WEBVTT - Joan Baez

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<v Speaker 1>Pushkin. Joan Baez has always used her voice as a

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<v Speaker 1>tool for social change. Show me the Prison, show me

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<v Speaker 1>the jan show me the Prisoners Lie. At the height

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<v Speaker 1>of her career in the nineteen sixties, Joan was known

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<v Speaker 1>the world over as the Queen of Folk. She used

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<v Speaker 1>her fame to help spread the tenets of non violence

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<v Speaker 1>and was a close ally to doctor Martin Luther King Junior.

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<v Speaker 1>Joan also helped introduce Bob Dylan to the world by

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<v Speaker 1>giving them stage time at her shows when she was

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<v Speaker 1>the biggest ticket in town and he was a complete unknown.

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<v Speaker 1>In this conversation with Rick Rubin, Joan explains why, after

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<v Speaker 1>performing for over sixty years, she recently made the decision

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<v Speaker 1>to stop singing. She also talks about the time she

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<v Speaker 1>and Pete Seeger were run out of town by local

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<v Speaker 1>cops after a performance, and how is a badge of honor?

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<v Speaker 1>When the Brazilian government banned her music because they felt

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<v Speaker 1>it made people too emotional. This is broken record liner

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<v Speaker 1>notes for the digital age. I'm justin Richmontain. You're a

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<v Speaker 1>Rick Rubin and Joan Bias. How are you hey, mountain man.

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<v Speaker 1>Nice to see you, Nice to see you. Everything well,

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<v Speaker 1>it's been a minute. It's been a minute. Everything's just

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<v Speaker 1>as good as it can be, Beautiful, Tell what's been

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<v Speaker 1>going on? What's been going on? Let me think. Well,

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<v Speaker 1>I made the decision and quit touring, as you know,

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<v Speaker 1>and on New Year's Eve, I made the decision to

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<v Speaker 1>not sing at all. So people can't say it, would

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<v Speaker 1>you just do this one? Just that's it. You know,

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<v Speaker 1>I'm ready to do other things and don't want to

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<v Speaker 1>put the effort into making this voice sound right, and

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<v Speaker 1>it doesn't anyway, So so I'm free of that, which

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<v Speaker 1>is wonderful, beautiful. What tell me a little bit about

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<v Speaker 1>the work that would go into keeping your voice working

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<v Speaker 1>in the way that you wanted at work? Well, first

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<v Speaker 1>of all, I had was just hanging on to old

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<v Speaker 1>recordings of the last teacher I had, and that went

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<v Speaker 1>back about a year, and I was just doing a

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<v Speaker 1>couple of hers just to get through. I didn't bother

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<v Speaker 1>anything new. And then my granddaughter started studying with Max

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<v Speaker 1>and Lewis. She was an I cat back in the day,

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<v Speaker 1>and she teaches and she's wonderful and was working well

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<v Speaker 1>for Jasmine, and I thought, well, I'd like to sing

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<v Speaker 1>with Jasmine a little bit before I stop all this,

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<v Speaker 1>and so I started working with Max Sam was totally

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<v Speaker 1>different from anybody else, but one way or another, it

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<v Speaker 1>involves conscientious work. You know, it should be five days

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<v Speaker 1>of weeks, even if it's twenty minutes a sec. That

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<v Speaker 1>concentrated takes you away from everything else. And honestly, if

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<v Speaker 1>I if the voice sounded more like what I really

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<v Speaker 1>wanted to sound like, I made a stuck with it.

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<v Speaker 1>But it won't matter how hard I work. Now you

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<v Speaker 1>know they're a muscle in there is not going to

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<v Speaker 1>be what it was, and I'd rather let it all

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<v Speaker 1>go interesting. It's I got to work with Johnny Cash

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<v Speaker 1>at the end of his career and his voice was

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<v Speaker 1>definitely failing at the end, and it was really it

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<v Speaker 1>really impacted him emotionally in a great way, in a

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<v Speaker 1>terrible way, exactly, and we found a way through the

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<v Speaker 1>emotion of the words that he was singing to not

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<v Speaker 1>have it being negative but be positive that it wasn't

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<v Speaker 1>that his voice was failing. It's that the things that

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<v Speaker 1>he was singing about were so difficult that it made

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<v Speaker 1>sense for to have difficulty in the words coming out.

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<v Speaker 1>So I don't know, it was at least there was

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<v Speaker 1>a method that worked. If you ever decide to try

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<v Speaker 1>it again, if you ever get the mood that you

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<v Speaker 1>can make it work for you instead of against you.

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<v Speaker 1>I think because my saying was this voice, you know,

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<v Speaker 1>I mean, yeah, good wine and so on up to

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<v Speaker 1>a certain point, and then you I mean, and Johnny

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<v Speaker 1>because of the nature of himself and his work and

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<v Speaker 1>his voice and his songs, he didn't have to do

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<v Speaker 1>that stuff. He just bared his soul. And that's why

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<v Speaker 1>those last albums were so gorgeous. He was apparently happy

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<v Speaker 1>with what was coming out of him. Yeah, he was,

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<v Speaker 1>but he during I will say, during the period, he

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<v Speaker 1>was very uncomfortable with his voice, yeah, and really questioned it.

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<v Speaker 1>And he would say that his voice was the one

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<v Speaker 1>thing that he could always rely upon and now he

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<v Speaker 1>couldn't rely upon that anymore, and it really it made

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<v Speaker 1>him uncomfortable. And we all go through I mean, anybody

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<v Speaker 1>who sings that. You don't know that when you're young,

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<v Speaker 1>there's no way to know it. But it's a certain point.

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<v Speaker 1>The muscles are like a tennis player just gonna start giving,

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<v Speaker 1>you know, So at any rate, that was New Year's Eve,

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<v Speaker 1>So yeah, tell me about the very what was the

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<v Speaker 1>very last performance in front of an audience, your last concert?

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<v Speaker 1>It was in Spain. It was in Madrid, and it

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<v Speaker 1>was glorious. I mean there was a big concert hall.

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<v Speaker 1>It was beautiful. It was filled with people. And I

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<v Speaker 1>had Emanciato Prava, a guitar songwriter, singer, famous, you know

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<v Speaker 1>the kind everybody goes ah when he walks on the stage.

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<v Speaker 1>And he and I worked on a song together and

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<v Speaker 1>sang it together and it was a big emotional moment

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<v Speaker 1>for everybody. And then I sang and that was basically it.

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<v Speaker 1>And I got an encore and I sang what I

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<v Speaker 1>had been singing, which was if I had wings, and

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<v Speaker 1>said goodbye that way. Yeah. What was the emotion of

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<v Speaker 1>the feeling like this is it? Well, I was already

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<v Speaker 1>feeling what was coming, and it was a relief. And

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<v Speaker 1>I wondered, often, is this something I'm going to really

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<v Speaker 1>wish that I know? Everybody says, oh yeah, I'll be

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<v Speaker 1>back on the road, and I thought, well, maybe to

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<v Speaker 1>be fair, I should leave that open. But I had

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<v Speaker 1>never a second. It was my people and the bus,

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<v Speaker 1>my friends, my co workers, the engineer, sound likes. That's

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<v Speaker 1>what I missed, but not being on the stage, not

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<v Speaker 1>all that stuff. It just I mean, and partly I

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<v Speaker 1>think is I walked right into the painting. You know,

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<v Speaker 1>it was like shifting or shifting into another gear, and

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<v Speaker 1>so I just something final and wonderful about it. We

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<v Speaker 1>were all exhausted because it was the end of it

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<v Speaker 1>was the end of our emotions too. I mean, we're

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<v Speaker 1>all wiped out with that. Yeah. Interesting that so many people,

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<v Speaker 1>we think of, so many artists, have a difficult time

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<v Speaker 1>walking away from it. Yeah. But for some reason, I

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<v Speaker 1>get the sense that you've always had as much of

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<v Speaker 1>a life outside of performance, where so many artists that's all,

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<v Speaker 1>that's all they have, So it seems like you've always

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<v Speaker 1>had an inner life to come back to. I think

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<v Speaker 1>that's true. I think partly at the very beginning, when

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<v Speaker 1>I was so disciplined and stiff, and this is you know,

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<v Speaker 1>traditional songs and everything else was commercial, it set me

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<v Speaker 1>on a path where I had to I had to

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<v Speaker 1>keep my spiritual life in order. I'd keep my body

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<v Speaker 1>in order. But I didn't fall into a lot of stuff,

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<v Speaker 1>but a lot of my friends did. I never did

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<v Speaker 1>the drugs. I'm sure I missed out on a lot

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<v Speaker 1>of stuff. I'm sure that I did. But yeah, I

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<v Speaker 1>pretty much kept it together and there even though you know,

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<v Speaker 1>I went through some heavy duty therapy and found out

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<v Speaker 1>stuff I hadn't known that was causing different behaviors in

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<v Speaker 1>me that I didn't have control of. That basically, there

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<v Speaker 1>was a core there that stayed on track. When did

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<v Speaker 1>you first start doing therapy, Hope? You know, I mean

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<v Speaker 1>a lot of therapists. When I was fifteen, I started

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<v Speaker 1>getting help from different doctors. Yeah, and that went right

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<v Speaker 1>on through. And I started the deep stuff when I

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<v Speaker 1>was fifty, and you know, that was a different kind

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<v Speaker 1>of therapy that was saying, Okay, there's something in here,

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<v Speaker 1>I'm going to dig it out. And you know, obviously

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<v Speaker 1>I can't talk about the details, but the fact was

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<v Speaker 1>there was therapy that helped me stay together, and there

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<v Speaker 1>was therapy that helped me fall apart and put the

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<v Speaker 1>pieces back together. So wow, beautiful, Yeah, beautiful. I'm glad.

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<v Speaker 1>I'm glad that you found you found help through those

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<v Speaker 1>through that work. It's it's it's a miracle when you

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<v Speaker 1>find the right you know, the right connection and when

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<v Speaker 1>you see where it can go, it's an amazing thing.

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<v Speaker 1>And you know, I think I felt the way A

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<v Speaker 1>lot of people, maybe most people feel that you can changes,

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<v Speaker 1>you can switch that, but basically nothing ever changes, and

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<v Speaker 1>that for me anyway, has not been true. I mean,

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<v Speaker 1>the change was was just transformative. It tooks a long

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<v Speaker 1>time and a lot of work, but I don't have

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<v Speaker 1>to go through the stuff that I did. You know

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<v Speaker 1>back then, do you have or have you ever had

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<v Speaker 1>a spiritual practice? You know, I've always either invented my

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<v Speaker 1>own or dipped into different people's for a while. And

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<v Speaker 1>the one that makes the most sense to me, but

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<v Speaker 1>also takes a discipline that I little short of, is

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<v Speaker 1>just Buddhist practice, you know, just trying to be mindful

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<v Speaker 1>and aware. And I always I mean parents were became

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<v Speaker 1>Quakers when I was eight, and so that brought in

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<v Speaker 1>the whole nonviolence and in the active part of Quakerism,

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<v Speaker 1>which is American Friends Service Committee, you get involved in

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<v Speaker 1>people in the world who need more than we have,

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<v Speaker 1>and so that was a way way back seeing wherever

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<v Speaker 1>the spirit wove in and out of that. I mean,

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<v Speaker 1>my father, his father's father was Catholic, and my father's

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<v Speaker 1>father was a Methodist minister, which means he left Catholicism

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<v Speaker 1>in Mexico, and that was not exactly the thing to

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<v Speaker 1>do in those days. And my father preached in his church. Oh,

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<v Speaker 1>my father was eighteen. They were Presbyterian in New York.

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<v Speaker 1>My mother's father was an Episcopalian minister who preached at

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<v Speaker 1>that beautiful church in the middle. I didn't know this.

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<v Speaker 1>I was visiting Edinburgh and that gorgeous little church that

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<v Speaker 1>writes back in the middle of town. You can't get

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<v Speaker 1>pictures of it because it's too big. You can't back

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<v Speaker 1>off far enough. That's where he preached. So there was

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<v Speaker 1>always a whole line of preachers. Amazing, amazing. Do you

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<v Speaker 1>feel like that that the preaching in your blood worked

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<v Speaker 1>its way into the music, both since it worked my

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<v Speaker 1>way into by talking too much and people in the

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<v Speaker 1>hall saying, why don't you shut up and sing? I

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<v Speaker 1>mean I heard that more than once, really, and I

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<v Speaker 1>get it, you know that. I was so intent on

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<v Speaker 1>saying what I felt no people should hear, or what

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<v Speaker 1>it was on my mind or politically or spiritually, and

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<v Speaker 1>so I would just, you know, damn the torpedoes and

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<v Speaker 1>say what I needed to say. Tell me more about

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<v Speaker 1>the Quaker faith. I know very little. The only you're

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<v Speaker 1>the first person to ever tell me about about Quakerism.

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<v Speaker 1>And is it called Quakerism, Yeah, that's Quakerism. Basically, the

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<v Speaker 1>Quakers are just about the only religion, formal religion that

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<v Speaker 1>really will not condone violence. I mean, not World War two,

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<v Speaker 1>the favorite wars. You really have to find another way

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<v Speaker 1>to live, and it's pretty much a constant challenge, especially

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<v Speaker 1>you know, in days like this and a world like this,

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<v Speaker 1>a country like this, and so it's an attempt to

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<v Speaker 1>live with through and by non violence. Meaning the bottom

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<v Speaker 1>line is that you are willing to accept suffering but

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<v Speaker 1>not inflicted. So that really determines how you behave publicly

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<v Speaker 1>and personally. And it's very challenging and there are times

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<v Speaker 1>that I am just impossible that you lose track of that. Yeah,

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<v Speaker 1>let's talk about the world that you came into as

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<v Speaker 1>a musician. Tell me about what the world was like

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<v Speaker 1>when you first started making music. We know I was

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<v Speaker 1>already politicized. But what happened was I moved to came

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<v Speaker 1>Bridge and I had heard Odetta and Pete Seeger and

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<v Speaker 1>Harry Bellafonti, and those are my introduction, and I heard

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<v Speaker 1>the Kingston Trio and I wouldn't admit that to anybody

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<v Speaker 1>because they were supposed to be commercial, but I loved them.

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<v Speaker 1>And then it moved to Cambridge and I the only

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<v Speaker 1>school that accepted me because my grades were terrible and

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<v Speaker 1>I had no interest in going to school, was Boston

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<v Speaker 1>University Fine Arts. So I was kind of halfway there.

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<v Speaker 1>And then I was fell in love with a guy

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<v Speaker 1>from Harvard, and I wandered around Harvard Square and started

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<v Speaker 1>playing in the coffee shops and so at that point

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<v Speaker 1>the politics all kind of shriveled up for a while

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<v Speaker 1>because I was just busy being in love. And that

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<v Speaker 1>went on for two years, and that's where all those

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<v Speaker 1>early Ballots came from. I mean, the political music didn't

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<v Speaker 1>start showing up until it was think it was actually gone.

0:13:58.676 --> 0:14:01.076
<v Speaker 1>On my side was probably the second or third album,

0:14:01.716 --> 0:14:04.876
<v Speaker 1>but the first one was just strictly Ballots. So the

0:14:04.996 --> 0:14:08.636
<v Speaker 1>scene around me was coffee shop, you know people. And

0:14:08.796 --> 0:14:10.596
<v Speaker 1>I wasn't in New York. People think I was in

0:14:10.636 --> 0:14:13.796
<v Speaker 1>New York. I was mostly in Cambridge at the club

0:14:13.876 --> 0:14:16.676
<v Speaker 1>forty seven, and so I was in this I remember

0:14:16.796 --> 0:14:20.636
<v Speaker 1>walking past one of these coffee shops. My father regretted

0:14:20.636 --> 0:14:24.156
<v Speaker 1>it forever, but he had never seen coffee shop activity

0:14:24.196 --> 0:14:27.436
<v Speaker 1>and students sitting around with somebody performing, So he took

0:14:27.436 --> 0:14:30.556
<v Speaker 1>his three daughters and his wife to see this phenomenon.

0:14:30.996 --> 0:14:34.716
<v Speaker 1>And I looked in one coffee shop, Tula's Coffee Shop,

0:14:34.796 --> 0:14:37.836
<v Speaker 1>and I saw a guy sitting and was playing Plasier

0:14:38.036 --> 0:14:41.476
<v Speaker 1>mur And that was it. I mean, that was just it.

0:14:41.676 --> 0:14:43.676
<v Speaker 1>That's why I wanted to be and what I wanted

0:14:43.716 --> 0:14:47.316
<v Speaker 1>to do. It was it mostly music or was there

0:14:47.316 --> 0:14:50.916
<v Speaker 1>also poetry? And tell me about the coffee shop scene. Well,

0:14:50.956 --> 0:14:53.596
<v Speaker 1>a coffee shop scene where I was in Cambridge was

0:14:53.716 --> 0:14:59.596
<v Speaker 1>not so much poetry to my memory, it was music.

0:15:00.516 --> 0:15:03.156
<v Speaker 1>The coffee shop Club forty seven, where I ended up

0:15:03.196 --> 0:15:06.396
<v Speaker 1>singing a few days a week ten dollars a night

0:15:06.436 --> 0:15:08.676
<v Speaker 1>to start with, it was a big money for me,

0:15:09.316 --> 0:15:12.236
<v Speaker 1>had been a jazz club and the women who ran

0:15:12.356 --> 0:15:15.596
<v Speaker 1>it were hip enough to see this folk boom coming

0:15:15.636 --> 0:15:17.956
<v Speaker 1>into play, so they took two nights a week and

0:15:18.036 --> 0:15:20.796
<v Speaker 1>made it a folk club, and eventually that's what it

0:15:20.836 --> 0:15:25.036
<v Speaker 1>was completely And I was a steady I at the

0:15:25.196 --> 0:15:28.596
<v Speaker 1>very beginning of that, I was I guess tuesdays. To

0:15:28.676 --> 0:15:31.916
<v Speaker 1>begin with, I sang every Tuesday, and then pretty soon

0:15:32.116 --> 0:15:36.236
<v Speaker 1>people songwriters came in, some known, some not known, Eric

0:15:36.316 --> 0:15:40.956
<v Speaker 1>von Schmidt, very unknown types, a lot of them. That's

0:15:40.956 --> 0:15:44.116
<v Speaker 1>where I got, you know, they were not famous people

0:15:44.116 --> 0:15:47.476
<v Speaker 1>I learned the songs from. Was it hard finding songs

0:15:47.516 --> 0:15:52.116
<v Speaker 1>back then? Well, because everywhere, because I'm a good robber,

0:15:52.356 --> 0:15:57.396
<v Speaker 1>you know, And all I had to do is I

0:15:57.476 --> 0:16:00.636
<v Speaker 1>mean for those ballots, because that's what I loved. They

0:16:00.676 --> 0:16:03.956
<v Speaker 1>were everywhere and you could find Geane Ritchie give you

0:16:03.996 --> 0:16:08.556
<v Speaker 1>a whole album's worth of gorgeous old ballots. After a

0:16:08.636 --> 0:16:15.556
<v Speaker 1>quick break, we'll be right back with Joan Bayass. We're

0:16:15.556 --> 0:16:19.196
<v Speaker 1>back with more from Joan Bayaz and Rick Ruby. So

0:16:19.276 --> 0:16:22.956
<v Speaker 1>you're singing in the coffee shop world. And then when

0:16:22.956 --> 0:16:26.716
<v Speaker 1>do protest songs make their appearance? Well, you know, before

0:16:26.836 --> 0:16:31.036
<v Speaker 1>this little love affair I had with my Harvard boyfriend,

0:16:31.636 --> 0:16:34.956
<v Speaker 1>I had already sung, say, I learned the first Emmett

0:16:34.956 --> 0:16:37.636
<v Speaker 1>Till that came out, I mean I was already there

0:16:37.676 --> 0:16:40.396
<v Speaker 1>in my head. And then there was a kind of

0:16:40.436 --> 0:16:43.556
<v Speaker 1>a dip, and then I wanted desperately to have the

0:16:43.636 --> 0:16:47.596
<v Speaker 1>songs that could express some of these feelings and the

0:16:48.836 --> 0:16:52.556
<v Speaker 1>obviously when Dylan came along, it was pretty early in

0:16:52.636 --> 0:16:55.276
<v Speaker 1>the game, but that feel that, you know, That's what

0:16:55.476 --> 0:16:59.756
<v Speaker 1>was missing, was that kind of well. He generated so

0:16:59.796 --> 0:17:02.156
<v Speaker 1>many of them, and they were so good and up

0:17:02.196 --> 0:17:04.876
<v Speaker 1>till then I had sung that we shall overcomes, and

0:17:04.916 --> 0:17:07.396
<v Speaker 1>I can't remember them right now, but I was certainly

0:17:07.396 --> 0:17:12.636
<v Speaker 1>already known as a protest singer or protest type. What

0:17:12.676 --> 0:17:14.716
<v Speaker 1>was the first song of his that you heard? Do

0:17:14.756 --> 0:17:17.236
<v Speaker 1>you remember? I think it was hard Rain, he said

0:17:17.236 --> 0:17:19.916
<v Speaker 1>of somebody's house, and I think that's what it was.

0:17:20.596 --> 0:17:24.756
<v Speaker 1>And soon after that was Got on my Side. Got

0:17:24.796 --> 0:17:26.596
<v Speaker 1>on my Side is the first one that I sang

0:17:27.196 --> 0:17:30.916
<v Speaker 1>of his. And we were somewhere probably in the South.

0:17:30.996 --> 0:17:34.876
<v Speaker 1>It was boiling hot, and I remember I don't sweat much,

0:17:34.916 --> 0:17:37.996
<v Speaker 1>but the back of my legs it was dripping down

0:17:38.556 --> 0:17:42.236
<v Speaker 1>from behind my knees, and I had the words out

0:17:42.236 --> 0:17:44.196
<v Speaker 1>there because I've never sung it before. And I think

0:17:44.236 --> 0:17:48.076
<v Speaker 1>Bob was off the side of the stage and wherever

0:17:48.156 --> 0:17:51.076
<v Speaker 1>I sang God on my Side. And later at some

0:17:51.156 --> 0:17:54.316
<v Speaker 1>point he and I were doing concerts together and we

0:17:54.356 --> 0:17:58.956
<v Speaker 1>sang William z and Zinger killed Poor Hetty Carroll, The

0:17:58.996 --> 0:18:02.396
<v Speaker 1>Lonesome Death of Hetty Carroll, And the story is about,

0:18:02.796 --> 0:18:05.196
<v Speaker 1>you know, a rich guy basically kills his maid because

0:18:05.196 --> 0:18:08.156
<v Speaker 1>he gets ticked off, it throws his cane across the room. Well,

0:18:08.196 --> 0:18:10.756
<v Speaker 1>we sang it in the area where that guy lived,

0:18:12.116 --> 0:18:16.236
<v Speaker 1>and we suddenly thought, you know, we better get out

0:18:16.236 --> 0:18:20.796
<v Speaker 1>of here in a hurry. So that's apropos of not

0:18:20.956 --> 0:18:26.036
<v Speaker 1>much except that those were extraordinary days musically. Have you

0:18:26.076 --> 0:18:29.596
<v Speaker 1>ever had an issue with censorship? Like? Was where is

0:18:29.636 --> 0:18:32.556
<v Speaker 1>your music ever banned? Or were you ever asked not

0:18:32.716 --> 0:18:35.956
<v Speaker 1>to perform somewhere because of what you were saying? Now,

0:18:35.996 --> 0:18:38.796
<v Speaker 1>the first incomes to mind was performing with Pizza or

0:18:38.796 --> 0:18:43.956
<v Speaker 1>when I was really really young and we realized as

0:18:43.956 --> 0:18:46.796
<v Speaker 1>we got into our cars to take off, we thought

0:18:46.796 --> 0:18:51.316
<v Speaker 1>the police were escorting us, they were chasing us. I mean,

0:18:51.356 --> 0:18:53.556
<v Speaker 1>they did not want us. I don't remember, somewhere in

0:18:53.596 --> 0:18:56.036
<v Speaker 1>the East Coast because he was a pink o comy

0:18:56.116 --> 0:19:00.116
<v Speaker 1>and I was his upstart, you know, so starting pretty young.

0:19:00.516 --> 0:19:03.196
<v Speaker 1>The answer is yeah, and they're you know, they're countries

0:19:03.236 --> 0:19:06.916
<v Speaker 1>where my songs have been banned and I've been banned,

0:19:06.916 --> 0:19:10.556
<v Speaker 1>and it's sort of a badge of honor. Really. I

0:19:10.596 --> 0:19:15.036
<v Speaker 1>mean I went to visit Latin America. It was Pinochet

0:19:15.156 --> 0:19:20.396
<v Speaker 1>was still in control, but exiles my exile friends here said,

0:19:20.436 --> 0:19:23.156
<v Speaker 1>you know, there's this chance that they're opening up down there.

0:19:23.396 --> 0:19:25.836
<v Speaker 1>This is a good time to go and sing and

0:19:25.956 --> 0:19:28.156
<v Speaker 1>do what it is you do. It was too early,

0:19:28.316 --> 0:19:33.316
<v Speaker 1>and I was banned in Argentina, Chile and Brazil, and so,

0:19:33.476 --> 0:19:36.156
<v Speaker 1>I mean to know, came to the hotel door and

0:19:36.196 --> 0:19:39.516
<v Speaker 1>with a piece of paper saying listen, don't get any

0:19:39.556 --> 0:19:42.076
<v Speaker 1>more than X number of feet from the microphone or

0:19:42.156 --> 0:19:46.436
<v Speaker 1>you'll be arrested. So yeah, again, that's a badge of

0:19:46.476 --> 0:19:49.876
<v Speaker 1>honor in one of those countries. Yeah, tell me about

0:19:49.876 --> 0:19:55.676
<v Speaker 1>Pete Seeger. Pete Seeger first influence. So I don't remember this,

0:19:55.756 --> 0:19:57.716
<v Speaker 1>but my aunt said that she took me to a

0:19:57.756 --> 0:20:02.916
<v Speaker 1>Seeger concert and my parents were frantic because all I

0:20:02.956 --> 0:20:05.556
<v Speaker 1>was listening to was rhythm and blues. I have a

0:20:05.556 --> 0:20:08.716
<v Speaker 1>little plastic gray radio at night. I listened as late

0:20:08.756 --> 0:20:11.196
<v Speaker 1>as I in the night, rhythm and blues, all the

0:20:11.236 --> 0:20:14.516
<v Speaker 1>black groups. And they thought I'd never go beyond that.

0:20:15.076 --> 0:20:17.596
<v Speaker 1>And so she took me to a Pete Seeger concert,

0:20:17.636 --> 0:20:20.116
<v Speaker 1>and they said it took like a good vaccine. You

0:20:20.156 --> 0:20:23.796
<v Speaker 1>know that I got it that he was my kind

0:20:23.796 --> 0:20:27.396
<v Speaker 1>of guy, because I was already you know, socially conscious,

0:20:27.796 --> 0:20:30.716
<v Speaker 1>and this guy was doing it both doing it all,

0:20:30.836 --> 0:20:34.156
<v Speaker 1>you know. And I'm happy to say that when he

0:20:34.276 --> 0:20:37.516
<v Speaker 1>was banned from radio and TV that I had a

0:20:37.596 --> 0:20:40.516
<v Speaker 1>chance to do my bit for him when this Hoot

0:20:40.516 --> 0:20:43.196
<v Speaker 1>and Nanny show invited me on and I said, I'll

0:20:43.196 --> 0:20:44.916
<v Speaker 1>come on as soon as you have Pete back on,

0:20:45.716 --> 0:20:49.076
<v Speaker 1>and they did. Said was there a particular song that

0:20:49.156 --> 0:20:52.916
<v Speaker 1>he was banned for? I don't think so. I think

0:20:52.916 --> 0:20:55.556
<v Speaker 1>it was the whole thing, you know. I'm not sure,

0:20:55.596 --> 0:20:59.996
<v Speaker 1>but he was banned. He couldn't say anything anywhere. Do

0:20:59.996 --> 0:21:02.436
<v Speaker 1>you think it was specifically for speaking out against war?

0:21:04.116 --> 0:21:06.316
<v Speaker 1>He was at that time period when you were either

0:21:06.396 --> 0:21:09.036
<v Speaker 1>a pink or you weren't, you know, were you a communist?

0:21:09.436 --> 0:21:14.076
<v Speaker 1>And he wouldn't say one way or another. You don't so. No,

0:21:14.196 --> 0:21:18.516
<v Speaker 1>it was during those years of McCarthy, just before, just

0:21:18.636 --> 0:21:23.636
<v Speaker 1>after ording, and he wouldn't say the things you're supposed

0:21:23.636 --> 0:21:28.316
<v Speaker 1>to say or name anybody else. Did you like being

0:21:28.356 --> 0:21:31.476
<v Speaker 1>around him? Like spending time with him? He's a funny man.

0:21:31.636 --> 0:21:34.716
<v Speaker 1>He was so shy. He was so shy when I

0:21:34.756 --> 0:21:38.956
<v Speaker 1>sang for him at the Kennedy Center Awards and afterwards

0:21:38.956 --> 0:21:42.236
<v Speaker 1>it was a big gathering and dinner and it's dancing

0:21:42.276 --> 0:21:46.356
<v Speaker 1>and I went up to him. I said, hey, Pete, congratulations.

0:21:46.356 --> 0:21:55.076
<v Speaker 1>He said, Joan, Joan, joan, and that's all I said, Pete, Pete,

0:21:55.236 --> 0:21:59.636
<v Speaker 1>and I went off and danced with Walter Cronkite. Clearly

0:21:59.756 --> 0:22:03.396
<v Speaker 1>Pete was not gonna dance. He was just shy. In

0:22:03.436 --> 0:22:05.356
<v Speaker 1>his way of saying hello. Also was to put a

0:22:05.436 --> 0:22:08.756
<v Speaker 1>banjo between you and him, and he say, I'm at

0:22:08.796 --> 0:22:11.756
<v Speaker 1>a a meta guy in guatemal He started plunking on

0:22:11.796 --> 0:22:13.796
<v Speaker 1>the on the banger. That way, he didn't have to

0:22:13.836 --> 0:22:16.516
<v Speaker 1>deal with anybody. That's what I think beautiful. And it

0:22:16.596 --> 0:22:19.516
<v Speaker 1>was a sweetheart. No, he was the big sweetheart. And

0:22:19.596 --> 0:22:22.876
<v Speaker 1>he died in the wool to his dying day. Did

0:22:22.916 --> 0:22:24.916
<v Speaker 1>not like having drums. Why do you have to have

0:22:25.036 --> 0:22:27.996
<v Speaker 1>drums in your band? Why do you have to have percussion?

0:22:28.716 --> 0:22:31.396
<v Speaker 1>And so he stayed. He hung in there as a

0:22:31.636 --> 0:22:35.596
<v Speaker 1>you know, a diehard purist. Tell me about first you're

0:22:35.876 --> 0:22:39.236
<v Speaker 1>The first record company round was Vanguard Records, which was

0:22:39.516 --> 0:22:42.796
<v Speaker 1>known for folk music mainly would you say classical and

0:22:42.836 --> 0:22:45.676
<v Speaker 1>then folk? Were you one of the early folk artists

0:22:45.676 --> 0:22:49.476
<v Speaker 1>on the label. Pete Seeger was there and the Weavers

0:22:49.476 --> 0:22:54.356
<v Speaker 1>were there, but I was the first major. Pete Seeger

0:22:54.436 --> 0:22:57.476
<v Speaker 1>was a major artist, but this brought it on one

0:22:57.556 --> 0:23:01.476
<v Speaker 1>level closer to culture as opposed to just counterculture. Yeah yeah,

0:23:01.516 --> 0:23:04.436
<v Speaker 1>I mean that's a fun story too. I just I

0:23:04.596 --> 0:23:09.716
<v Speaker 1>was well Albert Grossman, who was the guy who managed

0:23:09.956 --> 0:23:13.796
<v Speaker 1>everybody back then eventually was Dylan and Peter Paul and

0:23:13.916 --> 0:23:17.756
<v Speaker 1>Mary and Janice Joplin and so on, and so Albert

0:23:17.916 --> 0:23:21.436
<v Speaker 1>wanted me to sign with Columbia, which had all these

0:23:21.556 --> 0:23:24.596
<v Speaker 1>artists and which was the biggest and the place to go,

0:23:25.476 --> 0:23:28.756
<v Speaker 1>and that always frightened me. You know, I was looking

0:23:28.756 --> 0:23:32.116
<v Speaker 1>for something where I felt more at home, and classical

0:23:32.196 --> 0:23:36.596
<v Speaker 1>music is what was played in my house. And al

0:23:36.636 --> 0:23:38.876
<v Speaker 1>took me to New York City and he wanted me

0:23:38.916 --> 0:23:41.836
<v Speaker 1>to go to Columbia first. And when we were in Columbia,

0:23:41.836 --> 0:23:43.716
<v Speaker 1>he tried literally try to get me to sign a

0:23:43.796 --> 0:23:47.716
<v Speaker 1>contract there on the spot. And then I said, well,

0:23:47.956 --> 0:23:50.156
<v Speaker 1>you know, now I want to go to Vanguard. He

0:23:50.236 --> 0:23:52.596
<v Speaker 1>really didn't want me to go there, but I did.

0:23:52.676 --> 0:23:55.436
<v Speaker 1>I liked the guy I could. You know. It wasn't

0:23:55.436 --> 0:23:58.356
<v Speaker 1>the showbiz stuff. They didn't have gold albums on the wall,

0:23:58.436 --> 0:24:01.636
<v Speaker 1>they didn't have any gold albums, you know. And I

0:24:01.676 --> 0:24:04.316
<v Speaker 1>was comfortable there and it was clear that. I mean,

0:24:04.396 --> 0:24:07.596
<v Speaker 1>I spent a week trying to trying to figure it

0:24:07.636 --> 0:24:11.676
<v Speaker 1>out because everybody except my parents said, you know, honey,

0:24:11.716 --> 0:24:15.716
<v Speaker 1>you should really go with Columbia and and I didn't.

0:24:16.356 --> 0:24:19.556
<v Speaker 1>And you know, I probably would have sold more albums

0:24:19.676 --> 0:24:23.236
<v Speaker 1>and so on, but I've never regretted, you know, the

0:24:23.356 --> 0:24:30.556
<v Speaker 1>decision I made. Tell me about Albert Albert Albert Grossman. Yes, Oh,

0:24:30.596 --> 0:24:34.676
<v Speaker 1>he was just you know, he was a big manager guy,

0:24:35.396 --> 0:24:37.676
<v Speaker 1>and he would make fun of me for not, you know,

0:24:37.756 --> 0:24:40.916
<v Speaker 1>for not having somebody cooler and more in the fast lane.

0:24:40.916 --> 0:24:42.756
<v Speaker 1>And he says something like, who do you want? Who

0:24:42.756 --> 0:24:44.596
<v Speaker 1>do you want? You want brando? I'll get your brando.

0:24:45.516 --> 0:24:48.316
<v Speaker 1>I'd say, al You're not winning me over with this,

0:24:48.796 --> 0:24:52.476
<v Speaker 1>you know. Then with his stuff. On the other hand,

0:24:52.596 --> 0:24:56.276
<v Speaker 1>he was a generous man. He was generous with people

0:24:56.356 --> 0:24:59.596
<v Speaker 1>with his money. But he was just in that fast

0:24:59.676 --> 0:25:01.956
<v Speaker 1>lane where I was not going to be comfortable. Ever.

0:25:03.196 --> 0:25:06.076
<v Speaker 1>Do you think that he really appreciated the music? Actually

0:25:06.116 --> 0:25:09.036
<v Speaker 1>I do. Yeah. I think. So It's easy for that

0:25:09.276 --> 0:25:11.116
<v Speaker 1>to get lost when you're starting to make the money

0:25:11.116 --> 0:25:14.076
<v Speaker 1>at the same time, but I think he did. Yeah.

0:25:14.076 --> 0:25:15.916
<v Speaker 1>When was the first time when you were performing and

0:25:15.956 --> 0:25:17.476
<v Speaker 1>you thought, wow, this is really getting to be a

0:25:17.516 --> 0:25:20.156
<v Speaker 1>big like this is a big deal. You know, when

0:25:20.156 --> 0:25:22.796
<v Speaker 1>I was in high school and I was singing and

0:25:22.876 --> 0:25:26.076
<v Speaker 1>I started singing of the you know, the talent shows

0:25:26.116 --> 0:25:30.276
<v Speaker 1>and stuff, and my friends were saying, oh boy, you

0:25:30.356 --> 0:25:32.796
<v Speaker 1>think you're going to be famous someday. I didn't know

0:25:32.796 --> 0:25:35.156
<v Speaker 1>what they were talking about. My idea of the future

0:25:35.276 --> 0:25:38.196
<v Speaker 1>was the following week. I mean, I didn't look ahead

0:25:38.236 --> 0:25:41.156
<v Speaker 1>to that, and so it probably saved me a lot

0:25:41.196 --> 0:25:44.196
<v Speaker 1>of trouble. And then I thought, when I was really

0:25:44.236 --> 0:25:47.476
<v Speaker 1>seriously in the public eye, I wouldn't use the word famous.

0:25:47.956 --> 0:25:50.556
<v Speaker 1>I'd say, well, I'm well known. I'm well known, but

0:25:50.716 --> 0:25:53.396
<v Speaker 1>I mean by then, I mean the fuck I was

0:25:53.596 --> 0:25:57.236
<v Speaker 1>internationally famous. But I just didn't want to get into

0:25:57.276 --> 0:26:02.636
<v Speaker 1>that aura. But with their particular performances where you just

0:26:02.676 --> 0:26:05.396
<v Speaker 1>felt like, I don't know, the first time you played

0:26:05.436 --> 0:26:08.596
<v Speaker 1>Carnegie Hall or the first time you played any of

0:26:08.636 --> 0:26:10.876
<v Speaker 1>those moments where it just felt like, wow, this is

0:26:12.076 --> 0:26:15.076
<v Speaker 1>it's grown into something where you have to almost pinch

0:26:15.156 --> 0:26:17.756
<v Speaker 1>yourself if this is happening. Did you have those moments

0:26:17.756 --> 0:26:22.116
<v Speaker 1>along the way, you know, maybe early on Carnegie something

0:26:22.156 --> 0:26:24.316
<v Speaker 1>like Carnegie Hall, I think it was probably too busy

0:26:24.316 --> 0:26:27.716
<v Speaker 1>being nervous then thinking about how you know what level

0:26:27.756 --> 0:26:31.476
<v Speaker 1>I've reached in the in the ladder of things. I

0:26:31.556 --> 0:26:36.436
<v Speaker 1>remember certain certain concerts that will always stand out to me,

0:26:36.516 --> 0:26:39.556
<v Speaker 1>like it's Stumble. It wasn't a stumble. It was south

0:26:39.556 --> 0:26:42.916
<v Speaker 1>of a Stumble, but in an outdoor two thousand year

0:26:42.916 --> 0:26:47.396
<v Speaker 1>old amphitheater, and it was just as far as the beauty.

0:26:47.516 --> 0:26:50.916
<v Speaker 1>Around me was a whole city that had been underwater

0:26:50.916 --> 0:26:53.716
<v Speaker 1>at one point, so it was all white stones, Ephesus,

0:26:54.316 --> 0:26:57.116
<v Speaker 1>and I just was in heaven. They asked me back,

0:26:57.156 --> 0:26:59.276
<v Speaker 1>and I said, I'll come back in a full moon

0:26:59.396 --> 0:27:02.596
<v Speaker 1>if you'll get the city there to walk through there

0:27:02.716 --> 0:27:07.036
<v Speaker 1>in the full moon, and they did. Yeah. It was

0:27:07.116 --> 0:27:11.956
<v Speaker 1>a big wall that sounds in edible, so beautiful. When

0:27:12.036 --> 0:27:14.156
<v Speaker 1>you would be on stage and when you'd be singing,

0:27:15.556 --> 0:27:18.316
<v Speaker 1>are you thinking about the words? Are you thinking about

0:27:18.356 --> 0:27:20.756
<v Speaker 1>the story of the song, are you thinking about what

0:27:20.796 --> 0:27:24.996
<v Speaker 1>you're doing? Are you taking in what's around you? Are

0:27:25.036 --> 0:27:29.756
<v Speaker 1>you hearing the audience? Do you disappear? What's the feeling

0:27:29.796 --> 0:27:35.116
<v Speaker 1>that's going on inside during a concert? All of the above, Rick,

0:27:35.276 --> 0:27:37.836
<v Speaker 1>All of the above. I mean sometimes I'm thinking about

0:27:37.836 --> 0:27:39.796
<v Speaker 1>the words because I have to, because I don't know

0:27:39.836 --> 0:27:43.116
<v Speaker 1>them that well, or they're in a foreign language. Sometimes

0:27:43.196 --> 0:27:46.156
<v Speaker 1>I feel very much with the audience for doing a

0:27:46.236 --> 0:27:50.596
<v Speaker 1>song together, and then I have to say that there

0:27:50.596 --> 0:27:53.676
<v Speaker 1>were times when the audience is so lousy that I

0:27:53.716 --> 0:27:55.516
<v Speaker 1>am planning what I'm going to wear to bed on

0:27:55.516 --> 0:27:58.476
<v Speaker 1>the bus and I didn't want to tell people that,

0:27:58.476 --> 0:28:02.036
<v Speaker 1>but I can now because it's all over. But there

0:28:02.036 --> 0:28:04.916
<v Speaker 1>are those moments when you're doing your grocery list. But

0:28:05.116 --> 0:28:07.516
<v Speaker 1>for the most part, like ninety eight percent of the time,

0:28:08.036 --> 0:28:14.556
<v Speaker 1>you're there and watching and being with I had an

0:28:13.996 --> 0:28:19.636
<v Speaker 1>un unfortunate characteristic of seeing everything, absolutely everything. If I

0:28:19.676 --> 0:28:22.436
<v Speaker 1>see him, somebody tilt their wrist, I know they're looking

0:28:22.436 --> 0:28:25.156
<v Speaker 1>at their watch, and I'm thinking, oaks. I wonder if

0:28:25.156 --> 0:28:28.756
<v Speaker 1>I'm going on too long, you know, so I caught

0:28:28.796 --> 0:28:32.356
<v Speaker 1>everything and somebody stifling a yawn, I would think the

0:28:32.396 --> 0:28:37.316
<v Speaker 1>same thing, Oh dear, I've gone on long and so on.

0:28:38.196 --> 0:28:44.716
<v Speaker 1>We'll be back with more from Joan Bayass. We're back

0:28:44.716 --> 0:28:47.516
<v Speaker 1>with the rest of Rick Ruban's conversation with Joan Byass.

0:28:47.916 --> 0:28:50.436
<v Speaker 1>How would you say activism has changed over the course

0:28:50.476 --> 0:28:53.916
<v Speaker 1>of your life from how did you see it when

0:28:53.916 --> 0:28:57.196
<v Speaker 1>you were fifteen and how do you see it now. Well,

0:28:57.196 --> 0:29:00.436
<v Speaker 1>in some ways it's absolutely consistent. You know, when I

0:29:00.476 --> 0:29:04.756
<v Speaker 1>was fifteen, was the first activism I did was on

0:29:04.796 --> 0:29:08.036
<v Speaker 1>my own, and I stayed in school during an air raid.

0:29:08.116 --> 0:29:12.156
<v Speaker 1>Drill was all, you know, sound goes off. Also was

0:29:12.196 --> 0:29:14.436
<v Speaker 1>to run home or have your parents pick you up

0:29:14.796 --> 0:29:18.356
<v Speaker 1>before the bomb gets here from Russia, you know. And

0:29:18.476 --> 0:29:20.956
<v Speaker 1>I asked my father, who's a physicist, how long it

0:29:20.956 --> 0:29:23.836
<v Speaker 1>would take a missile to get from Moscow to Palo

0:29:23.916 --> 0:29:26.756
<v Speaker 1>alto high school. And it was clear to me that

0:29:26.796 --> 0:29:30.916
<v Speaker 1>it was all just ridiculous. So as a you know, protest,

0:29:30.996 --> 0:29:36.316
<v Speaker 1>I stayed in class. And it's pretty fascinating. I mean

0:29:36.356 --> 0:29:40.876
<v Speaker 1>I went down to the office and pink slip or

0:29:40.916 --> 0:29:45.676
<v Speaker 1>whatever and talked to the secretaries, the principle vice. Principally,

0:29:45.676 --> 0:29:48.436
<v Speaker 1>I had no idea, you know, about what we were

0:29:48.476 --> 0:29:52.236
<v Speaker 1>really doing on that day, So I started started early.

0:29:52.356 --> 0:29:55.756
<v Speaker 1>And in some ways that the kind of protests you

0:29:55.836 --> 0:29:57.916
<v Speaker 1>do on your own, and you know, and as some

0:29:58.076 --> 0:30:00.996
<v Speaker 1>of the some of the things I admire so much,

0:30:01.276 --> 0:30:04.196
<v Speaker 1>like you know, Gretta said Gretat Thumberg sitting in front

0:30:04.236 --> 0:30:08.156
<v Speaker 1>of Parliament all by herself, Kaepernick taking a knee all

0:30:08.196 --> 0:30:10.716
<v Speaker 1>by himself. You kind of cross your fingers and hope

0:30:10.756 --> 0:30:13.836
<v Speaker 1>somebody will join you, but you do it anyway. So

0:30:14.116 --> 0:30:17.436
<v Speaker 1>that part remains the same. And I think trying to

0:30:17.436 --> 0:30:21.636
<v Speaker 1>find a way to explain how it is we want

0:30:21.636 --> 0:30:23.756
<v Speaker 1>to explain it, how we want people to hear us

0:30:24.276 --> 0:30:28.316
<v Speaker 1>is just it's different now. And it's different partly in

0:30:28.356 --> 0:30:30.996
<v Speaker 1>my mind because there was a period. There was a

0:30:30.996 --> 0:30:35.036
<v Speaker 1>time period when, as one young kid told me after

0:30:35.116 --> 0:30:38.036
<v Speaker 1>that period said, you know, you guys had everything. You

0:30:38.116 --> 0:30:40.796
<v Speaker 1>had the political reason to be on the streets, you

0:30:40.836 --> 0:30:44.716
<v Speaker 1>had the music, you had the songwriters, you had the glue.

0:30:45.196 --> 0:30:48.436
<v Speaker 1>And what we're missing is the glue. I think that

0:30:48.556 --> 0:30:50.676
<v Speaker 1>the feeling that we're all together in this. And I

0:30:50.716 --> 0:30:53.756
<v Speaker 1>can say that for young people who never experienced that.

0:30:54.356 --> 0:30:57.476
<v Speaker 1>We all got to experience it when Obama was running

0:30:57.556 --> 0:31:00.916
<v Speaker 1>for office and it was a high five strangers on

0:31:00.996 --> 0:31:05.276
<v Speaker 1>the subway. That can't continue. I don't think when you're

0:31:05.316 --> 0:31:08.876
<v Speaker 1>in office it didn't. But everybody that I know was

0:31:09.236 --> 0:31:11.676
<v Speaker 1>aware enough to say, oh my god, this is what

0:31:11.756 --> 0:31:15.316
<v Speaker 1>it could feel like. And we don't have that feeling now.

0:31:15.356 --> 0:31:18.316
<v Speaker 1>We have lots of good things happening, we have people

0:31:18.396 --> 0:31:22.956
<v Speaker 1>taking risks. We don't have that cohesive stuff that makes

0:31:23.036 --> 0:31:26.436
<v Speaker 1>us feel like a movement and be a movement. Have

0:31:26.596 --> 0:31:33.036
<v Speaker 1>you seen protests any particular protest songs change in meaning

0:31:33.196 --> 0:31:35.836
<v Speaker 1>over the years, Like when you first heard them, they

0:31:35.836 --> 0:31:38.836
<v Speaker 1>meant one thing, and then over time either the meaning

0:31:38.916 --> 0:31:40.836
<v Speaker 1>is changed or the context is change in a way

0:31:40.876 --> 0:31:45.156
<v Speaker 1>where either the song becomes obsolete or it takes on

0:31:45.196 --> 0:31:50.356
<v Speaker 1>a whole new interpretation. I have to tell you this

0:31:50.396 --> 0:31:52.596
<v Speaker 1>is a fun story too. I was in Brazil and

0:31:52.636 --> 0:31:55.676
<v Speaker 1>I was not allowed to sing anywhere officially. So I

0:31:55.836 --> 0:31:59.956
<v Speaker 1>got into a big audience. This was the plan, or

0:32:00.036 --> 0:32:01.556
<v Speaker 1>to friends, who got me in the middle of an

0:32:01.596 --> 0:32:04.676
<v Speaker 1>audience and at a certain point the singer I was

0:32:04.676 --> 0:32:06.916
<v Speaker 1>supposed to sing, but they wouldn't let me. So the

0:32:06.996 --> 0:32:10.516
<v Speaker 1>person performing that night would stop and it would have

0:32:10.596 --> 0:32:13.396
<v Speaker 1>said something, and I would stand up by myself in

0:32:13.396 --> 0:32:16.916
<v Speaker 1>the middle of this auditorium and sing. So I sang

0:32:17.036 --> 0:32:21.036
<v Speaker 1>a couple of songs, wonderful response. And then I sang

0:32:21.076 --> 0:32:24.716
<v Speaker 1>a song. This probably the most famous song I've ever sung,

0:32:24.836 --> 0:32:27.396
<v Speaker 1>but it's in Europe. It's Here's to You. It's about

0:32:27.396 --> 0:32:30.836
<v Speaker 1>Saco and Vinzetti, and I sang this it's a little

0:32:31.316 --> 0:32:34.716
<v Speaker 1>kind of a little chant and it's so popular in

0:32:34.836 --> 0:32:37.756
<v Speaker 1>Spain and Italy and France. It's what they wait for

0:32:37.836 --> 0:32:40.716
<v Speaker 1>at the end of the concert. And it's a protest song.

0:32:41.156 --> 0:32:44.276
<v Speaker 1>And I sang this, there was this dead silence. It

0:32:44.396 --> 0:32:46.956
<v Speaker 1>had been taken to be used as a recruiting song

0:32:46.996 --> 0:32:52.396
<v Speaker 1>for the army. So yeah, that's exactly what you're talking about.

0:32:52.596 --> 0:32:56.156
<v Speaker 1>And that's amazing. It's amazing how these things can happen,

0:32:56.596 --> 0:32:59.236
<v Speaker 1>either with us watching them or without us knowing. We're

0:32:59.276 --> 0:33:02.836
<v Speaker 1>just like, oh, the whole context just changed. That's amazing.

0:33:03.316 --> 0:33:05.156
<v Speaker 1>You got to test it out ahead of time, is

0:33:05.156 --> 0:33:08.156
<v Speaker 1>what I learned from that. So you were allowed to

0:33:08.356 --> 0:33:11.196
<v Speaker 1>physically be in Brazil, you just weren't allowed to sing

0:33:11.236 --> 0:33:13.436
<v Speaker 1>in front of an audience, you know. I was allowed

0:33:13.436 --> 0:33:15.876
<v Speaker 1>to have a press conference every morning, which I did,

0:33:16.276 --> 0:33:19.156
<v Speaker 1>but it was the singing. They didn't want me singing.

0:33:19.276 --> 0:33:21.196
<v Speaker 1>And I talked to the press about it. I said,

0:33:21.236 --> 0:33:24.836
<v Speaker 1>why is this going on? And they said something about, well,

0:33:25.316 --> 0:33:29.756
<v Speaker 1>Brazilians are very emotional and that if they would be

0:33:29.796 --> 0:33:32.716
<v Speaker 1>moved not by the words but by the music, that

0:33:32.796 --> 0:33:36.436
<v Speaker 1>was the only explanation everybody gave me. That this is

0:33:36.436 --> 0:33:39.356
<v Speaker 1>a country where the music is what moves people to do.

0:33:39.556 --> 0:33:43.076
<v Speaker 1>One thing and another and that that would be not

0:33:43.276 --> 0:33:48.676
<v Speaker 1>desirable by the government. Tell me how you see protest

0:33:48.756 --> 0:33:52.996
<v Speaker 1>songs functioning in society, that, what they do, what they

0:33:52.996 --> 0:33:55.596
<v Speaker 1>don't do that, how does it work? Do you mean?

0:33:55.636 --> 0:34:02.556
<v Speaker 1>Now ever? Ever? Oh, I suppose it is the emotional factor.

0:34:03.116 --> 0:34:05.396
<v Speaker 1>And I mean you can listen to somebody talk forever,

0:34:05.956 --> 0:34:13.316
<v Speaker 1>speeches forever, but the music literally literally crosses the barriers

0:34:13.436 --> 0:34:17.316
<v Speaker 1>one country to another from one. I mean, I remember

0:34:17.316 --> 0:34:19.876
<v Speaker 1>when I was second album came out, and there was

0:34:19.916 --> 0:34:21.996
<v Speaker 1>a guy. They told me about it later in the

0:34:22.076 --> 0:34:24.476
<v Speaker 1>record stores. My records were all piled up like that,

0:34:25.116 --> 0:34:28.036
<v Speaker 1>and this guy wanted to buy one, but he didn't

0:34:28.076 --> 0:34:30.036
<v Speaker 1>want to buy one, but he did, and apparently he

0:34:30.116 --> 0:34:34.076
<v Speaker 1>paced back and forth and then he said that bitch

0:34:34.116 --> 0:34:37.436
<v Speaker 1>Shirken sing he was a Republican, couldn't stand my politics,

0:34:37.476 --> 0:34:43.316
<v Speaker 1>and he bought the album. No, he does had Tony.

0:34:43.756 --> 0:34:51.556
<v Speaker 1>That's ridiculous. So it crossed whatever that barrier. Unbelievable for

0:34:51.636 --> 0:34:54.116
<v Speaker 1>a protest song to work. Does the song have to

0:34:54.156 --> 0:34:58.356
<v Speaker 1>be great regardless of the content. I don't think so.

0:34:58.516 --> 0:35:01.276
<v Speaker 1>I first of all, I think it's about context. I

0:35:01.356 --> 0:35:05.396
<v Speaker 1>mean I used to saying green grass of Home, which

0:35:05.396 --> 0:35:07.796
<v Speaker 1>has nothing to do with politics, and I would dedicate

0:35:07.836 --> 0:35:10.396
<v Speaker 1>it to my husband who was in jail for draft resistance,

0:35:11.116 --> 0:35:14.236
<v Speaker 1>and so it had we just take a song that

0:35:14.316 --> 0:35:17.356
<v Speaker 1>hasn't nothing to do with politics, and you put it

0:35:17.396 --> 0:35:20.676
<v Speaker 1>in that and then you've made your point and everybody's

0:35:20.756 --> 0:35:23.196
<v Speaker 1>enjoyed the song, and it's kind of a win win.

0:35:24.076 --> 0:35:26.036
<v Speaker 1>What do you think is the greatest protest song I've

0:35:26.036 --> 0:35:27.796
<v Speaker 1>ever written? Or what's or should I say, what's your

0:35:27.836 --> 0:35:33.436
<v Speaker 1>favorite protest song? Made better question? Oh? I think, um, well,

0:35:33.436 --> 0:35:35.836
<v Speaker 1>there's the Italian when I was talking about, but that's

0:35:35.876 --> 0:35:39.756
<v Speaker 1>not known. I would think that probably blowing in the Wind,

0:35:40.156 --> 0:35:42.756
<v Speaker 1>because I've heard it in every language. I've heard boy

0:35:42.796 --> 0:35:46.196
<v Speaker 1>scouts in Germany on the beach singing blowing in the wind,

0:35:46.476 --> 0:35:51.356
<v Speaker 1>blowing as the wind, you know. And it's just partly

0:35:51.436 --> 0:35:55.396
<v Speaker 1>because it's known most songs. You learn the hook and

0:35:55.716 --> 0:35:58.276
<v Speaker 1>learn a bit of the course. People all around the

0:35:58.316 --> 0:36:01.596
<v Speaker 1>world know every word to blowing in the wind, So

0:36:01.636 --> 0:36:06.996
<v Speaker 1>it's a joy to sing beautiful. Can you I feel

0:36:07.716 --> 0:36:10.476
<v Speaker 1>uncomfortable asking this, but I want to know the song

0:36:10.516 --> 0:36:12.836
<v Speaker 1>that you're talking about that's not known. Is there a

0:36:12.876 --> 0:36:16.236
<v Speaker 1>way you could demonstrate it without feeling like I'm asking

0:36:16.276 --> 0:36:19.516
<v Speaker 1>for anything that goes against what you're doing. It just

0:36:19.636 --> 0:36:23.996
<v Speaker 1>says it was written by Morticone. It was a film

0:36:24.036 --> 0:36:28.156
<v Speaker 1>about Saco and Vinzetti, and they came to me. I

0:36:28.196 --> 0:36:30.916
<v Speaker 1>was in my hotel room in Rome, and said will

0:36:30.956 --> 0:36:33.916
<v Speaker 1>you write the music for this movie? And I said

0:36:33.956 --> 0:36:37.316
<v Speaker 1>I couldn't possibly, but he gave me these gave me

0:36:37.356 --> 0:36:40.916
<v Speaker 1>the music and they wanted three ballads written, and I did,

0:36:40.996 --> 0:36:43.556
<v Speaker 1>wrote one a day and then that was done, and

0:36:43.596 --> 0:36:45.516
<v Speaker 1>then he said, oh, this one more thing. I want

0:36:45.516 --> 0:36:48.556
<v Speaker 1>to put a tag at the end of the song.

0:36:48.836 --> 0:36:52.156
<v Speaker 1>It was just catchy, little brief melody and what I

0:36:52.196 --> 0:36:55.436
<v Speaker 1>write the words, and I just said, here's to you,

0:36:55.636 --> 0:37:01.316
<v Speaker 1>Nicola and Bart, rest forever in our hearts. The last

0:37:01.316 --> 0:37:05.796
<v Speaker 1>and final moment is yours. This agony is your triumph.

0:37:05.876 --> 0:37:07.676
<v Speaker 1>And I have to say that it was a combination

0:37:07.716 --> 0:37:11.556
<v Speaker 1>of the words and the little melody and whatever happened happened.

0:37:11.996 --> 0:37:16.996
<v Speaker 1>And if you'll find it under Nicola and Bart amazing, amazing,

0:37:17.036 --> 0:37:19.836
<v Speaker 1>And that's and that has lived. It has taken on

0:37:19.956 --> 0:37:25.156
<v Speaker 1>a life of its own forever, and every summer it

0:37:25.196 --> 0:37:27.876
<v Speaker 1>comes out again in Italy. It's a big hit. And

0:37:28.276 --> 0:37:31.916
<v Speaker 1>if I had taken the royalties for that, I wouldn't

0:37:31.956 --> 0:37:34.476
<v Speaker 1>have had to ever do anything else. But I wouldn't

0:37:34.676 --> 0:37:38.436
<v Speaker 1>because I figured Saco and Vinzetti is sacred territory. I

0:37:38.436 --> 0:37:42.356
<v Speaker 1>didn't have any right taking money for that. We're just

0:37:42.396 --> 0:37:45.316
<v Speaker 1>kind of ridiculous because the record company did. But it

0:37:45.356 --> 0:37:49.876
<v Speaker 1>was my stuffy way of I'm turning down more money.

0:37:50.476 --> 0:37:52.996
<v Speaker 1>You've been good at that over your career, I've been

0:37:53.036 --> 0:37:55.636
<v Speaker 1>really good at that. Yeah. Yeah. Have you ever had

0:37:55.676 --> 0:38:00.276
<v Speaker 1>a relationship with gospel music? Yeah? I have. First of

0:38:00.316 --> 0:38:03.956
<v Speaker 1>all in the South fifty nine sixty well sixty two

0:38:04.036 --> 0:38:07.356
<v Speaker 1>or sixty three, and the black churches down there and

0:38:07.676 --> 0:38:10.756
<v Speaker 1>working with King and his people and all of us.

0:38:10.756 --> 0:38:13.276
<v Speaker 1>And I would end up in gospel and the churches.

0:38:13.316 --> 0:38:16.036
<v Speaker 1>And I remember that one of the churches that people

0:38:16.076 --> 0:38:18.236
<v Speaker 1>had already it was a hot day, I think it

0:38:18.276 --> 0:38:22.716
<v Speaker 1>was in Mississippi, and people were they called it getting happy,

0:38:22.916 --> 0:38:26.596
<v Speaker 1>you know, they're going stiff and being carried out by

0:38:26.636 --> 0:38:30.876
<v Speaker 1>the women in the white dresses. And I heard the

0:38:30.956 --> 0:38:34.436
<v Speaker 1>preachers saying, a good friend from the north is here

0:38:34.516 --> 0:38:36.716
<v Speaker 1>today to sing for us. I thought, oh my god,

0:38:36.716 --> 0:38:39.796
<v Speaker 1>that means me. And I went and sang break bread

0:38:39.836 --> 0:38:43.836
<v Speaker 1>together and a couple of people went got happy. I thought,

0:38:43.836 --> 0:38:47.356
<v Speaker 1>you know what, I just got my strives. Wow, and

0:38:47.476 --> 0:38:51.276
<v Speaker 1>everybody sang with me. Yeah. So that would be a

0:38:51.396 --> 0:38:55.956
<v Speaker 1>genuine relationship with with gospel incredible. And then later on

0:38:55.996 --> 0:38:59.556
<v Speaker 1>I had a producer, Alan Abrahams, who produced three albums

0:38:59.876 --> 0:39:03.556
<v Speaker 1>and mostly what he does is gospel beautiful. Let's talk

0:39:03.556 --> 0:39:08.516
<v Speaker 1>about when folk music and rock music joined together. What

0:39:09.196 --> 0:39:12.836
<v Speaker 1>is the feeling in the air when that was going on. Well,

0:39:12.876 --> 0:39:17.916
<v Speaker 1>I was still a snotty purist. So the famous time

0:39:17.956 --> 0:39:21.836
<v Speaker 1>of Dylan coming to Newport and going electric, I was

0:39:21.956 --> 0:39:25.436
<v Speaker 1>just like Pete Seeger, how can he do this to us,

0:39:25.516 --> 0:39:30.156
<v Speaker 1>you know, our golden boy? And so I was really behind,

0:39:30.556 --> 0:39:32.236
<v Speaker 1>you know, I was on the slow freight, as my

0:39:32.316 --> 0:39:37.596
<v Speaker 1>mother would say. And then you know, sort of watching

0:39:37.716 --> 0:39:41.236
<v Speaker 1>what Dylan meant to the Beatles and vice versa when

0:39:41.236 --> 0:39:45.236
<v Speaker 1>they came to the States. I think whatever it was

0:39:45.276 --> 0:39:47.956
<v Speaker 1>in me that had a problem sort of wore off

0:39:48.036 --> 0:39:51.236
<v Speaker 1>because the music was good. You know, did you get

0:39:51.236 --> 0:39:54.436
<v Speaker 1>to spend time with the Beatles at all? And a

0:39:54.556 --> 0:39:57.676
<v Speaker 1>funny evening with I have these stories, you know, I

0:39:57.716 --> 0:40:00.236
<v Speaker 1>guess that's what life is about. You're my age. It

0:40:00.276 --> 0:40:03.836
<v Speaker 1>is mostly stories. M Yeah. When the first time they

0:40:03.876 --> 0:40:05.876
<v Speaker 1>came to the States, I had sung in the Red

0:40:05.956 --> 0:40:10.076
<v Speaker 1>Rocks Amphitheater and they were the the next night, and

0:40:10.116 --> 0:40:12.836
<v Speaker 1>I had the next night off, so I stayed and

0:40:13.556 --> 0:40:15.476
<v Speaker 1>I was in there. They have a labyrinth for the

0:40:15.596 --> 0:40:18.596
<v Speaker 1>press down under the stage, and I was down there

0:40:18.596 --> 0:40:23.556
<v Speaker 1>with I swear two hundred press and somebody came and said,

0:40:23.556 --> 0:40:26.516
<v Speaker 1>the Beatles would like to meet you. And I went

0:40:26.556 --> 0:40:29.876
<v Speaker 1>to their dressing room and I said, Hi, I'm Joan,

0:40:30.156 --> 0:40:33.356
<v Speaker 1>and one by what was it, Hello, I'm Ringo, Hello,

0:40:33.436 --> 0:40:35.436
<v Speaker 1>I'm John. I said, listen, you guys are in the

0:40:35.516 --> 0:40:39.076
<v Speaker 1>cover of every newspaper magazine in the world. I know

0:40:39.116 --> 0:40:43.316
<v Speaker 1>who you are. Yeah. And then I traveled with them

0:40:43.356 --> 0:40:46.116
<v Speaker 1>out to California and watched some more of their shows,

0:40:46.156 --> 0:40:50.276
<v Speaker 1>and it was It's something I'd never experienced before. I mean,

0:40:50.276 --> 0:40:53.356
<v Speaker 1>when they came out on stage at Red Rocks, it

0:40:53.396 --> 0:40:55.916
<v Speaker 1>would be like standing in back of a jet and

0:40:56.036 --> 0:40:59.596
<v Speaker 1>the sky lit up with the cameras. It was bright,

0:40:59.636 --> 0:41:02.076
<v Speaker 1>and there was just screaming. Was you didn't hear them

0:41:02.156 --> 0:41:04.876
<v Speaker 1>at all. You didn't hear them unless your head was

0:41:04.916 --> 0:41:08.116
<v Speaker 1>in one of the speakers. And a few years later,

0:41:08.796 --> 0:41:12.956
<v Speaker 1>there is that Epstein was he still with them, their manager,

0:41:13.276 --> 0:41:16.676
<v Speaker 1>whoever it was. They were playing somewhere in San Francisco,

0:41:16.916 --> 0:41:20.196
<v Speaker 1>and I was there, and there was this little second

0:41:20.236 --> 0:41:22.916
<v Speaker 1>of time when the screaming stopped. He said, this is

0:41:22.956 --> 0:41:26.876
<v Speaker 1>our last tour in the States. That was their last show,

0:41:27.276 --> 0:41:29.436
<v Speaker 1>that San Francisco is their last show. This is it,

0:41:29.476 --> 0:41:33.756
<v Speaker 1>We're not coming back. Did you have any you talked

0:41:33.796 --> 0:41:36.916
<v Speaker 1>about paying attention to the audience, always being with them, seeing,

0:41:37.636 --> 0:41:41.316
<v Speaker 1>noticing if things were going well or not. Yeah, did

0:41:41.356 --> 0:41:45.436
<v Speaker 1>you have any tricks if you felt like things were

0:41:45.436 --> 0:41:48.236
<v Speaker 1>starting to go south at a show that you could

0:41:48.236 --> 0:41:52.036
<v Speaker 1>do to get the audience back. Mostly what I did

0:41:52.156 --> 0:41:56.116
<v Speaker 1>when it really got rough was because I've had something

0:41:56.156 --> 0:41:59.076
<v Speaker 1>of a band for many, many years. We'd look at

0:41:59.156 --> 0:42:02.716
<v Speaker 1>each other, you know, and just a little wink or

0:42:02.756 --> 0:42:05.796
<v Speaker 1>a little cross eye meant we had each other. So

0:42:05.836 --> 0:42:08.676
<v Speaker 1>it didn't matter so much about trying to get somebody

0:42:08.716 --> 0:42:11.676
<v Speaker 1>if they weren't really gettable. But I mean, I would

0:42:11.716 --> 0:42:14.836
<v Speaker 1>say that was so rare that we really wanted to

0:42:14.916 --> 0:42:17.796
<v Speaker 1>chuck it in. Yeah, I feel like people would come

0:42:17.836 --> 0:42:20.716
<v Speaker 1>to see you because they loved you. That seems like

0:42:21.676 --> 0:42:25.036
<v Speaker 1>we always thought so too. Once in a while, you know,

0:42:25.156 --> 0:42:28.236
<v Speaker 1>like a like a resort town or something. They're coming

0:42:28.276 --> 0:42:30.276
<v Speaker 1>because that's the only game in town, and they've been

0:42:30.316 --> 0:42:33.916
<v Speaker 1>out on the beach getting too much sun and drinking.

0:42:33.996 --> 0:42:37.076
<v Speaker 1>So you know, there's just so much you can do

0:42:37.316 --> 0:42:42.636
<v Speaker 1>in that situation. Yeah, tell me how you started painting. Well,

0:42:42.636 --> 0:42:45.396
<v Speaker 1>all my life, I've sketched, you know. When I was

0:42:45.436 --> 0:42:49.836
<v Speaker 1>in second grade, I I sketched a Mickey Mouse and

0:42:49.996 --> 0:42:55.196
<v Speaker 1>sold it for three cents. And Bambi and then I

0:42:55.356 --> 0:42:58.716
<v Speaker 1>sketched because they had an eye for likenesses like a draw.

0:42:59.036 --> 0:43:02.196
<v Speaker 1>And then in junior high school, I started drawing Jimmy

0:43:02.276 --> 0:43:06.436
<v Speaker 1>Deane and then members of the class, and I sold

0:43:06.476 --> 0:43:09.676
<v Speaker 1>some of them, as I remember, that's very funny. And

0:43:09.716 --> 0:43:14.556
<v Speaker 1>then just undisciplined different kinds of painting. During my recovery work,

0:43:14.596 --> 0:43:18.996
<v Speaker 1>I did dreams of recovery painting, you know. But this

0:43:19.396 --> 0:43:24.116
<v Speaker 1>the portrait started, I mean, this journey into portraiture started

0:43:24.156 --> 0:43:28.036
<v Speaker 1>about nine years ago and I just all of a sudden,

0:43:28.076 --> 0:43:30.116
<v Speaker 1>it was an all of a sudden, passed the frame

0:43:30.156 --> 0:43:33.116
<v Speaker 1>shop and looked in. I thought, hmmm, I think I'll

0:43:33.116 --> 0:43:35.996
<v Speaker 1>get my hands into this one. And I started and

0:43:36.036 --> 0:43:40.756
<v Speaker 1>it never stopped that, you know, the first for the

0:43:40.796 --> 0:43:42.636
<v Speaker 1>first year and a half. I think I did mostly

0:43:42.716 --> 0:43:45.156
<v Speaker 1>collages and then I thought, you know what, I really

0:43:45.156 --> 0:43:48.316
<v Speaker 1>would like to do a portrait. I'll bet that's really difficult.

0:43:48.916 --> 0:43:51.716
<v Speaker 1>And guess what it wasn't And I didn't have to

0:43:51.756 --> 0:43:55.036
<v Speaker 1>go to school. I get tricks from different people. How

0:43:55.036 --> 0:43:57.756
<v Speaker 1>do you paint eyeglasses? So you know, somebody tells me

0:43:57.756 --> 0:44:01.396
<v Speaker 1>a little trick. That's all I needed. I'm sure there's

0:44:01.436 --> 0:44:03.756
<v Speaker 1>a lot that I could be learning, and I just

0:44:03.796 --> 0:44:06.756
<v Speaker 1>don't want to leave my own studio and go to school.

0:44:06.956 --> 0:44:10.956
<v Speaker 1>You know, how much time do you spend painting? Typically, well,

0:44:10.996 --> 0:44:13.796
<v Speaker 1>in a time like when getting ready for that last show,

0:44:14.356 --> 0:44:18.076
<v Speaker 1>and when I'm in the cycle of doing paintings, it

0:44:18.156 --> 0:44:20.796
<v Speaker 1>could be a few hours a day, a few three

0:44:20.836 --> 0:44:24.236
<v Speaker 1>or four hours a day. And like now, since the

0:44:24.356 --> 0:44:27.436
<v Speaker 1>last painting, which was Stacey Abrams, that's a few months ago,

0:44:27.636 --> 0:44:31.316
<v Speaker 1>I haven't done anything. I just started. This is the

0:44:31.396 --> 0:44:34.956
<v Speaker 1>first day I've been back in the studio and I

0:44:34.996 --> 0:44:37.916
<v Speaker 1>started painting. There was a photograph of one of the

0:44:37.996 --> 0:44:44.316
<v Speaker 1>policemen who was being beaten. It's an extraordinary It's a

0:44:44.316 --> 0:44:49.716
<v Speaker 1>profile of him and this panicky look and you can't

0:44:49.756 --> 0:44:53.076
<v Speaker 1>see any of the details, just this face and I thought, well,

0:44:53.116 --> 0:44:57.556
<v Speaker 1>you know, there's probably an entire exhibit from the insurrection.

0:44:58.436 --> 0:45:03.476
<v Speaker 1>I would love to see those. Any relationship between interpretive

0:45:03.916 --> 0:45:09.916
<v Speaker 1>singing and interpreting in paint, Oh my, I guess I

0:45:09.956 --> 0:45:14.236
<v Speaker 1>don't know if there's a relationship. There are similarities, you know,

0:45:14.396 --> 0:45:17.476
<v Speaker 1>they just sort of refusal to get any formal education

0:45:17.756 --> 0:45:20.796
<v Speaker 1>about it that it just has to come. I know

0:45:21.036 --> 0:45:23.996
<v Speaker 1>that it's as you know, it's a mystery to me

0:45:24.116 --> 0:45:27.116
<v Speaker 1>where the voice came from and how it worked. And

0:45:27.156 --> 0:45:30.916
<v Speaker 1>it's equally it's a mystery to me how these paintings

0:45:30.956 --> 0:45:35.036
<v Speaker 1>are showing up. And then we talked a little bit

0:45:35.036 --> 0:45:37.756
<v Speaker 1>on the show the other night about upside down drawings.

0:45:38.516 --> 0:45:43.316
<v Speaker 1>They're just fascinating to me. I literally draw the thing

0:45:43.436 --> 0:45:46.636
<v Speaker 1>upside down, and sometimes I know what I'm going to draw.

0:45:46.756 --> 0:45:49.676
<v Speaker 1>Sometimes I don't. I just start in and then I

0:45:49.756 --> 0:45:51.796
<v Speaker 1>turn it background, and I see what it looks like,

0:45:52.116 --> 0:45:54.796
<v Speaker 1>and I see what it's saying to me, and usually

0:45:54.796 --> 0:45:57.756
<v Speaker 1>a pun or something silly. Turn it background and I

0:45:57.796 --> 0:46:01.196
<v Speaker 1>write what I you know, what came to my mind

0:46:01.636 --> 0:46:04.356
<v Speaker 1>and all of that's insane, and I know that the

0:46:04.516 --> 0:46:07.076
<v Speaker 1>something happens in the brain that allows that to happen.

0:46:07.316 --> 0:46:10.196
<v Speaker 1>I don't know what it is. I don't really care.

0:46:10.516 --> 0:46:14.956
<v Speaker 1>It's beautiful. I imagine. It's not so different than the

0:46:14.996 --> 0:46:18.636
<v Speaker 1>way many people I know write songs, which is almost

0:46:18.676 --> 0:46:22.436
<v Speaker 1>like a form of automatic writing. You know. It's it's

0:46:22.476 --> 0:46:25.636
<v Speaker 1>not sitting down to write a particular thing. It's more

0:46:25.876 --> 0:46:31.956
<v Speaker 1>almost through improvisation, words appear and then looking at what

0:46:31.996 --> 0:46:35.276
<v Speaker 1>those words are, trying to say that the song reveals itself.

0:46:36.076 --> 0:46:39.436
<v Speaker 1>That sounds like a good possibility. I haven't written anything

0:46:39.876 --> 0:46:44.956
<v Speaker 1>for thirty years except that snarky song about Trump that

0:46:45.076 --> 0:46:48.116
<v Speaker 1>I just quit. So my granddaughter writes. And she was

0:46:48.156 --> 0:46:51.356
<v Speaker 1>sitting at the piano and she was singing this song

0:46:51.636 --> 0:46:53.236
<v Speaker 1>and then it got quiet. I looked at her, she

0:46:53.356 --> 0:46:56.876
<v Speaker 1>staring up at the ceiling, and when she stopped, I said,

0:46:56.876 --> 0:46:58.876
<v Speaker 1>were you just writing? And she said, yeah, the word

0:46:58.956 --> 0:47:02.996
<v Speaker 1>I was singing the words. Thank you so much for

0:47:03.196 --> 0:47:05.476
<v Speaker 1>talking and it's great seeing you again. And I'm glad

0:47:05.476 --> 0:47:12.356
<v Speaker 1>you're so well. You look great. Thanks Rick, cheers. Thanks

0:47:12.356 --> 0:47:15.676
<v Speaker 1>to Joan Baiez for sharing so many fascinating stories from

0:47:15.676 --> 0:47:17.836
<v Speaker 1>her life. You can hear all of our favorite Joan

0:47:17.916 --> 0:47:20.796
<v Speaker 1>Baias songs on my playlist at Broken record podcast dot

0:47:20.876 --> 0:47:23.556
<v Speaker 1>com and be sure to subscribe to our YouTube channel

0:47:23.756 --> 0:47:27.156
<v Speaker 1>at YouTube dot com slash Broken Record Podcast, where you

0:47:27.196 --> 0:47:30.356
<v Speaker 1>can find extended cuts of new and old episodes, and

0:47:30.516 --> 0:47:33.596
<v Speaker 1>you can follow us on Twitter at broken Record. Broken

0:47:33.676 --> 0:47:37.676
<v Speaker 1>Record is produced with helpful Leah Rose, Jason Gambrel, Martin Gonzalez,

0:47:37.836 --> 0:47:42.156
<v Speaker 1>Eric Sandler, and Jennifer Sanchez, with engineering help from Nick Chafey.

0:47:42.276 --> 0:47:45.316
<v Speaker 1>Our executive producer is Nei La Belle. Broken Record is

0:47:45.316 --> 0:47:47.876
<v Speaker 1>a production of Pushkin Industries and it's like a show.

0:47:48.036 --> 0:47:51.116
<v Speaker 1>Please remember to share, rate, review us on your podcast at.

0:47:51.436 --> 0:47:54.516
<v Speaker 1>Our theme music by Kenny Beats. I'm justin Richmond, bas