‘I’ll never forget it’: Exclusive insights into day The Queen died – relived by Daily Mail experts – Hww

when I saw her 15 minutes on the 24th of June I mean she was so sharp and absolutely you could talk to her as if she was I know 50 or 60 years old there was just this moment and I’ll never forget it of complete silence and everyone just had their own thoughts for a moment you know it did remind me of the death of Princess Diana in many ways oh my God it’s gone to half mast I see that the flag appears to have gone to half-mast yes that flag is at half mast and we’re getting an official statement here this is BBC news from London Buckingham

Palace has announced the death of her majesty Queen Elizabeth II Boutique Elizabeth it was the day that was to have been expected but one that for many still came as a shock the queen passed away on September 8 2022 she was 96. this is how the day unfolded minute by minute foreign I’m a royal biographer I’ve written a number of Royal biographies over the years and followed the royal family since uh I was very very small first time I saw the queen was in 1959 first met her in 1968 and last met her on the

24th of June last year the 6th of September we saw that she had seen Boris Johnson and Liz truss but the media generally seemed to have forgotten all about this the privy councilors and the queen was going to do a zoom which is very straightforward and she’d done lots of them as you know and a message came through saying that she had canceled the zoom and that’s what first alarmed me because this was really the first time that the queen had been unable to undertake a constitutional Duty I was on my way to a book launch for Ian Wilson’s

book at hatchards and while I was there I got another message just to let you know that her majesty isn’t very well and has been ordered by her doctor to bed for rest the prisoner Wales will be going to Bal Laurel so I know that by 6 27 from an earlier text I was aware that the queen had canceled the privy Council zoom and this one came about half an hour later the next morning as word began to swell that the Queen’s Health was deteriorating the then Prince of Wales was making his way to Balmoral at 8am the Future King flew in the

Queen’s helicopter through pouring rain from Dumfries house Princess Anne was already with her mother while her playing was being arranged for Her Majesty’s other children 500 miles away princess George and Louis and Princess Charlotte were arriving for their first day at lambrook school near Windsor with their parents the Duke and Duchess of Cambridge they entered away from cameras after a scheduled photo call the day before at just after 10 a.

m Daily Mail editor Ted Verity was sitting in his third floor office overlooking High Street Kensington the team were preparing for the first news conference of the day at 1008 a text message comes through on Verity’s phone from a trusted Source I’m told the situation north of the border is close there’s no doubt what he’s talking about our editor along with many of you had been taken aback by how frail the queen had looked two days earlier greeting the 50th prime minister of her Reign this Photograph will turn out to be the last

ever taken of her it was one of those unusual days where no one really knew what was going on there was rumors flying around but it was very hard to grasp the truth of what was actually happening Verity asks are we talking hours or days or weeks the reply is simple imminent there had of course been many such scares about the Queen’s health over the years but this one felt different taking confirmation of the tip Verity messages another contact with intimate ties to senior Royals an hour later the contact replies it’s

one of those days where I think everybody remembers where they were that day that morning but particularly somebody who’s covering the Royal beat I was actually on annual leave but thankfully in the country and come up with a swimming pool early that morning to receive more than 20 missed calls on my phone it’s something that I’ve been expecting for a long time you know my phone wasn’t on silent at night time I’ve always been expecting this call for you know at least a year beforehand um and that’s when I knew I think today is

going to be the day we were at the end of basically the end of the the latest Elizabethan era um and there was this huge story um shortly after that we got the the first real public fine that things were happening yesterday the Prime Minister tried desperately to blame labor on that intervention goes to this point I remember it was 12 15 that this extraordinary scene unfolded Nadeem zahawi the then Chancellor or the duchy of Lancaster flipped into the house and sat next to Liz truss after her opening statement minutes later a note was

handed to Deputy labor leader Angela Raynor in 2006 in which prime minister Blair said I’m to revealed later it read the queen is unwell and Kia needs to leave the chamber as soon as possible thank you at 12 30 Prince Harry receives an unknown call on his mobile it turns out to be his father the call is brief the queen has taken a turn for the worst just two minutes later immediate advisory from the palace goes out to all British newsrooms informing the nation the queen was under medical supervision so this was it operation London Bridge

to use the code word employed by Royal officials for panning the biggest and saddest state occasion in a generation we said something about the announcement which has just been made about her majesty I know I speak on behalf of the entire house when I said that we send our best wishes to a Magister of the queen and that she and the royal family are in our thoughts and prayers at this moment I’m going to take no more just to if there is anything else we will look at the house accordingly thank you so in the London Bridge briefing a decade prior we

were told what would happen the steps that would be in place to prepare the public to mourn them um should an event like this happen three natural causes that there would be a warning for the public it wouldn’t just come as a statement most probably um and then we had the give messages from the politicians in Parliament and again that’s on the sheet that you know we’ve been led to believe and to see it actually play out in real time was really quite bizarre um even though we’ve been training for this we knew this would happen just that

it was the you know the real emotional story that was going on here was a family who was losing someone very very dear to them and that’s something that the reader and when everyone in the office can relate to of course welcome to viewers on BBC One we have had news from Buckingham Palace that the queen is under medical supervision at Balmoral so immediately after the statement was issued by Buckingham Palace the BBC interrupted their usual programming from then on it was sort of um back-to-back non-stop programming

about the queen and their health and it’s almost felt as if the obituaries were were already being written so that was when the atmosphere had changed really in the newsrooms it became very much I think we are preparing for the worst now yeah it’s really serious when you see the broadcasters flipping from that ripping up the usual schedule and then going straight to a kind of full coverage of that and particularly the BBC you know we all assume that as a state broadcaster they’re privy to information whether right or wrongly we

assume they’re privy to information that other people aren’t and to see them reporting on it live talking about the the jet that the members of the royal family were getting into to go up to see the queen they did all seem very real just a matter of time from that point on by 12 47 it was confirmed the future king and queen were traveling to Balmoral a minute after the announcement by Clarence House came one from Kensington Palace Prince William was flying to the aberdeenshire estate there was so much information conflicting the

cows that afternoon of what was happening you know we were hearing about members of the royal family traveling up to Balmoral and then it was a question of who’s traveling with who how are they getting there and we also had the added complication that by coincidence Prince Harry and Megan were already in Britain and so then it was a question of you know will they be going up to Balmoral too there was a lot to take in and just trying to sort fact from fiction was really a challenge that day I was speaking to people who were privy to

information behind the scenes about how the royal family were going to get up there and what seemed unclear to me was why that plane was taking so long to get up there and people were saying there was issues of who would be on the plane and who wouldn’t that all became part of the story that kind of rushed um quite dramatic to get that private jet up there so that people could be with the queen her closest members of her family could be with the queen in her final hours and that I think was really poignant I think it really struck

a chord in The Newsroom um obviously already the King was up there than Prince of Wales um and Princess Anne was up there already which was some must have been some form of comfort I think for everybody that those you know some of the key members of the family were already with with the queen at her bedside despite being scheduled to take off at 1 30 the RAF jet carrying Prince William prince Andrew and the then Earl Encounters of Wessex didn’t set off for Aberdeen Airport from RAF North old until gone half past two

after landing the family will whisked onto the bar more or less state but by then it was sadly too late the queen passed away at 10 minutes past three with her eldest children the now King and Princess Royal by her side Her Majesty’s death was recorded as old age the Prime Minister Liz truss was officially informed of the Queen’s death at 4 30 by cabinet secretary Simon case who then starts preparing a statement ahead of the news being made public foreign ly at 5 35 PM over half an hour after his brother Prince William arrives at

Balmoral Prince Harry’s private jet takes off from Luton Airport after much back and forth which saw conflicting statements about whether Harry would travel with Megan he was on his way to Scotland he arrived over four hours after the queen passed away and was there for 12 hours before heading back to Windsor on a commercial flight the next morning to be with his wife there were lots of rumors about what was happening we heard rumors that you know Megan wasn’t invited to to join them and then these rumors had turned out we

found out from Prince Harry’s own Memoir spare were largely true that he was very upset that his father had essentially said Megan shouldn’t join the others in traveling to Balmoral there was an issue with whether he’d be traveling with his brother whether his wife would be traveling up um whether Catherine would be traveling up with William or whether it would just be immediate family members and that was all playing on in in the background as it were but we know that the Prince of Wales was a Dumfries house and he

attended some sort of a meeting and then he immediately went to Balmoral princess her and was already there had been for quite a long time which was which was great um I think what happened and this is just my surmise is that the the other members of the family were all going to come up but that there was probably some sort of classic drama about Prince Harry and whether Meghan Markle was going to be going or not going and I think in the end they just decided they just couldn’t wait any longer so they just went and

then he followed later that’s what I think happened the BBC is interrupting its normal programs to bring you an important announcement this is BBC news from London Buckingham Palace has announced the death of her majesty Queen Elizabeth II in a statement the palace said the queen died peacefully at Balmoral this afternoon the king and the queen consort will remain at Balmoral this evening and will return to London tomorrow announcement came at 6 30.

I was in evening conference with the editor and some of the senior Executives on the mail on Sunday so I’d interrupted conference to say the Buckingham Palace had issued the statement and within moments it was on the television and everyone’s phone was bleeping with the news and interestingly for an editorial conference there was just this moment and I’ll never forget it of a complete silence and everyone just had their own thoughts for a moment and we’re in in an industry where everyone works you know flat out we’re always making

decisions in a really kind of quick rapidly changing environment but there was that moment when we all realized that we were in this kind of momentous kind of point in our country’s history in the world’s history and I’ll never forget that moment and and then we said okay we’re going to do the best paper we can do it was an emotional day but we all had a job to do so I I think times like that it’s the same in any Newsroom when there’s a disaster or a major story breaking is you just all get on with it and it’s I think when you see

newsrooms at their most efficient frankly because there’s no time for any nonsense it’s just a question of cracking on and um trying to produce the best paper you can in those circumstances at six minutes past seven the new king pays tribute to a cherished Sovereign and a much-loved mother that statement was swiftly followed by an address outside number 10 Downing Street from the prime minister we are all devastated by the news that we have just heard from Balmoral the death of her majesty the queen is a huge shock to the nation and to the

world today the crown passes as it has done for more than a thousand years to our new monarch our new head of state his majesty King Charles III myself foreign I think the reflection came as soon as I started writing because we were all in this kind of space States it shouldn’t have been a sense of shock but I think everybody felt that because when you know somebody’s about to die it never really prepares you you know from your own family experiences if you’ve ever been through it but for me the moment came when I was writing the king

you know I never I’ve never written that before about a kind of reigning monarch um so writing King Charles is really unusual and really interesting to and it took me a while to get used to and then of course Prince of Wales which I still vote for years and years has been synonymous with Charles but you know now is is Prince William so I think it was just writing the king that really brought it home for several years you could hardly open a newspaper without people writing when the queen dies which I thought was very offensive to be quite

honest and and she did an amazing amazing job too you know to keep going and doing all the things that she did right up until she was well into her 97th year which is incredible still absolutely as bright as anything and when I saw her 15 minutes on the 24th of June I mean she was so sharp and absolutely you could talk to her as if she was I know 50 or 60 years old ever I mean she heard everything she remembered everything you know she always had marvelous random access to facts the queen quite liked catching

people out but you couldn’t catch her out and she was amazing and I remember thinking at that time although she was quite frail I really thought she could live for several years more but evidently there were things which we weren’t being told about which like she knew she wasn’t going to be living for terribly long but she was still riding right up until the 18th of July in the writing school at Windsor Castle which is marvelous that’s quite soon before she died but what came as a surprise was that sort of outpouring of affection which I

suspect the queen herself would have been surprised by you know she was one always just to get on with things and not be too overwhelmed but you know it did remind me of the death of Princess Diana in many ways which is crazy because obviously the queen lived to such a grand old age but it was still however much we knew the queen would die eventually it still kind of came as a surprise in the end so it’s like um the death of any close relation really isn’t it that you know that moment will come and you try not to

think about it or you put it off and but eventually it did come and I think it hit us all very suddenly I was not at all surprised no because I’ve always thought that the whole nation indeed if not the whole world would have a kind of collective nervous breakdown when the queen died because you know you have to be really very very old to have remembered a time when the queen wasn’t there and in a very fast changing world she was this sort of one constant which was just amazing and and and the fact that she was there gave a sort

of extraordinary atmosphere of calm a particularly when times were tricky and difficult I mean I suppose the most recent example of that was her wonderful pandemic speech might call the green dress speech when she spoke to Windsor Castle and who but the queen could just throw casually in the line that she had spoken to the nation from Windsor Castle before 80 years before during the war and you know her message was always one of Hope and because she was above politics and you know if you didn’t like Boris Johnson fine you could like what

he was saying you get angry with him but the queen represented all of us you know and and I think everybody realized that that because we knew who she was and we’d seen her since she was a little girl we knew exactly that we could trust her to be totally on the side of Britain but and indeed the Commonwealth you know so that was an extraordinary thing that she did oh we will be with our friends again we will be with our families again we will meet again but for now I send my thanks and warmest good wishes to you all

QQ4 Bob Dylan and Keith Richards have been close friends for nearly 40 years. The friendship began on a live television program in November of 1986 in the 11 seconds after Bob Dylan called Keith Richards music derivative on camera. Keith Richard’s response to that assessment, one sentence said without anger, without performance, with the specific directness of a man who has nothing to prove and knows it made Bob Dylan laugh.

Then made Bob Dylan go quiet. then made Bob Dylan say two words that people who know Bob Dylan say he almost never said to anyone. This is the story of those 11 seconds and the 40 years that followed them. The program was a live music interview special broadcast on an American network on the evening of November 3rd, 1986. The format was simple.

Two musicians, a host, an hour of conversation about music and the state of it. The producers had assembled the pairing of Bob Dylan and Keith Richards with the specific calculation of television producers who understand that two people with equally strong and potentially incompatible views about what music is and what it should do will produce better television than two people who agree about everything.

The calculation was correct, though not in the way the producers had anticipated. Bob Dylan was 45 years old in November of 1986. Bob Dylan had released Empire Burlesque the previous year and had been on the road for most of the intervening period as part of the True Confessions tour with Tom Petty and the Heartbreakers.

Bob Dylan was in November of 1986 in one of the most prolific and restless phases of a career that had consisted almost entirely of prolific and restless phases. A career that had moved through folk, rock, country, gospel, and back again, that had been declared finished at least six times by the music press, and at each time continued with the serene indifference of a river to the opinions of people standing on its banks.

Bob Dylan had been redefining what music could be. Since 1962, Bob Dylan had invented and reinvented himself so many times that reinvention had become his defining characteristic, not in the superficial sense of a performer changing costumes, but in the deeper sense of a musician who had never allowed his work to settle into a form that could be anticipated or categorized from the outside.

Bob Dylan understood influence and originality and the relationship between them better than almost anyone alive in 1986. Bob Dylan had spent 24 years thinking carefully and specifically about where music came from and where music was going and what it meant that those two things were always in constant conversation with each other.

Keith Richards was 42 years old in November of 1986. Keith Richards had been playing guitar professionally since 1962. Keith Richards had built a career on a foundation of American blues and rhythm and blues. A foundation that Keith Richards had studied with the systematic devotion of someone who understood that the tradition he was building on was not incidental to the music he was making, but essential to it.

that you could not understand what Keith Richards did without understanding where Keith Richards had come from and what Keith Richards had been listening to since he was a teenager in Dartford with American Import Records and a secondhand guitar and no teacher except the recordings themselves. Keith Richards had never pretended otherwise. Keith Richards had in fact spent considerable energy across his career making the lineage explicit, naming the artists, citing the recordings, insisting on the acknowledgement of influence that the mainstream music

industry had a long history of suppressing or ignoring or crediting to the wrong people. If anything, Keith Richards was more transparent about his sources than most musicians of his generation. Keith Richards had always said openly that the Rolling Stones came directly from the blues, that Muddy Waters and Robert Johnson and the specific tradition of the Mississippi Delta were not background influences, but foundational ones.

The music Keith Richards made was in direct and sustained conversation with that tradition, something Keith Richards considered not a limitation, but a responsibility and a form of respect. The interview had been running for 8 minutes when the host asked Bob Dylan about the current state of rock and roll.

Bob Dylan answered with the density and the indirection that characterized Bob Dylan’s responses to direct questions, turning the question over, approaching it from an unexpected angle, finding his way to what he actually thought through a series of observations that moved like a river rather than a road. Bob Dylan was not a straightforward interview subject.

Bob Dylan had been asked about rock and roll in hundreds of interviews across 24 years and had developed the habit of treating the question as an invitation to think out loud rather than a request for a prepared position. The producer Gerald Sherman said afterward that in the first 8 minutes of the interview, he had been slightly anxious, not because anything was going wrong, but because nothing was going anywhere in particular yet.

The interview had the feeling of two conversations happening simultaneously. Bob Dylan’s internal one and the external one visible to the cameras. And Gerald Sherman was not certain in those first eight minutes that the two conversations would converge into something. Bob Dylan talked about influence. Bob Dylan talked about originality.

Bob Dylan talked about the difference between music that absorbed a tradition and transformed it and music that absorbed a tradition and reproduced it. And then Bob Dylan made his assessment. And then Bob Dylan said with the precision of a man making a musical assessment rather than a personal judgment that the Rolling Stones work, and Bob Dylan was specific, naming Keith Richards as the guitarist whose approach he was discussing was derivative in a way that Bob Dylan found limiting.

Bob Dylan said it without hostility. Bob Dylan said it as a technical observation about the relationship between source material and the work that came from it. Bob Dylan said that Keith Richards played the blues the way the blues had already been played, rather than using the blues as a starting point for something that had not yet been played.

Keith Richards had been listening to this with the specific attention Keith Richards gave to things being said about music by people who knew music. Keith Richards did not interrupt. Keith Richards did not shift in his chair or display any of the visible signals of a person preparing a defensive response. Keith Richards listened to Bob Dylan’s complete observation all the way to its conclusion without interrupting and without displaying any visible signal of preparing a response.

Then Keith Richards said one sentence. The sentence was not a rebuttal. The sentence did not defend Keith Richards music or argue for its originality or challenge Bob Dylan’s characterization of what the blues meant in the context of rock and roll. The sentence was something else entirely, something that required a specific kind of confidence to say.

The confidence of a person who has spent long enough thinking about the same things as the person they are talking to that they can locate the exact point where their thinking diverges and say something useful about that point rather than simply defending their own position. The sentence acknowledged everything Bob Dylan had said, the assessment, the distinction Bob Dylan was drawing, the specific musical concern underlying the observation, and then turned it 90°.

Keith Richards took Bob Dylan’s own framework, the one Bob Dylan had used to analyze Keith Richards relationship to the blues tradition, and applied it back to Bob Dylan’s work with the same precision Bob Dylan had used to apply it to Keith Richards. Spare aimed. The sentence asked Bob Dylan something about Bob Dylan’s own music, about the relationship between Bob Dylan’s sources and Bob Dylan’s output that Bob Dylan had not been asked on television before.

The sentence did not attack. The sentence illuminated. Bob Dylan laughed. The laugh was not the polite laugh of someone responding to a joke. The laugh was the involuntary laugh of someone who has been genuinely surprised. The specific kind of surprise that a person of exceptional intelligence experiences when someone else’s intelligence exceeds their expectations.

Bob Dylan laughed for 4 seconds. Then Bob Dylan stopped laughing. Then Bob Dylan was quiet for 3 seconds in the way that Bob Dylan was quiet when Bob Dylan was thinking rather than performing thought. Then Bob Dylan said, “You’re right.” The producer in the booth, a man named Gerald Sherman, who had been working in television for 14 years, said afterward that in 14 years of live television production, he had never heard Bob Dylan say those two words in a public forum.

Gerald Sherman said he had worked with Bob Dylan on two previous occasions and had observed Bob Dylan in numerous other contexts and that you’re right was not a phrase that Bob Dylan deployed easily or often because Bob Dylan had spent 24 years being right about music in ways that other people eventually caught up with. And the experience of being right ahead of everyone else does not generally produce a man who says you’re right readily when someone else makes a point.

The host of the program, a journalist named Patricia Wells, who had been interviewing musicians for 12 years, said afterward that the 11 seconds between Bob Dylan’s assessment and Bob Dylan saying, “You’re right,” were the most extraordinary 11 seconds of television she had been present for. Patricia Wells said that what she witnessed in those 11 seconds was not a debate or a confrontation or a celebrity exchange of competing opinions.

Patricia Wells said what she witnessed was one musician recognizing another musician as an equal, which was in the specific context of Bob Dylan in 1986, not something that happened in public very often. The interview continued for another 42 minutes after those 11 seconds. The conversation between Bob Dylan and Keith Richards in the remaining 42 minutes was described by everyone who watched it as fundamentally different from the first 8 minutes.

The host, Patricia Wells, who had been conducting music interviews for 12 years and understood the difference between the performance of conversation and actual conversation, said that at approximately the 9-minute mark, something shifted in the studio. That the formal interview, architecture dissolved, and what replaced it was something less structured and more genuine.

Bob Dylan and Keith Richards talked about influence and originality and the blues and what it meant to build on a tradition without being consumed by it. They talked about specific recordings and specific musicians with the specificity of two people who had spent their entire adult lives thinking about these things and rarely found another person who had thought about them with equivalent care.

They talked about where music came from and where music was going and whether those two questions were actually one question or two. Patricia Wells said afterward that she had asked approximately four questions in the remaining 42 minutes because Bob Dylan and Keith Richards did not require questions. They required only a room and a camera and the shared understanding that what they were saying together was worth recording carefully.

She said it was the best interview she had ever conducted and that she had conducted the smallest part of it. After the program, Bob Dylan and Keith Richards were in the corridor outside the studio when the host Patricia Wells passed them. Patricia Wells said she did not stop because she did not want to interrupt.

She observed them for approximately 30 seconds from a distance. She said they were talking with the ease of people who had known each other for years rather than people who had met for the first time 2 hours earlier. She said that something had shifted between them during the broadcast that the broadcast had made permanent rather than temporary.

She continued down the corridor and did not look back. She said in her account of that evening that she had decided in that moment not to interrupt the conversation because some conversations are more valuable than any question a journalist might ask and that the conversation she had observed for 30 seconds in the corridor outside the studio was one of them.

She had been a music journalist for 12 years. She recognized the difference. Bob Dylan and Keith Richards have maintained their friendship across four decades. They have appeared together at various events, most significantly at the concert for the Rock and Roll Hall of Fame in 1995, where people who were present described them as inseparable for most of the evening, occupying the same corner of the backstage area and talking with the concentrated attention of people who only have a limited amount of time together and intend to use it

well. Bob Dylan has spoken about Keith Richards in interviews with the specific thoughtful care that Bob Dylan reserves for musicians whose work Bob Dylan considers genuinely important rather than merely culturally prominent. Keith Richards has spoken about Bob Dylan in similar terms with the specific respect of someone who recognizes in another person a commitment to music that goes deeper than career.

Neither Bob Dylan nor Keith Richards has made a public statement specifically about how the friendship began or about the November 1986 interview. Bob Dylan has not mentioned the 11 seconds. Keith Richards has not mentioned the sentence. The interview exists in the archive. The 11 seconds are there. The laugh is there. The two words are there.

What is also there for anyone who watches the interview from its beginning and pays attention to the shift that happens at the 9-minute mark is the specific moment when two people who thought they were appearing on a television program discovered they were actually talking to each other. What Keith Richards said in that one sentence has never been officially reported.

The people who were in the studio that evening, Gerald Sherman, Patricia Wells, the floor crew, the two camera operators, the makeup artist who was watching from the side of the set, have described the sentence in consistent terms. They have described its effect. They have described Bob Dylan’s laugh and Bob Dylan’s silence and Bob Dylan’s two words.

They have not repeated the sentence itself in the specific understanding that the sentence was said between two musicians on a television program and that its power resided in the specific context of that exchange and would not survive removal from it intact. What can be said is this. Keith Richards said something to Bob Dylan about Bob Dylan’s music that used Bob Dylan’s own observation about Keith Richards as its starting point and arrived somewhere that Bob Dylan had not anticipated.

Keith Richards turned Bob Dylan’s assessment 90° and showed Bob Dylan something about the music they had both spent their lives making that Bob Dylan recognized immediately as true. And Bob Dylan said, “You’re right.” Two words said by Bob Dylan in public on live television in 1986 to Keith Richards in response to a single sentence Keith Richards had said about music.

Two words that Gerald Sherman, who had worked with Bob Dylan on two previous occasions, said he had never heard Bob Dylan say in a public forum. Two words that Patricia Wells, who had been interviewing musicians for 12 years, said were the most significant two words she had heard in those 12 years. Not because of their content, but because of who said them and what it cost to say them and what it meant that Keith Richards had produced them in 11 seconds from a conversation that began with Bob Dylan calling Keith Richards’s music derivative. And Keith Richards and

Bob Dylan have been close friends for nearly 40 years. The sentence did its work in 11 seconds on the evening of November 3rd, 1986. The work has been ongoing ever since. If this story moved you, subscribe and leave a comment below. Have you ever said something to someone that turned a potential disagreement into an unexpected and lasting connection? Tell us about it in the comments below.

Share this with someone who needs to be reminded that the right sentence said at the right moment can completely change the entire direction of a relationship. Ring the notification bell for more untold stories about the extraordinary human beings behind music’s greatest legends.