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Speaker 1: Welcome to another Taking a Walk classic replay. I'm Buzznight,

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Speaker 1: your host, and if you want to follow us, you

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Speaker 1: could follow us at Apple Podcasts, Spotify, iHeart, the Podcast Playground,

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Speaker 1: or wherever you get your podcast. And you could also

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Speaker 1: go to taknowalk dot com. There you could leave us

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Speaker 1: some thoughts about the podcast or some suggestions on this

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Speaker 1: classic replay. We're going to go back to March of

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Speaker 1: twenty twenty two. That's where I took a trip out

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Speaker 1: to LA and I went to Studio City and I

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Speaker 1: met up with a man who has been a fly

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Speaker 1: on the wall in music history. He continues to be

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Speaker 1: that photographer, Henry Dilts, known for his great album covers

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Speaker 1: and great photographs, the album covers of Morrison Hotel, the

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Speaker 1: first Crosby Stills in nash the Eagles. Henry loves to

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Speaker 1: tell stories, He's got a vivid memory. I had a

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Speaker 1: great time with him, and check out this classic replay

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Speaker 1: with Henry Dilts. I'm taking a walk.

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Speaker 2: Well, Henry Dilts, it's so great to be with you

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Speaker 2: here at Studio City taking a walk.

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Speaker 3: Yes, now crowded Ventura boulevards.

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Speaker 4: I know it's got a great energy, though there's so much.

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Speaker 5: There's so much going on here. Fan five. Oh there

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Speaker 5: goes a school bus. Yeah, there's a school bus.

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Speaker 4: As long as there's no sirens going by, all right,

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Speaker 4: you know. But Henry, it's an honor really to meet you.

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Speaker 6: And I really look at all your work, and I'm

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Speaker 6: in awe of what you've had a bird's eye you

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Speaker 6: for like so many amazing pieces of work. But let's

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Speaker 6: go to the beginning with you as a musician, and

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Speaker 6: tell me. Tell me how the Modern Folk Quartet became

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Speaker 6: a band.

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Speaker 5: Yes, okay, it was the folk music days, you know,

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Speaker 5: fifty nine sixty sixty one. And I had just been

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Speaker 5: to call it in Germany and American College in Munich, Germany,

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Speaker 5: and I was and I was transferred to the University

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Speaker 5: of Hawaii to study psychology. But I also wanted to

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Speaker 5: play the banjo. So I bought a banjo and went

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Speaker 5: to Hawaii, studied psychology for a few years in philosophy,

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Speaker 5: ended up singing in a little coffee house every night

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Speaker 5: called the Green.

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Speaker 3: Sleeves Coffee House.

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Speaker 5: And you know, we would sing folk songs. Different people

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Speaker 5: would come in play the guitar. We'd put a group together,

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Speaker 5: a harmony group, and we came to California to seek

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Speaker 5: our fortune, and.

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Speaker 3: We did well right away.

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Speaker 5: We've been we were very well rehearsed for several years

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Speaker 5: in Hawaii, and no one had heard of us here

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Speaker 5: in La.

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Speaker 3: So when we went to the Troubadour Club for.

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Speaker 5: Their boot Nanny Night, which is their open which was

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Speaker 5: their open mic night. We got up there and when

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Speaker 5: we hit the first chord in this song, the ox Dra,

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Speaker 5: the whole audience stood up clapping, and it was scary,

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Speaker 5: you know, like what is happening because we had this

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Speaker 5: four part harmony, you know, and there weren't there weren't

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Speaker 5: many four part harmony groups mostly three part you know,

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Speaker 5: or a jupe party. And so that kind of sealed

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Speaker 5: our our fortune. For a few years.

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Speaker 3: We signed up with Warner Brothers Records.

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Speaker 5: We started touring folk tours around the country and being

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Speaker 5: in on shows and.

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Speaker 3: Stuff, and we did that for four or five years.

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Speaker 5: During that time, I met all of these fellow musicians

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Speaker 5: that were, you know, fellow folks singers.

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Speaker 3: I mean, I met Stephen Stills in New York.

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Speaker 5: He used to come down to the Village Gate and

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Speaker 5: sit on the edge of the stage and listen to

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Speaker 5: our harmony. You know, I met David Crosby on tour

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Speaker 5: in Florida. I just you know, the mamas and papa's

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Speaker 5: were real good friends of mine. They were all people

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Speaker 5: that we knew from backstage, you know, and from from

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Speaker 5: from me on the road and hanging out of the troubador.

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Speaker 5: And then one day on one of our tours, we

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Speaker 5: went in a second hand store and the guy in

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Speaker 5: front of me, Cyrus Fariyar, walked in and there was

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Speaker 5: a table full of used cameras and he just reached

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Speaker 5: down and grabbed one and said, oh, a camera, I'll

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Speaker 5: have one. You know, I was looking for one. He said,

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Speaker 5: so I'm going to buy that. And I was right

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Speaker 5: behind him, and I just thought with that, I didn't think,

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Speaker 5: Without even thinking, I just reached down and said, yeah, hey,

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Speaker 5: me too. Just it was an impulse. You know.

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Speaker 4: This was like a twenty dollars camera, right.

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Speaker 5: Twenty dollars used camera, A little to used. It was

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Speaker 5: a Japanese camera. I remember that instead of just the

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Speaker 5: folding open, the whole back came off and then you

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Speaker 5: put the film in. I managed. So. Then Cyrus said,

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Speaker 5: when we got back in our vehicle. He said, pull

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Speaker 5: into the next drugstore and I'll buy film. And he

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Speaker 5: handed the three of us spot cameras. He handed us

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Speaker 5: each a yellow box and I said, well, Cyrus, how

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Speaker 5: do you set these numbers on the camera? He said, well,

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Speaker 5: look on the box Kodak film book, it's as sunlight

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Speaker 5: two fifty at eight. I said, oh, okay, two fifty

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Speaker 5: at eight, and let's go outside. And so for about

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Speaker 5: a month we took a lot of pictures on the road,

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Speaker 5: got back to California, developed the film, and I was

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Speaker 5: surprised and delighted to see that they were all these

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Speaker 5: little square transparencies. Oh, you can hold it up, look it.

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Speaker 5: And I said, well, let's have a slide show then.

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Speaker 5: And that was the whole thinge that started it, because

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Speaker 5: because if it had been a black and white proof sheet, wait,

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Speaker 5: I want to take this picture here. Yeah, if it

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Speaker 5: had been a black and white proof sheet, I wouldn't

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Speaker 5: have been so interested, you know, I wouldn't have.

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Speaker 6: Sorry, it's okay, and he's taking a picture a true photographer.

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Speaker 3: That window is that round window.

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Speaker 5: That's such a great well. I loved I love that

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Speaker 5: you stop and take a picture.

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Speaker 4: Now I'm going to tell you who this reminds me of.

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Speaker 6: Hint my wife in a second, because my wife's a

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Speaker 6: photographer and we will be walking and talking Henry and

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Speaker 6: she has to stop and take a picture.

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Speaker 3: Shack that you see it, you gotta take it, you know.

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Speaker 4: I think that's that you still have the original camera.

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Speaker 3: It might be in the back of one of my

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Speaker 3: several garages.

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Speaker 5: I'm not really sure, you know. But the thing was,

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Speaker 5: we have this slide show, and what really the moment

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Speaker 5: that had bit me was when I saw the first

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Speaker 5: slide on the wall in the dark, all of my

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Speaker 5: hippie friends watching, and this huge eight foot picture of

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Speaker 5: a great.

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Speaker 3: Moment on the road with us where the.

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Speaker 5: Bass player blew his cardboard bass case up with M

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Speaker 5: eighty's in the desert and it shot up in the

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Speaker 5: air and he's running away in the background, and there

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Speaker 5: was that picture on the wall to share with all

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Speaker 5: our friends. I said, this is magic. I mean, it's

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Speaker 5: like we're right back there, you know, right that was

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Speaker 5: the moment you were hooked. Yeah, I just said, man,

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Speaker 5: I got to take more pictures so we can have

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Speaker 5: more of these slideshows. You know, it's so much fun

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Speaker 5: and you know they were my friends.

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Speaker 3: It was a great audience.

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Speaker 5: Was there any.

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Speaker 4: Extracurricular stimulants that were part of that?

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Speaker 5: Oh? Well, we all smoke God's Herb, you know, I

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Speaker 5: mean in the sixties seventies, and as I often say,

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Speaker 5: how do you think all that music came out of

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Speaker 5: Laurel Canyons? You know, I mean it wasn't you know?

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Speaker 5: It's not a drug, as Raymond z Eric from the

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Speaker 5: Door said, it's not a drug. It's a sacrament, you know,

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Speaker 5: smoking a little bit of grass. I now call it

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Speaker 5: God's Irb because it is. It's a flower got put here.

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Speaker 5: It's right, and it keeps children from having, you know, convulsions.

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Speaker 5: It actually keeps my hands steady. I have a little

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Speaker 5: tiny tremor when I signed photos. If I have a

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Speaker 5: few little hits of a joint, my hand settles down.

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Speaker 5: Oh it's a great thing.

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Speaker 3: I don't know how it got such a bad name.

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Speaker 5: Oh well things have changed.

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Speaker 3: Yes, you know.

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Speaker 5: Musicians love to smoke it because it kind of turns

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Speaker 5: off the monkey tapes in your mind and it makes

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Speaker 5: you in the moments.

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Speaker 3: Like smell the roses.

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Speaker 5: So you sit there, you have a little smoke and

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Speaker 5: then immediately you want to pick up your instrument and

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Speaker 5: you want to start playing making music. Yeah, it's just

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Speaker 5: it's just a really wonderful thing that makes you, makes

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Speaker 5: you happy and engages your mind.

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Speaker 3: I mean, it makes life better. So anyway, that's that's

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Speaker 3: the end of that.

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Speaker 5: That's perfect. Well.

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Speaker 7: Yeah, did you ever think in your lifetime, by the way,

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Speaker 7: that you would see the legalization of cannabis?

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Speaker 5: I mean, I don't know. Mickey Dolan's used to say,

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Speaker 5: you know, if they ever legalize the stuff, it will

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Speaker 5: ruin it because.

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Speaker 3: We do it together as a sort.

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Speaker 5: Of brotherhood, you know, secretly and illegally right, and we

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Speaker 5: all break the law together.

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Speaker 3: It's kind of interesting idea, you know.

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Speaker 8: Uh but did you know so when you realized you

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Speaker 8: were captivated by photography, is that when you kind of

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Speaker 8: segued out of music, meaning as a musician.

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Speaker 5: Well, no, you know, for a while there, I was

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Speaker 5: a musician and a photographer.

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Speaker 3: I wasn't a photographer.

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Speaker 5: I was just a musician that picked up a camera

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Speaker 5: and loved I've always I've always loved.

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Speaker 3: People, you know, I'm very interested in people.

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Speaker 5: In fact, when I went to college in Germany and Hawaii,

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Speaker 5: i majored in psychology, which only meant that that too,

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Speaker 5: I was interested in what is this? Who are we?

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Speaker 5: What are we doing? What are we? I'm very interested in,

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Speaker 5: you know, the being here on this planet and what

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Speaker 5: that means.

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Speaker 3: Well, well, so cool.

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Speaker 5: Too about walking here in places like this?

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Speaker 4: Is the people watching too, I mean, yeah, it's just

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Speaker 4: a fabulous thing to just see.

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Speaker 5: Yeah, people engaged.

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Speaker 9: I always try to wonder when I walk by somebody,

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Speaker 9: I'm Michael, what are they thinking about?

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Speaker 4: You know, what's on their minds?

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Speaker 6: You know?

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Speaker 5: Are they having a quid day?

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Speaker 4: Are they having a lousy day?

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Speaker 5: Oh? Yeah, you know. Sometimes at the airport, I will

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Speaker 5: sit if you have to wait an hour for a flight,

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Speaker 5: I'll sit there and watch hundreds and hundreds of people

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Speaker 5: walk by it. And one day I was sitting there,

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Speaker 5: I was thinking.

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Speaker 3: You know, you know how big your life is.

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Speaker 5: You're the center of a live you have a past,

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Speaker 5: you have a history, hope screams, your connection with people.

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Speaker 5: All of that is repeated in every single person. In

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Speaker 5: other words, every single person walking by is the center

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Speaker 5: of a whole universe, their own private universe. And it's

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Speaker 5: kind of awesome because you see all these nameless people,

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Speaker 5: but you think each one is this incredible sort of galaxy.

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Speaker 5: You know, there's a story to tell her. Is that

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Speaker 5: you know? But back to that morning when when we

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Speaker 5: were leaving the University of Michigan and we stopped in

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Speaker 5: the second hand store, and of course we had smoked

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Speaker 5: a little little morning top like sure, like every musician does.

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Speaker 5: You know, it's kind of just kind of like a

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Speaker 5: way of life, yep. And so you know, being a

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Speaker 5: little high, it was like not even high, just normal.

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Speaker 5: It just kind of wakes you up, you know. So

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Speaker 5: when I saw Cyrus grab a camera, I just said,

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Speaker 5: what the heck? Yeah? You know me too. Wow.

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Speaker 3: If I'd have been walking in there with a load

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Speaker 3: of stuff on my mind, I wouldn't have noticed, right,

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Speaker 3: and just.

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Speaker 4: Think, yeah, right dad, I think what you would have

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Speaker 4: what you would have missed?

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Speaker 7: So where after that first initial like look at what

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Speaker 7: you did, yeah and amazement, what was the next moment

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Speaker 7: that you realized that you.

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Speaker 4: Were further hooked?

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Speaker 5: Was it a particular album cover? No? No.

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Speaker 3: First of all, after that night, I swore I would

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Speaker 3: take more photos for more slide shows. Now I wasn't.

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Speaker 3: I hadn't photographed any any groups or music.

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Speaker 5: I mean, so the next couple of weeks, I was

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Speaker 5: hanging out with all my friends. That's what we did

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Speaker 5: in LA We hung out every day. And by the way,

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Speaker 5: that's what musicians do.

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Speaker 3: They hang out.

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Speaker 5: We don't have a nine to five, you know, and

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Speaker 5: almost everything that we do with our fellow musicians and

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Speaker 5: a club or you know, wherever it is. And I

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Speaker 5: just started photographing everything everybody I saw in the next

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Speaker 5: two weeks so I could get more pictures to show.

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Speaker 5: And they were the guys in my group, their girl friends,

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Speaker 5: friends of friends, you know, whatever it was.

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Speaker 3: Wherever I was, I would.

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Speaker 5: Just I was turned on to collecting images that would

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Speaker 5: entertain my friends.

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Speaker 3: That's what it was.

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Speaker 5: And it was framing that The added fun part is framing.

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Speaker 5: You know, you see something and there's several ways you

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Speaker 5: could frame it.

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Speaker 3: If you get in close, if you get the wide shot.

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Speaker 5: You could go vertical, horizontal, and there's something you know,

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Speaker 5: kind of internally artistic about that. It's feeling though, it's

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Speaker 5: just feeling. So that kind of seized me, you know.

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Speaker 2: It's just now, when you said the slide show, I

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Speaker 2: seem to recall at the film More East when I

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Speaker 2: saw my first concert there, which was the Jefferson Airplane

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Speaker 2: and Joe Cocker. Actually, but I seem to remember that

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Speaker 2: at the shows then there would be almost like slide

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Speaker 2: shows that were being shown at concerts.

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Speaker 4: Am I right about that?

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Speaker 5: Yeah?

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Speaker 3: Yeah, yeah, sometimes they'll show him behind, you know.

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Speaker 5: And it used to be light shows on Wretlored lights

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Speaker 5: and Joshua lights, yeah, you know, swirling psychedelic light. I mean,

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Speaker 5: I've done plenty of slide shows for singers that want

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Speaker 5: up something on the back, you know, in the background.

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Speaker 2: Yeah.

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Speaker 5: My friend John Stewart from the Kingston Trio and his

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Speaker 5: solo career did these great songs about people Midwest, you know,

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Speaker 5: people in America, and so we put together a slide

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Speaker 5: show of farmers and just people that I had and

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Speaker 5: he had that behind him while he was singing.

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Speaker 3: Now, that was really fun, you know.

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Speaker 5: Yeah, so we did. When I say a slideho, it

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Speaker 5: means I put a carousel together of eighty flies and

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Speaker 5: we go to a friend's living room and have twenty

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Speaker 5: or thirty friends over.

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Speaker 4: Are you still doing slideshows for friends?

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Speaker 5: I do now I do it on the road, and

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Speaker 5: it's digital, you know, through an iPad and a digital projector. Okay,

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Speaker 5: but now I'm up on stage talking about the pictures

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Speaker 5: to a whole audience. No, it's not my karmic group

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Speaker 5: of friends. I would say more than half of them.

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Speaker 5: I've already gone to the other side.

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Speaker 3: Anyway.

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Speaker 6: So how does a photographer who started the way you

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Speaker 6: started think of digital photography today?

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Speaker 5: Well, in five I was saying I will never be

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Speaker 5: a digital guy. I'm a film guy through and through.

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Speaker 5: And then I picked up my friend had a cannon

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Speaker 5: with the big telephoto lens, and I just picked it

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Speaker 5: up and looked through it, and I said, oh my god,

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Speaker 5: it's it's focusing itself and it's setting its own light reading.

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Speaker 5: I mean, here I was using a stop meter. I

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Speaker 5: have hold this thing up to my eyeball and read

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Speaker 5: somebody's face and then set the numbers on the camera

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Speaker 5: and do all that. This was automatic. I said, my god,

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Speaker 5: it's like you don't even have to be there. You

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Speaker 5: could just send the camera and so you were.

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Speaker 4: You're then like you bought it then, right.

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Speaker 5: Yeah, I said, the self focused the thing was great

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Speaker 5: because you know, if you're in a hurry and you

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Speaker 5: don't get it really sharp and then later you think,

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Speaker 5: damn it, you know, I can't use that. It's not

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Speaker 5: sharp enough.

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Speaker 3: I said, well, that'll be a solution to that.

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Speaker 5: I just yeah. I was immediately interested in it. And

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Speaker 5: the thing that I really love about digital photography is

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Speaker 5: you can keep all the photos you ever take and

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Speaker 5: you can give them all away at the same time.

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Speaker 5: In the old days, when I would shoot slides for

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Speaker 5: an album cover, they would have to go to the

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Speaker 5: art director or the record company, and nine times out

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Speaker 5: of ten you'd never get a pack. They'd get lost

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Speaker 5: somewhere in a printing company or that. You know, nobody

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Speaker 5: cared once they had the cover. So many of my

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Speaker 5: album covers I don't have the original pictures where they

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Speaker 5: If they were digital, I would because you keep them

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Speaker 5: all and you give digital copy. Like I'm saying, you know,

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Speaker 5: I would shoot a group I have to that next day,

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Speaker 5: bring the film to the camera store, pick it up

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Speaker 5: a day later. Then then you know, put stamp my

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Speaker 5: name on it, sort it all out, you know, put

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Speaker 5: it in a plastic sheets, and give it to the

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Speaker 5: manager or the art director, whoever it was. I would

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Speaker 5: take a good part of a week. Today, you shoot,

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Speaker 5: you go home. You put it on your computer. You

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Speaker 5: print well, and a few years ago you'd put a CD.

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Speaker 5: Now I guess it's a thumb right, or you just

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Speaker 5: email it to the record company, the manager, the agency,

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Speaker 5: each guy in the group. Everybody can get everything and

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Speaker 5: I get to keep it all as well.

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Speaker 3: That's to me is magic.

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Speaker 4: Well, and how do you feel about the fact that

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Speaker 4: albums have made such a resurgence.

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Speaker 3: Well, I think it's great.

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Speaker 5: The old album cover was a great art form, you know,

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Speaker 5: the twelve inch square, That was a great art form.

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Speaker 5: And I worked with a terrific art director, Gary Burden.

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Speaker 5: Most of the covers I did were with Gary Burton.

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Speaker 5: We were a little team and.

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Speaker 3: We would we would always Gary's idea.

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Speaker 5: He was like the like the scout leader, you know,

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Speaker 5: the scout master, because he would plan the trip.

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Speaker 3: He would plan what to do, we're going to go.

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Speaker 3: What he wanted to do is get the group out.

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Speaker 5: Of town, away from their girlfriends and their managers and

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Speaker 5: their phones. We didn't have cell phones, and so in

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Speaker 5: the early seventies, like we went out to the desert

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Speaker 5: with the Eagles to do their first album cover. So

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Speaker 5: we would plan an adventure that would get these guys

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Speaker 5: out just with us, right, and then Gary would say,

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Speaker 5: just shoot everything that happens films the cheapest part hee.

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Speaker 3: That was the sake, which I did.

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Speaker 5: Anyway.

364
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Speaker 3: I just shot everything I saw.

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Speaker 5: I mean, I'm just busy framing and clicking. And by

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Speaker 5: the way, I am a passive photographer. I am not

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Speaker 5: an in your face guy. Would never work, you know,

368
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Speaker 5: in the music business. The reason I was able to

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Speaker 5: be in the lives of all these people and be

370
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Speaker 5: on the road with crosbysos Nash and Eagles and Bad

371
00:18:10,880 --> 00:18:15,040
Speaker 5: Company and the Monkeys, David Kaffany all over the world

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Speaker 5: is because I wasn't a pain in the ass. You know.

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Speaker 5: I was quiet. I was respectful. You know. I'm not

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Speaker 5: jumping in there in front of everybody saying, okay, you know,

375
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Speaker 5: look over here, like I'm the photographer. I'm here to

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Speaker 5: take your picture and you stand over there. I mean,

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Speaker 5: oh god, I hate that, you know. I like to that.

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Speaker 4: I'm sorry.

379
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Speaker 5: No, I just like to just quietly observe and watch

380
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Speaker 5: and document. I'm kind of doing it internally. It's my

381
00:18:41,840 --> 00:18:44,760
Speaker 5: own thing I'm doing. I'm not thinking, oh boy, I'll

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Speaker 5: get this picture for the world now. I mean, I

383
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Speaker 5: took for me. It was all my fun framing watching people,

384
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Speaker 5: you know. And of course, of course I knew they

385
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Speaker 5: were great musicians, and I love the music too.

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Speaker 3: It was a way to get me, to keep me

387
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Speaker 3: into that world, you know.

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Speaker 6: So go back to that first Eagles session that you

389
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Speaker 6: were talking about out there.

390
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Speaker 4: I would imagine those young gentlemen at that time. They

391
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Speaker 4: were like probably like choir boys in that.

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Speaker 2: Era, right.

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Speaker 5: Ill, Look, of course, I mean we left the Troubadour

394
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Speaker 5: at two in the morning and drove out to Joshua Tree.

395
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Speaker 5: He got there at five in the morning in the

396
00:19:26,040 --> 00:19:30,040
Speaker 5: dark eight paoty buttons, smoked a joint, climbed a mountain,

397
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Speaker 5: and spent the day laughing on top of this mountain,

398
00:19:33,600 --> 00:19:38,119
Speaker 5: you know, with a teapot of bubbling payote buttons on

399
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Speaker 5: the fire and.

400
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Speaker 3: Oh yeah, we yeah, the great. That's what you do

401
00:19:43,160 --> 00:19:45,639
Speaker 3: in the desert, you know, you let go, you let loose.

402
00:19:45,880 --> 00:19:49,919
Speaker 4: What was Clinn Fry's comment about your photography.

403
00:19:50,280 --> 00:19:57,040
Speaker 5: He's at that this isn't photography, this is evidence. Yeah,

404
00:19:57,080 --> 00:19:59,639
Speaker 5: because I'm just shooting everything that happened, and you know,

405
00:19:59,720 --> 00:20:02,600
Speaker 5: people aren't posing for me. It's way, you know, that's

406
00:20:02,960 --> 00:20:05,720
Speaker 5: you know, that we're over that, you know, in five minutes.

407
00:20:05,800 --> 00:20:08,280
Speaker 5: You know, we're all just doing what we do and

408
00:20:08,400 --> 00:20:10,240
Speaker 5: I am too, and then I just turn around and

409
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Speaker 5: snap a couple of pictures.

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Speaker 4: I mean, you know, but you don't realize in that moment.

411
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Speaker 9: I'm sure that it's a moment, right, I mean, when

412
00:20:18,520 --> 00:20:22,120
Speaker 9: you're in that moment, go back in time, you don't

413
00:20:22,160 --> 00:20:24,399
Speaker 9: realize how special that moment is, do you know.

414
00:20:25,359 --> 00:20:27,720
Speaker 3: It's just it's just the moment, you know, it's what's

415
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Speaker 3: going on.

416
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Speaker 5: I mean, life is an adventure, you know, it really

417
00:20:32,960 --> 00:20:36,240
Speaker 5: is an adventure every day, but these particular days were

418
00:20:36,480 --> 00:20:39,600
Speaker 5: huge adventures because we plan them out and go somewhere,

419
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Speaker 5: go to an Indian reservation, or go up to Big Third,

420
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Speaker 5: you know, and just bring a group along and get

421
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Speaker 5: them away from their everyday stuff. Right they might I

422
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Speaker 5: have to go pick my girlfriend up. I can't shoot anymore,

423
00:20:54,119 --> 00:20:56,480
Speaker 5: you know. No, Now we're out there for the day

424
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Speaker 5: and the night and there's no interruptions.

425
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Speaker 4: Yep.

426
00:20:59,320 --> 00:21:01,600
Speaker 5: Sore adventure thing.

427
00:21:01,840 --> 00:21:03,680
Speaker 4: Yeah, and I.

428
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Speaker 3: Always enjoy it. I'm participating in it.

429
00:21:06,040 --> 00:21:08,920
Speaker 5: But I never stopped to think, well, bull, where will

430
00:21:08,920 --> 00:21:13,120
Speaker 5: this fit, you know, in the timeline of my life?

431
00:21:13,119 --> 00:21:14,960
Speaker 5: Who thinks that nobody.

432
00:21:15,119 --> 00:21:19,160
Speaker 9: Yeah, so that first Crosbie Stills Nash session.

433
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Speaker 2: How did all that come together in that particular iconic

434
00:21:23,920 --> 00:21:24,760
Speaker 2: album company.

435
00:21:26,880 --> 00:21:31,080
Speaker 5: Gary Burden, my graphic artist partner, and myself both knew

436
00:21:31,640 --> 00:21:35,320
Speaker 5: these three guys. I had known Stephen that was sixty nine.

437
00:21:35,359 --> 00:21:39,439
Speaker 5: I met him in sixty three in New York. You know,

438
00:21:39,520 --> 00:21:42,080
Speaker 5: I knew Crosby for years. I knew all these guys

439
00:21:42,119 --> 00:21:45,040
Speaker 5: before the Birds in the Buffalo Springfield, you know before.

440
00:21:46,040 --> 00:21:50,800
Speaker 3: So musicians, I say, it is like a club.

441
00:21:50,880 --> 00:21:53,080
Speaker 5: We all know each other. Especially in LA. We all

442
00:21:53,119 --> 00:21:56,000
Speaker 5: hang out of the troupiter. Everybody knew what was what

443
00:21:56,080 --> 00:21:59,159
Speaker 5: was going on. We knew they were recording an album together,

444
00:21:59,320 --> 00:22:04,520
Speaker 5: you know, and they needed pictures. Nobody had taken any

445
00:22:04,520 --> 00:22:07,000
Speaker 5: pictures of them even to announce that they're singing together.

446
00:22:07,119 --> 00:22:10,040
Speaker 5: So Gary and I said, let's go. Come on. We're

447
00:22:10,080 --> 00:22:15,200
Speaker 5: getting this old Ford station wagon fifty something Ford station

448
00:22:15,359 --> 00:22:18,720
Speaker 5: wagon and drive around LA looking for a little spots

449
00:22:18,800 --> 00:22:20,639
Speaker 5: to take interesting photos.

450
00:22:21,000 --> 00:22:22,359
Speaker 3: And we found that little house.

451
00:22:22,400 --> 00:22:26,040
Speaker 5: Graham had seen that house sometime earlier and said, I know,

452
00:22:26,080 --> 00:22:28,439
Speaker 5: there's this great little house around here. And we found

453
00:22:28,440 --> 00:22:30,760
Speaker 5: it and was a couch in front of it. They

454
00:22:30,800 --> 00:22:33,840
Speaker 5: sat there. We took a bunch of pictures, and Gary

455
00:22:33,880 --> 00:22:36,120
Speaker 5: said the other thing that he said to me. First

456
00:22:36,119 --> 00:22:38,520
Speaker 5: thing was just shoot. Everything going to happen filmed the

457
00:22:38,560 --> 00:22:40,960
Speaker 5: chief part. Second thing he always said to me was.

458
00:22:41,240 --> 00:22:46,000
Speaker 3: Back up, back up, get the whole house. That's so

459
00:22:46,600 --> 00:22:47,520
Speaker 3: they sit on the couch.

460
00:22:47,600 --> 00:22:49,600
Speaker 5: I'm right up close to him getting the couch from

461
00:22:49,720 --> 00:22:54,919
Speaker 5: end to end in a horizontal frame, you know. But

462
00:22:55,000 --> 00:22:58,200
Speaker 5: then Gary saw something and we're just shooting publicity photo,

463
00:22:58,359 --> 00:23:01,560
Speaker 5: not an album cover. Gary could solve that that whole

464
00:23:01,600 --> 00:23:03,920
Speaker 5: house is interesting, and he said, backup, back up. I

465
00:23:04,040 --> 00:23:07,240
Speaker 5: backed up across the street, and then I could see

466
00:23:07,320 --> 00:23:09,359
Speaker 5: them on the couch at the bottom and the whole

467
00:23:09,400 --> 00:23:11,000
Speaker 5: house around.

468
00:23:12,680 --> 00:23:14,639
Speaker 3: And so that's how that happened.

469
00:23:14,680 --> 00:23:17,040
Speaker 5: The story with that is that they hadn't even named

470
00:23:17,080 --> 00:23:20,359
Speaker 5: themselves yet, so when they sat on the couch, randomly

471
00:23:20,480 --> 00:23:23,919
Speaker 5: it happened to be Nash, Hills and Crosby. And then

472
00:23:23,920 --> 00:23:26,040
Speaker 5: we looked at that in a slide show a few

473
00:23:26,080 --> 00:23:28,359
Speaker 5: days later, it said, boy, someone said that would be

474
00:23:28,440 --> 00:23:31,200
Speaker 5: a great album cover. But we're in the wrong order

475
00:23:31,240 --> 00:23:34,160
Speaker 5: because now we just decided to be caused me killed

476
00:23:34,160 --> 00:23:38,000
Speaker 5: in that that rolls off the tom right, So I said,

477
00:23:38,680 --> 00:23:41,360
Speaker 5: no problem, let's just go back there. How long would

478
00:23:41,400 --> 00:23:42,879
Speaker 5: it take for you to jump on the couch in

479
00:23:42,920 --> 00:23:45,080
Speaker 5: the right order. I'll go click, click, click.

480
00:23:45,040 --> 00:23:47,040
Speaker 3: We'll have the same shot in the right order.

481
00:23:47,440 --> 00:23:49,720
Speaker 5: And so we did. A few days later gotten Gary's

482
00:23:49,760 --> 00:23:53,440
Speaker 5: Ford station wagon drove back and the house wasn't there,

483
00:23:54,440 --> 00:23:58,600
Speaker 5: with an empty lot, and as Graham says, it was

484
00:23:59,520 --> 00:24:02,560
Speaker 5: a hey. There was a bunch of sticks in the

485
00:24:02,600 --> 00:24:04,920
Speaker 5: back of the lot. They bulldowed the whole thing down

486
00:24:05,000 --> 00:24:07,440
Speaker 5: and made a parking lot out of it, right around

487
00:24:07,480 --> 00:24:10,560
Speaker 5: the time that Jony Song paved Paradise put up a

488
00:24:10,640 --> 00:24:13,920
Speaker 5: parking lot. And I said, my god, that is exactly right.

489
00:24:14,880 --> 00:24:18,280
Speaker 5: So they're sitting in the wrong order and on that cover,

490
00:24:19,600 --> 00:24:21,080
Speaker 5: but that will, you know.

491
00:24:21,160 --> 00:24:23,159
Speaker 3: And I'll tell you an interesting thing about that. Gary

492
00:24:23,359 --> 00:24:26,960
Speaker 3: was an architect. He'd been fixing up Mama Cass's house.

493
00:24:27,200 --> 00:24:31,200
Speaker 5: Let me turn off myself. He'd been fixing up Mama

494
00:24:31,240 --> 00:24:34,439
Speaker 5: Cass's house. And she said, Gary, I want you to

495
00:24:34,920 --> 00:24:37,560
Speaker 5: They got to be good friends, you know, probably smoking

496
00:24:37,600 --> 00:24:40,439
Speaker 5: a little and laughing, and she said, I want why

497
00:24:40,480 --> 00:24:43,320
Speaker 5: don't you do my first album coming doing a solo album?

498
00:24:43,480 --> 00:24:46,919
Speaker 3: And he said, well, Cass, I'm not a graphic artist.

499
00:24:46,960 --> 00:24:50,560
Speaker 5: I'm an architect, and she said, well, you make a blueprint,

500
00:24:50,640 --> 00:24:53,560
Speaker 5: you do an album cover. What's the difference, right, So

501
00:24:54,000 --> 00:24:56,080
Speaker 5: he said, okay, I'll try it, and he a few

502
00:24:56,160 --> 00:24:58,800
Speaker 5: days later saw me had a love in on a

503
00:24:58,840 --> 00:24:59,880
Speaker 5: Sunday in a park.

504
00:24:59,720 --> 00:25:03,960
Speaker 3: Which to get together of hippies and said, hey.

505
00:25:03,920 --> 00:25:05,719
Speaker 5: You're a photographery you want to help me do this?

506
00:25:05,840 --> 00:25:08,879
Speaker 5: And I said, I know, Mama caffs real. Well. Yeah,

507
00:25:09,000 --> 00:25:12,480
Speaker 5: so that's how we started working together. Gary and I,

508
00:25:13,200 --> 00:25:13,960
Speaker 5: that's so cool.

509
00:25:14,200 --> 00:25:16,960
Speaker 4: How did you first meet Joni through CSN?

510
00:25:17,119 --> 00:25:19,480
Speaker 5: I probably saw her play at the Troubadour one night,

511
00:25:19,560 --> 00:25:23,680
Speaker 5: you know, and then I met her with Graham Nash.

512
00:25:23,760 --> 00:25:25,800
Speaker 5: I met her up at Mama Cassa's house. I' tee

513
00:25:25,800 --> 00:25:27,800
Speaker 5: you around town, you know, we all saw each other.

514
00:25:27,960 --> 00:25:30,280
Speaker 4: Yeah, what was it like to photograph Johnie?

515
00:25:31,160 --> 00:25:33,639
Speaker 5: Well, she's very beautiful and very smart, you know, so

516
00:25:33,720 --> 00:25:36,440
Speaker 5: it's always an interesting conversation which.

517
00:25:36,240 --> 00:25:37,480
Speaker 3: You don't get in the picture.

518
00:25:38,000 --> 00:25:42,159
Speaker 5: She always says, really, you know, wildly deep thoughts you

519
00:25:42,200 --> 00:25:44,720
Speaker 5: know about mankind and you know.

520
00:25:46,320 --> 00:25:49,600
Speaker 3: We're the most destructive generation. Where are the whales? Where

521
00:25:49,640 --> 00:25:50,680
Speaker 3: are the butterflies?

522
00:25:50,760 --> 00:25:53,240
Speaker 5: You know? Where? You know? And thank God for Buddhism,

523
00:25:53,320 --> 00:25:56,639
Speaker 5: and you know, talks about the original sin, you know,

524
00:25:56,720 --> 00:25:58,040
Speaker 5: and you're like, oh my.

525
00:25:57,960 --> 00:26:00,800
Speaker 3: God, this is like a street clash.

526
00:26:00,880 --> 00:26:04,000
Speaker 5: You know. Really, every time I've ever gone over to

527
00:26:04,040 --> 00:26:06,240
Speaker 5: our house to talk to her, I've wished I had

528
00:26:06,480 --> 00:26:09,800
Speaker 5: either a tape recorder or a dark video crew.

529
00:26:10,160 --> 00:26:11,920
Speaker 3: But then it wouldn't have been the same. We wouldn't

530
00:26:11,920 --> 00:26:14,760
Speaker 3: have talked rietly about all this stuff, you know. So

531
00:26:15,000 --> 00:26:17,199
Speaker 3: she's marvelous, lady, very you know.

532
00:26:17,400 --> 00:26:20,639
Speaker 5: I often I do slide shows around the country and

533
00:26:20,760 --> 00:26:22,920
Speaker 5: talk to audience. I've show them the pictures and tell

534
00:26:22,960 --> 00:26:27,280
Speaker 5: them the stories basically, and always say, you know, folks,

535
00:26:28,080 --> 00:26:30,520
Speaker 5: all of these people in these pictures, the reason they're

536
00:26:30,560 --> 00:26:35,600
Speaker 5: so well known and beloved is they're amazing people. You know,

537
00:26:35,680 --> 00:26:38,480
Speaker 5: they are a little bit the cut above, you know,

538
00:26:38,640 --> 00:26:42,919
Speaker 5: the ordinary person that they're clever. I mean, good Lord

539
00:26:43,040 --> 00:26:47,520
Speaker 5: James Taylor, you know, Jackson Brown, I mean, Jimmy Webb,

540
00:26:47,600 --> 00:26:50,480
Speaker 5: He's one of my favorite composers. I mean, but they're

541
00:26:50,520 --> 00:26:55,159
Speaker 5: all amazing that they could. Well. The thing is they're songwriters.

542
00:26:55,400 --> 00:26:59,440
Speaker 5: Now hit my little rap about that, because because years

543
00:26:59,440 --> 00:27:03,680
Speaker 5: ago the songwriters and singers like Frank Sinatra never wrote

544
00:27:03,680 --> 00:27:04,320
Speaker 5: any songs.

545
00:27:04,920 --> 00:27:06,640
Speaker 3: Eld Espresley never wrote the songs.

546
00:27:06,680 --> 00:27:11,719
Speaker 5: They sang the song that songwriters wrote. And then a

547
00:27:11,760 --> 00:27:15,640
Speaker 5: combination of think the Beatles playing Ed Sullivan and all

548
00:27:15,640 --> 00:27:18,480
Speaker 5: the folk groups made sure they were We were on

549
00:27:18,520 --> 00:27:20,359
Speaker 5: the road up in New England, we pulled into a

550
00:27:20,400 --> 00:27:22,840
Speaker 5: motel early to watch Ed Sullivan. We knew the Beatles

551
00:27:22,880 --> 00:27:25,320
Speaker 5: will be on, We heard about them, knew they were

552
00:27:25,359 --> 00:27:28,600
Speaker 5: some fantastic thing, but never really knew much about them.

553
00:27:28,920 --> 00:27:31,159
Speaker 5: And we saw them wagging their heads and singing as

554
00:27:31,200 --> 00:27:33,760
Speaker 5: she loves you, yeah, yeah, yeah, and.

555
00:27:33,680 --> 00:27:36,720
Speaker 3: It's like, wow, that is so joyful. And look they

556
00:27:36,800 --> 00:27:39,159
Speaker 3: have an electric bass. We had a stand up bass.

557
00:27:39,560 --> 00:27:41,640
Speaker 5: We went out the next week and got an electric

558
00:27:41,720 --> 00:27:44,320
Speaker 5: bass and electrified our guitars and we said, what are

559
00:27:44,320 --> 00:27:47,720
Speaker 5: we singing about the ox driver for? We could be singing,

560
00:27:47,880 --> 00:27:52,119
Speaker 5: you know, till that happened. And also Bob Dylan wrote

561
00:27:52,119 --> 00:27:54,840
Speaker 5: a song for Woody Gustrie right, kind of a talking

562
00:27:55,359 --> 00:27:58,120
Speaker 5: thing about Woody Guthrie. And so that was the beginning

563
00:27:58,200 --> 00:28:02,240
Speaker 5: sort of of singers actually their own.

564
00:28:01,640 --> 00:28:02,960
Speaker 3: Songs, their own thoughts.

565
00:28:03,760 --> 00:28:06,679
Speaker 5: So now when you can hear Joni Mitchell singing about

566
00:28:06,680 --> 00:28:10,480
Speaker 5: her you know, her love for somebody or something. You know,

567
00:28:10,720 --> 00:28:15,280
Speaker 5: Oh my god, her observations are so amazing.

568
00:28:15,520 --> 00:28:16,640
Speaker 4: You know, she's striking.

569
00:28:17,000 --> 00:28:21,080
Speaker 5: Yeah, so you get this. It's the fruits of her

570
00:28:21,280 --> 00:28:24,160
Speaker 5: mind and her feeling and all of that it comes out.

571
00:28:24,320 --> 00:28:27,680
Speaker 5: You know you mentioned earlier.

572
00:28:27,280 --> 00:28:30,679
Speaker 3: Before about how huge music isn't our wives?

573
00:28:30,800 --> 00:28:31,800
Speaker 5: You know? Yeah?

574
00:28:32,160 --> 00:28:32,920
Speaker 3: Yeah?

575
00:28:32,440 --> 00:28:34,119
Speaker 5: Is it? Is it twenty percent?

576
00:28:34,400 --> 00:28:35,520
Speaker 3: Is it fifty percent?

577
00:28:35,600 --> 00:28:37,840
Speaker 5: I heard a lady once said for me, it's one

578
00:28:37,920 --> 00:28:40,840
Speaker 5: hundred percent, because I don't do anything without music on.

579
00:28:41,480 --> 00:28:46,480
Speaker 5: So you know, we are a frequency. You know, we

580
00:28:46,600 --> 00:28:47,760
Speaker 5: are millions.

581
00:28:47,360 --> 00:28:51,120
Speaker 3: Of cells, we are we are.

582
00:28:51,080 --> 00:28:55,160
Speaker 5: Electrons spinning around. We are made up of that our bodies,

583
00:28:55,240 --> 00:28:57,840
Speaker 5: you know, and we're a frequency.

584
00:28:58,200 --> 00:29:01,680
Speaker 3: And so his music is a freak to scene. You know,

585
00:29:01,920 --> 00:29:03,640
Speaker 3: it's interesting Cyrus.

586
00:29:03,680 --> 00:29:06,600
Speaker 5: In our group when we would sing folk concerts, he

587
00:29:06,640 --> 00:29:08,840
Speaker 5: would often he would say, or he told me once anyway,

588
00:29:08,840 --> 00:29:12,000
Speaker 5: he said, you know, when we sing to an audience,

589
00:29:12,400 --> 00:29:14,680
Speaker 5: the sound is coming out of our mouths.

590
00:29:14,360 --> 00:29:16,200
Speaker 3: And going straight into their ears.

591
00:29:16,240 --> 00:29:19,600
Speaker 5: It's a one to one connection of that musical frequency.

592
00:29:20,040 --> 00:29:21,520
Speaker 5: I mean, the same thing happened when you put a

593
00:29:21,600 --> 00:29:24,240
Speaker 5: record on, but it's you know, it's coming through, but

594
00:29:24,320 --> 00:29:26,360
Speaker 5: you're getting that frequency.

595
00:29:26,840 --> 00:29:28,200
Speaker 3: And that's why it's so huge.

596
00:29:28,320 --> 00:29:31,320
Speaker 5: I guess it just stimulates our mind and our brain

597
00:29:31,440 --> 00:29:35,400
Speaker 5: and our memory, you know the first time you heard it?

598
00:29:35,520 --> 00:29:38,400
Speaker 6: Yes, yes, so many things you gotta have to ask

599
00:29:38,440 --> 00:29:41,640
Speaker 6: you though. There's a couple of movies that as we were.

600
00:29:41,360 --> 00:29:44,960
Speaker 9: Talking about folk music and everything, I wanted to see

601
00:29:45,120 --> 00:29:48,840
Speaker 9: what you thought of these movies just for their perspective.

602
00:29:49,160 --> 00:29:49,760
Speaker 5: One was.

603
00:29:51,320 --> 00:29:57,520
Speaker 6: The Mighty Wind, you know, the mockumentary done by Christopher Guest.

604
00:29:58,080 --> 00:30:01,240
Speaker 5: I love that movie. Sure, I mean friend ed Begley Junior,

605
00:30:01,280 --> 00:30:03,680
Speaker 5: who is Yeah, he wasn't that. Yeah, I've seen that

606
00:30:03,760 --> 00:30:04,320
Speaker 5: a few times.

607
00:30:04,400 --> 00:30:04,840
Speaker 3: I love that.

608
00:30:05,080 --> 00:30:08,320
Speaker 5: Right, It's kind of the machinations of it are kind

609
00:30:08,320 --> 00:30:10,640
Speaker 5: of what it was like. You don't get into everybody's head,

610
00:30:10,760 --> 00:30:13,640
Speaker 5: you know, so a little bit. Yeah, I mean it's

611
00:30:13,720 --> 00:30:15,840
Speaker 5: it's it is. It is a mockumentary.

612
00:30:16,080 --> 00:30:19,720
Speaker 4: The other one is did you see Inside Lewin Davis?

613
00:30:20,280 --> 00:30:20,320
Speaker 9: No?

614
00:30:20,960 --> 00:30:22,320
Speaker 4: I never got Kulch Brothers.

615
00:30:22,920 --> 00:30:27,160
Speaker 6: And that is the takeoff on you know, the Dave

616
00:30:27,240 --> 00:30:30,160
Speaker 6: van Ronk sort of Dylan your You were in its

617
00:30:30,280 --> 00:30:31,800
Speaker 6: village and everything.

618
00:30:31,800 --> 00:30:34,120
Speaker 4: And but it's a strange story.

619
00:30:34,200 --> 00:30:36,640
Speaker 6: I love it to death, but it's a strange story

620
00:30:36,920 --> 00:30:40,520
Speaker 6: involves and if you see that movie and you could

621
00:30:40,520 --> 00:30:42,440
Speaker 6: figure out what that movie is about.

622
00:30:42,560 --> 00:30:43,640
Speaker 4: Would you please let me know?

623
00:30:44,000 --> 00:30:47,400
Speaker 5: Yeah? Okay, oh hey yeah, yeah, but I love it.

624
00:30:47,520 --> 00:30:49,200
Speaker 4: Yeah, well the cat gets away.

625
00:30:49,440 --> 00:30:50,880
Speaker 5: Yeah, I won't ruin it for you.

626
00:30:50,920 --> 00:30:53,800
Speaker 4: Because I think you I think you'll appreciate it. So

627
00:30:54,160 --> 00:30:57,920
Speaker 4: the Morrison Hotel cover that is.

628
00:30:58,520 --> 00:31:00,960
Speaker 5: Okay, oh you know it was. I started out by

629
00:31:01,040 --> 00:31:04,240
Speaker 5: telling you that Gary was an architect. So when he

630
00:31:04,280 --> 00:31:07,480
Speaker 5: made album covers, as architects do, they want to incorporate

631
00:31:07,600 --> 00:31:11,320
Speaker 5: new materials or new ideas. So when we went to

632
00:31:11,400 --> 00:31:14,680
Speaker 5: print that Crosby Sills Nash first album on the couch,

633
00:31:15,400 --> 00:31:18,320
Speaker 5: he told the printers with the printing company, I want

634
00:31:18,360 --> 00:31:20,520
Speaker 5: you to turn the paper over and print it on

635
00:31:20,600 --> 00:31:24,040
Speaker 5: the uncoded side. Now, up to then, all album covers

636
00:31:24,160 --> 00:31:27,400
Speaker 5: are glossy, they have a glossy finished TWI. He said, no,

637
00:31:27,480 --> 00:31:30,160
Speaker 5: I want to print on the uncoded, the matt side

638
00:31:30,200 --> 00:31:32,840
Speaker 5: of the paper. And they said, well, we we've never

639
00:31:32,880 --> 00:31:34,760
Speaker 5: done that, you know, I mean it'll soak up the egg.

640
00:31:34,840 --> 00:31:37,200
Speaker 5: Said I don't care to do it, and he had

641
00:31:37,240 --> 00:31:40,640
Speaker 5: the group behind him do what he says. And so

642
00:31:40,680 --> 00:31:43,760
Speaker 5: when you hold that first original cover that folds out,

643
00:31:44,800 --> 00:31:47,280
Speaker 5: it's got to feel a texture to it. It's organic.

644
00:31:47,440 --> 00:31:49,880
Speaker 5: You feel the roughness of the paper, not a slick,

645
00:31:50,040 --> 00:31:51,680
Speaker 5: glossy plastic thing.

646
00:31:52,840 --> 00:31:55,680
Speaker 3: Until that that was a great you know innovation.

647
00:31:55,880 --> 00:31:58,960
Speaker 4: That's a fine yea through experimentation, That's right.

648
00:31:59,280 --> 00:32:02,040
Speaker 3: That's what I would lead up to about Gary Burden.

649
00:32:02,080 --> 00:32:05,959
Speaker 5: But now so the Doors apparently saw that album and

650
00:32:06,120 --> 00:32:07,000
Speaker 5: called us.

651
00:32:07,800 --> 00:32:10,560
Speaker 3: You know, within a week or two, and it's called Gary.

652
00:32:10,880 --> 00:32:13,560
Speaker 5: He was the art direct because they call him and say,

653
00:32:13,600 --> 00:32:16,640
Speaker 5: we want you to do our cover. So we went

654
00:32:16,640 --> 00:32:18,880
Speaker 5: to meet with them at their little office and it

655
00:32:19,000 --> 00:32:21,280
Speaker 5: was just Jim and Raymond's Eric and Gary and I

656
00:32:21,320 --> 00:32:25,640
Speaker 5: and we said, okay, great, have you got a title?

657
00:32:26,400 --> 00:32:29,400
Speaker 5: They said, well, no, well do you have an idea?

658
00:32:29,640 --> 00:32:31,400
Speaker 5: What kind of what do you want on the cover?

659
00:32:31,520 --> 00:32:31,800
Speaker 5: What's that?

660
00:32:31,920 --> 00:32:32,680
Speaker 3: What's it abound?

661
00:32:32,720 --> 00:32:35,160
Speaker 5: What do you know? We don't know, that's why we

662
00:32:35,240 --> 00:32:39,600
Speaker 5: called you. And we're going, well, uh, you know. Raymon's

663
00:32:39,680 --> 00:32:43,080
Speaker 5: Eric randomly speaks up at that point and just says,

664
00:32:43,800 --> 00:32:47,000
Speaker 5: you know, my wife Dorothy and I were driving through

665
00:32:47,080 --> 00:32:49,880
Speaker 5: downtown LA the other day and we saw this old

666
00:32:50,120 --> 00:32:51,080
Speaker 5: funky hotel.

667
00:32:51,800 --> 00:32:54,760
Speaker 3: It said Morrison Hotel on the window.

668
00:32:54,480 --> 00:32:59,280
Speaker 5: And Gary and I both went, wow, that sounds great,

669
00:33:00,040 --> 00:33:02,160
Speaker 5: And we went down that same afternoon, we got in

670
00:33:02,200 --> 00:33:04,000
Speaker 5: their Volkswagen van and drove down there.

671
00:33:04,040 --> 00:33:06,840
Speaker 3: It was it was great. I took a picture of

672
00:33:06,920 --> 00:33:08,640
Speaker 3: Jim behind the window sitting there.

673
00:33:09,160 --> 00:33:10,760
Speaker 5: So then we went back a week later with the

674
00:33:10,800 --> 00:33:14,080
Speaker 5: whole group and we got out of our car. It

675
00:33:14,240 --> 00:33:17,120
Speaker 5: was the band's Volkswagen van. We all fit in there.

676
00:33:17,600 --> 00:33:20,840
Speaker 5: We walked in and they walked into. The lobby was empty.

677
00:33:21,000 --> 00:33:24,240
Speaker 5: It's some old secondhand furniture, you know, and a guy,

678
00:33:24,400 --> 00:33:25,640
Speaker 5: young guy behind the desk.

679
00:33:26,080 --> 00:33:28,200
Speaker 3: I was walking in laughs.

680
00:33:28,240 --> 00:33:29,640
Speaker 5: I just said, yeah, we're just going to be over

681
00:33:29,680 --> 00:33:31,680
Speaker 5: there for a few minutes taking a few shots, you know.

682
00:33:32,520 --> 00:33:35,560
Speaker 5: Was nobody to bother, you know, And he got very animated.

683
00:33:35,560 --> 00:33:38,120
Speaker 5: Oh no, no, you can't take any pictures in here.

684
00:33:38,160 --> 00:33:39,720
Speaker 5: You've got to get the owner's permission.

685
00:33:40,040 --> 00:33:41,960
Speaker 3: But where's he. Well, he's not here, you know.

686
00:33:43,240 --> 00:33:47,320
Speaker 5: Apparently in retrospect, it turns out he was a famous slumloyd.

687
00:33:47,560 --> 00:33:49,480
Speaker 3: It was very, very hard.

688
00:33:49,360 --> 00:33:49,800
Speaker 5: To deal with.

689
00:33:50,360 --> 00:33:52,720
Speaker 3: That guy was in fear of his life if we took.

690
00:33:52,600 --> 00:33:54,840
Speaker 5: A picture in there. So I walked up to the

691
00:33:54,880 --> 00:33:57,280
Speaker 5: doors and I said, hey, you guys, the guy's not

692
00:33:57,360 --> 00:34:00,120
Speaker 5: going to let us shoot here. Let's walk out the

693
00:34:00,200 --> 00:34:03,520
Speaker 5: sidewalk I'm thinking, they can't stop us on the sidewalk,

694
00:34:03,560 --> 00:34:06,239
Speaker 5: we'll take it in front of the window. Right. To

695
00:34:06,240 --> 00:34:08,080
Speaker 5: tell you the truth, I don't know what picture I

696
00:34:08,120 --> 00:34:11,680
Speaker 5: would have taken in the lobby, because you know, so

697
00:34:12,640 --> 00:34:15,600
Speaker 5: we all marched outside and we stood in front of

698
00:34:15,600 --> 00:34:17,560
Speaker 5: that big window that said Morrison Rttel.

699
00:34:18,040 --> 00:34:20,000
Speaker 3: And they're just about to stand with their backs to

700
00:34:20,120 --> 00:34:20,600
Speaker 3: that window.

701
00:34:20,760 --> 00:34:22,520
Speaker 5: And I looked in and I saw a light go

702
00:34:22,680 --> 00:34:24,560
Speaker 5: on in the back of the lobby, a big light.

703
00:34:24,640 --> 00:34:27,839
Speaker 3: And I looked through the window. I said, oh, that's

704
00:34:27,840 --> 00:34:31,760
Speaker 3: the elevator light. The guy left the desk, so quit.

705
00:34:31,680 --> 00:34:35,200
Speaker 5: Run in there, and by gully, they ran in and

706
00:34:35,400 --> 00:34:37,959
Speaker 5: just hit those marks. You know. We didn't have to say,

707
00:34:38,080 --> 00:34:41,000
Speaker 5: you know, you moved the layff, but they just bang

708
00:34:41,400 --> 00:34:44,640
Speaker 5: right there. And I back up, and I well, at

709
00:34:44,640 --> 00:34:46,880
Speaker 5: first I took a few shots close up, and then

710
00:34:46,960 --> 00:34:50,680
Speaker 5: Gary Burdon said, back up, Henry, back up, get the

711
00:34:50,719 --> 00:34:54,440
Speaker 5: whole window, you know, and there is again. So I

712
00:34:54,480 --> 00:34:57,160
Speaker 5: did that. Five minutes we were out of there.

713
00:34:57,320 --> 00:34:58,640
Speaker 3: Really yeah, And.

714
00:34:58,560 --> 00:35:00,560
Speaker 5: Then Jim said, well, let's go get had a drink.

715
00:35:00,640 --> 00:35:02,920
Speaker 5: We're in downtown LA. We went a few blocks to

716
00:35:02,960 --> 00:35:06,840
Speaker 5: skid Row where we're driving along looking for trying to

717
00:35:06,880 --> 00:35:10,160
Speaker 5: pick a bar. They're all bars and pawn shops. And

718
00:35:10,760 --> 00:35:15,160
Speaker 5: out out the front window on the next corner, somebody said, look,

719
00:35:15,520 --> 00:35:19,000
Speaker 5: hard rock cafe. No one ever heard of that before,

720
00:35:19,920 --> 00:35:22,319
Speaker 5: and so we'll get our beers in there. We went in.

721
00:35:22,480 --> 00:35:24,399
Speaker 5: We spent you know, an hour or two, I don't

722
00:35:24,440 --> 00:35:27,200
Speaker 5: know how long it was. But Jim liked to buy

723
00:35:27,280 --> 00:35:29,840
Speaker 5: beers for some of the old whinos in there because

724
00:35:29,880 --> 00:35:32,680
Speaker 5: he liked to hear them tell their stories. Jim was

725
00:35:32,719 --> 00:35:37,479
Speaker 5: a very kind of quiet internal, like a poetic guy,

726
00:35:37,640 --> 00:35:42,000
Speaker 5: you know, and so he wasn't outgoing.

727
00:35:42,080 --> 00:35:43,840
Speaker 3: He didn't talk a lot, but he liked to listen.

728
00:35:43,880 --> 00:35:46,640
Speaker 5: He liked to hear people and mullet over in his mind.

729
00:35:47,120 --> 00:35:49,920
Speaker 5: These guys were saying, we left home at sixteen and

730
00:35:50,040 --> 00:35:56,600
Speaker 5: joining the Merchant Marine, and you know, you know, yeah,

731
00:35:56,640 --> 00:36:01,000
Speaker 5: so and then we put that picture of that hard

732
00:36:01,080 --> 00:36:04,600
Speaker 5: rock cafe on the back of the doors Montison Hotel.

733
00:36:05,280 --> 00:36:07,560
Speaker 5: And they got a call from England as soon as

734
00:36:07,560 --> 00:36:09,160
Speaker 5: that record came out and a voice.

735
00:36:08,960 --> 00:36:11,479
Speaker 3: Said, would you mind if we use that name?

736
00:36:11,640 --> 00:36:15,320
Speaker 5: We're studying a cafe here in London, and they said no,

737
00:36:15,560 --> 00:36:16,080
Speaker 5: go ahead.

738
00:36:16,280 --> 00:36:20,960
Speaker 3: So that was and now years later I have. I'm

739
00:36:20,960 --> 00:36:21,719
Speaker 3: part owner of a.

740
00:36:22,200 --> 00:36:26,960
Speaker 5: Post a chain of galleries called Morrison Hotel Galleries in

741
00:36:27,040 --> 00:36:29,400
Speaker 5: which you can buy my photos and one hundred and

742
00:36:29,480 --> 00:36:33,799
Speaker 5: twenty five other photographers photos. And so that one day

743
00:36:33,840 --> 00:36:35,719
Speaker 5: we got the name of our business and the name

744
00:36:35,760 --> 00:36:38,400
Speaker 5: of the hard Rock Cafe, which all in that afternoon.

745
00:36:38,480 --> 00:36:41,680
Speaker 3: That was Yeah, I need to go back and consult my.

746
00:36:42,160 --> 00:36:47,400
Speaker 5: Horoscope for that day, right, something out, Something was conjunct something,

747
00:36:47,520 --> 00:36:48,640
Speaker 5: I'm sure you know.

748
00:36:49,400 --> 00:36:50,960
Speaker 4: Now, how did.

749
00:36:50,840 --> 00:36:56,360
Speaker 9: The opportunity for you come to be the photographer record

750
00:36:56,480 --> 00:36:59,960
Speaker 9: for a woodstock and for moderating.

751
00:37:00,440 --> 00:37:00,719
Speaker 5: You know.

752
00:37:02,160 --> 00:37:02,440
Speaker 3: Both?

753
00:37:02,520 --> 00:37:05,600
Speaker 5: I always say phone call and it sucks out, But

754
00:37:05,719 --> 00:37:08,000
Speaker 5: with Monterey Pop, I think it was just you know,

755
00:37:08,120 --> 00:37:10,400
Speaker 5: John Phillips from the Mom and Pop is because a

756
00:37:10,400 --> 00:37:12,960
Speaker 5: good friend of mine is a fellow folk singer, you know,

757
00:37:13,760 --> 00:37:16,040
Speaker 5: long before I picked up a camera, I saw him

758
00:37:16,040 --> 00:37:18,279
Speaker 5: somewhere and he said, Hey, Henry, we're going to do

759
00:37:18,320 --> 00:37:21,640
Speaker 5: this festival up and Monterey. You want to take pictures

760
00:37:21,680 --> 00:37:25,800
Speaker 5: for me? I said yeah, And that was that. The

761
00:37:25,880 --> 00:37:28,400
Speaker 5: second one would stop. The phone rang and it was

762
00:37:28,440 --> 00:37:34,680
Speaker 5: a fellow named Chip Monk, Edward Beresford Monk. Of course,

763
00:37:34,719 --> 00:37:38,000
Speaker 5: this nickname was Chip, so Chipmunk and I had seen

764
00:37:38,080 --> 00:37:39,040
Speaker 5: him well at Monterey.

765
00:37:39,239 --> 00:37:41,360
Speaker 3: He was a lighting director there.

766
00:37:42,080 --> 00:37:44,080
Speaker 5: And then a lot of the folk tours that we

767
00:37:44,120 --> 00:37:47,080
Speaker 5: did he was there doing doing up sound and lighting,

768
00:37:47,120 --> 00:37:48,080
Speaker 5: staging all that.

769
00:37:48,719 --> 00:37:50,440
Speaker 3: So he called me, he said, Henry.

770
00:37:50,640 --> 00:37:52,160
Speaker 5: He said, I'm out in New York. We're gonna have

771
00:37:52,200 --> 00:37:55,160
Speaker 5: a big music festival out here in a couple of weeks.

772
00:37:55,360 --> 00:37:58,160
Speaker 5: You ought to be here. I said, well, Chip, I've

773
00:37:58,200 --> 00:38:00,640
Speaker 5: read about it, but I don't know the those guys.

774
00:38:00,760 --> 00:38:02,719
Speaker 5: You know, how am I going? He said, look, I'll

775
00:38:02,719 --> 00:38:06,160
Speaker 5: talk to the producer. And the next day Michael Lang

776
00:38:06,280 --> 00:38:10,560
Speaker 5: called me right and a man of few words, he said,

777
00:38:11,440 --> 00:38:14,080
Speaker 5: Chip says, we need you. I'm sending you an airline

778
00:38:14,080 --> 00:38:17,280
Speaker 5: ticket and five hundred dollars. I said, okay, I'll goeb

779
00:38:17,840 --> 00:38:20,360
Speaker 5: and I got there a couple of weeks before I

780
00:38:20,360 --> 00:38:24,400
Speaker 5: think almost three weeks before the festival. They had changed locations.

781
00:38:24,840 --> 00:38:27,880
Speaker 5: The original township had voted them out. You know, they

782
00:38:27,920 --> 00:38:30,560
Speaker 5: didn't want all those damn hippies all over their lawn.

783
00:38:30,680 --> 00:38:34,000
Speaker 5: So then they found Jaskar's farm and they were just

784
00:38:34,080 --> 00:38:36,759
Speaker 5: starting to build that great, big wooden deck at the

785
00:38:36,800 --> 00:38:41,959
Speaker 5: bottom of that natural amphitheater, which was growing with alfalfa,

786
00:38:42,440 --> 00:38:46,000
Speaker 5: you know, a beautiful green field, and my job was

787
00:38:46,080 --> 00:38:48,480
Speaker 5: just to hang out all day and document what was

788
00:38:48,520 --> 00:38:50,720
Speaker 5: going on, waiting for the festival to start.

789
00:38:50,880 --> 00:38:52,879
Speaker 3: But in those couple of weeks it was like being

790
00:38:52,920 --> 00:38:53,840
Speaker 3: at summer camp.

791
00:38:53,920 --> 00:38:56,200
Speaker 5: I went to summer camp in upstate New York, you know,

792
00:38:56,280 --> 00:38:58,000
Speaker 5: as a boy, and this was like that.

793
00:38:58,320 --> 00:39:00,880
Speaker 3: Of course, I didn't have any body to answer to.

794
00:39:01,040 --> 00:39:03,840
Speaker 5: I'd just walk around doing the thing I loved doing

795
00:39:03,880 --> 00:39:06,600
Speaker 5: and couldn't stop doing anyway, you know, right, I mean,

796
00:39:06,680 --> 00:39:09,319
Speaker 5: go to the hog Farm, which with the peak, the

797
00:39:09,320 --> 00:39:11,680
Speaker 5: hog Farm from New Mexico came up and built the

798
00:39:11,760 --> 00:39:15,160
Speaker 5: campsites and help with security. I'd go over there and

799
00:39:15,200 --> 00:39:17,800
Speaker 5: hang out the top, maybe smoke a joint, watch the

800
00:39:17,840 --> 00:39:20,960
Speaker 5: girl chopping up cabbage to make Cole's Law, you know,

801
00:39:21,280 --> 00:39:23,839
Speaker 5: someone erecting of TP and photographed that.

802
00:39:24,160 --> 00:39:27,360
Speaker 3: And back to the stage where there was this big wooden.

803
00:39:27,000 --> 00:39:31,040
Speaker 5: Deck like an aircraft carrier, and all these hippie carpenters

804
00:39:31,080 --> 00:39:34,840
Speaker 5: with their shirts all brown, sighing and hammering, you know,

805
00:39:35,239 --> 00:39:38,080
Speaker 5: and the girls would come over lunchtime and bring drinks

806
00:39:38,120 --> 00:39:40,400
Speaker 5: and lunch, and I'm just there having a time of

807
00:39:40,480 --> 00:39:43,520
Speaker 5: my life, you know. And it was like an aircraft

808
00:39:43,560 --> 00:39:46,640
Speaker 5: carrier in a sea of alfalfa, because that's what was

809
00:39:46,680 --> 00:39:48,920
Speaker 5: that's all we saw, you know, blowing in the wind.

810
00:39:49,520 --> 00:39:51,960
Speaker 5: And then after a couple of weeks, one day I

811
00:39:52,080 --> 00:39:54,239
Speaker 5: was there and I looked up and at the top

812
00:39:54,280 --> 00:39:56,920
Speaker 5: of that hill was a few people sitting there, and

813
00:39:57,000 --> 00:39:59,279
Speaker 5: I thought, what the hell are they doing?

814
00:39:59,320 --> 00:40:02,040
Speaker 3: We're you know, we're out in the country here. What

815
00:40:02,080 --> 00:40:02,879
Speaker 3: are they doing there?

816
00:40:02,960 --> 00:40:03,960
Speaker 5: What are they looking at me?

817
00:40:04,200 --> 00:40:06,560
Speaker 3: And I, oh, yeah, that's right, I forgot, you know.

818
00:40:06,920 --> 00:40:08,759
Speaker 5: And then the next day there was you know, a

819
00:40:08,880 --> 00:40:10,960
Speaker 5: thousand people, and then the next day there were four

820
00:40:11,040 --> 00:40:14,719
Speaker 5: hundred thousand people. It just happened, bang bang bang. And

821
00:40:14,760 --> 00:40:17,680
Speaker 5: I was living in a rooming house down a dirt

822
00:40:17,760 --> 00:40:20,880
Speaker 5: road that ran behind the stage about a mile. But

823
00:40:21,520 --> 00:40:25,719
Speaker 5: and I had my rented station wagon park behind the stage.

824
00:40:26,040 --> 00:40:28,320
Speaker 5: That day, when four hundred thousand people got there, I

825
00:40:28,360 --> 00:40:31,200
Speaker 5: couldn't get home. I couldn't drive down that road. The

826
00:40:31,440 --> 00:40:33,960
Speaker 5: cars were parked on either side of the dirt road,

827
00:40:34,160 --> 00:40:37,600
Speaker 5: not leaving space for a car in the middle, and even.

828
00:40:37,440 --> 00:40:39,760
Speaker 3: That space was full of bodies walking.

829
00:40:40,560 --> 00:40:44,880
Speaker 5: It was, you know, like at the subway in New

830
00:40:45,000 --> 00:40:48,000
Speaker 5: York City or something. Suddenly on this little country road.

831
00:40:48,480 --> 00:40:50,920
Speaker 5: So I had to sleep in my station wagon backstage

832
00:40:50,920 --> 00:40:54,840
Speaker 5: for a few days, and I just basically I mostly

833
00:40:54,880 --> 00:40:57,040
Speaker 5: stayed up on the stage. That was my job, you know,

834
00:40:57,120 --> 00:40:58,680
Speaker 5: to document all the acts, you know.

835
00:40:58,800 --> 00:41:01,840
Speaker 4: And what was it like shooting photos of Jimmy Hendricks.

836
00:41:02,760 --> 00:41:04,880
Speaker 3: Well, you know, he didn't play until Monday morning.

837
00:41:04,960 --> 00:41:07,640
Speaker 5: He was supposed to close the show Sunday night, but

838
00:41:07,760 --> 00:41:09,799
Speaker 5: it was so backed up and he didn't start till

839
00:41:09,800 --> 00:41:13,839
Speaker 5: Monday morning and came out right at dawn wearing these

840
00:41:13,880 --> 00:41:17,040
Speaker 5: colorful bandanas on their heads, and it was like, whoa,

841
00:41:16,960 --> 00:41:19,560
Speaker 5: But we'd all been up for hours, you know. I was.

842
00:41:19,680 --> 00:41:21,640
Speaker 5: I got a couple of hours sleep in my station

843
00:41:21,760 --> 00:41:27,080
Speaker 5: wagon before I heard Lady the doorman know it was

844
00:41:27,200 --> 00:41:31,279
Speaker 5: Chipmunk up on stage, you know, and I said, I

845
00:41:31,360 --> 00:41:33,759
Speaker 5: grabbed my cameras and ran up there. And I'm standing right.

846
00:41:33,680 --> 00:41:37,359
Speaker 3: At the edge on stage. I had the big all

847
00:41:37,440 --> 00:41:38,320
Speaker 3: access pats.

848
00:41:38,360 --> 00:41:40,879
Speaker 5: I could go anywhere. All the other photographers were down

849
00:41:40,920 --> 00:41:42,520
Speaker 5: in the pit in front of the stage. But I

850
00:41:42,640 --> 00:41:46,759
Speaker 5: was like on stage Jimmy, and it was great, you know.

851
00:41:46,800 --> 00:41:49,879
Speaker 5: And then but the moment, the quintessential moment, was when

852
00:41:49,880 --> 00:41:54,359
Speaker 5: he started playing the Star Spangled Pann because I mean

853
00:41:54,400 --> 00:41:57,759
Speaker 5: here we were an army of peace and love hippies,

854
00:42:00,000 --> 00:42:03,200
Speaker 5: any of whom were susceptible to the draft with hell, no,

855
00:42:03,400 --> 00:42:05,680
Speaker 5: I'm not going to go over there and shoot strangers.

856
00:42:05,880 --> 00:42:08,759
Speaker 5: And for what, you know, we were peace and love brotherhood.

857
00:42:09,239 --> 00:42:12,400
Speaker 5: We were talking about angels, you know, and gurus and

858
00:42:12,480 --> 00:42:16,040
Speaker 5: Indian medicinemen and the good things in life, you know.

859
00:42:17,320 --> 00:42:19,319
Speaker 5: And so suddenly he started playing that song, and I

860
00:42:19,360 --> 00:42:21,360
Speaker 5: know my first reaction was, wait a minute.

861
00:42:21,480 --> 00:42:23,600
Speaker 3: You know, that's their song.

862
00:42:23,800 --> 00:42:27,440
Speaker 5: That's the official country, you know, that's the president and

863
00:42:27,480 --> 00:42:30,000
Speaker 5: the army and the hole. Y know, raw raw put

864
00:42:30,080 --> 00:42:32,839
Speaker 5: up the flag. That's the opposite of where we're at.

865
00:42:33,719 --> 00:42:36,480
Speaker 5: But then as he played in all those you know,

866
00:42:37,680 --> 00:42:42,000
Speaker 5: the sounds of war, yeah boom, you know, you're making

867
00:42:42,040 --> 00:42:44,920
Speaker 5: all the sounds that went with that song, and they

868
00:42:45,000 --> 00:42:48,880
Speaker 5: kind of thought, wait a minute, he's reclaiming it for us,

869
00:42:49,160 --> 00:42:52,879
Speaker 5: you know, because we were like looking at that four

870
00:42:52,960 --> 00:42:56,440
Speaker 5: hundred and four and fifty thousand people filling that whole basin,

871
00:42:56,560 --> 00:42:56,839
Speaker 5: you know.

872
00:42:57,040 --> 00:42:59,200
Speaker 3: Was and up to the top of the hill. It

873
00:42:59,360 --> 00:43:01,600
Speaker 3: was like like probably what the Sioux.

874
00:43:01,360 --> 00:43:04,000
Speaker 5: Indians felt like, you know, when they all got together.

875
00:43:03,840 --> 00:43:05,239
Speaker 3: And got rid of concert.

876
00:43:05,600 --> 00:43:08,359
Speaker 5: But I mean thousands of them, but they'd never been

877
00:43:08,400 --> 00:43:11,040
Speaker 5: that many together, you know, the same for us, you know,

878
00:43:12,000 --> 00:43:14,640
Speaker 5: and these were all peace and love hippies passing.

879
00:43:14,360 --> 00:43:16,720
Speaker 3: The joint, you know, shirts off, dancing.

880
00:43:17,280 --> 00:43:20,400
Speaker 5: I mean there were no fights, There was no negativity

881
00:43:20,880 --> 00:43:24,640
Speaker 5: because everybody was happy. You know. That was Michael Lang's

882
00:43:24,640 --> 00:43:28,080
Speaker 5: original idea, three days of peace and music, you know,

883
00:43:28,640 --> 00:43:32,000
Speaker 5: by Gully. He pulled it off. So Jimmy played that

884
00:43:32,080 --> 00:43:35,200
Speaker 5: song and then I thought, wow, yeah, he's reclaiming it.

885
00:43:35,320 --> 00:43:38,319
Speaker 5: So I never got a chance to ask him about it,

886
00:43:38,840 --> 00:43:41,439
Speaker 5: but I talked to his conga player a few years

887
00:43:41,480 --> 00:43:44,080
Speaker 5: ago on the fiftieth anniversary.

888
00:43:44,120 --> 00:43:46,080
Speaker 3: I was doing a talk with him.

889
00:43:46,560 --> 00:43:49,040
Speaker 5: He said, Yeah, we were in a rooming house near

890
00:43:49,080 --> 00:43:52,279
Speaker 5: there for a couple of weeks before the concert, and

891
00:43:52,360 --> 00:43:55,239
Speaker 5: he practiced that song every day, the star Spangled banner.

892
00:43:55,360 --> 00:43:58,360
Speaker 5: So it wasn't just a sing off the top of

893
00:43:58,400 --> 00:44:00,719
Speaker 5: his head. He had a reason he was a paratry for.

894
00:44:01,680 --> 00:44:03,640
Speaker 5: And you know, in later years I have come to

895
00:44:03,719 --> 00:44:07,280
Speaker 5: realize that the brilliance of that that whole thing, because

896
00:44:07,520 --> 00:44:11,400
Speaker 5: when Francis Scott Key wrote that song, he was up

897
00:44:11,440 --> 00:44:15,880
Speaker 5: on the hillside looking over Fort McHenry and the British

898
00:44:15,960 --> 00:44:22,160
Speaker 5: fleet in the bay bombarding Fort McHenry. Shoot, boom, boom.

899
00:44:22,400 --> 00:44:24,880
Speaker 5: You know all that was going on, shooting their cannons

900
00:44:25,719 --> 00:44:28,600
Speaker 5: and the flag was still waving, you know, so he

901
00:44:28,719 --> 00:44:32,200
Speaker 5: was recreating that whole thing, that whole ambience. You know,

902
00:44:32,360 --> 00:44:33,600
Speaker 5: that was brilliant. Wow.

903
00:44:34,200 --> 00:44:36,400
Speaker 4: Well, Henry, I got one last question for you. I

904
00:44:36,480 --> 00:44:41,560
Speaker 4: was thinking about this one and we could go on

905
00:44:41,719 --> 00:44:43,239
Speaker 4: forever taking this walk, but.

906
00:44:43,200 --> 00:44:46,279
Speaker 9: I was thinking, you know, we all have dreams that

907
00:44:47,040 --> 00:44:50,319
Speaker 9: you know, come out of nowhere in our our our

908
00:44:50,400 --> 00:44:54,960
Speaker 9: sleep patterns. Right, So do you ever have these dreams

909
00:44:55,040 --> 00:44:56,400
Speaker 9: where you.

910
00:44:56,280 --> 00:45:00,120
Speaker 6: Flash back to this moment with one of these you know,

911
00:45:00,200 --> 00:45:02,400
Speaker 6: I caught it figures and they're in the dream in

912
00:45:02,440 --> 00:45:03,400
Speaker 6: a different form.

913
00:45:03,480 --> 00:45:04,480
Speaker 4: Has that ever happened?

914
00:45:04,600 --> 00:45:06,920
Speaker 5: It has happened to me. Yeah, I'm a big, you know,

915
00:45:07,160 --> 00:45:11,160
Speaker 5: a big aficionado of dreams and you know what's happening

916
00:45:11,200 --> 00:45:12,719
Speaker 5: really on the other side and all.

917
00:45:12,840 --> 00:45:15,000
Speaker 3: But yeah, it's funny.

918
00:45:15,000 --> 00:45:18,719
Speaker 5: I have had like one dream of the Eagles, one

919
00:45:18,800 --> 00:45:21,239
Speaker 5: dream of the doors, one dream of Steven Still I

920
00:45:21,239 --> 00:45:23,880
Speaker 5: can I have one a year kind of and and

921
00:45:23,920 --> 00:45:26,880
Speaker 5: it's never a replay of something that happened. It's always

922
00:45:26,920 --> 00:45:28,920
Speaker 5: something else, you know. I mean, we're we're on the

923
00:45:29,000 --> 00:45:33,400
Speaker 5: road somewhere and something's happening. They're there. I see them. Generally,

924
00:45:33,440 --> 00:45:36,080
Speaker 5: my dreams are all people I don't know. You know,

925
00:45:37,280 --> 00:45:41,160
Speaker 5: there used to be dreams where I was late getting

926
00:45:41,200 --> 00:45:44,400
Speaker 5: to the train station. I had all my friends were

927
00:45:44,440 --> 00:45:46,279
Speaker 5: at the station waiting for the train, and I had

928
00:45:46,280 --> 00:45:50,240
Speaker 5: to get home and pack to get there. You know, really,

929
00:45:50,520 --> 00:45:53,600
Speaker 5: you know, where do they call those kind of dreams?

930
00:45:53,640 --> 00:45:57,839
Speaker 3: You know, uptight dreams? But then I do.

931
00:45:57,960 --> 00:46:00,799
Speaker 5: I have dreams where there's lots of people around and

932
00:46:00,840 --> 00:46:03,600
Speaker 5: I'm really good friend right there with everybody, but I

933
00:46:03,600 --> 00:46:07,560
Speaker 5: don't know who they are. They're nobody that I know. Yeah, yeah,

934
00:46:07,600 --> 00:46:09,239
Speaker 5: and I don't know. You know, some of it might

935
00:46:09,239 --> 00:46:10,960
Speaker 5: be in your brain. Some of it you might leave

936
00:46:11,000 --> 00:46:13,040
Speaker 5: your body and go to a place with a bunch

937
00:46:13,040 --> 00:46:16,160
Speaker 5: of people, right, So I don't know, But yeah, I

938
00:46:16,200 --> 00:46:18,680
Speaker 5: have had I know, I had a doors dream once,

939
00:46:18,680 --> 00:46:22,320
Speaker 5: so I could remember that I did, but it doesn't recur. Yeah,

940
00:46:22,560 --> 00:46:24,720
Speaker 5: just one time, and I don't even know why. Oh

941
00:46:24,760 --> 00:46:25,160
Speaker 5: my god.

942
00:46:25,520 --> 00:46:30,360
Speaker 9: Yeah, Well, but you have left an indelible mark on

943
00:46:30,520 --> 00:46:34,760
Speaker 9: me today, but on a multitude of generations.

944
00:46:34,800 --> 00:46:36,880
Speaker 4: Here with your amazing.

945
00:46:36,480 --> 00:46:42,400
Speaker 9: Word, your thoughtful eye, the way you made everybody that

946
00:46:42,480 --> 00:46:47,520
Speaker 9: you were photographing comfortable and the way you have sort

947
00:46:47,520 --> 00:46:50,160
Speaker 9: of captured all of that is just a part of

948
00:46:50,160 --> 00:46:52,000
Speaker 9: our life, and I really thank you.

949
00:46:52,200 --> 00:46:55,040
Speaker 3: It's just the byproduct of my own adventure.

950
00:46:55,200 --> 00:46:58,279
Speaker 5: Like I said before, I mean people used to say, oh, oh,

951
00:46:58,280 --> 00:47:01,560
Speaker 5: you're a photographer. Are you a profession? And without thinking,

952
00:47:01,600 --> 00:47:04,319
Speaker 5: I say no, you know no, I mean I don't

953
00:47:04,360 --> 00:47:07,160
Speaker 5: have a gallery, I don't have assistance, I don't have lights,

954
00:47:07,200 --> 00:47:09,160
Speaker 5: I don't have just a guy who likes to look

955
00:47:09,200 --> 00:47:13,080
Speaker 5: at things and take a picture of them. And you know, then,

956
00:47:13,360 --> 00:47:15,920
Speaker 5: you know, I took a course in existentialism, you know,

957
00:47:15,960 --> 00:47:18,040
Speaker 5: which is that took the moment? I mean, the past

958
00:47:18,080 --> 00:47:21,080
Speaker 5: has passed, the future is a dream or a pope

959
00:47:21,160 --> 00:47:24,200
Speaker 5: or a plan, but the only thing that's real is

960
00:47:24,280 --> 00:47:26,640
Speaker 5: the moment that we're in right now. And it kind

961
00:47:26,640 --> 00:47:29,160
Speaker 5: of then bothered me that I was known for all

962
00:47:29,200 --> 00:47:32,479
Speaker 5: these past moments. And then somebody said to me, yeah,

963
00:47:32,880 --> 00:47:36,279
Speaker 5: but you bring the past moments into the prison, and

964
00:47:36,360 --> 00:47:40,200
Speaker 5: I said, oh, okay, I can live with that. You know,

965
00:47:40,520 --> 00:47:41,800
Speaker 5: I can live with that.

966
00:47:42,000 --> 00:47:44,719
Speaker 3: But it is the older you get.

967
00:47:44,600 --> 00:47:47,399
Speaker 5: And the longer ago you took those pictures, it gets

968
00:47:47,400 --> 00:47:51,200
Speaker 5: more and more surreal. You know. I read the gurus.

969
00:47:51,200 --> 00:47:55,279
Speaker 5: I read the Indian gurus, Yoga Nanda, Swami, Sacha Donanda,

970
00:47:55,400 --> 00:47:58,319
Speaker 5: I mean, the Dalai Lama. I love books like that.

971
00:47:58,719 --> 00:48:01,399
Speaker 3: Books, books that.

972
00:48:01,360 --> 00:48:04,440
Speaker 5: Are spoken through people, you know, from the other side,

973
00:48:04,520 --> 00:48:08,080
Speaker 5: from archangels and from masters on the other side. They

974
00:48:08,160 --> 00:48:12,360
Speaker 5: speak to somebody and they dictate a book. I really

975
00:48:12,360 --> 00:48:16,480
Speaker 5: love all that stuff. You know. Some guru you know, said, hey,

976
00:48:16,840 --> 00:48:19,640
Speaker 5: when you leave, when you die, it's you know, I don't.

977
00:48:19,440 --> 00:48:21,399
Speaker 3: Like to use that word, because nobody does die.

978
00:48:21,480 --> 00:48:23,600
Speaker 5: You know, you buy, you drop your body, but your

979
00:48:23,600 --> 00:48:26,759
Speaker 5: spirit lives on and you do go to the other side.

980
00:48:27,520 --> 00:48:29,560
Speaker 3: And they said, it's no big deal. You walk into

981
00:48:29,560 --> 00:48:33,800
Speaker 3: the next room. That's you know, that's it. And so

982
00:48:34,000 --> 00:48:37,000
Speaker 3: I glibly tell that to everybody, and I believe it.

983
00:48:37,040 --> 00:48:39,520
Speaker 5: I mean, I'll be happy to get there and see.

984
00:48:39,680 --> 00:48:41,960
Speaker 3: You know, I've read a lot about it.

985
00:48:42,120 --> 00:48:44,560
Speaker 5: People die on the operating table and then they come back

986
00:48:44,600 --> 00:48:47,520
Speaker 5: and they say, wow, I can't describe the music. I

987
00:48:47,520 --> 00:48:50,840
Speaker 5: can't describe They're there for a couple of minutes. Sometimes

988
00:48:50,840 --> 00:48:52,719
Speaker 5: they say I saw that, and he said you have

989
00:48:52,800 --> 00:48:55,480
Speaker 5: to go back. One lady said, I was running over

990
00:48:55,520 --> 00:48:58,759
Speaker 5: a meadow but my feet weren't touching the ground. And

991
00:48:58,800 --> 00:49:01,120
Speaker 5: then somebody said, this is not your palm. You have

992
00:49:01,200 --> 00:49:03,680
Speaker 5: to go back, and you just want to be there,

993
00:49:03,840 --> 00:49:08,120
Speaker 5: you know. And then recently a dear lady friend of

994
00:49:08,120 --> 00:49:12,759
Speaker 5: mine for twenty years transitioned out of the sisicle, you know,

995
00:49:13,120 --> 00:49:16,120
Speaker 5: left your body, and it was only a couple of

996
00:49:16,200 --> 00:49:20,040
Speaker 5: weeks ago, and I suddenly said, Wow, It's one thing

997
00:49:20,080 --> 00:49:22,360
Speaker 5: to say, no big deal, you know, you're just welcome,

998
00:49:22,640 --> 00:49:24,680
Speaker 5: But when it's somebody who's a big part of your

999
00:49:24,680 --> 00:49:27,919
Speaker 5: life and they're gone and there's a big hole out there,

1000
00:49:27,960 --> 00:49:29,560
Speaker 5: you know, their energy is is just gone.

1001
00:49:29,760 --> 00:49:32,839
Speaker 3: That's so I'm working with that now.

1002
00:49:32,960 --> 00:49:36,080
Speaker 5: And what, as my spiritual teacher used to tell me,

1003
00:49:36,200 --> 00:49:40,160
Speaker 5: isn't it great? Isn't it great that we can deal

1004
00:49:40,280 --> 00:49:44,120
Speaker 5: with these things, you know, and and learn from these things?

1005
00:49:44,560 --> 00:49:49,120
Speaker 5: You know? One of my favorite Ghuruswami Sacha Donanda, he said,

1006
00:49:49,280 --> 00:49:50,760
Speaker 5: of course we're all here to learn.

1007
00:49:51,120 --> 00:49:55,040
Speaker 3: We know that, so therefore we're all students. But you

1008
00:49:55,040 --> 00:49:55,680
Speaker 3: should think of.

1009
00:49:55,680 --> 00:49:59,960
Speaker 5: Yourself as the only students and everybody, you mean, is

1010
00:50:00,120 --> 00:50:04,719
Speaker 5: huge for shure. Now that will change the valance of

1011
00:50:04,760 --> 00:50:07,360
Speaker 5: the day, you know what I mean, instead of you know,

1012
00:50:07,760 --> 00:50:10,040
Speaker 5: I mean, if somebody yells at you and yell back,

1013
00:50:10,120 --> 00:50:12,000
Speaker 5: you yell back, I mean, that's a waste.

1014
00:50:12,239 --> 00:50:15,200
Speaker 3: Instead, you know, you say thank you for telling me that.

1015
00:50:15,400 --> 00:50:18,480
Speaker 5: You know you're teaching me. Maybe they're just teaching you

1016
00:50:18,560 --> 00:50:21,640
Speaker 5: to deal with with that kind of a person, you know,

1017
00:50:21,760 --> 00:50:24,040
Speaker 5: but everybody can teach something.

1018
00:50:25,040 --> 00:50:26,160
Speaker 4: It's great peace and love.

1019
00:50:26,320 --> 00:50:27,480
Speaker 3: I'm dressing old hippie.

1020
00:50:27,520 --> 00:50:28,880
Speaker 5: You know, I really believe in it.

1021
00:50:30,080 --> 00:50:32,319
Speaker 9: Well, Henry Jill, it's an honor to meet you, and

1022
00:50:32,400 --> 00:50:34,560
Speaker 9: I'm so grateful that you took a walk with me.

1023
00:50:34,719 --> 00:50:37,799
Speaker 5: Thank you for everything. Sure thing, buzz my pleasure. This

1024
00:50:37,960 --> 00:50:38,279
Speaker 5: is great.

1025
00:50:38,320 --> 00:50:40,879
Speaker 3: Now we gotta we gotta walk ten miles back.

1026
00:50:44,280 --> 00:50:48,840
Speaker 1: Taking a Walk with Buzznight is available on Spotify, Apple

1027
00:50:48,880 --> 00:50:52,239
Speaker 5: Podcasts, or wherever you get your podcasts.