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Nov. 18, 2023 - The Leo Zagami Show

01:52:51

LEO ZAGAMI UNVEILS THE SECRETS OF HIS MUSIC CAREER

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	We had in the last couple of days a one-hour shift, so for me it was a little bit early for the studio.
	Oh, I see.
	Had to help setting everything up, so no worries.
	It's funny, we have similar coloured jackets on.
	That's good, that's good.
	Where are you based?
	Sorry?
	Where are you based?
	I'm in London.
	Where about in London are you?
	South London.
	South London where?
	Sydenham.
	Ah, okay, okay.
	Do you know Sydenham?
	I know quite well Canberra.
	I'm sure you do.
	In all the various areas I used to DJ back in the days.
	Yeah, I can imagine you know London pretty well.
	Yeah, absolutely.
	My mother's from London so I've always been there.
	Is she?
	Yes, yes.
	Where is she from originally?
	Fulham.
	Fulham, oh yeah.
	Yeah, that's interesting.
	So when was the last time you were in London then?
	Last time I was in London was for a conference in, I think, February 2019, if I get it right.
	I'm not totally sure, but I think it was February 2019.
	No, it's only a little while ago.
	Yeah, yeah, yeah, just before I moved here to the United States, because I was forced by the situation that arrived in Italy to move.
	I heard, yeah, I remember you said.
	So now I'm here in California, relocated here in California.
	Yeah, that's also a strange place though, isn't it?
	Well, yeah, Palm Springs is pretty musical and it's nature.
	Frank Sinatra used to live here and it's, you know, like Hollywood's playgrounds, I guess.
	It's a particular place.
	Exactly.
	What is your show based on?
	It's not really a show.
	I've been a DJ since the 70s.
	My uncle is a music writer.
	Where were you DJing in London?
	I did different clubs and I was asked to come to Vienna.
	I did a club in Vienna for many years, 4 or 5 years.
	In the 90s you were in London?
	I'm born in the 60s in London.
	I moved from London several times.
	I lived in Austria, Switzerland.
	What was the other place?
	I did a lot in Switzerland back in the days.
	I used to play in Geneva.
	Yeah.
	They pay a lot, don't they?
	Yeah, yeah, yeah.
	They have a lot of money.
	Yeah, it was good money.
	I was working for Colour Trois, the radio there.
	Actually, that was a good job.
	When I moved to London, I used to go backwards and forwards from London to Switzerland back in the day.
	Yeah, I can imagine Switzerland's better paid than London.
	Well, then I moved to, in fact, I started working then in Scandinavia, Norway, Russia, Iceland.
	London is, as you know, the worst paid country.
	Yeah, that's right, that's right.
	If it's not your own night, you're not going to see that much money.
	No, no, no.
	I just think London has always been a bit of a scam.
	Yeah.
	I have a good friend who is called Rhythm Doctor, Chris Rhythm Doctor, I don't know if you know him.
	He's an old time DJ, I think more or less your age.
	And he is originally though, I think from Birmingham.
	And he basically used to work at the Ministry of Sound in the middle of Venice.
	And him and Harvey kind of introduced me a little bit to the night scene when I moved there back in the days.
	Yeah, Ministry of Sound is a big label.
	Yeah, I actually played there a couple of times.
	I used to be in good terms with the record label, but never really did anything because I was a little bit more alternative in the scene.
	We launched the new funk scene in the middle of the 90s there.
	And so it was a little bit more like less house and more organic, more funk, more disco.
	And so that and then I mixed up elements from my Cosmic years in Italy there was a club called Cosmic and they used to mix Afro, Disco, Electronic all together and that was a great mix to bring into the equation in the middle of the 90s in London was pretty boring I guess so that the scene had gone a little bit too on the house end but it lost a bit of the more funky side.
	Where was Cosmic?
	Was that in Florence, Firenze?
	Cosmic was a club that It was carried on by a friend of mine called Daniele Baldelli, who is a bit older than me.
	He was quite inspirational in my younger years.
	So when I then moved on to... Are we already in the interview or are we...?
	I'm recording anyway.
	It's recording from the beginning.
	But I'm going to cut it up.
	I have to cut it up.
	I have to edit it.
	It has to be edited.
	Ah, so you're going to edit after.
	Oh, yeah, yeah, yeah.
	So yeah, what happened was that You know, I'm half English, half Italian.
	I was brought up in Italy and I started DJing very early around... I was 10 years old when I did my first radio show with my mother because she introduced me to this radio and they asked me to be part of this children team that used to read fairy tales and stuff like that.
	But my passion was already when I was very young, 10, I discovered the DJing from From this local team of DJs to work on this Catholic radio station.
	So then I went on, I asked the local priest to have my own radio show, but of course I was too young.
	So he said, well, maybe you can serve Mass for a few years and I'll give you a radio show.
	So when I was 13, actually, only 13, in December 1983, I started my first radio show.
	And it was already back then, Pop and disco electro and let's say that within the next two years it became more and more Mixed up with other elements.
	And then later on, of course, I was one of the first people to bring techno to Europe.
	I brought underground resistance for the first time in Europe.
	I brought Derek May and many other important figures of the dance scene in these rapes that I started actually single-handed myself in 1989.
	The first rave in Italy was my own rave.
	I was, of course, inspired by what was going on, of course, in England.
	I was lucky enough to go backwards and forwards because of my relatives and my grandmother in 1986 had actually got me a gig or two in London.
	I was only 16 and I managed to become a president DJ at the Legends Club, which was in Bond Street.
	I know, I've been there.
	It's a private club.
	It was a private club at that time.
	It's a membership club.
	It's a membership with a very exclusive membership.
	Some important people from the music business hang out there.
	Me and the manager became good friends.
	More than 10 years later, in 1999, I got back to work with him again in Camberwell, in a club that he was managing back then.
	But we met by absolute chance.
	I actually went there to DJ, and he recognized me and said, I still have a tape from you from 1986!
	Wow!
	Of course in 1986 I was still very young, I had to go back to Italy, I had to continue going to high school, and of course when I was 18 I abandoned the school to dedicate myself professionally to DJing when I started earning a lot of money.
	Then I would study but I would do it in my extra time because of course my primary source of income became DJing at a fairly early age.
	I participated in 1987 to the DMC Finals in Italy.
	DJ finals, yeah.
	Yeah.
	So I participated in those finals because in London, when it was actually in 1986, when I was DJing in London, I wanted to do like a studio course to I wanted to do like a studio course to learn a bit editing techniques, remix techniques.
	And there was, I mean, it's a long time ago, so I'm trying to remember.
	But I got involved with the studio, Noisegate Studios, in Northern London.
	The guys Double Trouble, I don't know if you remember Double Trouble.
	One of them, I think, had a bad ending.
	I think he got attacked, something happened to him later on.
	At that time, they didn't even come out yet.
	I mean, they were collaborating with CJ McIntosh.
	Who was himself, as you know, involved with the DMC and became also a resident DJ at Ministry of Sound and My intention was to basically learn these techniques, these DJ techniques that were not only the mixing which I could have, of course I was learning back in Italy, I wanted to also learn the scratching and all the cut-ups and all those things.
	I went to this Noisegate Studios, I participated to this course with these guys, there was a Black guy and a Jewish guy.
	These guys, the Double Trouble team, were really nice guys.
	And I learned a lot.
	And after that, I went back to Italy.
	But I was already, like I said, I already had some DJ gigs at that point already in England.
	And I met, by chance also there, there was a club I DJed, which was not far from the Hippodrome.
	Piccadilly, Piccadilly area.
	It was in the Leicester Square Piccadilly area, yeah.
	Further on, after the Epidrome, further on there was this club, I can't remember now the exact name, but there I was called to DJ there because, you know, I applied.
	I was very young, but thanks to my grandmother who was a very She was a characteristic, very unusual figure.
	She wasn't on TV in England until her death.
	She was, of course, known as a controversial writer in Bramming and she had written books on stacks and all kinds of things and she was, of course, working as a PR for William Barrows, Brian Gysen and all these people.
	William Barrows was great, yeah.
	Well, he was a family friend of Brian Guyson.
	Also, these people were actually very close to my grandmother, who was called Felicity Mason, but she was also known as Aimee Carming in her literature career.
	And she was married, of course, to my grandfather, who was Harry Lyle Young, cousin to the Queen Mother.
	So there was also this royal bloodline thing.
	Yes, this bloodline thing.
	And she was very encouraging, you know, in actually wanting to pursue my own passions, my own career.
	She encouraged me to DJ and I remember back in 1986-87 going through those newspapers and trying to see if, you know, calling all the various clubs and saying maybe I could have a trial as a DJ.
	It was a different time.
	It was a completely different time.
	My club of reference, which I liked very much in that period, was the WAG club.
	Yeah.
	The WAG club.
	Because...
	And there was actually...
	It's kind of strange, because one of the people who inspired me most in that period was Jay Strongman, who was a very good DJ.
	And actually lives here in LA now.
	We are good friends on the internet.
	We speak often because he lives here now.
	He moved here to America a few years ago and he lives in LA.
	And as many other people that I used to collaborate and work with in London, actually there was DJ Harvey who I worked for, and actually I brought for the first time in Italy and he was part of my small DJ agency which I set up when I got to England in the middle of the 90s because I moved to London permanently in 1994.
	After I had already been involved with the music business for a number of years.
	I had launched the rave scene in Italy.
	I had this company called Male Productions, which also brought out some groundbreaking records in 1990.
	It was popular in Chicago, in Detroit, in all the electronic music scene.
	It was called the 200 Young Sound of Rome, the group we had set up.
	But my first record I actually brought out, I produced, was in 1987.
	And it was basically a record I did in the studio of a guy called Gazebo, who was one of the Italo pop disco kind of figures who had made this very, very famous record back in Austria and these countries.
	It was called I Like Chopin.
	And then there was some.
	So he was quite known.
	Like Falco, a little bit like Falco.
	The Commissar, of course.
	Right, Commissar, yeah.
	He was definitely a genius, a very sad ending also for him.
	Yeah, yeah.
	And so what happened was...
	I used to see him in Vienna around sometimes.
	Yeah, he was a guy who really could have done a lot also in the classical field, because he really had a mindset of a genius when it comes to music.
	He wasn't, let's say, electronic music, you know, somebody who plays the keyboard.
	He really played.
	And I think that Amedeo's film was a bit of a curse for him.
	Happened later on in his life.
	Yeah, I had the album that he brought out and there was one or two other tracks.
	Commissar was a good track on there.
	I think it was from the same album.
	But he was really tied to that one track and that was a problem.
	Yeah, there was Amedeus.
	Amedeus, it was more than a track also.
	Connected to a figure that as we know was a Freemason and Illuminati.
	Somebody who scares himself.
	Because Amedeus Mozart, Wolfgang Amedeus Mozart, died in a very sad way.
	Was he really poisoned in the end?
	Was that true?
	Do you think that's true?
	Was he poisoned?
	It's possible, but it's also very sad that the Freemasons that, you know, had kind of brought him into their lodges didn't really assist them until the end.
	You know, they say that Freemasons should be assisting you, you know, early love and all that BS.
	In reality, he was left dying, I think, on his own.
	And probably, yeah, he could have been poisoned because of the jealousy that surrounded his genius.
	He was definitely a genius.
	So at times when you are a genius, you get a lot of jealousy, no?
	Of course, of course.
	I think most people in some position, we have to deal with that.
	I think it's, again, going to the You know, you're talking about these systems that... Jealousy is a function that they put into the system anyway.
	You know, it's put on television.
	You're meant to be jealous about a lot of things.
	If you become a public person, you can attract that.
	I think it's part of the thing that they put into the system also.
	You know, it's encouraged to be jealous.
	You can see it on television all the time.
	Oh, this person is this... Actually, they're nobody!
	They all want to have their own 15 minutes of fame.
	You can see it really today.
	Today we are living of course in the age of the internet.
	No longer in the age of when I was involved in the music business, which was a completely different ballgame.
	It was about going to underground record shops that you might find at the end of some underground line.
	In some gutter, even.
	Yeah, in some gutter shop.
	Yeah, yeah.
	But it was really Incredible, then you could find maybe a record only there, a white label, a promo, something air, something that was distributed directly by the artist.
	And this really attracted me first to, you know, the music business became really, for me, a passion.
	And in 1987, I made this first record with this friend called Maurizio.
	And it was basically, he was a rapper in Italian and we published this record.
	It wasn't, it didn't really go anywhere, but it came out on on Lunatic Records, which was a record label of this guy called Gazzipo, and it brought me to DJ around to meet other people.
	But actually I arrived to publish that record from London, paradoxically, because when I went to work in the club, I was telling you before, near the Hippodrome.
	I need to remember that name, but I'm going to have to.
	Is it the beginning of the sea?
	What kind of club was it?
	It was just a disco.
	I don't remember, there was some kind of name.
	But in any case, what happened was... - What kind of club was it?
	What kind of people were there?
	- It was just a disco.
	It was actually owned by black people, by a black couple.
	- Okay.
	- Who had this club.
	And so I met the light jockey, because at that time there was the figure of the light jockey.
	Next to the DJ, you will have these clubs with these amazing lights.
	You know, you will have that light jogger who has to control all this light.
	Right.
	This guy was Franco Presta, who was actually himself Italian and was living in London.
	And his brother happened to be a very famous Italo disco guy called Ago Presta, Agostino Presta.
	So when I went back to Italy the following year, I got to meet his brother.
	I got to meet his other brother, who was also DJing in a very famous club in Florence.
	Yup, yup.
	I know it!
	Yeah, I've been there.
	I think I went there in the 80s or something like that.
	Yeah, in the 80s it was the number one club in Florence.
	Yeah, it was number one, yeah.
	It was famous.
	And the DJ was Pino Presta, who was the brother of Fanco Presta.
	I ended up working for Agopresta, who was actually becoming a manager for various DJs.
	He was a DJ himself, but then he had left DJing for singing, because he was famous as a singer at that point.
	He had brought out this record.
	His brother was still DJing there at Jab Jab, but he wanted to manage me and he wanted to basically bring... I was still young.
	I was like 17.
	And I was like, I had a manager and I was going around DJing with this guy called Maurizio, who was basically my rapper, but he was also my driver.
	So then, of course, in 1988, I had a great experience because I went with Ago I think, yeah, in early 1988, I went to Portugal with him for a tour that lasted a month.
	And in Portugal at the time, in Lisboa, they had some incredible clubs that were playing already acid house and house music.
	And it was for me an experience to go in these big warehouses at three o'clock in the morning and to listen to that kind of music.
	So what I did at that point was I wanted to go back in Italy and of course do the same thing in Italy.
	But Italy was very backwards.
	They were still, you know, kind of We're still back somewhere.
	I remember a track in Italy which was really big.
	I didn't hear it in Japan.
	You might have heard it in Rome.
	I was in Rome also in some of the clubs.
	It was called Precious Little Diamond.
	Do you remember that track?
	Sure, sure, sure.
	Yeah, well, they were playing pop mixed with electronic.
	In Rome, what happened was this.
	I started then at that point to really DJ a lot in Tuscany because I was from Rome.
	I had to travel two or three hours to go to Florence or to go to Arezzo.
	Because my manager was from there so he knew clubs from Northern Italy and Tuscany.
	Rome was a very close environment, a little bit like London.
	So what happened was that I started to DJ and of course I didn't even have a car but then when I was 18 I immediately got a car and my car license so I could drive myself and I could drive myself around.
	I became the resident DJ of a club called Crocodile, and the guy I decided to have, because the owner was very nice with me, and I'm still very good friends with his son after all these years, because he was actually involved with Freemason, with The Night Stamp, with all these things, and he had opened this club called Crocodile.
	Where was that?
	This was in 1988.
	Which city was it?
	San Savino, which is close to Arezzo.
	Arezzo is the place of Licio Gelli of the Lodge P2.
	Licio Gelli, I remember you mentioned him and I've seen documentaries on him, yeah.
	So basically, they had this club, Crocodile, which actually was named after, Crocodile is the name of a famous initiatic What do you think?
	So, he called this club Crocodile and it was a mega club, 5,000 people, imagine, enormous lights, big, incredible sound system, and there was a main room and then there was another room, and I became the DJ there, resident DJ, and I was 18 and I was earning something like 3, 4, 5 thousand pounds a month.
	It was an enormous amount of money for me.
	So, I was like, At that point I didn't know, I couldn't yet arrive into the DJ market in Italy, in Rome, because it was still very closed.
	But I was starting to, thanks to Agopresta DJing maybe in other parts of Italy.
	Where I also discovered the Cosmic Club, these clubs that were making music that was not yet, you know, we were not yet into the house.
	So they were mixing elements of afro, electro things, and it was all very mixed.
	But at that point, I wanted to bring in house electronics.
	I was more and more focused on that sound.
	And so in 1989, though, I Out of the blue, I think a guy who I knew from a friend of mine who had a big clothing factory, you know, so he was involved into making warehouse parties.
	I mean, in these warehouse parties, of course, literally warehouse parties, because he was involved in these warehouses.
	So he had all these warehouses for his staff and he was doing these big parties.
	So, thanks to him, I met another DJ called Marco Bisegna, known also as Bismark, who became later on a very famous DJ, at least in Germany and in Italy and in the more progressive scene, let's say.
	So, you know, the scene started to, because at the beginning everything was together and then it started to compartmentalize and then you would do only one genre or the other genre.
	In 1989, I decided, in June 1989, I was due to leave at the beginning of July for my military service.
	Before leaving for my military service, which was obligatory at the time, I decided to do a rave, the first Italian rave.
	And so, with this guy called Bismarck, who had also connections with the DJs in Rome, and staff, especially the DJs of this club, That was the first club, I think, one of the first clubs in Europe to do house music called Devotion.
	They started in 1986 and they started bringing people like, you know, from the garage house scene, very early days, people like Marshall Jefferson, you know, that kind of scene.
	Also Adiva and all these Ten City, these big groups.
	And I basically, the rave went great.
	It was a mega success.
	It went on for three days.
	We were closed down in the end, I think, by the police.
	Yeah, of course.
	It was literally the first rave in Italy because nobody had done a non-stop three-day party.
	Of course, in 86.
	It's very early.
	No, well, that was 89.
	89?
	No, no, the club scene was something else that I started to experiment.
	I didn't really get into the Roman club scene until I became big with the raves, because once I became big with the rave in 1989, everybody wanted to, of course, no more, you know, wanted to hear my music and stuff.
	But I had to go for my military service and my father had arranged for me with a general to go into this place in Viterbo, which is close to Rome, but it's still a few hours, an hour or so.
	So, I was a couple of days into my military service and I suddenly realized that there were people even, you know, who had been called with me, who had actually come to the rave, who had been participants in the rave, who were still talking about this rave, you know, and you talked about it.
	So, there was a lot of talk about this Impero dei Sensi rave.
	At that point, after two months of training into this base, I went back to Rome.
	My father managed to arrange for me to go and work at the Ministry of Defense.
	And I was then put into... I was actually trained in a more serious way with the special forces and all that.
	But then after that, They brought me into a more kind of civil kind of setup, an office, you know, where I was in charge of the variety entertainment department for the Air Force.
	So I had free tickets for various things, you know, shows, concerts and all that.
	That I was in charge also.
	And it helped me out because thanks to that the military became for me a little bit more bearable.
	I was capable of doing a lot of favors to people that then would do favors to me.
	You know, like the son of a general wanted to go to a place.
	And then also I was starting to get involved in the clubs business because after the rave people in the Roman clubs wanted to actually Me to DJ.
	So I used to at times go to the office.
	I was exonerated from the, you know, every morning you should stand in front of the flag and do the, I was exonerated and I was capable of going directly to the office.
	But I was actually sleeping in the car most of the time because I was DJing until five, six o'clock in the club and then going directly to the office.
	So I could make a little bit of money working at the club and then going to the office, which was prohibited.
	Theoretically prohibited.
	You know, by law, you can't do that.
	But I did it and I was very successful.
	I kind of, by 1990, I managed to really get into the Roman club business.
	And I also managed to launch the rave scene.
	In a way, I was caught by this big organizer.
	One of the biggest organizers in Rome at the time was called Kiko Furlotti.
	And he told me, Leo, we would like to have you in our team if you can also help us producing some records.
	Because, you know, in 1990, something happened.
	I went to London after two years because I had been doing my military, so I couldn't go out of Italy.
	And I hadn't been in London, so in 1989, I usually used to go every year for a few months, but I couldn't go.
	So when I went back to London in 1990, I saw that the scene had really grown into something important.
	You know, the rain scene was really, wow!
	And I was introduced to Fabio and Groob Rider.
	You remember Fabio and Groob Rider and all the jungle scene?
	I wasn't really into that kind of stuff too much.
	I was playing a little bit of break bass and stuff, you know, like a bit of the very early and mixing it up with other things like LFOs and all those deep bass bleepy things and all that.
	But the most astonishing thing was that in 1990 I went to the Monday night, the Heaven Club in London, they were doing Earth and they had Kirk Cox on.
	And I saw Kirk Cox DJ and I was like, wow, I need to, I need to.
	And then I saw another DJ called Matthew B. And actually I managed somehow to meet the actual organizer of the event of the Monday night at Heaven.
	And he introduced me to these DJs.
	And in turn, these DJs introduced me to This DJ agency that I think Fabio's girlfriend had in Brixton.
	And that was a breakthrough for me because I was capable, finally, from that moment onwards, to bring a lot of these DJs into the rave scene in Italy.
	At that point, I saw that white labels were very popular.
	You know, people were so I wanted to do after my first record experience in 1987.
	Three years later, I was in London.
	I wanted to do a record, but, you know.
	I said, how am I going to do this record?
	So I said, OK, I'm going to get here and find a record studio, rent a record studio with somebody who is knowledgeable, who can help me out, who has a lot of maybe nice analog equipment, because I like analog keyboards.
	At that time everybody was working with Atari Pro 24 and all that stuff, so it was pretty basic.
	But it was all MIDI driven usually and I was very fixated with 808 and 909 sounds.
	What did I Ask my grandmother, remember, can you borrow me some money?
	I want to rent some instruments.
	I want to go into a studio.
	I want to rent a studio, but I want to go only with this equipment from the studio.
	I want to bring also my own equipment, because not every studio has 909s or 808s.
	So I said, my grandmother said, no, no, don't worry.
	I'll do it for you.
	Don't worry.
	If you want to create something, I said, I really want to create something unique.
	So I rented.
	A TB-303, I rented a 909, I rented a 808, and I went into the studio with this other Italian DJ that in the meantime I had met in Italy, who became himself quite famous also later on with a group called Datura, or Cibillo.
	He was like more into the Italian house scene at that time, it kind of started to become popular also in England.
	And Cirillo was the resident DJ of a club called Cocorico in Riccione.
	And I had actually started working in clubs in the Riviera, in the Adriatic Riviera, which were very popular at the time.
	Riccione had the Pasha Club, the Cocorico with this big pyramid, and there was other clubs called Peter Pan and other important clubs.
	So I, with this guy who used to have a girlfriend in London, I said, OK, let's go into the studio and let's do this record.
	He said, well, it's difficult for us to do the record together because, you know, our times didn't combine.
	My time in London didn't combine with him.
	So we decided to do it.
	I did one side of the record.
	He will do the other side of the record.
	Two tracks each.
	We'll bring out this white label.
	It was called Brothers Brigade.
	Actually, it's been reprinted recently by a company which is bringing out some records in Italy with this name called Ciao Italia.
	This actually is another track, it has another story, which I did later on in 1993 with a guy called Mark Bell, who was the singer of M-People.
	Oh, M-People were big too, yeah.
	Big band, yeah.
	Yeah all the people they were from Manchester and they had but they were good friends with New Order and they were all the people from the Hacienda Club and I got very and I got involved and people were big in the charts they were in the charts very high up yeah but Mark Bell I made the record with him and actually they brought it Out again a few months ago now, one of my records with him.
	But I made a record with him.
	There's many stories I can say about my music business.
	Of course, we can go on here for hours.
	Of course.
	I mean, I know because I know much of what you're speaking about, because I grew up, I was a DJ since I'm 15.
	You know, I DJ when I'm 15.
	I grew up with punk rockers in London.
	I was in the punk rock scene.
	I'm not a usual type.
	I remember going...
	You mean the punk rock scene as a black man is a little bit...
	Yeah, right.
	I'm not the usual type.
	I'm not that.
	No.
	But I remember going to Rome, for example, in the 80s.
	And it was the first time I heard very different types of music mixed together.
	I never heard this in England.
	I mean, I do it myself.
	One thing I noticed about the difference with New York, and then from New York at the moment, because I think you might understand this, In England, aside from when the DMC guys sent me to, which I met through the guys at the Noisegate Studio, they sent me to, of course, go and check out, and CJ McIntosh, I think, was playing at the Hippodrome or something.
	And then there was another guy called Paul, Paul something, that came, was another famous DJ.
	But aside from these DJs... Paul Oakenfold?
	No, apart from Paul Oakenfold, who I know very well later on, actually I DJ with him.
	I grew up with him.
	Oh well, he's a really nice guy.
	Send him my regards if you ever see him.
	Yeah, I haven't seen him for many many years.
	So we were at this point in 1990 and I brought out my first white label and that was very much something that I did because of the people I managed to know before coming to that position of bringing out white labor, because you needed to know how to bring out white labor.
	And in that case, it was Matthew B.
	Matthew B was a friend of Mr. C.
	You remember He was also on the charts.
	Shaman, Mr. C. Move any mountain!
	Move, move, move it!
	So, the guy had taught me how to do a white label.
	He actually, literally, brought me to a cutting press.
	You know, there were various cutting rooms in London.
	The best one, I think, was the one in Camden Town.
	That was one of the best ones in London.
	But there were many others I used during the years.
	But at that time there were a lot of cutting places.
	And then you had, of course, the fabric where you actually print out the record.
	Because you bring the master there and you print it out.
	I literally did all this on my own, and I started to then bring these records, which I printed out in the shops myself, but in a very artisanal way.
	because it's very...
	Yeah, yeah.
	They would not touch it.
	So I get the record printed at the fabric, go the day after when the records are cooled down, they're all put in a box, then I go with the taxi and I start going around these shops where I do sell or return, sell or return, sell or return.
	I didn't expect all the records to be sold, but actually they got all sold.
	And it was, when I went back to Rome with this record, the white record, the people were like, whoa!
	It was like a big thing.
	It's a big deal.
	These guys, the biggest organizers in Rome, Kiko Forelli, they want to get involved with me because they want to start producing.
	I was in London.
	They wanted to start getting involved not only with the club business and so doing raves, doing parties and doing all that.
	Which meant that usually we have the Saturday night, which was basically a rave and it was predominantly techno.
	Yeah.
	You know, you used to play the new beat, techno, some elements of jungle at times, but it was all very boom, boom, you know?
	And you had during the week a more relaxed environment with club music, which was usually house.
	For me, at least, I used to play house and it was, of course, more relaxed.
	So you have these two kinds of scenarios.
	I started to bring out with male production and 200 ounces on the ground this record, but this record, when I brought out that record, That became big.
	They call me from Chicago, from Detroit, from New York.
	The record became massive.
	And in fact, it sold 5000 copies.
	I mean, it was like it was licensed to UMM, which became a very big company in Italy that putting out this kind of music in the 90s and then in the early 2000s.
	UMM, it was part of Flying Records, which was a company based in Naples.
	OK.
	And I actually was very lucky because a friend of my father used to know them and work with them.
	So I produced very early to the music business.
	Like I said earlier, I had my early show in 1983.
	Then I got introduced to the music.
	It's not that I just came out with, you know, I was listening to this guy.
	It was a bass player called Tony Wamsley.
	He was the bass player.
	He had played with a lot of bands in the 70s.
	This guy had played even with Jimi Hendrix.
	He knew everybody.
	He had played with everybody.
	With Jim Morrison as a background.
	He had really played and been on the scene.
	He's a top musician if he played with those musicians.
	In the second part of his life, he became a Tai Chi master, which he lives to this day.
	I don't know if he's still alive because I haven't had it for a few years now, but he became a Tai Chi master.
	But he was a bass player.
	He was going around America and he was recording tapes from the various radios, like, for example, Philadelphia, Philly 99 FM or WBLS in New York.
	There were all these radios.
	And he used to record these tapes and bring them to me.
	And I was an avid listener at 10, 11, 12 years old.
	And I was imagining this.
	I was listening to the breaks, the jingles, the mixing, because they were doing also mixing on these radios, you know, they were doing.
	Mixing on these radios that was never done in Europe.
	No, of course not.
	So for me, when I listen to Kiss FM, you know, in New York or whatever, it was a completely different thing from London.
	London, though, in the 80s, there was people like Tim Westwood.
	I used to go to listen to Tim Westwood in 1985, even when I was really young with my grandparents.
	bringing me there in the Sunday afternoon.
	There was this breakdance competition and people.
	So this was my inspiration.
	And later on, when I started to become known with the record business, and I was number one DJ at that point, between 1990 and 1992, I grew up in the rave scene in Italy and all the club, and I became one of the most DJs in Italy. I grew up in the rave scene in Italy and I was in every radio and everything, even on TV.
	So it was a big thing.
	But then, of course, there was a moment in which I should have compromised, because I saw that, you know, only the DJs who play a more maybe commercial tune would then get, you know, You know, that's why I never went in there because I'm more into the art of music.
	I'm not into the commercial bit.
	And I was the same.
	So I said, you know, my colleagues can do a different choice.
	They can do it.
	And they became big and massive and make a lot of money.
	At that point in 1993, I was involved also in the esoteric because I started to be, I was initiated in April 1993 in Rome by Prince Aliata di Monte Reale.
	And so I became a Freemason at 23.
	And at the same time I was practicing the magic of Abramel in the mage.
	I was contacted by the AA.
	One guy from the AA of Aleister Crowley came to a gig where I was playing and told me to contact them.
	And so I got introduced into this awkward world.
	And at the same time, I was continuing with my music career, but then I was also studying again because I wanted to go back to study, but I want to study certain things.
	So in 1994, I moved to London and that I abandoned Italy because the situation in Italy got very dangerous for me.
	Yeah, very dangerous because I was because I was involved with these People call Banda della Magliana doing parties for them.
	Basically, they recycle big amounts of money through the parties.
	Right.
	And through the raves.
	The raves started to become a recycling maneuver for the mafia and for big people high up in the system.
	Money washing.
	Money washing, you know?
	So I didn't want to really be involved with that.
	No.
	I didn't, you know, and at the same time, it was becoming dangerous for me because the first, in Italy, that was the moment in which the first Republic, they say, ended and a new period started, because the Cold War ended.
	And so with the Cold War ending, the Illuminati, the Freemasons, they didn't have the same interest anymore.
	Okay.
	And I was initiating to this reality and I was starting to see also things in a different eye because I could see how they were bringing in the drugs for the people.
	And I didn't really like what I was seeing because I saw how criminal certain realities were.
	You know, I mean, when you are simply very naive and go and dance in the club, it's great.
	But when you go back and, you know, you really look at it.
	The club business was a big money laundering operation always.
	They destroy the client.
	It's almost as if with the drug thing with the clubs, they destroy their own clients.
	Yeah.
	But at the same time, you have also the music business that was, you know, you have these big entrepreneurs that maybe have money made with drugs that wanted to open a big record label.
	And then they will give drugs to their own artists.
	So they can get them controlled.
	And this was terrible to see this kind of artist giving themselves up simply to, you know, they were basically becoming slaves.
	They made them their own slaves by feeding them with dragons all the time.
	Just going to the studio, make a new track, make a new track, make a new track.
	Look at all the artists that were around before.
	You know, when I was growing up, I grew up in the 60s, 63 I was born.
	So, you know, look how many of those artists actually died from drugs.
	I mean, somebody gave it to them.
	Yeah, no.
	And I saw it with my own eyes.
	But, you know, one thing was that during the rape period in Rome, I had brought for the first gig abroad the prodigy in Italy.
	Yeah.
	The prodigy became my friend.
	The manager of the prodigy became a friend of mine.
	And he actually wanted to produce a record with me in 1995.
	So I went to visit them.
	When they were really famous at that point, you know, because I met them by chance in the backstage of the Minister of Sound.
	They recognized me and said, ah, you're Leo!
	Come here, we make a track.
	And they used to live, I don't know, somewhere on the coast.
	I think in Essex.
	It could be Essex.
	Yeah, yeah.
	I think it was Essex.
	But in any case, I remember taking this train and going there.
	There were so many drugs there in that place.
	I mean, these people had a lot of money.
	They had Madonna calling up, Donna Summer on the phone.
	You know, they were like really popular of the amount of drugs.
	I'm talking about bags of drugs that they were carrying in that place.
	So I stayed there like a week or two to record with them.
	And I actually brought a record with the record label of the Prodigy, which is called CFMF, Cocksucking Motherfucker.
	That was the name of the record label.
	And, uh, But I escaped after a week or two because I thought this is insane.
	These people are self-destructive to, you know, it wasn't my kind of thing.
	So but I must say it was I started to promote my music.
	Then I met I met a lot of people.
	I remember thanks to thanks to my friend Harvey.
	The backstage of the Ministry of Sound, we had our own club going on there, which wasn't for the majority of people because nobody was allowed in the backstage and it was like a separate club.
	And so all the music business people used to meet and I met this Mark Bell, which I then recorded a few tracks, not only one, because Mark Bell was based in Blackpool.
	OK, and he was a very good friend of another famous DJ in that time, Sascha, you remember Sascha?
	And they invited me to this, I went and played a gig there in the club in Blackpool and then I stayed there a week recording in the studio.
	And we came up with a lot of music, but in the end I had one track in particular that I wanted to make an acetate.
	You remember how when you used to go, there was a place, I don't remember, you used to go there and make acetates, this one copy.
	A lot of people from the Jamaican scene used to To be involved with that, and also from the Django scene, I remember.
	And I made an acetate of this track, and one afternoon, because I started, like I said, I might have said earlier, at one point, when I first moved to London in 1994, I might not have said that, but I'm going to say it now, it was very hard for me to DJ, because as you know, the London scene is very closed, initially.
	So my idea was, I need to have some money to live.
	So how am I going to live?
	And I'm going to live, I opened a DJ agency.
	Yeah.
	Because I knew all these DJs from back in Italy, from doing raves, things, from having contact with the place, America, Italy, England.
	So I started to bring DJs in Italy, Switzerland, because I was also working, like I told you a moment ago, with Corotois and I was working with also a record shop in Geneva.
	And so I just started this venture of having an agency and for a couple of years it actually helped me out because you can make a lot of money by sending artists here and there and just taking a lot of money involved.
	I managed to have in my roster of DJs the founder, the guy who invented house music, Marshall Jefferson, who had to London in that period.
	And one afternoon he comes there to my house because he was about to go to, I think, Italy or Switzerland, I don't know, to do some DJ gig and I had to pay him or the usual contract stuff.
	He come there and I had, I remember my DJ booth I used to have in this old cupboard from 1777 that I was inherited.
	and given to me and I had my, I used to live in Church Street, Church Street near, near... Kensington?
	No, it's near Hobby Road, just St. John's Wood.
	Okay, yeah, yeah.
	So, I was...
	North London, North London.
	It's North London.
	It's just five minutes from Marylebone.
	Yeah, but it's North London direction.
	Yeah, it's North London.
	In fact, if you go there, you can go directly to Camden Town following, remember, the river there, the trail, the little river.
	I used to live in Camden.
	Ah, OK.
	I used to live in Camden, I know it.
	A good club in Camden, I remember.
	Many good clubs, there are many good clubs.
	Prabowl-Anderson, my friend Prabowl-Anderson used to have a club for guys.
	He's deceased now, but he was a really nice guy.
	And so what happened was, with this record, I had it playing there on the record player, and Marshall Jefferson comes in, he says, what is this?
	Wow!
	This is great!
	Why did you do this?
	I did it with your friend because he knew Mark Bell.
	I went to Blackpool last week and I did this track and I wanted to, you know, just an acetate.
	Oh, you have to absolutely give it to me.
	I want to bring it out in Chicago.
	And I would like also to put in contact with Trezor in Berlin because they might be interested.
	The club.
	The Trezor, the club in Berlin.
	Yeah.
	Tesser actually had not only a techno record label, but the daughter of the owner had started this label called KTM, which was doing house stuff.
	So the record label of Marshall Jefferson and KTM did a collaboration and they brought out in Chicago and in Germany this track, which I did with Mark Bell.
	And it was a big success.
	And then they called me, they started to call me to DJ in Tresor because Tresor was also a club.
	I've been there before too.
	Yeah.
	And what happened was that when the guy who was DJing there had Leo Young, he said, is this the Leo Young who was bringing out the records back in the day in Italy, 1990, 1991?
	92.
	And he said, yeah, it's the same guy.
	I said, wow.
	I had, you know, Dr. Motte, who was the founder of the Lab Parade, said, this is one of my favorite tracks.
	You have to have this guy DJing here.
	So I started to DJ in Germany.
	And also, thanks, at that time, the daughter of the owner of Tresor was engaged with a very dear friend of mine, Frankie Ballantine, who is a longtime London DJ.
	I don't know if you know him.
	I know the name.
	Yeah, but he's a very nice guy.
	I'm still in contact with him.
	He was one of the first DJs brought back in Italy back in the days.
	He said, no, no, you know, they wanted to return a favor, you know, because I had made them protagonists of a very incredible scene in the days because Rome in 1990 was the number one rave scene apart from London.
	You had London, you had Rome.
	You didn't have any other part of Europe that was doing the same thing.
	And in fact, they were calling me in Paris, they were calling me in Switzerland, they were calling me everywhere because, you know, Rome was becoming really famous.
	Yeah.
	As I said, as I said to you, go back again.
	When I went to Italy, I think it was the early 80s or whatever.
	It was the first place I ever saw where music was so mixed.
	It was so different styles, but brilliantly put together.
	It was like, whoa, this is something.
	We didn't even have that in England.
	We didn't have it in England.
	We didn't have it in England.
	Even the raves were made in a way that wasn't monotonous.
	Right.
	With a style in the beginning of the night, and they wanted a more chilled out style at the end of the night.
	And maybe in the middle they will have the banging, but they will have it all.
	Yeah, but it was all kinds of music.
	It was like they would put a, I don't know, one, it was like one electronic music, then it'd be something else.
	All really well.
	I mean, it was just brilliant.
	There was one club in Rome, one club.
	The thing that I noticed in London, you will have great DJs, but very rarely you will have great mixers.
	Yeah.
	When I got involved with Noisegate Studio, I was able to get in contact with people who were actually really mixing professionally at a very high level.
	But in London, in the clubs, they didn't know how to mix.
	It was like they were Ending one record and playing the other.
	Bam, bam.
	That's it.
	There wasn't any mixing.
	In Italy, there was always, since the 70s, there was this tradition of really mixing and really being the beat.
	I think music is very, very important to them because I never saw this kind of combination of music.
	I mean, I play like that myself.
	I have 50,000 records.
	All kinds of music.
	I have a few left in Italy, unfortunately.
	Yeah, mine's also in Vienna.
	But, you know, from hip-hop to electronic music to house music, drum and bass, I have everything.
	I have everything you can think of.
	Classical music, I grew up with classical music, everything.
	So, for me, it's a It was a big influence on what I was doing anyway.
	Yeah, it was.
	If I'd stayed in England, I wouldn't have got that influence in that way.
	And not so because it never it wasn't there.
	It wasn't it wasn't there.
	No, no.
	Yeah.
	The continental music was definitely very good.
	I think it was just in Italy because I don't know France.
	France, they don't have a club scene as when I remember.
	I used to go to Paris.
	You couldn't find any clubs in Paris.
	There was some.
	Le Bandouche and maybe one or two others.
	I mean, there was very few things.
	Yeah.
	It was very few.
	Twelve o'clock it was dark.
	Everything went dark in Paris.
	I said that.
	There was a friend of my grandmother who opened this record shop called BPM in Paris.
	Beats per minute.
	Yeah, BPM.
	It was near Place de la Bastille.
	And he really changed the record scene.
	Actually, in 1992, he invited me to go and record the record there in Paris, which came later on.
	And I met there again Derek May, who was just passing by.
	And I met personally Daft Punk, who came to my gig on a Wednesday, was DJing there in Paris.
	But yes, like you said, there wasn't really much.
	So then the city started to build up in Paris in that period, you know, with Dimitri from Paris, who then later on became a friend and many other people, like I said, Daft Punk and then many others.
	But at one point in 1994, I had an option.
	I could have chose to go and live in Paris or to live in London because, like, In Italy I had some problems because of this connection after the initiation with this Prince Aliade in Monterreale.
	The guy was persecuted and arrested and I was, and a lot of people were investigated and people close to me were arrested also.
	I actually were almost forced to leave Italy at that point to avoid getting, I was condemned.
	So I actually had the, a pending thing in Nepal.
	They wanted to take my passport and stuff.
	So my mother and father just said, leave Italy because otherwise you're not gonna be able to leave anymore.
	And so I went to live in London and I didn't actually go back in Italy for a couple of years.
	But in that period of time, I reconnected with all the people that I had, of course, worked with during the rape period in Italy.
	A lot of them owe me a lot of favors, so they were very nice to me.
	And it worked out well.
	Having said that, though, I mean, I started to DJ in London again and I saw that it was paid very little compared to... Yeah, it's really bad paid.
	Very bad paid.
	But then things It changed because in 1997 I brought out my album with Trezor, Cosmic Land, and they paid a lot of money to have a lot of promotion.
	I remember they employed a company called Trax, Nikki Trax.
	T-R-A-X.
	Yeah, not the record label, but this company in London.
	He used to do promotion.
	It was a woman called Nikki Trax.
	This Tony Rossano, who was a very good promoter, he, you know, he got me on the cover of DJ Mag, Mix Mag, Articles.
	You know, the actual Treasure Club invested thousands of dollars to promote me in England and in the world.
	So that was it.
	And I came out with a triple album for Treasure.
	So it was a big thing, CD, people have everything, and the promotion, and I was there.
	So at that point, I started to receive a little bit better offers in the club scene.
	But I also started to receive offers that were much more remunerative from places like Iceland, Finland, Russia.
	I started to work in Russia, which nobody wanted to go in Russia.
	And instead, I wasn't scared.
	I couldn't care less.
	I went there, and actually, I became No, it became a big business.
	I brought out also my records on CD in Russia, they were very successful.
	And I played with Billy Cobham playing the drums and me playing in the Bolshoi.
	Imagine that with Vladimir Putin and all the people from the government.
	I interviewed Billy Cobham.
	Yeah, he's a great guy.
	I interviewed him twice.
	Well, he was invited to participate to this event, which I did for the promotion of this record I put out, Tommy Touch.
	And it was actually an event for the children victims of terrorism at the Bolshoi.
	The first time that the DJ played at the Bolshoi.
	So imagine, all the representatives, diplomats of every nation, it was a big thing.
	So, no, I must say that in Russia, I got a lot of satisfaction because of the fact that I started to go there very early, came involved with the club business of Russia.
	So first I became very big in St. Petersburg, which was actually the town of Vladimir Putin.
	And Putin became president.
	They wanted, you know, people who in a way were connected to him to follow Moscow.
	So I got invited in Moscow and it was a great experience.
	I worked a lot in Russia and I was very well paid, treated like a rock star.
	A lot of the people...
	I think it's a good country.
	I think they have a good time there.
	I think it's great.
	I mean, for the music, I have a friend who is a Jewish-Russian friend called Lazar Vinogradsky.
	He has one of the best music DJ radios, dance radios in Moscow.
	And I worked a lot with him.
	But I mean, I worked so much in Russia, at one point they invited me to the dacha of Vladimir Putin, where he lives outside of Moscow, and I slept there one night.
	So you've met him also?
	Two times.
	You've met Putin two times?
	Two times.
	Once it was in St.
	Petersburg.
	I was kind of briefed because we were in this restaurant.
	And then the other time I was actually with this friend of mine.
	He was passing with his big car and he knew him.
	So he stopped and put down the window and then said hello to each other.
	And then I stayed there in this dacha, where I didn't get to meet him, but I got to be guested actually in front of his home.
	So you think he's a good person?
	From your occult knowledge and your energy reading, what do you think about him?
	From my own experience, it was always positive.
	I think so too.
	I don't know.
	Times maybe were different.
	It's sad that it's not any longer that way, because now things are changing.
	Unfortunately, all my friends in Russia are having to deal with this.
	Especially people in the music business who suffer more because they see now they are much more isolated.
	And it's almost impossible for them to invite artists to go to Russia and stuff.
	But imagine this.
	Only five, six, seven years ago, Goose Goose, which was a very famous group from Iceland.
	I know, I know.
	They were friends of mine.
	Actually, I did some music with them.
	Okay.
	They're very good friends of mine.
	They actually contacted me from Russia and said, oh Leo, we're here with your old friends in St.
	Petersburg.
	And they were like, these guys are very good friends.
	When I used to work, for example, I used to live in Oslo, they used to call me when they come in town and stuff.
	And when I was in Reykjavik, I was basically spending most of my time in the recording studio.
	So they are very good friends.
	But also, don't you think that the situation in Russia is also because the world is under military law at the moment, most of it.
	OK, I think that what has happened is very unjust.
	I think that NATO expansionism should never happen.
	I discussed this 10 years ago with an officer of the British intelligence and I said, do you really think it's right what you're doing now in Ukraine?
	And this was 10 years ago.
	And he said, and I said, you are doing things that you shouldn't have done because now you are breaking the balance, the equilibrium of the old packs, YALT and everything.
	And he said, no, I don't think it's right.
	But, you know, this is, of course, unofficial what he said to me because the guy was at dinner with me.
	So he is a friend of my family.
	He just came up.
	I challenged him and I said, do you really think that what you're doing?
	And he said, he had to admit he wasn't.
	He had to admit he wasn't.
	So we are now in this situation because of the great reset.
	They want to start these never-ending wars.
	We are at the day 622, I think, of the war in Ukraine.
	We are now at the 31st or whatever day since this new war in Israel, the many wars.
	As you know, I have just published a book, Volume 9, which encompasses these problems.
	I left the music business in 2005 when it wasn't possible for me any longer to work in the music business.
	And I tell you why.
	Because at the time I had moved to Norway, which actually became my second home.
	I produced also some records there.
	And I launched the whole scene.
	Like I said, that was rather influential because in London, in the middle of the 90s, I helped building up this new funk Cosmic Scene, which basically involved people like the Age of Boys, Large, then later on other people from the music business, Chicken Lips and other groups that became popular.
	And of course, I had also people in my own agency that were becoming big, like Basement Jaxx.
	Oh, they're big, yeah.
	Jaxx became very big.
	And they were actually, imagine, my little agency when I started in London.
	I had a lot of people that really made it and I was also happy to have launched a specific sound that was a little bit more, you know, when I was in London I used to even do gigs with Norman Jay, who is a great DJ and I think a great person also.
	Yeah, he's still around.
	Still around, still at the Notting Hill Gate Festival, still, you know, digging those tunes.
	And there was a record label called New Phonic, which I used to collaborate with in London.
	And then I brought out my album on Tommy Touch, which was also a record label that was based in the same building as the Club 333, if you know Club 333 in London.
	And then there was another club called Club 93.
	These are clubs that were all in the East London.
	Yes, yes, yes.
	And So I'm glad that I had this great experience in the music business, but it didn't end up well in 2005, because in 2005, when I, in 2003, I started to have problems within the secret societies I was involved with, and Freemasonry.
	These problems were really, you know, brought me to fight with these people already before I exposed everything.
	that period of time before I actually went public with my exposure in the fall of 2006, so between 2003 and 2006, this was an internal fight, and it was fought with exposures, with investigations into this, that, there were people from the intelligence service in England involved, from there were people from the intelligence service in England involved, from MI5, who were investigating also these people of the OTO who had infiltrated this organization called SRIA, who is connected to the United Gronology of
	There was a lot of things going on, and so at one point, these people had literally got me locked up in Norway, claiming I was crazy, you know?
	Because, you know, if you are in the music business and you're working in clubs, you can't really talk about these kind of things with anybody.
	OK, because when you are in a club, the attention span is very limited and also very superficial.
	And you're supposed to talk about certain things because then people, you know, what are you talking about?
	Maybe they are on drugs or alcohol or whatever.
	And and so At that point, I understood that for me to stay in the club business was impossible because they could have locked me up.
	They could have, you know, they were saying basically, you know, they went there.
	Then, of course, I understood what was happening there.
	They even went around the owners of the clubs and said, oh, don't, don't, don't employ this guy.
	He's crazy.
	Oh, yeah.
	They blacklist you.
	They blacklist you.
	That was really sad.
	I mean, I mean, I was a professional.
	I used to like my work and that was a little bit sad.
	But don't you think also the music business a little bit was in decline already this around 2005.
	When you really look at it, I mean.
	We can say one thing also, that after 9-11 things started to go down.
	In the period between 2001 and 2003, the whole of the vinyl business, which I actually was very connected to, because for me I know it's a format that some people think is dated, but actually nowadays it's being relaunched, because vinyl is vinyl.
	And it has a better sound, it has a truer sound.
	It's not cut.
	No, it's a truer sound.
	That's right, that's right.
	44.1.
	And I used to record on that and the 80s could still expand that sound to 48 hertz.
	And then you had also, I even recorded sometimes on reel-to-reel because it really was traditional.
	Reel-to-reel my uncle had when I was a child in the 60s.
	We had a reel-to-reel.
	Oh well, that was one of the things, and I edited the reel-to-reel and put tape and so you have to do little things and tape and do reversing.
	And it also had a great sound, it was a brilliant sound.
	Always a great sound.
	So my analogic upbringing was starting to change because the world was starting to change, the internet was arriving, the record shops were not really that more, a lot of them had to close because things were spoken through the internet.
	It was dying, it was crumbling, the whole thing was crumbling, and then even the major labels were starting to have troubles, because they were all being bought up, one after the other, all the small labels were being destroyed.
	It destroyed the music.
	At the end, everything was just sawn.
	So, I mean, if you go on Discogs, you can find Leo Young, Leo Lionzegami, and you can see that I All my story, and I'm telling for the people who are watching this interview, if they want to also check out all my recording activity, my records, they can simply go on Discogs and they can find all of them under various aliases.
	You know, like also I used to use Leo Young, but I also used to use Lee Tong, I used to use the Leo Magic Orchestra, the Trio Amiga Ensemble of Rome, the Young Brothers.
	So I went under various names also.
	And they can find all that if they go on Discogs.
	For your audience who might want to maybe listen to something.
	You can also find things on YouTube these days.
	Leo Young tracks are still uploaded regularly by enthusiast people who transfer them from their vinyls into YouTube.
	And I have never wanted to sell my publishing.
	So I'm still the owner of my publishing.
	Oh, that's good.
	The only time was with Mr. Bongo, you remember that shop in London?
	I sold 50% of my publishing for that and I kind of then went off that deal because I didn't like it.
	But it was an opportunity because Mr. Bongo was great music, it was a great shop and they had this new outlet called Disorient with the best producers of the time and they offered me this opportunity and I did a great track, a great EP with them.
	My experience in the music business was positive, but in the end I had to come out of it because the music business was, first of all, in decline.
	Second of all, it's too much exposed to these people.
	They can blacklist you, they can, you know, do all kinds of things and you will not be able to fight them back.
	Look at the musicians today.
	The musicians are used as political figures.
	Yeah.
	They're political figures.
	What they did was they told all these entertainers and artists, film actors, look, you cannot speak about politics.
	Around 2001, you could not speak about 9-11, so you cannot speak, you cannot say anything.
	Even before that, they were starting.
	But they were already shutting down these people.
	After that, they turned them into puppets for themselves.
	That's all they did.
	And they are really brainwashed puppets without really a mind or a soul of their own.
	And it's really sad because... The sound is going up and back.
	For me, music was also an act of revolutionary act.
	Yes!
	You know?
	That revolutionary act, it's no longer there.
	No, no, no.
	It's not.
	It's conventional, you know?
	No.
	And so, I'm glad that I lived the last period, probably, of real music.
	But it was no longer there, and in 2005, between 2005 and 2006, I had to make the decision to leave the music business.
	Then, of course, from time to time, some very close friends of mine invited me to do the occasional gig and, you know, bring out my records.
	I have 25,000 records in collection of this and that.
	And so they called me and I went to DJ again in Berlin, I went to Estonia, I did the occasional gig with my friend Giancarlino at this beautiful club called Goa Club in Rome and so he put me, the last time he put me together with a guy called Daniel Wang who is a great American producer from New York who does some incredible stuff and we did a DJ gig together.
	It's like nowadays I don't even DJ anymore because my records are back in Europe and I'm here in America so I don't know when I'm gonna do my next DJ gig.
	But one thing is important to say that The experience was positive and I'm grateful to music for all the great experiences they have offered me and the possibility also of being financially independent and all that.
	But I could have been used by the system if I didn't.
	Of course.
	If I compromised, I could have been really used by the system.
	You could have been in very big trouble.
	Yeah, yeah.
	I mean, they offered me all kinds of things during my music career.
	At one point, I remember one day this Russian oligarch said, if you want, Leo, we can buy you this and this and this other record label if you want.
	And there were big record labels, man.
	I don't want to give you the names now because I want to put you in difficulty.
	But it was a really big record labels.
	They literally on a table said we will buy them and you can then Take care of that.
	Dangerous.
	Dangerous stuff.
	Because then somebody else comes along and says, now we're going to buy it and then we're going to take care of that.
	It was dangerous stuff because you don't know what they want in return and all the rest.
	So I always I never wanted to compromise neither with the music but also with myself and that's why I always walked out of situation which started to vote on the criminal side.
	When there was the recycling with the raves and all that and the music business also became a recycled situation, you know, with the record.
	I didn't like that side.
	I like the art.
	The artistic side of what I did.
	And I'm glad that I still have many friends who are still doing it and who resist, let's say.
	I remember last week a guy said, well, if you come to Ibiza, we will have your club ready for you.
	And I'm like... Still?
	I don't know.
	I don't think so.
	Maybe one day, you know, if I have to go to Europe and I go maybe, and maybe I want to have again that DJ experience, maybe I will do it.
	There's still people who, you know, tell me, come to Berlin, you can DJ.
	you can DJ and you know I was in 1995 when I started in 1995 to work in Berlin there was nobody from London going to work in Berlin or it was very rare at that time Berlin wasn't the Berlin of today, which is actually even probably better than London.
	It's very different, very different now.
	Yeah.
	I went to Tresor, I went to the club.
	It was a small, it's a small place, but I mean, Berlin at that time was, it was after the wall came down, especially after the wall, just after the wall came down.
	And Trezor was like a few minutes from Checkpoint Charlie, very close.
	So it was really a special thing, you know, going on there.
	But the Trezor was actually a club with a history.
	The symbol of Trezor is a symbol of the Illuminati, the symbol of the club.
	And Dmitri, the owner, he was very much into these things.
	And plus, the place he purchased was the treasury of the Reichstag.
	It was the place where they used to keep all the gold there.
	Downstairs you still have the spaces where they used to put the gold.
	So I did the gigs there with people like Sven Barth for example.
	He's famous, he's famous.
	He's now massive.
	I did it with a lot of these people and I was at the same level at the time, but then I went On another path.
	And I'm very glad I did that because I was probably ever so thankful of having turned around my life from night to day.
	Because at one point, of course, in 2006, when I decided to expose all this, I had to leave the music business and I also had to leave my night time.
	You know, you live in a time zone of your own, which you basically are in the night rather than in the day.
	Nowadays, I'm in the day rather than in the night.
	With my work as a writer, I wake up at 5, 5.30.
	I used to go to sleep at 5, 5.30, 6 o'clock in the morning.
	That's right.
	Yeah, it's the opposite.
	I'm doing exactly the opposite.
	I'm glad to have... I was ever so glad to have done this, especially during the pandemic, because I saw How bad it was for a lot of my ex-colleagues during the pandemic.
	A lot of them suffered a lot.
	They couldn't work anymore.
	A lot of them, some of them got sick.
	Some of them even died.
	They destroyed a lot of the artists in the pandemic.
	That killed off a lot of people.
	I mean, I didn't see too many of the old jazz musicians die.
	It was a few of them, but the thing is, is that I think it killed some of the careers.
	I think it killed some of the careers, because some of those people, they won't come back.
	They won't come back to... It killed some of the careers, but it also killed some of the, you know, like the club business for many, many decades was DJs, Indianabetty, Smoking, buying cigarettes and everything else, using certain drugs.
	The moment in which the pandemic came around, it was like they were dying like flies, man.
	Even young, you know, 50, 55.
	And I was like, whoa, you know, colleagues of mine that I would have never expected that suddenly really it was like they suddenly I think there was a lot of suicides, Leo.
	A lot of suicides.
	It was bad.
	It must have been really bad.
	A lot of suicides also.
	There was a lot of people... Remember the guy from Prodigy?
	Remember the guy from Prodigy?
	He suicided.
	He was just one of them.
	So what they did was they mind-messed the people.
	Because the thing is, creative people are social people.
	Now you take away that, that's like, whoa!
	I was going to mention, there's a guy I knew in Berlin, he had a... Jean de Ville, Jean de Ville.
	Yeah, yeah.
	It wasn't there.
	No, it's gone.
	But I wanted to mention to you because I, about Berlin, I knew a fashion store in Berlin.
	I can't remember, I think it was, what's the name of it?
	Not Kranberg.
	But it was a high level Japanese clothing and he had bought a piece of the wall that they had knocked out in East Berlin.
	He had it in his shop.
	It was a huge piece of bricks.
	Imagine, really expensive clothing, you know, coats, a thousand pounds, over a thousand, Japanese stuff, all these things.
	And then he had this huge piece of this wall from Berlin, from East Berlin, really massive.
	It was brilliant.
	It looked really good.
	I used to love Comme des Garcons back then.
	Comme des Garcons had some great shirts.
	I remember I had a Comme des Garcons shirt in the 90s.
	It was fantastic.
	I have a lot of Comme des Garcons.
	This is Yoji.
	I used to buy the collections for a company.
	I was buying Comme des Garcons men and women, Yoji Emomotsu men and women.
	I've done all those fashion things too.
	But we have to speak about that in a moment because I want to ask you about Gianni Versace.
	Because I met Gianni Versace twice.
	What do you think happened to him?
	I've never met Jenny Versace, but the whole thing was definitely very weird, and I always thought the sister knew more than she was letting other people.
	I mean, of course, you know, everything is possible.
	In that kind of world, the homosexual world, there is always a lot of jealousy.
	You know, it kind of gets, especially the drugs, Yeah, but do you think that this man who is a multi-millionaire is walking around like that for this guy to just off him?
	No, it was a little bit weird.
	Because I remember when I met him, he always had his models with him.
	He always had some models with him.
	I met him twice and the first time I think it was two or three guys with him.
	OK, let's talk about the family of Versace.
	They come from the South of Italy.
	They come from a place in which everybody is an affuse.
	So I don't believe for a moment that his family is not connected.
	You can't escape it then.
	You can't escape it.
	No, you can't.
	Because his brother, I mean, I met him only once, his brother, but, you know, then you have the sister.
	Yeah, Donatella.
	I think that there is some link there with the mafia to some extent.
	I always think that somehow these people they get to a certain stage and then they want to take it over so they you know they Listen, there has been also the Gucci method, for example, that is typical of what can happen in these situations where you mix the interest that you have within a family with the interest of big corporations that want to, of course, like vultures, take control of these big
	It's really interesting also because when you see all these companies, what they've done, media, fashion, we're speaking about music, it's all been consolidated in very few hands.
	and watch everything else.
	Isn't that really interesting also because when you see all these companies, what they've done, media, fashion, like we're speaking about music, it's all been consolidated in very few hands.
	So now we have this kind of fascistic atmosphere, this everything under one flag mentality.
	Also, the mentality of people is pretty fascistic.
	People are not as open-minded about what's really... I mean, there's stuff we used to do.
	You could never do that today.
	I don't think you could do that today.
	You can't do those things today, and unfortunately I think that all this control has completely destroyed that freedom-loving mentality of the real artists, the real musicians, the real people who really gave their inputs.
	Now, when I went to London and moved to London, On a permanent basis in 1994, it was still a very different kind of London.
	Nowadays, I would not live in London, not even if you pay me sincerely.
	Not that you live there, but it's not any longer what it used to be.
	And you have to have also a lot of money to live in London.
	To live decently nowadays.
	You need a fortune.
	You need a fortune here.
	I mean, the thing is, is that back in our days, back in the 80s, let's say, this was a period, I mean, I've worked with fashion business people and music business people, all this, you know, all these.
	At that time, you had young people, they had their own shops.
	You couldn't do that today.
	I mean, you couldn't do that today, you couldn't afford the rent!
	No!
	I mean, I remember people who would simply come out of, I don't know, the London Fashion Week after being in that, what is that college there?
	St.
	Martin's.
	St.
	Martin's.
	I even had a professor there who was a friend of mine.
	I remember back in the day, Andrew Yeah, I mean you could just come out of it and after two years you could have your own shop, your own brand, you were like launched.
	You know, I remember these guys who, there was this club, Queer Nation, you remember in Covent Garden on Sunday, you could meet there Elio Ferrucci, you could meet everybody there, you could meet literally everybody in the fashion scene.
	But you could also meet the occasional guy who from one day to another would have been launched.
	And we'll launch his own thing, you know?
	Nowadays I don't think that is possible.
	No, there's always some big company behind them or some money behind them from some other big company and it's like, well that's not very individual really.
	Means now you're the puppet of, you'll have to do the bidding of these people because if you don't do what, I mean I know this, I was an agent for many fashion designers, many, not just agent for fashion designers but you know other areas, but the thing is when you don't do their bidding then that means they take the money away and you're a fish swimming in the river, you're gone.
	Personally, like I said, I don't think about those times that can come back.
	It's completely changed the situation.
	And also, artistically speaking, London nowadays, for example, music businesses move to Berlin rather than London because London doesn't offer what Berlin is offering.
	I mean, Germany and Berlin, they are incentivizing the club business.
	They are helping the club business.
	They are helping the music business.
	In London, they are not.
	No.
	In London, like you said, in the centre of London now, it's impossible to even open a club because the costs are... everything is rented out by big companies.
	And we have even empty stores because nobody wants to take it.
	There's empty stores in London.
	Nobody wants to take.
	Now, of course, we are getting the negative side of all this.
	Yes!
	You know, these places that could be clubs that are not rented out because of all the regulations of all the bullshit and they just stay there as property that stays there empty.
	And in fact, when I went, the last time I went in London, and I went a few times with my wife to show her, you know, she's American.
	She never went to London, so I was able to bring her to London.
	And by the way, it was an opportunity for me, because after a long time I got received also by the Freemasons who decided to initiate my wife as a Freemason in this irregular lodge that also welcome women, and so we had this opportunity.
	It was an experience.
	In the end she said it was an experience that maybe I could have maybe avoided but it was an experience.
	What are the women's lodges called again?
	There's a sister of something and there's some other ones.
	No, actually in England you have women grand lodges.
	You don't have the order of the eastern star.
	You don't have that.
	It's not allowed in English.
	But it's allowed to have separate women Freemasons.
	And then there's co-Masonry, the one that was practiced mainly by the people of the philosophical society.
	But co-Masonry also is quite big in London.
	And nowadays, they let the women Freemasons rent and use the lodges in Great Queen Street, which are used by the men in the other...
	Covent Garden.
	That's in Covent Garden.
	That area.
	So they're kind of like starting to integrate them.
	Yeah, yeah.
	Because they're collapsing.
	They're not doing so well, are they?
	They're not doing so well.
	Probably.
	But in any case, with my wife, this was a lodge that was actually certified by Switzerland.
	It had a French, a Swiss-French charter.
	And it was like regular masons from the Uruguay mixed with women who were, most of them were French.
	The lodge was based in the church of St.
	Edmund's, which is the center of the city.
	So, right there.
	And it was, I mean, it was a cool experience, I think, for her to do this experience and to actually meet some of my old Freemason friends there.
	And it was an experience.
	I must say that after all these years, they are starting to understand why I did what I did and all of what I did makes more sense for them.
	Right.
	OK?
	When I did those things back then, I was really... Yeah, yeah.
	Of course, it's dangerous.
	It was dangerous.
	I was fought.
	I was, you know, expelled at one point from the United Grand Lodge of England in 2005.
	And so there was a lot of contrast.
	But nowadays they have understanding that actually most of the things that I said were right, were correct, and that maybe they should have thought things around in a different way.
	Yeah, but the thing is that also many of the lodges are under You know, they have influences, outside influences.
	Yeah, for example, and I write in my books, the infiltration of groups like the U.P.O.
	or Alistair Crowley or other sects, you know, it can be Scientology.
	They tend to infiltrate and to, in some way, manipulate.
	I was very lucky that in the 1990s this project called the Canterbury Masonic Research Centre started at the Canterbury Tower, that used to be of St Francis Bacon, and it was actually rented by the Marquis of Northampton, who was at the time the, like, Not the Grand Master, but the Deputy Grand Master of the University of Virginia.
	He is now no longer.
	The center has been closed now for, I think, over 10 years.
	But this center was very important for me because it let me study and work with professors and people, you know, from Cambridge, Oxford, on subjects which I was interested in.
	London for me brought a lot of positive things in my life.
	Sure, it sounds like.
	Don't you think it's changing also because I think they've been removing some of these negative people?
	Because we have military, not a lot of people understand this or have seen this, but I've seen military helicopters.
	We have military here.
	Of course.
	I mean, you have to think one thing, like after 9-11, I was living, as you know, Church Street is off Leeson Road.
	Basically, I mean, I was living next to what is all the area where the Arabs are.
	No, you have all the big areas.
	Knightsbridge.
	Knightsbridge.
	No, all the area that you go down.
	What is that big road there near the Scotland Yard headquarters?
	Oh.
	This could be there.
	But in any case, near, near, what was, Lisson, was it Lisson Grove?
	In that area, there is a...
	Westbourne Grove.
	Lisson, Lisson Grove.
	Lisson Grove.
	Lisson Grove.
	But in the area of Marleybourne, after, all that we are now basically That goes towards Regent's Park.
	All that area now is basically in the hands of the Arabs.
	Yes, yes.
	It's always been in a way, but now it's even more.
	It's even more strong, like Knightsbridge.
	Knightsbridge is totally Arab now.
	And I saw that, for example, the old pubs are no longer there.
	Some have become halal shops.
	I mean, it's just changed so much.
	My wife was pretty shocked about the influence that the Islamic culture and the Arabs have there.
	I mean, we are in the center of London almost, but there was...
	It's the whole of Westminster now is full of it.
	It's changed and it's changed the character of London.
	Obviously, yes.
	Yes, obviously.
	I mean, it's damaging.
	I don't want to go too negative on it, but I think it's damaging because and I think, as I said, we've I've seen military.
	I know that we have military here.
	These negative forces have been making these cultural changes.
	They're being removed.
	No, but then also when I was saying about the helicopter, after 9-11 I was just walking Near, actually, you know the famous fish and chips shop that is in Liston Grove?
	It's a very famous fish and chips shop there.
	And I was walking on a side road and in this side road there used to be a shop that before 9-11 used to basically sell Islamic propaganda for the Hadiths who were going to places, I think Chechnya.
	I think that was the period in which there was a lot of clashes before, of course, then Putin made a deal with the Chechens and now, of course, they are part of the Federation.
	But before that, they were obviously, the British intelligence was supporting this jihadist.
	Yeah, because they were always trying to get rid of the Russians.
	They were always pushing people to the Russians.
	They were always doing this.
	Literally the week or two weeks after 9-11, I went past this.
	I said, let me see what, you know, I was like six, seven o'clock in the evening.
	And I was just walking along this road with my then girlfriend, who was a barrister, walking.
	And I said, let's go and see this.
	I want to check out this shop if it's still there.
	You know, I think those people.
	And suddenly this shop was no longer a shop, but was a security provider services and stuff.
	And I indicated that.
	And I said, I said to her, this is something weird.
	This used to be a shop.
	Suddenly an helicopter arrives on top of us, reached in London.
	starting to go down like cheese, you know, like they wanted to scare us.
	So there has always been a military presence.
	And also, of course, as you know, there is an intelligence presence because, of course, when you go to Vauxhall, you have the headquarters of CIS and MI5 and MI6 are there and the whole thing.
	And we even used to have, I remember, people that used to have a lodge around the corner from there, involved with the security services.
	So, I mean, my experience in London was a very good one overall.
	But I think that the city is risking today a lot.
	And that was actually Because we are going towards the end of our broadcast because I'm going to have to say bye bye to you soon because I have in 25 minutes another interview.
	We spoke a long time anyway.
	No, no, but what I wanted to tell you was that in my last... I went a few times in London from 2018 to 2019.
	from 2018 to 2019.
	In 2019, the last time I went, I made a speech in the Lodge.
	I think it was either 2019-- I think it was in 2019 I gave the speech in the Lodge.
	But I gave this speech, and basically I said, if you think that these Muslims will integrate, well, you are eluding yourself.
	And I said, this is a Masonic lodge.
	These people don't like this kind of thing.
	They're not going to permit this thing.
	So either you stop it or you're going to be yourself eliminated and eradicated.
	And they were like, ooh, and they kind of like the guy, then the warship or master in charge almost made me stop what I was trying, because I was really hitting, I think, the nail into the coffin.
	Yeah.
	But I think that the military is removing this problem.
	I think we have, they know the problem.
	They've known it for years, but now they had to They had to organize themselves to get rid of this.
	I think you're going to see a lot of... There's going to be some problems, military problems, going on in the streets in some of these countries.
	But at the end of it, I think that they will clear some of those problems out.
	Because these people, they didn't come here to really integrate into this country.
	They didn't come here for that.
	No, but the problem is that there are now too many.
	In England, in London, It's a little bit.
	It's not just that there are too many.
	They are also militant.
	These people are military.
	These are young military men.
	They know it.
	They already know it.
	They know this.
	And it's like they don't really merge that well with the British culture.
	They don't merge at all.
	They don't merge at all because they're not here for that.
	They're not here for that reason.
	This is the point.
	If we go to war, we go to war, don't we?
	We don't go there and start counting Coca-Cola cans.
	We go to war to shoot something else.
	But you know that this is a big problem because in the past, when there were these cultural clashes in England and there was, you know, social unrest in places like Birmingham or other places, they started to fight.
	I think it was the Freemasons who, in some way, managed to bring the community together because in those lodges, They permitted the Muslims, Christians, Hindus, Sikhs, everybody to meet up under the same banner.
	Yeah.
	Nowadays, there is no leaders of the community who are really emerging so much and who might be... No, that's gone.
	Yeah, that's gone.
	That's gone.
	Yeah.
	And no more that will to bring peace.
	Yeah.
	I'm glad that you have brought that up because I think that London has a big problem.
	I think it will be changed because the thing is people have realized, I mean I just came back 12, 13 years ago I came back to London.
	I was in Vienna for 15 years, 15, 20 years, something like this.
	So the thing is when I came back I already saw that there's a problem then.
	It's obvious that there's a problem.
	They know it and they will deal with it because I've got some People speaking about there will be military intervention in several places.
	And that's for sure, that's obvious.
	I saw military helicopters flying over my house.
	You never see this.
	You know, there is this sense of, you know, having done something wrong during the colonial times and so they have always this self-blaming kind of sense of wanting to blame themselves for what is going on and so they They don't want to take action because they think it's their own fault.
	Yeah, I know what you mean.
	It's all about being polite.
	But here's another one.
	I was in contact with Joel Soros' offices around 2000, maybe a bit earlier.
	And what I... Society?
	Yeah, one of his companies that he deals with, I got in contact to see what he's really about.
	And what I found out, these people are really looking to bring people into their... They were interrogative with the question, what do you do?
	What is this?
	They want to know... and I was a bit wary about this.
	What I think is that these people have been recruiting all these people.
	They've been paying for all this to go on.
	This is a couple of people with a lot of money who have spread these people all over the world.
	They said, yeah, go there.
	They've organized the money for them and that's all that's been... It's like a gang, you know, that's all it is.
	Their aim is to collapse the gang.
	Right, right.
	No, when it comes to Great Britain, now we saw in the last two hours the intervention of the King, talking to Charles III for his first talk and everything.
	But we see that either you have the Conservatives or you have the Labour Party, nothing changes.
	It's all BS.
	It's rubbish, it's rubbish.
	The only good thing that you did in England was to walk out of the EU, because that is really bad.
	I think that was planned.
	I think that was planned too.
	That was planned, but it wasn't... Yeah, because these military... I think because these guys are going to do something, they wanted England not to be a part of the rest of this whole nonsense that's going on.
	Look at Germany.
	Look what's happened to their economy.
	But look at Germany that is letting in all these people and when I was doing my gig at the time I was in Berlin there was a guy who literally came to the DJ booth and started to threaten even my wife who is American and he showed the tattoo of the Palestinian flag on himself and my wife was scared she said are we gonna be blown up here and it was really Like, I felt threatened in Berlin today.
	Of course, of course.
	I didn't feel threatened in Berlin ever in the 90s or before.
	No, no.
	Okay, you had the Turks, but the Turks were not really that fundamental, give a damn, they were just integrating and having a laugh with everybody else if they wanted.
	Well, I passed by some skinheads once.
	I think I passed by some skinheads once.
	It's normal, there wasn't any problem.
	No, no.
	But instead, but of course, I remember also when once we had one of these DJs, black DJs from Detroit going into Eastern Germany just in the early 90s.
	And he was like, he feared for his life there because Eastern Germany was very dangerous there.
	Very dangerous and very racist.
	And people don't know, but it was really, you know, the communists, they were really racist.
	So that was a bad experience, I guess.
	But the thing is that Berlin today is just like London, a place where you have, unfortunately, these situations that can arise.
	And I was simply DJing.
	I didn't suspect anything wrong.
	And the guy, I don't think that the guy knew who I was.
	No, no.
	No, no.
	He didn't know who I was.
	He just started to talk because he was like trying to, you know, boast himself, trying to be a little bit... But when he heard that my wife was American... Oh!
	That was it, man.
	Yeah, yeah, yeah, yeah.
	The American thing, they didn't like.
	No, no.
	And why would they?
	Yeah.
	Why would they?
	They have their own things.
	Tell me about your book very quickly before we leave.
	OK, yeah, we have only five minutes because I have to, of course, I have another interview.
	But my book, my latest book, if you are, of course, this is actually a tape that was brought out in Berlin two years ago.
	As you know, tapes are no longer, you know, They're no longer functioning!
	These guys from Berlin decided to bring out some of my own, and this is a picture of me DJing back in the days.
	I think I was in St.
	Petersburg.
	Well, you didn't change a lot.
	Yeah.
	Well, this tape was published so they could actually, it was brought out a couple of years ago, so they could play these tracks from the tape.
	And this was actually done by young people.
	It's encouraging the young people.
	Also, three years ago, this record here was brought out, which is basically Unreleased projects that I had, you know, left over.
	It's very Sun Ra.
	It looks very Sun Ra.
	It's Sun Ra.
	And then inside there is a whole story of, and it's actually some, some flyers, some flyers of my gigs.
	Good.
	And, uh, yeah, yeah, no, it's here.
	This actually is even a cover of, I'll show you, of when I was on the cover of, uh, Oh, DJ Magazine!
	Yeah, my name was there.
	They were saying basically Leo Yang at Tresor.
	This was the big title.
	Very good.
	And then these are photos always from my DJ years.
	And this guy here is the guy from the Cosmic Club, which we Which I was talking to you about before.
	I was inspired and who actually didn't want to come to London back in those days because he was afraid of taking the plane.
	Now he has started to DJ instead all over the world and is now actually even in England a big star when he DJs.
	So I helped, I guess, relaunching a guy who deserved it.
	I'm happy that I was able to influence the music business, and there are, of course, traces of my influence on ID, on The Face, on DJ Mag, Mix Mag, Music, all the various magazines from articles that were published back then.
	And it's another part of my life which I'm very grateful to.
	I published, in fact, this book, Volume 8, just last year, which talks about the involvement of the Illuminati, the Freemasons, in the entertainment world, in the music and in the cinema business.
	And it's a very big book, but it explains you how this manipulation has been orchestrated, also with the record labels and everything we discussed today.
	Very interesting.
	Yes, we can speak another time anyway, because there's a lot, I think there's a lot you understand, so we can speak another time in the future.
	Absolutely, it would be a great pleasure for me, if I ever come to London.
	It was a lot of fun, because you know a lot of people that I know is like family.
	Yeah, I would love to see them again and I'm And I'm sure that I will be able to come to London in the next few years.
	I'm changing my citizenship.
	I'm abandoning and leaving out Italy and Europe.
	I'm cancelling, erasing my European citizenship.
	And as an American, I will be definitely coming to visit my relatives and also my old friends in London.
	Very good.
	Thank you so much.
	God bless you all.
	Yes.
	Thanks, Leo.
	Yeah.
	Thank you Alexander.
	We speak soon.
	Keep in touch.
	Shall I send you some of the interviews?

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