1 00:00:01,120 --> 00:00:02,600 Speaker 1: Podcast Playground. 2 00:00:07,680 --> 00:00:10,160 Speaker 2: Well on buzzz Night and this is the Taking a 3 00:00:10,200 --> 00:00:14,080 Speaker 2: Walk podcast music history on foot Love. 4 00:00:14,120 --> 00:00:17,960 Speaker 3: If you would leave us a review like Big League 5 00:00:18,040 --> 00:00:18,599 Speaker 3: Rick did. 6 00:00:19,000 --> 00:00:21,360 Speaker 2: He said, this guy buzz Night goes really deep with 7 00:00:21,440 --> 00:00:23,800 Speaker 2: his guests and he's actually taking a. 8 00:00:23,760 --> 00:00:24,439 Speaker 3: Walk with them. 9 00:00:24,600 --> 00:00:27,600 Speaker 2: It's like eavesdropping on a private conversation. 10 00:00:28,120 --> 00:00:28,920 Speaker 3: Well, thanks Rick. 11 00:00:29,200 --> 00:00:33,120 Speaker 2: We do love in person taking a walks, but sometimes 12 00:00:33,120 --> 00:00:35,479 Speaker 2: we have to revert to a virtual walk, like we 13 00:00:35,520 --> 00:00:39,239 Speaker 2: will on this episode. So if you listen, you know 14 00:00:39,320 --> 00:00:43,680 Speaker 2: we love documentaries. We had Spencer Profferon in a past 15 00:00:43,760 --> 00:00:47,800 Speaker 2: episode of Taken a Walk. He's a great documentary maker 16 00:00:48,080 --> 00:00:53,840 Speaker 2: known for Chasing Train among other great docs. Previously also 17 00:00:54,080 --> 00:00:59,360 Speaker 2: John Seinfeld, who did the recent Blood, Sweat and Tears documentary, 18 00:00:59,440 --> 00:01:02,560 Speaker 2: and he was on Taking a Walk. So on this 19 00:01:02,640 --> 00:01:06,080 Speaker 2: episode we're going to chat with Larry Locke. He's got 20 00:01:06,120 --> 00:01:11,080 Speaker 2: a new documentary called Heaven Stood Still, The Incarnations of 21 00:01:11,160 --> 00:01:15,040 Speaker 2: Willie Deville. Now, if you know who Willy was, you're 22 00:01:15,040 --> 00:01:17,160 Speaker 2: going to dig this. But if you don't, I think 23 00:01:17,200 --> 00:01:20,319 Speaker 2: you're still really going to be equally fascinated with the 24 00:01:20,440 --> 00:01:22,440 Speaker 2: unique personality. 25 00:01:21,959 --> 00:01:23,280 Speaker 3: Of Willie Deville. 26 00:01:23,560 --> 00:01:30,119 Speaker 2: We'll talk to Larry Locke next on taking a walk. Well, Hi, Larry, 27 00:01:30,240 --> 00:01:33,319 Speaker 2: thanks for being on virtually on taking a walk. 28 00:01:33,880 --> 00:01:36,360 Speaker 1: Well, thanks very much for inviting me on. It's great 29 00:01:36,360 --> 00:01:36,839 Speaker 1: to be here. 30 00:01:37,360 --> 00:01:39,119 Speaker 3: So tell the audience who this guy. 31 00:01:39,280 --> 00:01:47,560 Speaker 2: William Paul Borsey Junior was otherwise known as Willie Deville. 32 00:01:46,400 --> 00:01:49,760 Speaker 1: Billy Borcy ak Willy Deville, was a kid who grew 33 00:01:49,880 --> 00:01:53,440 Speaker 1: up at Stanford, Connecticut. He's a working class Irish kid 34 00:01:54,680 --> 00:01:56,680 Speaker 1: who grew up in a talent at that time was 35 00:01:56,760 --> 00:02:00,680 Speaker 1: very much an industrial kind of typical rush bill northeastern 36 00:02:00,880 --> 00:02:05,680 Speaker 1: US city. But he was someone who didn't really fit 37 00:02:05,760 --> 00:02:08,720 Speaker 1: in in the world that he grew up in, and 38 00:02:09,360 --> 00:02:11,440 Speaker 1: I think part of his childhood was the process of 39 00:02:11,480 --> 00:02:14,840 Speaker 1: him trying to figure out exactly who he was and 40 00:02:14,880 --> 00:02:18,560 Speaker 1: how he could express himself in a way that he 41 00:02:18,639 --> 00:02:24,000 Speaker 1: needed to do. So, He's a kid who basically reincarnated himself. 42 00:02:24,000 --> 00:02:29,239 Speaker 1: He reinvented himself into this character Willie Deville, who loved 43 00:02:29,560 --> 00:02:34,120 Speaker 1: primarily rock and roll music from the nineteen fifties and 44 00:02:34,320 --> 00:02:38,119 Speaker 1: who channeled that music to create something that was very 45 00:02:38,200 --> 00:02:41,960 Speaker 1: unique to himself and managed to have a thirty five 46 00:02:42,080 --> 00:02:45,320 Speaker 1: year career under the radar for the most part in 47 00:02:45,360 --> 00:02:49,120 Speaker 1: the US. But he became quite famous in Europe. In fact, 48 00:02:49,320 --> 00:02:52,480 Speaker 1: he toured all the way up until two thousand and nine, 49 00:02:53,400 --> 00:02:55,840 Speaker 1: two thousand and nine in Europe and was still drawing 50 00:02:55,840 --> 00:02:59,600 Speaker 1: fifteen hundred and two thousand people a night. Yet here 51 00:03:00,120 --> 00:03:03,920 Speaker 1: in his own country he's almost incredibly entirely unknown. 52 00:03:05,120 --> 00:03:09,640 Speaker 2: Well, I would say, coming out of the radio business 53 00:03:09,680 --> 00:03:13,919 Speaker 2: that I came out of, is it fair to say 54 00:03:14,200 --> 00:03:19,760 Speaker 2: he had an East coast following, certainly New York, Boston, 55 00:03:21,000 --> 00:03:23,280 Speaker 2: and then a West coast following as well. 56 00:03:24,400 --> 00:03:26,519 Speaker 1: I think that's very true. He lived for a while 57 00:03:26,560 --> 00:03:29,520 Speaker 1: in San Francisco before he came to New York, and 58 00:03:29,960 --> 00:03:32,880 Speaker 1: he always then had an audience for himself there and 59 00:03:32,919 --> 00:03:35,200 Speaker 1: in La He recorded a good number of his later 60 00:03:35,240 --> 00:03:37,840 Speaker 1: records in La so he definitely had a following there. 61 00:03:38,120 --> 00:03:40,960 Speaker 1: And he worked with a man named Jack Nietzschee who's 62 00:03:41,000 --> 00:03:45,400 Speaker 1: a famous music producer and a composer for motion pictures. 63 00:03:45,440 --> 00:03:48,400 Speaker 1: He won one Academy Order, maybe even two for his 64 00:03:48,560 --> 00:03:50,520 Speaker 1: music work, and so he had a following there, and 65 00:03:50,560 --> 00:03:53,000 Speaker 1: he also had He lived for a long time in 66 00:03:53,040 --> 00:03:55,800 Speaker 1: New Orleans, and he had a kind of following there. 67 00:03:55,840 --> 00:03:58,560 Speaker 1: Certainly musically he had a following there, So yeah, kind 68 00:03:58,560 --> 00:04:00,640 Speaker 1: of in these odd little pockets the country. 69 00:04:01,560 --> 00:04:04,680 Speaker 2: Well, your take on Stanford, Connecticut is very personal to 70 00:04:04,720 --> 00:04:10,720 Speaker 2: me as somebody who grew up there, the area nearby Belltown. 71 00:04:10,800 --> 00:04:14,800 Speaker 2: I lived in that area at one time, and I 72 00:04:14,880 --> 00:04:19,360 Speaker 2: know this quote of Willie's where he says, people in 73 00:04:19,400 --> 00:04:22,880 Speaker 2: Stanford don't get too far. That's a place where you die. 74 00:04:23,600 --> 00:04:28,560 Speaker 2: I mean, you are in Norwalk right now. Is that 75 00:04:28,600 --> 00:04:31,560 Speaker 2: where you grew up? In that Norwalk Stanford corridor. 76 00:04:32,800 --> 00:04:37,040 Speaker 1: No, I'm from the south, actually, But what happened was 77 00:04:37,160 --> 00:04:40,640 Speaker 1: when I was in graduate school, we lived my wife 78 00:04:40,640 --> 00:04:42,320 Speaker 1: and I lived for a brief period of time in 79 00:04:43,480 --> 00:04:47,200 Speaker 1: Springdale in Stanford, and I was communicating the city every day. 80 00:04:47,520 --> 00:04:49,919 Speaker 1: And so part of the lure to me about Willy 81 00:04:50,200 --> 00:04:52,880 Speaker 1: was that when I sort of read about him and 82 00:04:52,920 --> 00:04:55,480 Speaker 1: realized where he had grown up, I had a kind 83 00:04:55,520 --> 00:04:57,560 Speaker 1: of beat on him. You know, I kind of knew 84 00:04:57,560 --> 00:04:59,720 Speaker 1: the neighborhood, and by then I had met a number 85 00:04:59,720 --> 00:05:02,480 Speaker 1: of people who'd lived there forever, and so I had 86 00:05:02,520 --> 00:05:05,240 Speaker 1: a sense of kind of in some ways who he 87 00:05:05,640 --> 00:05:08,320 Speaker 1: was before he created this character for himself. And so 88 00:05:08,360 --> 00:05:10,880 Speaker 1: that was very intriguing to me about how this kid 89 00:05:10,920 --> 00:05:13,800 Speaker 1: from that particular area in Belltown of course that's where 90 00:05:13,800 --> 00:05:18,080 Speaker 1: he actually grew up. That really sort of registered with me, 91 00:05:18,120 --> 00:05:19,680 Speaker 1: and so I thought, how did he do this? How 92 00:05:19,720 --> 00:05:23,200 Speaker 1: did he come from this place? How did he form 93 00:05:23,279 --> 00:05:26,039 Speaker 1: himself out of you know, of these materials he met 94 00:05:26,080 --> 00:05:28,440 Speaker 1: in this world. Now, Stanford, of course was always a 95 00:05:28,440 --> 00:05:30,640 Speaker 1: little bit, as you know, of two places. It was 96 00:05:30,720 --> 00:05:33,520 Speaker 1: both a kind of industrial town, but it was always 97 00:05:33,560 --> 00:05:36,600 Speaker 1: a commuter town for New York City too, so it 98 00:05:36,640 --> 00:05:39,800 Speaker 1: was split halfway between people who worked in factories and 99 00:05:39,839 --> 00:05:42,440 Speaker 1: Willy's mother, of course, worked in a factory, and halfway 100 00:05:42,520 --> 00:05:44,840 Speaker 1: between people who were executives actually and worked in New 101 00:05:44,880 --> 00:05:45,920 Speaker 1: York City during the day. 102 00:05:47,200 --> 00:05:52,520 Speaker 2: Well, you really nailed Stanford in particular this place called 103 00:05:52,560 --> 00:05:57,200 Speaker 2: the Avon Theater, which is also very familiar because that's 104 00:05:57,240 --> 00:06:01,520 Speaker 2: where everything kind of shook up and Willie's world when 105 00:06:01,560 --> 00:06:03,960 Speaker 2: he first saw a West Side story. 106 00:06:03,960 --> 00:06:04,960 Speaker 3: Can you talk about that? 107 00:06:05,920 --> 00:06:09,760 Speaker 1: Yes, very much. You know, I think oftentimes with artists 108 00:06:09,800 --> 00:06:12,960 Speaker 1: and a lot of people who in the world who'd 109 00:06:13,000 --> 00:06:15,640 Speaker 1: gone to do things often have some sort of seminal 110 00:06:16,080 --> 00:06:18,080 Speaker 1: experience they can call, you know, they can recall in 111 00:06:18,120 --> 00:06:21,200 Speaker 1: their minds where something clicked, something changed from one place 112 00:06:21,200 --> 00:06:24,280 Speaker 1: to another. And I think for him it was definitely 113 00:06:24,320 --> 00:06:27,920 Speaker 1: seeing West Side Story in the theater at that time 114 00:06:27,920 --> 00:06:29,640 Speaker 1: when it was such a huge thing. It's hard for 115 00:06:29,720 --> 00:06:32,360 Speaker 1: I think people to even comprehend how big a deal 116 00:06:32,400 --> 00:06:35,000 Speaker 1: West Side Story was to people when it came out 117 00:06:35,200 --> 00:06:37,760 Speaker 1: at that time in the early nineteen sixties. It was 118 00:06:37,839 --> 00:06:40,719 Speaker 1: really kind of a revolutionary film. And I think, you know, 119 00:06:40,760 --> 00:06:43,120 Speaker 1: this is something that I've sort of learned about that 120 00:06:43,160 --> 00:06:45,719 Speaker 1: I didn't really know before, was that in the world 121 00:06:45,720 --> 00:06:48,920 Speaker 1: of that time, especially in the suburbs, people were sort 122 00:06:48,960 --> 00:06:51,560 Speaker 1: of vited up into two camps. One camp was called 123 00:06:51,560 --> 00:06:54,719 Speaker 1: the greasers, basically people who sort of took from that 124 00:06:54,800 --> 00:06:56,680 Speaker 1: era that we know from the nineteen fifties. And then 125 00:06:56,680 --> 00:06:59,400 Speaker 1: the other world was the preppiest they called themselves, which 126 00:06:59,400 --> 00:07:03,279 Speaker 1: are essentially people who are much more sort of normal track, 127 00:07:03,440 --> 00:07:06,240 Speaker 1: people who would go on to college, be your class presidents, 128 00:07:06,279 --> 00:07:08,240 Speaker 1: et cetera. Have a certain and there was a kind 129 00:07:08,279 --> 00:07:10,960 Speaker 1: of a uniform to it, right. Greecers, of course, wear 130 00:07:11,240 --> 00:07:13,600 Speaker 1: more and more leather, black leather. They had their hair 131 00:07:13,720 --> 00:07:16,840 Speaker 1: grease and pompadoors, et cetera, whereas preppings were much more 132 00:07:16,840 --> 00:07:19,240 Speaker 1: of the sixty style, wearing the sort of you know, 133 00:07:19,360 --> 00:07:23,080 Speaker 1: typical kind of button down shirts, khaki pants, et cetera. 134 00:07:23,440 --> 00:07:27,440 Speaker 1: And so Willy definitely identified himself as a greaser. And 135 00:07:27,560 --> 00:07:31,120 Speaker 1: Willy was he often thought of himself as black Irish. 136 00:07:31,240 --> 00:07:34,440 Speaker 1: I don't know if all your audience understands what it 137 00:07:34,480 --> 00:07:37,240 Speaker 1: means to be called a black irishman. A black irishman. 138 00:07:38,400 --> 00:07:42,160 Speaker 1: They called themselves the descendants of the Armada, Spanish Armada 139 00:07:42,520 --> 00:07:45,360 Speaker 1: that you know, went down off the coast of Ireland 140 00:07:45,360 --> 00:07:48,640 Speaker 1: in that war, and some people slammed the shore, and 141 00:07:48,720 --> 00:07:52,520 Speaker 1: those those people then of course bred with the Irish 142 00:07:52,520 --> 00:07:56,040 Speaker 1: people and they created what were darker skinned Irish. And 143 00:07:56,080 --> 00:07:58,560 Speaker 1: will he always thought of himself as stat and I 144 00:07:58,560 --> 00:08:02,760 Speaker 1: think the phil then leads Finn. Lizzie also identified himself 145 00:08:02,840 --> 00:08:04,840 Speaker 1: that way, so he and Willie became friends later. But 146 00:08:04,920 --> 00:08:06,960 Speaker 1: that was also so really thought of himself as a 147 00:08:07,040 --> 00:08:09,520 Speaker 1: bit of what we call black sheep as well. So 148 00:08:10,760 --> 00:08:13,280 Speaker 1: he really played on that idea of the If you 149 00:08:13,360 --> 00:08:14,880 Speaker 1: look at the pictures of him in high school, and 150 00:08:14,880 --> 00:08:16,920 Speaker 1: there's a couple of them in the film, you see 151 00:08:17,000 --> 00:08:20,119 Speaker 1: him like in a class picture, say in eighth grade, 152 00:08:20,200 --> 00:08:22,640 Speaker 1: and he just looks different than everybody else, and he 153 00:08:22,760 --> 00:08:26,600 Speaker 1: purposely addresses himself differently. So already he saw himself as 154 00:08:27,480 --> 00:08:30,800 Speaker 1: counter to his classnings, etc. And Westside Story put that 155 00:08:30,880 --> 00:08:35,640 Speaker 1: on fire. Like he totally identified with the Puerto Rican characters, 156 00:08:35,760 --> 00:08:38,719 Speaker 1: not with the white characters in the film, and that 157 00:08:38,920 --> 00:08:42,640 Speaker 1: became really for the most part, he embodied that character 158 00:08:42,800 --> 00:08:45,120 Speaker 1: for the next fifteen to twenty years of his life. 159 00:08:46,440 --> 00:08:54,000 Speaker 2: Well, the documentary goes deep into the relationship with his 160 00:08:54,720 --> 00:09:00,320 Speaker 2: wife to be, Susan Burrow, otherwise known as Tutz Hoods. 161 00:09:00,600 --> 00:09:02,160 Speaker 3: I guess I should say Toots. 162 00:09:03,559 --> 00:09:06,920 Speaker 2: Who I was familiar with as well, because I had 163 00:09:06,960 --> 00:09:11,679 Speaker 2: the opportunity to see Willie perform in New York, and 164 00:09:12,559 --> 00:09:16,160 Speaker 2: we knew about Tuts from the record label folks. But 165 00:09:17,080 --> 00:09:22,640 Speaker 2: talk about how you explored the life of Tuts and Willie, Well. 166 00:09:22,520 --> 00:09:24,760 Speaker 1: You know, it's funny. They both they both were in 167 00:09:24,840 --> 00:09:27,280 Speaker 1: some ways. I wouldn't call them like misfists, but they 168 00:09:27,320 --> 00:09:32,040 Speaker 1: were outsiders. I mean, Tuts was adopted, right, and so 169 00:09:32,520 --> 00:09:37,199 Speaker 1: she was raised by a very successful person, a man 170 00:09:37,240 --> 00:09:39,880 Speaker 1: in a textile trade who lived they lived in North Stanford, 171 00:09:40,200 --> 00:09:43,200 Speaker 1: and she was a boarding school child. Like basically at 172 00:09:43,200 --> 00:09:45,040 Speaker 1: a certain age she was shipped off to a boarding 173 00:09:45,080 --> 00:09:48,520 Speaker 1: school in western Massachusetts. Willia and Toots actually met in 174 00:09:48,600 --> 00:09:52,040 Speaker 1: the sixth grade, so they knew each other even as 175 00:09:52,080 --> 00:09:54,599 Speaker 1: like ten eleven twelve year olds. But then she was 176 00:09:54,679 --> 00:09:57,880 Speaker 1: sort of ostracized for a good number of years. And 177 00:09:58,280 --> 00:10:01,800 Speaker 1: then they re met when WILLI had quit school but 178 00:10:02,040 --> 00:10:04,839 Speaker 1: was back in Stanford in the later nineteen sixties through 179 00:10:04,920 --> 00:10:07,760 Speaker 1: the heats of one of Willie's friends, Lynda Nathy, and 180 00:10:08,280 --> 00:10:12,400 Speaker 1: they evidently, you know, met and were married like in 181 00:10:12,520 --> 00:10:15,480 Speaker 1: two weeks. It was like a boom boom boom thing. 182 00:10:15,679 --> 00:10:18,280 Speaker 1: And I think, you know, they were soulmates. And I 183 00:10:18,400 --> 00:10:23,640 Speaker 1: think that they were both looking to be artists. I 184 00:10:23,720 --> 00:10:25,959 Speaker 1: think Tuts very much thought of herself as an artist. 185 00:10:26,400 --> 00:10:30,400 Speaker 1: I think the visualization. I mean, it's funny when I've 186 00:10:30,400 --> 00:10:32,720 Speaker 1: talked to a lot of people over time, especially from 187 00:10:32,760 --> 00:10:37,480 Speaker 1: the CBGV days, they found Twots to being is fascinating 188 00:10:37,559 --> 00:10:39,440 Speaker 1: or more fascinating than Willy in a lot of ways. 189 00:10:39,720 --> 00:10:41,600 Speaker 1: She had an edge about her, a little bit danger 190 00:10:41,679 --> 00:10:45,439 Speaker 1: about her. She was notorious for carrying a switchblade. She 191 00:10:45,600 --> 00:10:49,280 Speaker 1: was extremely jealous of women who would Willie was a 192 00:10:49,360 --> 00:10:52,559 Speaker 1: very good looking guy, so obviously he's the frontman of 193 00:10:52,600 --> 00:10:55,080 Speaker 1: a band, and women would also, you know, they would 194 00:10:55,080 --> 00:10:59,800 Speaker 1: certainly make their move on Willie, and she was very defensive. 195 00:11:00,120 --> 00:11:02,760 Speaker 1: She did threaten more than one person, you know, to 196 00:11:02,840 --> 00:11:05,480 Speaker 1: cut them basically with a knife, that they got too close, 197 00:11:05,559 --> 00:11:08,280 Speaker 1: and I know it's Chris Franz talked to forever talking hessting, 198 00:11:08,559 --> 00:11:13,199 Speaker 1: they drummer. He talked forever about foots and how you know, 199 00:11:13,440 --> 00:11:16,160 Speaker 1: people say, she'll cut your dad. Look, she'll cut you. 200 00:11:16,559 --> 00:11:18,959 Speaker 1: So she she in some ways was as famous in 201 00:11:19,040 --> 00:11:22,560 Speaker 1: those days as here. She was ahead of her time 202 00:11:22,600 --> 00:11:26,120 Speaker 1: in the way she looks. She very much you would 203 00:11:26,160 --> 00:11:29,079 Speaker 1: say that she's sort of Amy Winehouse before there was 204 00:11:29,120 --> 00:11:33,120 Speaker 1: an Amy Winehouse, both of them, pulling from the you know, 205 00:11:33,200 --> 00:11:35,400 Speaker 1: the run apps, et cetera from the early nineteen sixties 206 00:11:35,440 --> 00:11:39,719 Speaker 1: and behind hair. She wore nose rings before even the 207 00:11:39,760 --> 00:11:42,280 Speaker 1: punk era. But at the same time she had a 208 00:11:42,360 --> 00:11:46,680 Speaker 1: really dark ruby red ruby lipstick ak the sixties early 209 00:11:46,800 --> 00:11:49,480 Speaker 1: sixties girl bands. So she was a combination of these 210 00:11:49,520 --> 00:11:53,280 Speaker 1: things she put together. She dressed Willie very much a 211 00:11:53,360 --> 00:11:55,880 Speaker 1: lot of the way that Willie looked in the early days, 212 00:11:55,880 --> 00:11:58,280 Speaker 1: with the purple suit and the tie and the pampador 213 00:11:58,679 --> 00:12:02,240 Speaker 1: to a larger cree. Was her creating that image with him. 214 00:12:03,160 --> 00:12:06,079 Speaker 1: She believed in him a thousand percent, and I don't think. 215 00:12:06,280 --> 00:12:09,720 Speaker 1: I'm not sure that Willie would have ever broken free 216 00:12:10,040 --> 00:12:13,440 Speaker 1: of the early days in Stanford and New York area. 217 00:12:13,480 --> 00:12:15,319 Speaker 1: It wasn't for her. I think she put him on 218 00:12:15,400 --> 00:12:18,000 Speaker 1: the road. As one woman in the film Lyndon Nade 219 00:12:18,040 --> 00:12:20,679 Speaker 1: he said she pushed him, and so a lot of 220 00:12:20,720 --> 00:12:24,840 Speaker 1: what happened with Willie was really twitch, I think, pushing 221 00:12:24,920 --> 00:12:27,640 Speaker 1: him along, even helping him a little bit with lyrics, etc. 222 00:12:28,600 --> 00:12:31,559 Speaker 1: And so I don't think you could really have a 223 00:12:31,600 --> 00:12:34,440 Speaker 1: Willie Deville without a Susan Touts Deville. 224 00:12:35,960 --> 00:12:36,200 Speaker 3: Listen. 225 00:12:36,280 --> 00:12:38,920 Speaker 2: I was in awe of Willie when we got to 226 00:12:39,520 --> 00:12:44,439 Speaker 2: do the backstage meet up, but I was frightened of Toots. 227 00:12:46,920 --> 00:12:50,800 Speaker 1: Not gonna lie. You know, I think I'm sorry from that. 228 00:12:50,920 --> 00:12:52,880 Speaker 1: She had a very course all of us are much 229 00:12:52,920 --> 00:12:55,840 Speaker 1: more complex than we up here. When she was off 230 00:12:56,080 --> 00:12:59,680 Speaker 1: and she trusted you, she was a very sweet, almost 231 00:13:00,040 --> 00:13:03,000 Speaker 1: otherly like character. Like band members talk about the fact 232 00:13:03,000 --> 00:13:05,439 Speaker 1: that she would, you know, very much like mother them, 233 00:13:05,880 --> 00:13:08,800 Speaker 1: like always make sure that their suits are right, in 234 00:13:08,840 --> 00:13:11,120 Speaker 1: their clothes are right, and so she had this other 235 00:13:11,240 --> 00:13:14,559 Speaker 1: very nurturing side as well. But you know, I think 236 00:13:14,640 --> 00:13:16,400 Speaker 1: the other part of you know, she was a classic 237 00:13:16,480 --> 00:13:20,559 Speaker 1: Jeckelnehyde character in that sense. But it's funny. I'm a 238 00:13:20,600 --> 00:13:22,640 Speaker 1: lot of the band members loved her very dearly, and 239 00:13:22,760 --> 00:13:24,679 Speaker 1: there are a lot of people who, you know, it 240 00:13:25,320 --> 00:13:26,839 Speaker 1: wasn't just the other side. I think that side of 241 00:13:26,880 --> 00:13:29,560 Speaker 1: her was like I don't wouldn't say it was purposeful. 242 00:13:29,679 --> 00:13:32,040 Speaker 1: I think that was really her too. But I think 243 00:13:32,080 --> 00:13:34,240 Speaker 1: she was both. I think she was both. And of 244 00:13:34,320 --> 00:13:37,079 Speaker 1: course you know they struggled with addiction and that didn't 245 00:13:37,120 --> 00:13:37,800 Speaker 1: help things either. 246 00:13:38,760 --> 00:13:45,319 Speaker 2: Well, how do you decide to take on such a complicated, talented, 247 00:13:46,440 --> 00:13:50,280 Speaker 2: diversely interested character in a documentary? 248 00:13:51,200 --> 00:13:54,319 Speaker 1: Well, I think, you know, you always think about these 249 00:13:54,360 --> 00:13:58,080 Speaker 1: things in terms of a question. I think that art 250 00:13:58,160 --> 00:14:01,959 Speaker 1: in general is essentially almost every piece of artist is 251 00:14:01,960 --> 00:14:04,000 Speaker 1: built around a certain question. The question to me was 252 00:14:04,480 --> 00:14:08,679 Speaker 1: how could somebody this great be so unknown still in 253 00:14:08,800 --> 00:14:13,319 Speaker 1: this country? And I think when he passed away in 254 00:14:13,400 --> 00:14:16,520 Speaker 1: two thousand and nine, I read the obituary by William 255 00:14:16,559 --> 00:14:19,960 Speaker 1: Grimes of New York Times and it was a really 256 00:14:20,120 --> 00:14:24,160 Speaker 1: in depth obituary. And I had lived for a good 257 00:14:24,200 --> 00:14:27,000 Speaker 1: while in Athens, Georgia. I had gone to undergraduate school 258 00:14:27,000 --> 00:14:29,760 Speaker 1: tennis in Georgia, and so I was very much aware 259 00:14:29,840 --> 00:14:32,560 Speaker 1: of music, especially in the nineteen eighties, because a lot 260 00:14:32,640 --> 00:14:35,520 Speaker 1: of the people who therem and some of the other 261 00:14:35,640 --> 00:14:38,280 Speaker 1: bands from that era were actually, you know, neighbors, and 262 00:14:38,400 --> 00:14:40,960 Speaker 1: so we were very much in that world. And I 263 00:14:41,040 --> 00:14:44,680 Speaker 1: felt like I had a pretty good knowledge of music 264 00:14:44,760 --> 00:14:49,400 Speaker 1: at that time, and I had remembered him from Mindaville early, 265 00:14:49,680 --> 00:14:53,240 Speaker 1: but I had totally lost track of him over all 266 00:14:53,280 --> 00:14:56,880 Speaker 1: those years, and even my memory was faded and it 267 00:14:57,000 --> 00:14:59,600 Speaker 1: wasn't never strong to begin with, really, So when I 268 00:14:59,680 --> 00:15:02,040 Speaker 1: read and I read about the fact that not only 269 00:15:02,120 --> 00:15:03,840 Speaker 1: did he have he was he was sort of like 270 00:15:03,960 --> 00:15:07,920 Speaker 1: them a character, like the Forrest Gump character. He's kind 271 00:15:07,960 --> 00:15:10,240 Speaker 1: of like in every little world. You just didn't know it. 272 00:15:10,360 --> 00:15:12,240 Speaker 1: I mean, I didn't realize he had written the theme 273 00:15:12,320 --> 00:15:15,560 Speaker 1: to The Princess Bride. You know who knew? I mean people, 274 00:15:15,640 --> 00:15:17,680 Speaker 1: I think for the most part thought that was Mark Knopfler, 275 00:15:17,800 --> 00:15:19,680 Speaker 1: but it was Willie. And only that he didn't even 276 00:15:19,680 --> 00:15:21,080 Speaker 1: write it for the movie. He wrote it for his 277 00:15:21,160 --> 00:15:24,880 Speaker 1: second wife, right, I mean, he was at CBGB and 278 00:15:25,320 --> 00:15:27,880 Speaker 1: yet you didn't really remember him from CBGB's yet. He 279 00:15:28,000 --> 00:15:31,320 Speaker 1: was one of the major Bandsman Deville at CBGB's and 280 00:15:31,440 --> 00:15:34,520 Speaker 1: then he had this incredible, like thirty year career in 281 00:15:34,600 --> 00:15:38,400 Speaker 1: Europe where he sold a million records, had these huge hits, 282 00:15:38,600 --> 00:15:41,880 Speaker 1: was a star. Everybody knew him, and so it was 283 00:15:41,960 --> 00:15:45,440 Speaker 1: this dichotomy between these worlds, and I thought, this is 284 00:15:45,480 --> 00:15:48,720 Speaker 1: an incredible story. I mean, this is a story. You know, 285 00:15:48,800 --> 00:15:52,960 Speaker 1: there are not a lot of untold stories in music anymore, 286 00:15:53,440 --> 00:15:56,280 Speaker 1: and he was one that I thought, He's a real 287 00:15:56,440 --> 00:15:59,840 Speaker 1: untold story. I mean and not just like somebody who 288 00:16:00,080 --> 00:16:02,560 Speaker 1: you know, cut a shirt of wood or he was 289 00:16:02,720 --> 00:16:05,840 Speaker 1: really great. I mean, he was a great untold story. 290 00:16:06,000 --> 00:16:09,240 Speaker 1: So it then became why is he an untold story? 291 00:16:09,560 --> 00:16:11,520 Speaker 1: And that's really where it started, and you know, it's 292 00:16:11,560 --> 00:16:12,720 Speaker 1: a ten year process. 293 00:16:13,760 --> 00:16:16,200 Speaker 2: Well, the label really didn't know what to do with him. 294 00:16:16,440 --> 00:16:21,800 Speaker 2: They were working him at various angles and clearly could 295 00:16:21,880 --> 00:16:25,000 Speaker 2: not find an entry point. I guess if you think 296 00:16:25,040 --> 00:16:28,080 Speaker 2: about it's somebody who you know had the personas of 297 00:16:29,680 --> 00:16:34,640 Speaker 2: everything from a Latin street crooner to a fairy tale prince, 298 00:16:36,360 --> 00:16:40,960 Speaker 2: to a riverboat gambler to a border jumper. 299 00:16:42,400 --> 00:16:44,840 Speaker 3: He is marching to his own beach, you have to admit. 300 00:16:46,240 --> 00:16:49,680 Speaker 1: And I think, you know, it's funny in a lot 301 00:16:49,720 --> 00:16:53,320 Speaker 1: of ways. I think that's what really was appealing to 302 00:16:53,440 --> 00:16:58,600 Speaker 1: me because you know so much, especially in this country, 303 00:17:00,520 --> 00:17:03,880 Speaker 1: we're sort of a consumer culture, and to a large degree, 304 00:17:04,800 --> 00:17:07,280 Speaker 1: music is packaged not that much differently than any other 305 00:17:07,359 --> 00:17:10,880 Speaker 1: consumer product. Not always the case, but often the case. 306 00:17:10,960 --> 00:17:13,800 Speaker 1: And I think from Willy's point of view, but WILLI 307 00:17:13,920 --> 00:17:16,320 Speaker 1: was saying, I don't know if he's saying it consciously 308 00:17:16,640 --> 00:17:18,920 Speaker 1: or if he can even help it, because I think 309 00:17:18,960 --> 00:17:20,840 Speaker 1: really very much would have liked to have been more famous. 310 00:17:20,880 --> 00:17:23,200 Speaker 1: I don't think it was sort of like he was like, well, 311 00:17:23,280 --> 00:17:26,440 Speaker 1: I don't care. I don't think he could. I don't 312 00:17:26,520 --> 00:17:31,000 Speaker 1: think that. I think he to get Willy, you have 313 00:17:31,200 --> 00:17:34,920 Speaker 1: to walk to Willy, right, Willie's only going to walk 314 00:17:34,960 --> 00:17:38,040 Speaker 1: to you so much, And I think it makes you 315 00:17:38,160 --> 00:17:40,439 Speaker 1: think about how you should look at art in general. 316 00:17:41,000 --> 00:17:44,760 Speaker 1: To me, it's like you, as an audience member, have 317 00:17:44,840 --> 00:17:48,119 Speaker 1: a certain responsibility to walk to them, because if you 318 00:17:48,320 --> 00:17:51,000 Speaker 1: do that, you're going to get an experience that you 319 00:17:51,200 --> 00:17:55,560 Speaker 1: can't predict. Otherwise you're getting experience you already kind of know, 320 00:17:56,320 --> 00:17:58,280 Speaker 1: you know. And I think from Willie's point of view 321 00:17:58,440 --> 00:18:01,480 Speaker 1: that was I don't know really consciously was that way, 322 00:18:01,560 --> 00:18:05,560 Speaker 1: but he just couldn't do it. He couldn't not do 323 00:18:05,760 --> 00:18:07,840 Speaker 1: what he wanted to do when he wanted to do it, 324 00:18:08,359 --> 00:18:11,080 Speaker 1: and of course I think that's a very difficult thing 325 00:18:11,119 --> 00:18:13,800 Speaker 1: to do. And also it wasn't just he was so virtuous. 326 00:18:14,160 --> 00:18:16,440 Speaker 1: I mean, will he could be lazy. Will he could 327 00:18:16,480 --> 00:18:18,280 Speaker 1: you know, he had issues. There were lots of other 328 00:18:18,359 --> 00:18:21,320 Speaker 1: things too. It wasn't like one story. But in the end, 329 00:18:22,040 --> 00:18:24,200 Speaker 1: what makes really great, and I think why Willy is 330 00:18:24,320 --> 00:18:28,440 Speaker 1: so loved by so many famous musicians, is that he 331 00:18:28,640 --> 00:18:31,879 Speaker 1: stuck to his guns. He did exactly what he wanted 332 00:18:31,920 --> 00:18:37,199 Speaker 1: to do for thirty five years, and that, despite all 333 00:18:37,280 --> 00:18:40,080 Speaker 1: his foibles, to me, makes him a great story. 334 00:18:41,080 --> 00:18:44,000 Speaker 3: Yeah. You referenced the Savoy Show. 335 00:18:45,440 --> 00:18:49,119 Speaker 2: In New York in nineteen eighty one, and my recollection 336 00:18:49,280 --> 00:18:54,399 Speaker 2: of that show was, like I've heard of other Willie shows. 337 00:18:55,680 --> 00:18:59,399 Speaker 2: He came out about forty five minutes late, I believe, 338 00:19:01,119 --> 00:19:07,680 Speaker 2: put on a spectacular performance that was energizing and spirited, 339 00:19:08,359 --> 00:19:14,159 Speaker 2: and I remember it ended at about eleven thirty and 340 00:19:14,320 --> 00:19:18,119 Speaker 2: there was this hubbub in terms of picking up, you know, 341 00:19:18,320 --> 00:19:22,600 Speaker 2: all the instruments and everything for the next act, who 342 00:19:23,240 --> 00:19:26,879 Speaker 2: only had fifteen minutes to get his whole band and 343 00:19:26,960 --> 00:19:28,120 Speaker 2: everything together. 344 00:19:28,119 --> 00:19:32,800 Speaker 3: And that was James Brown. So for the Midnight Show. 345 00:19:33,280 --> 00:19:34,440 Speaker 1: I didn't know that that's the story. 346 00:19:34,520 --> 00:19:36,800 Speaker 3: I didn't know talk about. 347 00:19:36,560 --> 00:19:40,880 Speaker 2: Some of the songs which you highlighted, because that's special 348 00:19:41,040 --> 00:19:44,119 Speaker 2: that you brought these songs back certainly to my memory, 349 00:19:44,160 --> 00:19:46,639 Speaker 2: and I think to others, well, I. 350 00:19:46,720 --> 00:19:49,040 Speaker 1: Think I wanted to kind of do you know. The 351 00:19:49,119 --> 00:19:51,520 Speaker 1: film is a chronological story of his life, and so 352 00:19:52,160 --> 00:19:54,800 Speaker 1: I was really very much looking for what I thought 353 00:19:54,960 --> 00:19:59,399 Speaker 1: were the best performances and for songs that meant something 354 00:19:59,480 --> 00:20:02,600 Speaker 1: to him certain point in time. Obviously, Mixed Up Shook 355 00:20:02,680 --> 00:20:08,240 Speaker 1: Up Girl is still, I think overall, the most popular 356 00:20:08,320 --> 00:20:10,000 Speaker 1: song that he ever made, and the song that I 357 00:20:10,040 --> 00:20:13,800 Speaker 1: think still has has a certain residence even to younger audiences. 358 00:20:13,840 --> 00:20:16,200 Speaker 1: I'm surprised in a lot of ways that some younger 359 00:20:16,280 --> 00:20:18,360 Speaker 1: person hasn't done that. I know that, you know, Boss 360 00:20:18,440 --> 00:20:21,520 Speaker 1: Gags did it a few years ago as a remake, 361 00:20:21,640 --> 00:20:24,240 Speaker 1: and people have done it. I think Dennis Brennan sings 362 00:20:24,280 --> 00:20:27,119 Speaker 1: it in Boston at times, right, he's you know, but 363 00:20:27,640 --> 00:20:29,200 Speaker 1: but I think that's a song kind of right to 364 00:20:29,280 --> 00:20:32,520 Speaker 1: be done by somebody New Spanish Stroll Obviously, it's funny. 365 00:20:32,520 --> 00:20:37,240 Speaker 1: When we had the premiere in London, in November. Spanish 366 00:20:37,240 --> 00:20:40,199 Speaker 1: Stroll was a hit in England and and a lot 367 00:20:40,280 --> 00:20:42,040 Speaker 1: of the audience that came out and it was a 368 00:20:42,160 --> 00:20:45,479 Speaker 1: packed house in London and really really was only famous 369 00:20:45,560 --> 00:20:48,920 Speaker 1: for a few years in England. I could have I 370 00:20:48,960 --> 00:20:51,040 Speaker 1: could have ended the film after we opened a film 371 00:20:51,080 --> 00:20:53,919 Speaker 1: with a performance of that song. We could have walked 372 00:20:53,920 --> 00:20:56,320 Speaker 1: out after that, because they were jumping in their seats. 373 00:20:56,720 --> 00:21:00,320 Speaker 1: I mean, it still was resonating with them, you know, 374 00:21:00,480 --> 00:21:03,160 Speaker 1: So those songs. Of course at the start, I wanted 375 00:21:03,240 --> 00:21:05,720 Speaker 1: obviously to have something from with Shat Blue. The Shat 376 00:21:05,760 --> 00:21:08,200 Speaker 1: Blue was the record really in a lot of ways, 377 00:21:08,240 --> 00:21:14,240 Speaker 1: maybe Willie's most artistically ambitious record right that he went 378 00:21:14,280 --> 00:21:16,640 Speaker 1: to Paris to make, and he had many songs from 379 00:21:16,680 --> 00:21:21,000 Speaker 1: the great songwriter Palmas who wrote Viva las Vegas, Save 380 00:21:21,040 --> 00:21:23,480 Speaker 1: the lasch Dance for Me, etc. I wanted, of course 381 00:21:23,560 --> 00:21:25,800 Speaker 1: to have a performance and from we use as a 382 00:21:25,840 --> 00:21:27,520 Speaker 1: voice show. We used that this must be the night 383 00:21:27,560 --> 00:21:31,440 Speaker 1: because this is a joyous song. Joyous and you know, 384 00:21:31,600 --> 00:21:34,639 Speaker 1: as the great Tom Jurik writer and film says, you know, 385 00:21:34,840 --> 00:21:40,600 Speaker 1: incredibly completely romantic in a totally non romantic era for 386 00:21:40,720 --> 00:21:42,600 Speaker 1: people to do. Remember, it was a very cynical and 387 00:21:42,760 --> 00:21:45,240 Speaker 1: dark period the late seventies and early ages, and most 388 00:21:45,280 --> 00:21:47,920 Speaker 1: people were reacting with rage. And here willly comes along 389 00:21:48,440 --> 00:21:52,000 Speaker 1: with the total opposite approach, right, which is this idea 390 00:21:52,119 --> 00:21:55,520 Speaker 1: that there can indeed be romance in love within a 391 00:21:55,680 --> 00:21:57,920 Speaker 1: dark and cynical world and these things are worth holding 392 00:21:58,000 --> 00:22:00,640 Speaker 1: on to. So that's what we wanted to do, obviously, 393 00:22:00,800 --> 00:22:03,440 Speaker 1: and then of course we sort of follow his career. Obviously, 394 00:22:03,560 --> 00:22:06,840 Speaker 1: we wanted to touch on storybook love because storybook love 395 00:22:07,240 --> 00:22:08,960 Speaker 1: and The Princess Bride for people who are of a 396 00:22:09,040 --> 00:22:13,040 Speaker 1: certain age, especially say they're born after nineteen seventy five 397 00:22:14,160 --> 00:22:17,160 Speaker 1: in this country, the Princess Bride is their Wizard of Oz. 398 00:22:17,359 --> 00:22:19,920 Speaker 1: I mean, it's a really important film to them, and 399 00:22:20,000 --> 00:22:22,160 Speaker 1: it's sort of like they should know that this song, 400 00:22:22,200 --> 00:22:24,120 Speaker 1: which by the way, is still on the top ten 401 00:22:24,280 --> 00:22:28,280 Speaker 1: wedding song in the United States. They I mean, people 402 00:22:28,440 --> 00:22:30,959 Speaker 1: know the song, but they don't know anything about who 403 00:22:31,080 --> 00:22:33,440 Speaker 1: he is, and that he had actually written it not 404 00:22:33,600 --> 00:22:36,840 Speaker 1: for the movie. It was written for his wife Lisa, 405 00:22:37,040 --> 00:22:38,760 Speaker 1: which goes to show you that Will he was again 406 00:22:39,359 --> 00:22:41,720 Speaker 1: living in this kind of world of movies, living in 407 00:22:41,800 --> 00:22:46,000 Speaker 1: his head, this sort of again another incarnation where he 408 00:22:46,200 --> 00:22:49,440 Speaker 1: used them as a way to create music, and he 409 00:22:49,520 --> 00:22:52,399 Speaker 1: would also if you see the film, he wouldn't just 410 00:22:52,760 --> 00:22:53,520 Speaker 1: sing the songs. 411 00:22:53,560 --> 00:22:54,560 Speaker 3: He looks the part. 412 00:22:54,800 --> 00:22:56,520 Speaker 1: And not only does he do that, that's what he 413 00:22:56,680 --> 00:22:58,719 Speaker 1: really looks like during those types. It's not like he's 414 00:22:58,760 --> 00:23:00,959 Speaker 1: putting it on for an interview. If you watch him 415 00:23:00,960 --> 00:23:03,000 Speaker 1: on the street, this is what he's looking like. I mean, 416 00:23:03,240 --> 00:23:08,480 Speaker 1: he totally became these characters over the years. And that's again, 417 00:23:08,600 --> 00:23:12,040 Speaker 1: who else does that? I mean, who's ever done that? Obviously, 418 00:23:12,640 --> 00:23:16,240 Speaker 1: New Orleans, if you know anything about Willie, then you 419 00:23:16,400 --> 00:23:18,720 Speaker 1: know in some ways that New Orleans saved his life. 420 00:23:19,119 --> 00:23:22,199 Speaker 1: He went down there and realized that in a lot 421 00:23:22,240 --> 00:23:24,359 Speaker 1: of ways he had been chasing something that was just 422 00:23:24,440 --> 00:23:26,320 Speaker 1: not going to work out for him, which was essentially 423 00:23:26,440 --> 00:23:29,719 Speaker 1: be the next Bruce Springsteen or whatever, which a lot 424 00:23:29,800 --> 00:23:32,080 Speaker 1: of people thought he could be and sort of were 425 00:23:32,119 --> 00:23:34,560 Speaker 1: pushing him to try to be. In New Orleans, he 426 00:23:34,720 --> 00:23:37,040 Speaker 1: just became Willie Deville. He took advantage of this great 427 00:23:37,560 --> 00:23:43,400 Speaker 1: focal voice to channel this great music in a way 428 00:23:43,560 --> 00:23:47,040 Speaker 1: that makes it seem like he lived there forever, and 429 00:23:47,400 --> 00:23:50,040 Speaker 1: that in a lot of ways re re admitted him. 430 00:23:50,160 --> 00:23:54,120 Speaker 1: And then from there, of course, he got another big 431 00:23:54,200 --> 00:23:58,719 Speaker 1: record deal in Europe and redid Hate Joe. I mean, 432 00:23:58,760 --> 00:24:01,200 Speaker 1: for anybody who's never seen that, I mean, it's funny, 433 00:24:01,720 --> 00:24:06,080 Speaker 1: it's really striking. He does Hate Joe in a mariachi style, 434 00:24:06,880 --> 00:24:09,720 Speaker 1: which was totally off the wall. But by the way, 435 00:24:09,800 --> 00:24:13,160 Speaker 1: it's sold a half million records and became In fact, 436 00:24:13,200 --> 00:24:15,040 Speaker 1: it was the biggest hear of his career, so again 437 00:24:15,800 --> 00:24:18,520 Speaker 1: going in another direction, just listening to the voices in 438 00:24:18,560 --> 00:24:21,680 Speaker 1: his own head, you know. And that continued all the 439 00:24:21,720 --> 00:24:24,200 Speaker 1: way until the end the film. And I think in 440 00:24:24,240 --> 00:24:27,000 Speaker 1: a lot of ways, for me personally, the Willie Deville, 441 00:24:27,440 --> 00:24:30,760 Speaker 1: when he's kind of a broken down, fifty something year 442 00:24:30,760 --> 00:24:33,760 Speaker 1: old person with lots of ailments, it's maybe the best 443 00:24:33,840 --> 00:24:36,760 Speaker 1: willing I think when he sings at that trio where 444 00:24:36,760 --> 00:24:39,240 Speaker 1: he's stripped down, he can't hide behind a band, it's 445 00:24:39,359 --> 00:24:42,440 Speaker 1: just him in front of the audience the music. You know. 446 00:24:43,720 --> 00:24:46,240 Speaker 1: As Wally went through his life and had all these incarnations, 447 00:24:46,480 --> 00:24:48,520 Speaker 1: there were people who accused him of being a poser, 448 00:24:49,000 --> 00:24:51,840 Speaker 1: you know, as if he wasn't really legit. But truthfully, 449 00:24:51,960 --> 00:24:54,040 Speaker 1: when you get to the end of his career and 450 00:24:54,119 --> 00:24:57,119 Speaker 1: he's singing in that show in Berlin, up there with 451 00:24:57,280 --> 00:25:02,040 Speaker 1: those two players, totally stripped down that the music and 452 00:25:02,200 --> 00:25:05,240 Speaker 1: the artists are really one. He has become the songs 453 00:25:05,280 --> 00:25:08,920 Speaker 1: he sings. His life embodies the music, and as Peter 454 00:25:09,000 --> 00:25:11,960 Speaker 1: wolf has said many times over the years, that's the 455 00:25:12,080 --> 00:25:14,359 Speaker 1: sign of a great artist. The great artist is you 456 00:25:14,520 --> 00:25:19,040 Speaker 1: can't tell where the music ends and the artist life begins. 457 00:25:19,640 --> 00:25:25,000 Speaker 1: And because it's one, and that I think will He became. 458 00:25:25,119 --> 00:25:28,200 Speaker 1: I think will He always wanted to be that, like 459 00:25:28,320 --> 00:25:34,200 Speaker 1: a true authentic blues artist who lived the life and 460 00:25:34,280 --> 00:25:36,639 Speaker 1: sang the music of the life. And it's exactly what 461 00:25:36,760 --> 00:25:38,800 Speaker 1: happened to him. And that's why I think in a 462 00:25:38,840 --> 00:25:41,760 Speaker 1: lot of ways he's to me. He's graaves his life. 463 00:25:42,240 --> 00:25:45,880 Speaker 1: It was something that became transcendent. 464 00:25:47,280 --> 00:25:50,520 Speaker 2: You got some great sound out of Pete Wolfe, my 465 00:25:51,200 --> 00:25:52,280 Speaker 2: brother from another mother. 466 00:25:52,600 --> 00:25:53,159 Speaker 3: I love his. 467 00:25:54,720 --> 00:25:58,320 Speaker 2: Quote he says, there's a mystery about Willie Deville. When 468 00:25:58,320 --> 00:26:02,520 Speaker 2: you get it, it's atomic, it's huge. I want to 469 00:26:02,600 --> 00:26:07,840 Speaker 2: congratulate you on Heaven Stood Still, the documentary about the 470 00:26:07,960 --> 00:26:13,359 Speaker 2: incarnations of Willie Deville. Larry Locke, thanks for being on 471 00:26:13,720 --> 00:26:14,400 Speaker 2: taking a walk. 472 00:26:15,200 --> 00:26:16,879 Speaker 1: Thank you so much for inviting me. You's spending a 473 00:26:16,880 --> 00:26:19,879 Speaker 1: lot of fun and wish you a happy summer and 474 00:26:20,160 --> 00:26:21,840 Speaker 1: hope to see you down the road. And hope everybody 475 00:26:21,920 --> 00:26:24,680 Speaker 1: has a chance to see the movie as it comes 476 00:26:24,720 --> 00:26:25,520 Speaker 1: around to their town. 477 00:26:26,520 --> 00:26:29,000 Speaker 2: And if you like this podcast, please share it with 478 00:26:29,119 --> 00:26:32,720 Speaker 2: a friend. We appreciate you checking out taking a walk. 479 00:26:34,560 --> 00:26:39,760 Speaker 1: Taking a Walk with Buzznight is available on Spotify, Apple Podcasts, 480 00:26:40,320 --> 00:26:42,440 Speaker 1: or wherever you get your podcasts.