then you have a bite to eat and go to sleep on these long hauls flights, and I could never go to sleep, so I'd always be staring out the window. And I just became fascinated with clouds. I mean, the first my first exhibition was initially just going to be because I fell in love with them. I fell in love with the shape, the color, their form, sunsets, sunrise, and it became a moment where I'd look out the window and I'd go I'd either think of nothing at all, just empty my mind and just be in the moment, or I think about everything, and I just noticed that the clouds only lasted a moment, or the light or the shape only lasted a moment. So it was all fleeting, really fleeting, And so I started relating that to my life and what was going on and everything else. And so that's what became important about photography for me is just trying to catch those moments that are not set up, that are not lit properly, that are not you know, and there you go.

I love these pictures, thank you. And I'm a photography freak. I love books of photographs, but a lot.

I love these pictures, thank you. And I'm a photography freak. I love books of photographs, but a lot.

O well, I certainly take that very kindly, sir. That's Charlene Whitstock, who became Princess Charlene of Monarica. I was ten minutes before she was getting married. There's a whole story behind that.

O well, I certainly take that very kindly, sir. That's Charlene Whitstock, who became Princess Charlene of Monarica. I was ten minutes before she was getting married. There's a whole story behind that.

Tell me, okay, all right.

Tell me, okay, all right.

So mutual friend calls me up the day before the wedding and goes, listen, Charlie likes your photographs. I'd met her once or twice and she just liked what I did, she said, He said, she wants you to come and shoot just before the you know, behind the scenes, before she gets married tomorrow.

So mutual friend calls me up the day before the wedding and goes, listen, Charlie likes your photographs. I'd met her once or twice and she just liked what I did, she said, He said, she wants you to come and shoot just before the you know, behind the scenes, before she gets married tomorrow.

I'll go.

I'll go.

Really not my kind of thing. Really, I didn't really know what I was in for. So I say, okay, all right, I'll do it. I'll break through the fear.

Really not my kind of thing. Really, I didn't really know what I was in for. So I say, okay, all right, I'll do it. I'll break through the fear.

Go.

Go.

So there's about three or four security checkpoints to get in. That was a nightmare to start with. Then finally get to the hotel where she is. She's got all her friends dancing around like lunatics.

So there's about three or four security checkpoints to get in. That was a nightmare to start with. Then finally get to the hotel where she is. She's got all her friends dancing around like lunatics.

Backpack.

Backpack.

I arrive at the hotel before I see them, and I'm in the lobby just there with my little backpack. And then walks you know, Patrick to my Shelly a with the hotel trolley's with equipment after equipment. I'm going, I'm screwed. How am I going to even anyway?

I arrive at the hotel before I see them, and I'm in the lobby just there with my little backpack. And then walks you know, Patrick to my Shelly a with the hotel trolley's with equipment after equipment. I'm going, I'm screwed. How am I going to even anyway?

So I go in.

So I go in.

I'm the only one allowed in the inner sanctum, which is great. So I'm in a room probably about the sides of the studio. She's in front of the mirror. You got the hairdresser, the hairdresser's assistance, the assistant's assistants, the makeup, twenty people in a tiny little room and she's just looking forward, numb, staring into the mirror and she's going, jewels. I don't know if I can do this. And I'm going, what are you talking about? And she said, no, I can't do these photographs. So I don't think. I said I'm here. I said, listen, I'm really. This is a this is historic, this is a You're going to become a princess for me too. This is a magical moment to capture I said, listen, I don't know what I'm going to get, not a bloody clue. But at least i'll be a fly on the wall. I'll be out of everybody's way. We've only got eight minutes left, literally, and so I shoot as much as I can. I don't even know what I'm getting not getting. You know nothing, I don't have a clue. I get a message from Vogue dot com. They want a picture from de Machellier, they want a picture from me to go online. Immediately after she's where did? And so I go back to my place, put all the pictures up on a screen, and I look at them and I go.

I'm the only one allowed in the inner sanctum, which is great. So I'm in a room probably about the sides of the studio. She's in front of the mirror. You got the hairdresser, the hairdresser's assistance, the assistant's assistants, the makeup, twenty people in a tiny little room and she's just looking forward, numb, staring into the mirror and she's going, jewels. I don't know if I can do this. And I'm going, what are you talking about? And she said, no, I can't do these photographs. So I don't think. I said I'm here. I said, listen, I'm really. This is a this is historic, this is a You're going to become a princess for me too. This is a magical moment to capture I said, listen, I don't know what I'm going to get, not a bloody clue. But at least i'll be a fly on the wall. I'll be out of everybody's way. We've only got eight minutes left, literally, and so I shoot as much as I can. I don't even know what I'm getting not getting. You know nothing, I don't have a clue. I get a message from Vogue dot com. They want a picture from de Machellier, they want a picture from me to go online. Immediately after she's where did? And so I go back to my place, put all the pictures up on a screen, and I look at them and I go.

I've got nothing. I've got nothing.

I've got nothing. I've got nothing.

This looks like crap.

This looks like crap.

It looks like shit.

It looks like shit.

The one thing Vogue said, we want to see her smiling. I had two pictures with her smiling. One of them was the one you pointed out. But the one thing that she said to me before the shooting was that, by the way, whatever you do, do not have a picture of me with a cigarette or alcohol in my hand. I'm going and I find that one picture that you pointed out, and I'm going, oh, here we go.

The one thing Vogue said, we want to see her smiling. I had two pictures with her smiling. One of them was the one you pointed out. But the one thing that she said to me before the shooting was that, by the way, whatever you do, do not have a picture of me with a cigarette or alcohol in my hand. I'm going and I find that one picture that you pointed out, and I'm going, oh, here we go.

I'm screwed.

I'm screwed.

Now I'm not a photo show kind of guy, but I managed to remove the cigarette, and I'm looking at the picture, going, well, how am I going to deal with the with the champagne? And I think, okay. With every collection I do, it has its own version of a desaturation. So it's never black and white. As you know, people say that's black and white. No it's not. It's a level of desaturation and jews and I work and tones.