1 00:00:00,320 --> 00:00:03,280 Speaker 1: Taking a Walk. Al Ronowitz phoned me. 2 00:00:03,800 --> 00:00:08,600 Speaker 2: And Al was a freelance journalist and worked for different magazines. 3 00:00:08,600 --> 00:00:11,119 Speaker 2: And he called me and he was friendly with the 4 00:00:11,119 --> 00:00:13,680 Speaker 2: band because he was friendly with Dylan and friendly with 5 00:00:13,720 --> 00:00:15,520 Speaker 2: the band also, so I had met him while I 6 00:00:15,520 --> 00:00:18,680 Speaker 2: was started off in the band, and so he called 7 00:00:18,720 --> 00:00:22,400 Speaker 2: up and he said, Elliott, we need a picture of 8 00:00:22,400 --> 00:00:23,319 Speaker 2: Bob for the cover of the. 9 00:00:23,320 --> 00:00:26,279 Speaker 1: Savening Post, just like that. And he said, do you 10 00:00:26,320 --> 00:00:28,639 Speaker 1: want to do it? You know, so I didn't have 11 00:00:28,640 --> 00:00:29,400 Speaker 1: to think too long. 12 00:00:30,200 --> 00:00:33,520 Speaker 3: Welcome to the Taking a Walk podcast, where your host 13 00:00:33,560 --> 00:00:37,159 Speaker 3: Buzz Night talks with musicians and insiders to get the 14 00:00:37,280 --> 00:00:41,880 Speaker 3: inside stories behind the music. On this episode, a man 15 00:00:41,960 --> 00:00:46,560 Speaker 3: who is part of music history. Photographer Elliott Landy was 16 00:00:46,600 --> 00:00:51,240 Speaker 3: the official photographer of the Woodstock Festival fifty five years ago. 17 00:00:51,920 --> 00:00:55,360 Speaker 3: He photographed many of the underground rock and roll superstars 18 00:00:55,360 --> 00:00:58,840 Speaker 3: of the time during his illustrious career, and his images 19 00:00:59,080 --> 00:01:04,640 Speaker 3: of Bob Dylan, the Band, Janis Joplin, Jimmy Hendrix, Van Morrison, 20 00:01:04,920 --> 00:01:09,679 Speaker 3: Joan Bias, Richie Havens and many others documented the music 21 00:01:09,760 --> 00:01:14,320 Speaker 3: scene and stand as a part of music history. Let's 22 00:01:14,360 --> 00:01:18,800 Speaker 3: welcome Elliott Landy with Buzz night next on taking. 23 00:01:18,480 --> 00:01:21,959 Speaker 4: A Walk, Elliott, thanks for being on taking a walk. 24 00:01:22,000 --> 00:01:24,880 Speaker 4: It was fifty five years ago. You served as the 25 00:01:24,959 --> 00:01:30,040 Speaker 4: official photographer of the nineteen sixty nine Woodstock Festival. Is 26 00:01:30,080 --> 00:01:33,400 Speaker 4: there ever a day that passes that you don't reflect 27 00:01:33,440 --> 00:01:33,760 Speaker 4: on it? 28 00:01:34,400 --> 00:01:36,679 Speaker 2: My God, yeah, sure, there's lots of days, Thank goodness, 29 00:01:36,720 --> 00:01:39,000 Speaker 2: otherwise I'd be what they call stuck in the past. 30 00:01:40,160 --> 00:01:43,440 Speaker 2: And I have so much kind of going on in 31 00:01:43,440 --> 00:01:47,880 Speaker 2: addition to that. But there's actually never a time when 32 00:01:47,920 --> 00:01:51,040 Speaker 2: anyone mentions it or it comes to my attention that 33 00:01:51,200 --> 00:01:53,760 Speaker 2: I don't deeply appreciate what happened. 34 00:01:54,360 --> 00:01:56,200 Speaker 1: It's very significant. 35 00:01:56,240 --> 00:01:59,880 Speaker 2: And you asked me, Can I mention what you asked me? 36 00:02:00,200 --> 00:02:00,720 Speaker 5: Of course? 37 00:02:00,960 --> 00:02:02,840 Speaker 1: Okay. You mentioned that call. 38 00:02:02,880 --> 00:02:06,639 Speaker 2: Santana is organizing something for next year and started talking 39 00:02:06,680 --> 00:02:09,120 Speaker 2: to people, and what I thought about that? And I 40 00:02:09,160 --> 00:02:11,280 Speaker 2: was going to show you a little book that like 41 00:02:11,280 --> 00:02:14,480 Speaker 2: a forty eight page book that I made called Woodstock 42 00:02:14,560 --> 00:02:18,320 Speaker 2: a spiritual moment in time, and for me, when I 43 00:02:18,400 --> 00:02:21,560 Speaker 2: do any talks for any appearances, I emphasized the fact 44 00:02:21,600 --> 00:02:24,000 Speaker 2: that Woodstock was the model of how we all should 45 00:02:24,040 --> 00:02:27,680 Speaker 2: be behaving, thinking and living and it was like a 46 00:02:27,840 --> 00:02:32,320 Speaker 2: magical time that if this were two thousand years ago. 47 00:02:32,360 --> 00:02:33,760 Speaker 1: We'd make a religion out of it. 48 00:02:34,880 --> 00:02:38,480 Speaker 4: So Elliott, tell me how you were contacted to be 49 00:02:38,600 --> 00:02:42,040 Speaker 4: the official photographer who rang you up on the phone 50 00:02:42,040 --> 00:02:44,680 Speaker 4: and said to get up here and take some snaps. 51 00:02:45,200 --> 00:02:47,080 Speaker 1: Well, I was. 52 00:02:48,639 --> 00:02:51,160 Speaker 2: Living in Woodstock at the time, the town of Woodstock, 53 00:02:51,440 --> 00:02:53,360 Speaker 2: and Mike Lang was also living there, and I had 54 00:02:53,400 --> 00:02:53,880 Speaker 2: gotten to. 55 00:02:53,840 --> 00:02:56,000 Speaker 1: Know him casually. I had no idea what he did 56 00:02:56,080 --> 00:02:56,839 Speaker 1: at all. 57 00:02:56,880 --> 00:03:02,680 Speaker 2: We didn't talk about anything business career oriented. He was 58 00:03:03,639 --> 00:03:07,960 Speaker 2: he was the boyfriend of my sister's girlfriend, something like that, 59 00:03:08,200 --> 00:03:09,840 Speaker 2: and we used to hang out. I remember kind of 60 00:03:09,880 --> 00:03:12,240 Speaker 2: sitting with him on the village green and Woodstock and 61 00:03:12,360 --> 00:03:16,040 Speaker 2: just chatting a lot. And one day he called up 62 00:03:16,160 --> 00:03:19,280 Speaker 2: and he said, I want to ask you something. 63 00:03:19,280 --> 00:03:19,919 Speaker 1: Can I come over? 64 00:03:19,960 --> 00:03:22,600 Speaker 2: He called my phone number, he called me a landline 65 00:03:22,639 --> 00:03:23,600 Speaker 2: only in those days. 66 00:03:24,400 --> 00:03:25,400 Speaker 1: I said, sure, come on over. 67 00:03:25,440 --> 00:03:28,000 Speaker 2: So he came over on his motorcycle and he said, 68 00:03:28,320 --> 00:03:30,040 Speaker 2: I'm producing a music festival. 69 00:03:30,080 --> 00:03:32,640 Speaker 1: Do you want to photograph it? And I said, And 70 00:03:32,760 --> 00:03:34,560 Speaker 1: I was pretty. 71 00:03:34,320 --> 00:03:38,720 Speaker 2: Busy as always in these years, and I said to him, well, 72 00:03:38,760 --> 00:03:41,240 Speaker 2: who's playing at it? I wanted to know what's he 73 00:03:41,320 --> 00:03:44,480 Speaker 2: talking about? And then he named some of the names 74 00:03:44,480 --> 00:03:46,400 Speaker 2: that were there. You know, I don't remember what your 75 00:03:46,480 --> 00:03:49,520 Speaker 2: names exactly, you know. And I said, oh, sure, absolutely, 76 00:03:49,600 --> 00:03:52,560 Speaker 2: it sounds great, you know. And he said, okay, i'll 77 00:03:52,560 --> 00:03:56,000 Speaker 2: call you when I know when when and where and 78 00:03:56,000 --> 00:03:56,760 Speaker 2: blah blah blah. 79 00:03:56,840 --> 00:03:57,000 Speaker 1: You know. 80 00:03:57,480 --> 00:04:00,800 Speaker 2: So then he called up and he said, come on 81 00:04:00,960 --> 00:04:02,840 Speaker 2: with me. Now, I'm going to the site. 82 00:04:03,200 --> 00:04:05,680 Speaker 1: I'd like you to come and take some pictures. We 83 00:04:05,800 --> 00:04:09,760 Speaker 1: drove over to wall Kill in his car. Anyway, we drove. 84 00:04:09,600 --> 00:04:12,320 Speaker 2: Around the property a little bit and there's a big 85 00:04:12,720 --> 00:04:15,600 Speaker 2: one picture that I show as a barn with the 86 00:04:15,720 --> 00:04:21,039 Speaker 2: word Woodstock Aquarium, ahe festival something like that, announcing the 87 00:04:22,400 --> 00:04:24,160 Speaker 2: and that was it, and he said. 88 00:04:25,000 --> 00:04:27,120 Speaker 1: We're going to have it in a month or so 89 00:04:27,360 --> 00:04:28,960 Speaker 1: or whatever. I said, okay. 90 00:04:29,520 --> 00:04:31,359 Speaker 2: And then the next thing, of course, they changed the 91 00:04:31,400 --> 00:04:35,360 Speaker 2: location and I went over there. They gave me a 92 00:04:35,760 --> 00:04:39,920 Speaker 2: Michael sent me a pass to sleep in the motel. 93 00:04:40,839 --> 00:04:44,440 Speaker 2: I had two nights accommodations, you know, in that. And 94 00:04:45,200 --> 00:04:46,200 Speaker 2: I drove over there. 95 00:04:46,040 --> 00:04:48,400 Speaker 1: And it was an all access past and. 96 00:04:48,400 --> 00:04:50,200 Speaker 2: Because of that, I went the back way. I've been 97 00:04:50,279 --> 00:04:54,280 Speaker 2: living in Woodstock, and I looked at the map and 98 00:04:54,320 --> 00:04:56,640 Speaker 2: I sold, there's a back road. I didn't realize how 99 00:04:56,640 --> 00:04:58,839 Speaker 2: crowded it was going to be. I went over on 100 00:04:58,920 --> 00:05:01,320 Speaker 2: Friday morning and I had no idea what was happening 101 00:05:01,360 --> 00:05:05,080 Speaker 2: as far as crowds in trafficam But I just went 102 00:05:05,160 --> 00:05:09,040 Speaker 2: the back way, which was over the mountains a little bit, 103 00:05:09,200 --> 00:05:12,440 Speaker 2: and it was fun. I'm always an adventurous kind of person. 104 00:05:13,040 --> 00:05:15,760 Speaker 2: There were no police lines I passed, which just got 105 00:05:15,920 --> 00:05:19,760 Speaker 2: like the staff watching the rows and this and that. 106 00:05:20,560 --> 00:05:22,600 Speaker 2: So I got there and I parked the car and 107 00:05:22,640 --> 00:05:24,520 Speaker 2: that's where the car staged for three days. 108 00:05:25,640 --> 00:05:29,919 Speaker 4: You know, Now, if we were taking a walk together 109 00:05:30,040 --> 00:05:33,840 Speaker 4: back in the day through the site as the event 110 00:05:34,000 --> 00:05:37,600 Speaker 4: was happening, can you describe some of the obstacles that 111 00:05:37,800 --> 00:05:41,560 Speaker 4: occurred as a photographer as you were making your way 112 00:05:41,600 --> 00:05:42,880 Speaker 4: through there, you. 113 00:05:42,920 --> 00:05:45,840 Speaker 2: Mean, through the crowd, through the people. Yes, I actually 114 00:05:45,839 --> 00:05:47,480 Speaker 2: didn't have any obstacles like that. 115 00:05:47,640 --> 00:05:50,160 Speaker 1: And one of my regrets is that I didn't. 116 00:05:49,960 --> 00:05:53,520 Speaker 2: Spend more time in the crowd itself because I had 117 00:05:53,800 --> 00:05:55,080 Speaker 2: full stage access. 118 00:05:55,400 --> 00:05:58,200 Speaker 1: I had a passed that said let me go anywhere 119 00:05:58,240 --> 00:06:00,720 Speaker 1: I want to go, and I also knew John Morris. 120 00:06:00,800 --> 00:06:03,680 Speaker 2: John Morris was the I guess I don't know officially 121 00:06:03,680 --> 00:06:05,680 Speaker 2: what he was, but he's the stage manager and kind 122 00:06:05,720 --> 00:06:08,400 Speaker 2: of in charge of what was going on there. So 123 00:06:08,680 --> 00:06:11,559 Speaker 2: I was on stage a lot, and it was unique 124 00:06:11,600 --> 00:06:13,440 Speaker 2: because not that many people were allowed on to say so, 125 00:06:13,440 --> 00:06:15,800 Speaker 2: I have some very unique photographs of the crowd from 126 00:06:15,839 --> 00:06:19,760 Speaker 2: the stage and so on, and the performers, Joe Cocker especially. 127 00:06:19,839 --> 00:06:24,360 Speaker 2: I took a picture from behind, from behind him facing 128 00:06:24,400 --> 00:06:27,919 Speaker 2: the audience, and he's many of them are from the 129 00:06:27,960 --> 00:06:31,000 Speaker 2: back he's saying, then he turned around towards me. That's 130 00:06:31,080 --> 00:06:32,680 Speaker 2: with me, towards the back of the stage where I 131 00:06:32,760 --> 00:06:36,800 Speaker 2: was standing, and I got some beautiful images of that. 132 00:06:36,920 --> 00:06:42,080 Speaker 4: Also, Elliott, we've had Henry Dilts on the podcast, and 133 00:06:42,680 --> 00:06:45,120 Speaker 4: I know he was on the scene somewhere there. 134 00:06:45,200 --> 00:06:47,839 Speaker 5: Did you know him then and did you run into him? 135 00:06:48,240 --> 00:06:50,920 Speaker 1: No, I know I didn't see him. I didn't know him. 136 00:06:51,600 --> 00:06:54,520 Speaker 2: I didn't remember Henry at all from that situation. 137 00:06:54,880 --> 00:06:56,440 Speaker 5: Do you know him now these days? 138 00:06:56,520 --> 00:06:58,480 Speaker 1: I know, Yeah, yes, I do. Yeah, I don't know 139 00:06:58,560 --> 00:06:58,840 Speaker 1: him well. 140 00:06:58,960 --> 00:07:01,320 Speaker 2: I don't see him very often, and when we see 141 00:07:01,320 --> 00:07:04,080 Speaker 2: each other we talk a little bit, but we haven't 142 00:07:04,080 --> 00:07:06,359 Speaker 2: shared a lot of time and space together over the years. 143 00:07:07,400 --> 00:07:10,320 Speaker 4: So when you think of the enormity of what happened, 144 00:07:10,320 --> 00:07:12,920 Speaker 4: it would stock as you were in the moment. 145 00:07:13,440 --> 00:07:16,000 Speaker 5: Did you have any concept of how big this. 146 00:07:16,280 --> 00:07:19,360 Speaker 2: Was, how big it would be for the rest of 147 00:07:19,480 --> 00:07:23,720 Speaker 2: everyone's lives? You mean no, I don't think anyone really 148 00:07:23,800 --> 00:07:24,560 Speaker 2: got that that. 149 00:07:24,560 --> 00:07:27,520 Speaker 1: It would be a moment in time like it was. 150 00:07:27,600 --> 00:07:34,200 Speaker 1: Although I remember Mike Mike Lang talked about that how 151 00:07:34,240 --> 00:07:35,520 Speaker 1: you just felt it in the air. 152 00:07:35,960 --> 00:07:38,000 Speaker 2: I like when he said that you just felt the 153 00:07:38,120 --> 00:07:43,720 Speaker 2: energy in the air and you knew, gosh, what could 154 00:07:43,720 --> 00:07:46,000 Speaker 2: I say about that? Well, the answer to your question, no, 155 00:07:46,120 --> 00:07:47,640 Speaker 2: I had no idea it was going to last for 156 00:07:48,320 --> 00:07:52,360 Speaker 2: you know, so many years and hopefully keep lasting. I 157 00:07:52,400 --> 00:07:54,520 Speaker 2: feel like one of my jobs in life right now, 158 00:07:54,560 --> 00:07:59,120 Speaker 2: I mean my spiritual jobs, my life jobs, my payback 159 00:07:59,120 --> 00:08:01,680 Speaker 2: for the talent, the access that I have and had, 160 00:08:03,280 --> 00:08:08,320 Speaker 2: is to communicate how important that life space was. The 161 00:08:08,400 --> 00:08:12,640 Speaker 2: life space that created the Woodstock, the possibility of people, 162 00:08:13,680 --> 00:08:16,480 Speaker 2: almost so many people, half a million people being in 163 00:08:16,520 --> 00:08:20,480 Speaker 2: one place peacefully and lovingly, and that life space was 164 00:08:20,520 --> 00:08:23,560 Speaker 2: really the idea that we're all friends, that were all 165 00:08:24,080 --> 00:08:28,000 Speaker 2: there's enough for everyone. And what's interesting is that Woodstock 166 00:08:28,080 --> 00:08:32,080 Speaker 2: there wasn't enough for everyone. Originally they didn't have enough food, 167 00:08:32,120 --> 00:08:35,800 Speaker 2: then't enough water, enough place to stay, and so on, 168 00:08:36,240 --> 00:08:37,640 Speaker 2: but they worked it out. 169 00:08:37,960 --> 00:08:42,600 Speaker 1: People like people from the hog farm lease the law. 170 00:08:43,120 --> 00:08:47,400 Speaker 2: As one friend of mine, huge photographer also there, went 171 00:08:47,520 --> 00:08:50,360 Speaker 2: into New York City and in a bus and got 172 00:08:51,160 --> 00:08:52,959 Speaker 2: buckets and tubs. 173 00:08:52,559 --> 00:08:55,480 Speaker 1: Of food that they fed the wavy gravy said breakfast 174 00:08:55,520 --> 00:08:58,240 Speaker 1: for half a million. I forget the exact number. 175 00:08:58,280 --> 00:09:01,720 Speaker 2: He said, you know, breakfast in bed, right, But they 176 00:09:01,800 --> 00:09:04,800 Speaker 2: fed people. Without that, they wouldn't have been food there. 177 00:09:05,320 --> 00:09:07,720 Speaker 2: So even though it was hard times, they had faith. 178 00:09:07,840 --> 00:09:09,920 Speaker 2: And one of the things about the sixties is that 179 00:09:09,960 --> 00:09:12,600 Speaker 2: you have faith that it's going to work out. If 180 00:09:12,640 --> 00:09:14,400 Speaker 2: you go with the flow, the right things are going 181 00:09:14,480 --> 00:09:16,680 Speaker 2: to are going to happen for you and for everyone, 182 00:09:17,400 --> 00:09:19,240 Speaker 2: because your connected to your inner being. 183 00:09:19,280 --> 00:09:20,160 Speaker 1: That's what's important. 184 00:09:21,040 --> 00:09:24,960 Speaker 4: I know this is probably an impossible question, but was 185 00:09:25,000 --> 00:09:30,439 Speaker 4: there one concert performance that would stock that really sticks. 186 00:09:30,160 --> 00:09:33,000 Speaker 5: Most in your head? Or maybe two? Or is it 187 00:09:33,040 --> 00:09:34,280 Speaker 5: impossible to answer that? 188 00:09:34,640 --> 00:09:37,320 Speaker 1: No? No, no, no, it's actually easy. 189 00:09:37,400 --> 00:09:42,240 Speaker 2: It was both Janice Joplin and Joe Cocker, but almost 190 00:09:42,320 --> 00:09:45,840 Speaker 2: Janice more so I was closer to her right, I 191 00:09:45,880 --> 00:09:49,080 Speaker 2: was like ten feet away. I was right on stage 192 00:09:49,320 --> 00:09:52,640 Speaker 2: with her. Also, Richie Havens. No, No, the answer is no. 193 00:09:52,679 --> 00:09:56,559 Speaker 2: They wasn't one. But as I think about it now, 194 00:09:56,600 --> 00:09:58,920 Speaker 2: as I go back in it, I would say, you know, 195 00:09:58,960 --> 00:10:01,040 Speaker 2: those are the three that come right to mind is 196 00:10:02,400 --> 00:10:04,560 Speaker 2: Joe Cocker, Janis Jopping and Richie Hagen. 197 00:10:05,080 --> 00:10:07,679 Speaker 4: Did you know some of the artists personally from your 198 00:10:07,720 --> 00:10:09,559 Speaker 4: other work prior to Woodstock? 199 00:10:10,520 --> 00:10:10,800 Speaker 1: Yeah? 200 00:10:10,800 --> 00:10:17,200 Speaker 2: Well, the band was there, Robbie Robertson, Rick Anko, Richard Vanuel, Lewanhell, 201 00:10:17,320 --> 00:10:20,960 Speaker 2: Garth Hudson, Bob. They were known because they had been 202 00:10:21,000 --> 00:10:23,800 Speaker 2: playing with Bob Dylan, so I knew them very well. 203 00:10:23,840 --> 00:10:27,839 Speaker 2: I had photographed them for two albums and lived in 204 00:10:27,880 --> 00:10:33,000 Speaker 2: Woodstock together and was a friend of theirs. And I 205 00:10:33,040 --> 00:10:35,959 Speaker 2: knew Janie. I had met Janis in New York City. 206 00:10:36,000 --> 00:10:37,800 Speaker 2: She was one of the first bands I have a 207 00:10:37,840 --> 00:10:40,600 Speaker 2: photographed she and Big Brother and the Holding Company, who 208 00:10:40,640 --> 00:10:41,839 Speaker 2: were not at Woodstock with her. 209 00:10:42,480 --> 00:10:45,280 Speaker 5: That's awesome. Can you tell me how you first met 210 00:10:45,320 --> 00:10:45,880 Speaker 5: Bob Dylan. 211 00:10:46,480 --> 00:10:51,319 Speaker 2: I had taken the photographs of the band for music 212 00:10:51,360 --> 00:10:54,320 Speaker 2: from Big Pink for the album, and that involved going 213 00:10:54,360 --> 00:10:57,000 Speaker 2: back and forth. I was living in Manhattan at that time, 214 00:10:57,440 --> 00:11:00,640 Speaker 2: going back and forth a number of times to take 215 00:11:00,679 --> 00:11:02,760 Speaker 2: the pictures, to develop the pictures, to. 216 00:11:03,000 --> 00:11:04,400 Speaker 1: Look at the pictures with the band. 217 00:11:04,840 --> 00:11:08,240 Speaker 2: I had three separate days of shooting them for the 218 00:11:08,400 --> 00:11:11,480 Speaker 2: for the pictures for the album. At one point we 219 00:11:11,520 --> 00:11:14,160 Speaker 2: went to a party and we became friendly. They said 220 00:11:14,200 --> 00:11:17,360 Speaker 2: to me, anytime in Woodstock, just just come over. You 221 00:11:17,360 --> 00:11:19,600 Speaker 2: need a place to crash, just come over. You don't 222 00:11:19,600 --> 00:11:21,280 Speaker 2: even have to call, you know, you just pop in. 223 00:11:21,679 --> 00:11:24,920 Speaker 1: So I did that. I did that a few times. 224 00:11:24,920 --> 00:11:28,720 Speaker 2: But once I remember, I was I was crashing there 225 00:11:29,000 --> 00:11:31,000 Speaker 2: and I was sleeping on the couch in the living room, 226 00:11:31,200 --> 00:11:33,200 Speaker 2: and there was a whole lot of noise happening, and 227 00:11:33,280 --> 00:11:36,679 Speaker 2: I was really, really really tired and really out of it. 228 00:11:36,760 --> 00:11:39,800 Speaker 2: And I looked and you know, I kind of lifted 229 00:11:39,800 --> 00:11:42,400 Speaker 2: my head up and I said, they were rushing by me, 230 00:11:42,520 --> 00:11:42,960 Speaker 2: the guys. 231 00:11:43,640 --> 00:11:46,280 Speaker 1: And I said, what's happening, and what's happening? 232 00:11:46,320 --> 00:11:48,920 Speaker 2: And I said, oh, nothing, nothing, Go back to sleep, 233 00:11:48,960 --> 00:11:51,040 Speaker 2: Like I said, I went back to sleep. What's happening 234 00:11:51,080 --> 00:11:54,400 Speaker 2: was that Rick Danko had a car accident. He was 235 00:11:54,480 --> 00:11:57,680 Speaker 2: you know, he recovered from it, of course, anyway. And 236 00:11:57,760 --> 00:11:59,920 Speaker 2: so we went to a party one time and Albert 237 00:12:01,000 --> 00:12:04,960 Speaker 2: House Albert Rosen's property has had a number of buildings 238 00:12:04,960 --> 00:12:09,000 Speaker 2: on it, and Albert was Bob, Dylan's manager and the 239 00:12:09,040 --> 00:12:12,240 Speaker 2: manager of the band, also Richie Haven's Janis Joplin, manager 240 00:12:12,240 --> 00:12:14,600 Speaker 2: of Peter Blew and Mary. So he went to a 241 00:12:14,640 --> 00:12:18,840 Speaker 2: party at Albert's house and Bob was there, and they. 242 00:12:18,760 --> 00:12:21,360 Speaker 1: Introduced the guys in the band. You know, we just 243 00:12:21,760 --> 00:12:24,400 Speaker 1: didn't say anything to each other, particularly, he said, Hi. 244 00:12:24,920 --> 00:12:26,280 Speaker 1: I got a call one day. 245 00:12:26,280 --> 00:12:31,520 Speaker 2: It was still in Manhattan, and al Ronowitz was phoned me. 246 00:12:32,120 --> 00:12:37,400 Speaker 2: And al was a journalist. He was a music journalist 247 00:12:37,440 --> 00:12:41,080 Speaker 2: of the New York Post and a freelance journalist and 248 00:12:41,520 --> 00:12:44,120 Speaker 2: worked for different magazines. And he called me and and 249 00:12:44,160 --> 00:12:46,880 Speaker 2: he was friendly with the band because he was friendly 250 00:12:46,880 --> 00:12:48,800 Speaker 2: with Dylan and friendly with the band also. So I 251 00:12:48,800 --> 00:12:52,000 Speaker 2: hadn't met him while I was photographing the band, and 252 00:12:52,120 --> 00:12:55,920 Speaker 2: so he called up and he said, Elliott, we need 253 00:12:55,960 --> 00:12:58,200 Speaker 2: a picture of Bob for the cover of the Saving Post. 254 00:12:58,760 --> 00:12:59,320 Speaker 1: Just like that. 255 00:13:00,000 --> 00:13:01,280 Speaker 2: He said, do you want to do it? You know, 256 00:13:02,160 --> 00:13:05,120 Speaker 2: so I didn't have to think too long, and I 257 00:13:05,160 --> 00:13:07,400 Speaker 2: said yeah, And he said, we need you to come 258 00:13:07,480 --> 00:13:10,880 Speaker 2: up to Woodstock and take some pictures. 259 00:13:10,920 --> 00:13:11,480 Speaker 1: On this day. 260 00:13:12,240 --> 00:13:14,720 Speaker 2: I went to the Volkswagen Bug and I drove up 261 00:13:14,760 --> 00:13:17,920 Speaker 2: to Woodstock and Al met me in the middle of 262 00:13:17,960 --> 00:13:20,440 Speaker 2: town in his car, and. 263 00:13:20,360 --> 00:13:21,160 Speaker 1: He said, follow me. 264 00:13:21,240 --> 00:13:25,320 Speaker 2: And he drove up these windy hilly roads, that mountainous roads, 265 00:13:25,679 --> 00:13:27,880 Speaker 2: and I followed him around these Kirby hills and so on. 266 00:13:28,000 --> 00:13:30,080 Speaker 2: He goes into a driveway with a big house in 267 00:13:30,080 --> 00:13:32,079 Speaker 2: front of it, and he said, and he. 268 00:13:32,040 --> 00:13:33,640 Speaker 1: Gets out of his car and I get out of mine. 269 00:13:33,679 --> 00:13:37,360 Speaker 2: He says, wait here, I and he goes into the 270 00:13:37,400 --> 00:13:40,559 Speaker 2: house and he comes back very soon afterwards, five minutes 271 00:13:40,600 --> 00:13:45,439 Speaker 2: later whatever it was, with Bob following along after him, right, 272 00:13:45,880 --> 00:13:48,880 Speaker 2: and AL says, Bob, this is Elliott, Elliott, this is Bob. 273 00:13:49,120 --> 00:13:51,960 Speaker 2: And he jumps back in his car, almost like he's 274 00:13:52,040 --> 00:13:55,400 Speaker 2: doing a He's dashing back, he's doing a sprint back 275 00:13:55,440 --> 00:13:59,520 Speaker 2: into his car, and he drives off, leaving me standing, 276 00:13:59,559 --> 00:14:03,000 Speaker 2: you know, seven feet away whatever from the most famous, 277 00:14:03,360 --> 00:14:05,400 Speaker 2: in my opinion, the best musician in the world at 278 00:14:05,400 --> 00:14:05,880 Speaker 2: that time. 279 00:14:06,440 --> 00:14:07,640 Speaker 1: Bob just walked. 280 00:14:07,320 --> 00:14:10,880 Speaker 2: Over to It was like a construction horsing, so he 281 00:14:11,000 --> 00:14:13,600 Speaker 2: just leaned against that and started singing and playing right, 282 00:14:14,240 --> 00:14:16,560 Speaker 2: you know. And I picked up my camera and started 283 00:14:16,720 --> 00:14:19,360 Speaker 2: taking pictures just like that without saying anything at all. 284 00:14:19,840 --> 00:14:22,400 Speaker 2: I realized that I was standing, let's say, ten feet 285 00:14:22,440 --> 00:14:28,440 Speaker 2: away from the most famous musician, and that how special 286 00:14:28,480 --> 00:14:32,600 Speaker 2: it was and what almost anyone of my generation would 287 00:14:32,720 --> 00:14:35,840 Speaker 2: give to be in the same situation as I was in. 288 00:14:36,040 --> 00:14:39,760 Speaker 2: I realized how special it was, but I thought, to myself, 289 00:14:40,000 --> 00:14:42,840 Speaker 2: it just feels normal to me. So I realized that 290 00:14:42,880 --> 00:14:48,520 Speaker 2: I should be nervous or you know, whatever, starstruck in 291 00:14:48,520 --> 00:14:52,240 Speaker 2: some way just feels normal, like it was the normal 292 00:14:52,440 --> 00:14:55,640 Speaker 2: everyday thing I might do. We started talking at some 293 00:14:55,720 --> 00:14:58,920 Speaker 2: point and got along really well. It was really quite 294 00:14:59,040 --> 00:15:03,720 Speaker 2: easy to talk with him for me. After I finished 295 00:15:03,720 --> 00:15:06,680 Speaker 2: the taking the photographs, I drove back to the city 296 00:15:06,680 --> 00:15:09,800 Speaker 2: and I developed them. I made contact sheets. I had 297 00:15:09,800 --> 00:15:11,520 Speaker 2: a dok room in my bedroom. I was a two 298 00:15:11,520 --> 00:15:15,160 Speaker 2: infroom apartment in Manhattan, and I took one part of 299 00:15:15,200 --> 00:15:15,560 Speaker 2: the bedroom. 300 00:15:15,560 --> 00:15:17,720 Speaker 1: I built an eight foot sint in. 301 00:15:17,720 --> 00:15:20,640 Speaker 2: One part of it, and mine larger was on top 302 00:15:20,680 --> 00:15:21,400 Speaker 2: of my dresser. 303 00:15:21,520 --> 00:15:24,440 Speaker 1: You know, you definitely it was a bachelor. There's no 304 00:15:24,600 --> 00:15:27,360 Speaker 1: way and those right. 305 00:15:27,920 --> 00:15:31,120 Speaker 2: So I processed the film and I made contact sheets, 306 00:15:31,120 --> 00:15:33,000 Speaker 2: and I had the color film developed by a lab, 307 00:15:33,400 --> 00:15:35,960 Speaker 2: and I drove back up there to show it to him, 308 00:15:36,480 --> 00:15:40,400 Speaker 2: and we sat and we looked at photographs and picked 309 00:15:40,400 --> 00:15:43,480 Speaker 2: out the one that he thought should be on the 310 00:15:43,520 --> 00:15:44,800 Speaker 2: cover of this editing post. 311 00:15:46,080 --> 00:15:47,360 Speaker 1: It was his choice. Really. 312 00:15:48,200 --> 00:15:50,440 Speaker 2: After we're done, he said to me, what are you 313 00:15:50,520 --> 00:15:53,320 Speaker 2: doing now? And I said, I'm going to stay over 314 00:15:53,360 --> 00:15:56,520 Speaker 2: at Rick's house and the night and hang out a 315 00:15:56,560 --> 00:15:59,120 Speaker 2: little bit. He said, well, we have a room upstairs. 316 00:15:59,160 --> 00:16:01,720 Speaker 2: If you want to stay up theres, you're welcome to 317 00:16:01,800 --> 00:16:06,720 Speaker 2: do that. So I stayed upstairs. The next morning, he 318 00:16:06,760 --> 00:16:08,720 Speaker 2: asked me to take some pictures of him and his family, 319 00:16:09,240 --> 00:16:11,640 Speaker 2: and because we were close like that, we just got 320 00:16:11,680 --> 00:16:12,960 Speaker 2: along in that sense. 321 00:16:13,480 --> 00:16:15,640 Speaker 3: We'll be right back with more of the Taking a 322 00:16:15,680 --> 00:16:23,920 Speaker 3: Walk podcast. Welcome back to the Taking a Walk Podcast. 323 00:16:25,040 --> 00:16:28,560 Speaker 4: You took so many pictures over time, so many quintessential 324 00:16:28,640 --> 00:16:32,120 Speaker 4: pictures of Bob. You know, the album covers and you 325 00:16:32,160 --> 00:16:36,120 Speaker 4: know the just the casual shots and everything. And I'm 326 00:16:36,160 --> 00:16:39,360 Speaker 4: sure you see to this day, you know many times 327 00:16:39,400 --> 00:16:43,720 Speaker 4: when he's photographed as well, I feel like he's never 328 00:16:43,840 --> 00:16:45,040 Speaker 4: taken a bad picture. 329 00:16:45,400 --> 00:16:46,440 Speaker 5: Would you agree with that? 330 00:16:47,560 --> 00:16:51,520 Speaker 1: Right interact? Well, let's see, I never thought about that. 331 00:16:52,040 --> 00:16:55,400 Speaker 2: Well, he's a visual artist also, by the gorgeous paintings 332 00:16:55,400 --> 00:16:59,120 Speaker 2: that he does and the sculptures, so I guess he's 333 00:16:59,280 --> 00:17:04,359 Speaker 2: very he's very intuitive, So I think those all those 334 00:17:04,400 --> 00:17:09,199 Speaker 2: senses and meta senses collaborate in his brain to know 335 00:17:09,240 --> 00:17:10,280 Speaker 2: how to be photographed. 336 00:17:10,320 --> 00:17:12,880 Speaker 1: Really, but I would. I don't see why you're wrong. 337 00:17:13,000 --> 00:17:13,840 Speaker 1: I wouldn't. I wouldn't. 338 00:17:13,960 --> 00:17:16,800 Speaker 2: I wouldn't make the controversy about what you said. 339 00:17:18,920 --> 00:17:20,119 Speaker 5: Talking about the band. 340 00:17:20,640 --> 00:17:23,520 Speaker 4: And first of all, when they came on the scene, 341 00:17:23,600 --> 00:17:26,439 Speaker 4: I think what was so amazing is, at least the 342 00:17:26,480 --> 00:17:29,520 Speaker 4: people I was around, we didn't know how to categorize 343 00:17:29,560 --> 00:17:30,200 Speaker 4: their music. 344 00:17:30,320 --> 00:17:33,240 Speaker 5: It was it was something we had never really heard before. 345 00:17:33,320 --> 00:17:38,320 Speaker 4: It had elements of multiple different styles of music, but 346 00:17:38,440 --> 00:17:42,679 Speaker 4: it was like so unique that it defied categorization. 347 00:17:42,800 --> 00:17:43,840 Speaker 5: Would you agree with that? 348 00:17:43,960 --> 00:17:48,960 Speaker 2: First of all, Yes, absolutely I would. And what Jonathan Taplin? 349 00:17:49,520 --> 00:17:53,639 Speaker 2: I've done one book of my photographs of the band 350 00:17:53,720 --> 00:17:56,080 Speaker 2: which is now out of print. It's The Band Photographs, 351 00:17:56,119 --> 00:18:01,640 Speaker 2: Volume one, and Jonathan Taplin wrote the introduction instruction and 352 00:18:02,240 --> 00:18:04,560 Speaker 2: he said that they created a new genre of American 353 00:18:04,640 --> 00:18:08,600 Speaker 2: music that was called Americana. So yeah, so they what 354 00:18:09,040 --> 00:18:11,800 Speaker 2: they the kind of music was labeled Americana after they 355 00:18:11,840 --> 00:18:14,959 Speaker 2: did it. They didn't join that genre, it was it 356 00:18:15,000 --> 00:18:17,160 Speaker 2: was named after the type of music they did. 357 00:18:17,960 --> 00:18:21,520 Speaker 4: So what insight can you give from how you knew 358 00:18:21,560 --> 00:18:27,119 Speaker 4: them into their creative process that ultimately yielded so much brilliance. 359 00:18:27,800 --> 00:18:31,720 Speaker 2: Well, it's like when when people get married and meet 360 00:18:32,320 --> 00:18:34,000 Speaker 2: no what's thought of as a soulmate. 361 00:18:35,200 --> 00:18:36,920 Speaker 1: When you meet them, you know it in a way, 362 00:18:37,000 --> 00:18:38,400 Speaker 1: you know, you feel it. 363 00:18:38,720 --> 00:18:42,720 Speaker 2: And these five guys were fortunate to have met each 364 00:18:42,760 --> 00:18:45,520 Speaker 2: other and they were just really well connected. 365 00:18:45,600 --> 00:18:48,400 Speaker 1: Their energy will fit with each other. They balanced each other. 366 00:18:48,440 --> 00:18:50,360 Speaker 2: What one had the other didn't and what the other 367 00:18:50,640 --> 00:18:53,080 Speaker 2: or vice versa, and they just thought the same way. 368 00:18:53,119 --> 00:18:55,880 Speaker 2: It was interesting how they all agreed on everything. There 369 00:18:55,920 --> 00:19:00,560 Speaker 2: was no dissonance there actually personally when I knew them, 370 00:19:01,040 --> 00:19:04,120 Speaker 2: and that was a big, a big part of why 371 00:19:04,160 --> 00:19:06,600 Speaker 2: their music is so great and why they were able 372 00:19:07,080 --> 00:19:10,359 Speaker 2: to create something that didn't exist before in music, a style, 373 00:19:10,440 --> 00:19:11,159 Speaker 2: a new style. 374 00:19:11,440 --> 00:19:12,879 Speaker 1: It took a little of this and a little of 375 00:19:12,880 --> 00:19:13,520 Speaker 1: that and doing. 376 00:19:14,240 --> 00:19:16,399 Speaker 5: Elliott, tell me what you're working on these days? 377 00:19:16,440 --> 00:19:23,040 Speaker 2: Project was oh god, six lifetime projects. In the sixties, 378 00:19:23,040 --> 00:19:25,760 Speaker 2: I started shooting super eight film. A metter of fact 379 00:19:25,800 --> 00:19:28,399 Speaker 2: Robbie Robinson gave me. The first time I ever should 380 00:19:28,480 --> 00:19:30,480 Speaker 2: look through a camera with a super eight camera was 381 00:19:30,560 --> 00:19:31,880 Speaker 2: Robbie Robinson Super eighted. 382 00:19:32,160 --> 00:19:34,680 Speaker 1: I was on the corner I remember the moment. Actually, 383 00:19:34,960 --> 00:19:35,480 Speaker 1: I was in. 384 00:19:35,440 --> 00:19:37,960 Speaker 2: Woodstock, right in the town square, and I bumped into 385 00:19:38,040 --> 00:19:39,800 Speaker 2: him by accident. He had this camera. He said, look 386 00:19:39,800 --> 00:19:42,000 Speaker 2: at this thing. He's going to laughing the way Robbie laughed. 387 00:19:42,240 --> 00:19:45,520 Speaker 2: He laughing, and he said, you know you kind of appreciate. 388 00:19:45,640 --> 00:19:47,520 Speaker 2: Look how great it is. I looked through it and 389 00:19:47,800 --> 00:19:49,520 Speaker 2: it's got this big zoom lens. It was a bull 390 00:19:49,600 --> 00:19:51,399 Speaker 2: your camera, big zoom lens. 391 00:19:51,480 --> 00:19:52,680 Speaker 1: And I was saying, wow, this is great. 392 00:19:53,000 --> 00:19:54,639 Speaker 2: So I went out and I bought a little fifty 393 00:19:54,680 --> 00:19:57,680 Speaker 2: dollars a small camera, super eight, and started shooting super 394 00:19:57,720 --> 00:20:00,879 Speaker 2: eight film the way I would shoot still photographs, and 395 00:20:00,920 --> 00:20:02,960 Speaker 2: you shoots the first you walk around, you see this, 396 00:20:03,080 --> 00:20:05,240 Speaker 2: you take a picture, you move to the next picture, 397 00:20:05,240 --> 00:20:06,280 Speaker 2: you move to the next picture. 398 00:20:06,960 --> 00:20:07,280 Speaker 1: Film. 399 00:20:07,480 --> 00:20:09,439 Speaker 2: To make film in a normal way, you have to 400 00:20:09,480 --> 00:20:13,080 Speaker 2: stand still. They say at least five or ten seconds, 401 00:20:13,359 --> 00:20:16,480 Speaker 2: ten second or whatever shots to make it make sense. 402 00:20:16,840 --> 00:20:20,120 Speaker 2: But I just shot kind of jerky around and then 403 00:20:20,920 --> 00:20:24,040 Speaker 2: when you played the film back, of course there was 404 00:20:24,040 --> 00:20:24,600 Speaker 2: a lot of motion. 405 00:20:24,720 --> 00:20:28,240 Speaker 1: It didn't really work. But super cameras let. 406 00:20:28,280 --> 00:20:32,800 Speaker 2: You change the speed of the film projection, so I 407 00:20:32,920 --> 00:20:34,960 Speaker 2: was able to slow the film down. 408 00:20:35,520 --> 00:20:37,480 Speaker 1: And then when I played. 409 00:20:37,359 --> 00:20:41,000 Speaker 2: Records, and I played the right record and slowed the 410 00:20:41,040 --> 00:20:43,399 Speaker 2: speed of the film down so that it that's the 411 00:20:43,480 --> 00:20:47,399 Speaker 2: rhythm of the record. I was seeing phenomenal stuff, different 412 00:20:47,440 --> 00:20:48,600 Speaker 2: than other film. 413 00:20:49,080 --> 00:20:49,840 Speaker 1: Had been made. 414 00:20:50,440 --> 00:20:52,920 Speaker 2: And then I began to show other people came over 415 00:20:52,920 --> 00:20:55,440 Speaker 2: to the house and we had showings and everyone really 416 00:20:55,440 --> 00:20:57,760 Speaker 2: loved it, and I got a grant from New York 417 00:20:57,800 --> 00:21:01,359 Speaker 2: State Council on the Arts for Filmmaking. Oh, I said 418 00:21:01,400 --> 00:21:04,480 Speaker 2: to the New York State Film Board, the problem is, 419 00:21:04,720 --> 00:21:07,320 Speaker 2: I can't send you this film because there's no way 420 00:21:07,359 --> 00:21:10,919 Speaker 2: to reproduce what I'm doing. It's all improvisational. And I 421 00:21:11,000 --> 00:21:14,520 Speaker 2: was changing the speed in real time, changing the music. 422 00:21:14,520 --> 00:21:15,840 Speaker 2: If I didn't like it, I just put on a 423 00:21:15,840 --> 00:21:18,520 Speaker 2: different record. Stuff like that. And there's no way to 424 00:21:18,640 --> 00:21:20,720 Speaker 2: record this yet. So I have to show it to 425 00:21:20,760 --> 00:21:22,919 Speaker 2: you in person. Say let me come up with my 426 00:21:22,960 --> 00:21:25,439 Speaker 2: super right projector and show it in person. So I 427 00:21:25,520 --> 00:21:28,639 Speaker 2: was there and they loved it, and I got the award. 428 00:21:28,920 --> 00:21:33,720 Speaker 2: And because it was improvisational, there was no way to 429 00:21:33,840 --> 00:21:38,280 Speaker 2: reproduce it. And what depended on the exact sync, and 430 00:21:38,320 --> 00:21:39,639 Speaker 2: which I depended on chance. 431 00:21:39,680 --> 00:21:42,320 Speaker 1: For you see, I'm very much into a chance. 432 00:21:42,359 --> 00:21:46,400 Speaker 2: I'm very much into the metaphysical of things working out, 433 00:21:47,480 --> 00:21:51,640 Speaker 2: and so somebody moves here and there's a downbeat right 434 00:21:51,720 --> 00:21:54,320 Speaker 2: right at that moment, somebody moves here in the picture, 435 00:21:54,520 --> 00:21:57,199 Speaker 2: and suddenly there's a musical downbeat that matches it and 436 00:21:57,240 --> 00:22:00,040 Speaker 2: the rhythm of the music and so on. So I 437 00:22:00,080 --> 00:22:02,320 Speaker 2: felt that the future of music was going to be 438 00:22:02,359 --> 00:22:08,320 Speaker 2: intertwined with film and video, especially videos, and video was 439 00:22:08,440 --> 00:22:11,960 Speaker 2: just coming at that time, and there. 440 00:22:11,880 --> 00:22:13,680 Speaker 1: Was no way for me to show my work. 441 00:22:14,040 --> 00:22:16,680 Speaker 2: But I knew that at some point I would have 442 00:22:17,240 --> 00:22:21,359 Speaker 2: the machinery to finish the films and make them available 443 00:22:21,440 --> 00:22:24,320 Speaker 2: for people to see. Okay, so it's called faith, I 444 00:22:24,359 --> 00:22:27,560 Speaker 2: guess right. And this we're talking like forty years here 445 00:22:27,800 --> 00:22:33,439 Speaker 2: of time go by, and finally computers came out, but 446 00:22:33,800 --> 00:22:36,760 Speaker 2: no program, no software, did what I wanted to do. 447 00:22:37,119 --> 00:22:39,760 Speaker 2: So I had to basically make my own software, which 448 00:22:39,800 --> 00:22:42,679 Speaker 2: is what I've done, and it works on an iPad 449 00:22:43,359 --> 00:22:48,040 Speaker 2: and it's a real time interactive music film instrument and 450 00:22:48,080 --> 00:22:50,119 Speaker 2: it makes the and you have to see it to 451 00:22:50,200 --> 00:22:53,520 Speaker 2: understand it because it's just different than the kind of film. 452 00:22:53,520 --> 00:22:55,320 Speaker 1: It is is different than. 453 00:22:55,200 --> 00:22:59,919 Speaker 2: You see normally, and it makes the filmmaker into a 454 00:23:00,080 --> 00:23:03,640 Speaker 2: visual musicians all I can say. And also when you're 455 00:23:03,680 --> 00:23:06,399 Speaker 2: playing the film back, So you don't just make a 456 00:23:06,400 --> 00:23:08,520 Speaker 2: film right now. You make a film, it's done forever. 457 00:23:08,840 --> 00:23:12,120 Speaker 2: There's no interactivity and you play it one way right. 458 00:23:12,520 --> 00:23:14,240 Speaker 1: But my films. 459 00:23:14,080 --> 00:23:19,280 Speaker 2: They're made to be interacted with. I call it musical 460 00:23:19,359 --> 00:23:22,760 Speaker 2: compositions and moving images is what they really are. 461 00:23:22,960 --> 00:23:25,040 Speaker 1: And they're like musical scores like music. 462 00:23:25,119 --> 00:23:27,159 Speaker 2: So you say what notes to play and what words 463 00:23:27,160 --> 00:23:30,679 Speaker 2: are saying this is, but this is non specific, so 464 00:23:30,720 --> 00:23:33,400 Speaker 2: you can you can play any film you want, and 465 00:23:33,560 --> 00:23:36,080 Speaker 2: you can change the speed of the fit of the 466 00:23:36,119 --> 00:23:39,760 Speaker 2: film to match the music, change the music to match 467 00:23:39,800 --> 00:23:42,800 Speaker 2: the film. And I've created quite a beautiful thing. I 468 00:23:42,800 --> 00:23:45,680 Speaker 2: did it in real time, and when it was and 469 00:23:45,680 --> 00:23:47,600 Speaker 2: it took me, I paid a program to do it. 470 00:23:48,280 --> 00:23:52,520 Speaker 2: No investors yet, I wouldn't mind some really good investors. 471 00:23:52,880 --> 00:23:55,080 Speaker 2: I don't know if I want investor. I just would 472 00:23:55,119 --> 00:23:57,480 Speaker 2: like to get some money for it. So when it 473 00:23:57,600 --> 00:24:01,159 Speaker 2: was finally ready to be released, I realized that I 474 00:24:01,200 --> 00:24:03,800 Speaker 2: couldn't release it because it would make me a slave 475 00:24:03,920 --> 00:24:08,159 Speaker 2: to the project, that I would be tech support the 476 00:24:08,160 --> 00:24:11,320 Speaker 2: program I had. He's a real genius guy, but he's 477 00:24:11,320 --> 00:24:13,879 Speaker 2: not going to be tech support, and I need to 478 00:24:13,960 --> 00:24:16,320 Speaker 2: market it. So I knew that I didn't have the 479 00:24:16,359 --> 00:24:18,960 Speaker 2: personnel to run accomp from us. I'm not good at 480 00:24:18,960 --> 00:24:22,280 Speaker 2: managing people, I'm not good at managing projects. So I 481 00:24:22,400 --> 00:24:25,119 Speaker 2: put it aside, and the pandemic happened right around that 482 00:24:25,160 --> 00:24:28,760 Speaker 2: time also, so I let it stand for a few 483 00:24:28,840 --> 00:24:31,920 Speaker 2: years actually, and then maybe two months ago I got 484 00:24:31,920 --> 00:24:33,679 Speaker 2: it in my head Okay, it's time to pick this 485 00:24:33,800 --> 00:24:36,600 Speaker 2: up again. So now I'm moving forward with it, trying 486 00:24:36,640 --> 00:24:39,199 Speaker 2: to see what through with it. I got rights to 487 00:24:39,359 --> 00:24:41,720 Speaker 2: use some of Bob Dylan's in music. 488 00:24:41,400 --> 00:24:43,160 Speaker 1: In the app Wow. 489 00:24:43,440 --> 00:24:49,199 Speaker 2: So the app lets you use any film or music 490 00:24:49,240 --> 00:24:52,280 Speaker 2: that you have on your iPad, so you can you 491 00:24:52,320 --> 00:24:55,840 Speaker 2: can incorporate any music that you put on it. So 492 00:24:55,920 --> 00:24:58,760 Speaker 2: whether it's your own music, or whether it's Eric Lapton 493 00:24:58,880 --> 00:25:02,240 Speaker 2: or Bob Dylan or or hip hop, anything you want, 494 00:25:02,920 --> 00:25:05,880 Speaker 2: you can access it through the app and use that 495 00:25:06,359 --> 00:25:09,880 Speaker 2: to make music videos with. And it's a real time thing, 496 00:25:09,960 --> 00:25:12,399 Speaker 2: so the minute, and you do it by moving your 497 00:25:12,440 --> 00:25:15,440 Speaker 2: fingers around on the screen at all. There's no buttons 498 00:25:15,480 --> 00:25:18,439 Speaker 2: to press on like normal editing. 499 00:25:18,600 --> 00:25:21,159 Speaker 1: Is. See what I did is I made it a 500 00:25:21,240 --> 00:25:21,960 Speaker 1: musical instrument. 501 00:25:22,000 --> 00:25:23,840 Speaker 2: And when you play a musical instrument, you sit there 502 00:25:24,080 --> 00:25:27,400 Speaker 2: and you blow into it or you or you tap 503 00:25:27,440 --> 00:25:29,600 Speaker 2: on the keys, and you have other musicians that are 504 00:25:29,640 --> 00:25:32,480 Speaker 2: playing also and you change according to what they do 505 00:25:32,920 --> 00:25:37,400 Speaker 2: and all that, and there can be preconception, but I'm 506 00:25:37,440 --> 00:25:39,720 Speaker 2: a jazz fan, so there doesn't have to be any 507 00:25:39,800 --> 00:25:43,399 Speaker 2: preconceived music that you're going to play. It remembers everything 508 00:25:43,440 --> 00:25:48,760 Speaker 2: you do and plays it back immediately after you finished 509 00:25:48,800 --> 00:25:52,840 Speaker 2: with it, so it's in real time. Normal film technology 510 00:25:52,960 --> 00:25:57,560 Speaker 2: was developed to tell stories. It's developed as a cognitive medium. 511 00:25:57,720 --> 00:26:00,440 Speaker 2: Whenever you're looking at a film, you're looking at what's 512 00:26:00,440 --> 00:26:03,560 Speaker 2: happening and thinking about it. It's a cow running, it's 513 00:26:03,560 --> 00:26:06,679 Speaker 2: a musician dancing at somebody playing a ballet, And for me, 514 00:26:06,760 --> 00:26:09,640 Speaker 2: it's the motion of even though they are real things 515 00:26:09,680 --> 00:26:12,240 Speaker 2: in there, you can be thinking about that, but it's 516 00:26:12,280 --> 00:26:16,960 Speaker 2: the motion that's important. It's the kinetic motion of the imagery, 517 00:26:17,480 --> 00:26:19,040 Speaker 2: not what the imagery is showing. 518 00:26:19,160 --> 00:26:20,440 Speaker 1: So it's not about. 519 00:26:20,080 --> 00:26:24,600 Speaker 2: Anything normal films at all, about something there's a subject matter. 520 00:26:25,200 --> 00:26:26,800 Speaker 2: I had to do it for myself and now I 521 00:26:26,880 --> 00:26:30,920 Speaker 2: have it, and it's extra it's called Landy Vision. Anyway, 522 00:26:30,960 --> 00:26:38,280 Speaker 2: that's one project. So I've now been for twenty four years, 523 00:26:38,320 --> 00:26:39,840 Speaker 2: been married to. 524 00:26:41,800 --> 00:26:44,480 Speaker 1: This woman who I first met in college, hadn't seen 525 00:26:45,160 --> 00:26:46,480 Speaker 1: in thirty years. 526 00:26:46,320 --> 00:26:49,040 Speaker 2: Or something, and we met each other again. So I 527 00:26:49,080 --> 00:26:51,200 Speaker 2: took a lot of pictures of her. And at the beginning, 528 00:26:51,240 --> 00:26:54,360 Speaker 2: she's very shy about it, and you know it doesn't 529 00:26:54,440 --> 00:26:56,960 Speaker 2: you know, Well, lets you take the pictures, but you 530 00:26:57,000 --> 00:27:02,320 Speaker 2: can't publish them and so on. So well, because that's 531 00:27:02,320 --> 00:27:04,440 Speaker 2: what I do is I like to share my work 532 00:27:04,440 --> 00:27:06,200 Speaker 2: with people. I said, well, I'm going to take these 533 00:27:06,240 --> 00:27:09,240 Speaker 2: and maybe after we passed away then they'll get published. 534 00:27:09,359 --> 00:27:11,840 Speaker 1: Anyway, after a year or two years, she said, oh, 535 00:27:11,880 --> 00:27:14,240 Speaker 1: they're so nice. Yes, we can publish them. 536 00:27:14,359 --> 00:27:16,159 Speaker 2: So she said, but I have something I want to 537 00:27:16,160 --> 00:27:18,760 Speaker 2: write to go with the pictures, And she said that 538 00:27:18,800 --> 00:27:23,520 Speaker 2: she wanted to write a text to encourage women of 539 00:27:23,560 --> 00:27:30,159 Speaker 2: a certain age, older women fifty sixties, not to be 540 00:27:30,200 --> 00:27:32,720 Speaker 2: afraid to change their lives, because that's what she did 541 00:27:32,760 --> 00:27:36,280 Speaker 2: when we got together. And it's inspirational story. I guess 542 00:27:36,320 --> 00:27:38,359 Speaker 2: it was really about that she didn't think about it 543 00:27:38,440 --> 00:27:42,439 Speaker 2: like that, and she's a great writer. And so the 544 00:27:42,520 --> 00:27:46,080 Speaker 2: book is her text and my pictures of her. We 545 00:27:46,160 --> 00:27:48,359 Speaker 2: call it Love at Sixty because that's what we were 546 00:27:48,400 --> 00:27:52,560 Speaker 2: fifty six when we remat each other, and so I'm 547 00:27:52,600 --> 00:27:55,919 Speaker 2: looking to publish that. I actually have a dummy book 548 00:27:56,320 --> 00:28:00,520 Speaker 2: of that completely. The book is laid out. I'm just 549 00:28:00,840 --> 00:28:04,160 Speaker 2: looking for the right publisher unless I publish it myself. 550 00:28:04,200 --> 00:28:05,960 Speaker 2: So that's another project, and I won't go one with 551 00:28:06,000 --> 00:28:07,920 Speaker 2: the other projects, but they are there. 552 00:28:09,160 --> 00:28:14,040 Speaker 4: Elliott, you are a treasure. You have given us so much, 553 00:28:14,080 --> 00:28:17,480 Speaker 4: you continue to give us so much. Try You've brought 554 00:28:17,480 --> 00:28:21,440 Speaker 4: a big smile to my face as we celebrate your work, 555 00:28:21,560 --> 00:28:26,440 Speaker 4: your continued work, but also fifty five years ago at Woodstock. 556 00:28:26,800 --> 00:28:29,520 Speaker 5: Thanks so much for sharing with us. 557 00:28:29,520 --> 00:28:32,199 Speaker 1: Elliott, Well, thank you for giving this a voice. 558 00:28:32,240 --> 00:28:35,879 Speaker 2: That time is so important, the sixties, and it's fading away. 559 00:28:36,240 --> 00:28:39,480 Speaker 1: So I'm going to contact Carlos. Let's get it back 560 00:28:39,720 --> 00:28:42,120 Speaker 1: absolutely and be part of that for sure. 561 00:28:42,240 --> 00:28:45,280 Speaker 5: Yeah yeah, yeah, Thanks Elliott a pleasure. 562 00:28:46,480 --> 00:28:48,960 Speaker 3: Thanks for listening to this episode of the Taking a 563 00:28:48,960 --> 00:28:52,880 Speaker 3: Walk podcast. Share this and other episodes with your friends 564 00:28:52,960 --> 00:28:56,440 Speaker 3: and follow us so you never miss an episode. Taking 565 00:28:56,480 --> 00:29:00,360 Speaker 3: a Walk is available on the iHeartRadio app, Apple podcast Tests, 566 00:29:00,600 --> 00:29:02,880 Speaker 3: and wherever you get your podcasts.