WEBVTT - Noel Paul Stookey

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<v Speaker 1>Welcome, Welcome, Welcome back to the Bob Left Sets podcast.

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<v Speaker 1>My guest today is Lowell Paul S Yes, Paul of

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<v Speaker 1>Peter Paul and Mary No. How you doing good? Pool?

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<v Speaker 1>I heard Pool so like, you must be an East

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<v Speaker 1>Coast kind of guy. You know, it's funny. I'm from Connecticut,

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<v Speaker 1>and people from Connecticut think that they don't have an accent.

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<v Speaker 1>But you've just proven that that's untrue. Well, I used

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<v Speaker 1>to be, uh mid East Coast. I was born in Maryland,

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<v Speaker 1>lived born in Baltimore, lived in Maryland for quite a

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<v Speaker 1>few years before moving to the Midwest. But when you

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<v Speaker 1>moved to the Midwest, they say, most uh disc jockeys

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<v Speaker 1>and radio people come from the Midwest because they lose

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<v Speaker 1>their accent. And to a large extent, I think that's true.

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<v Speaker 1>I don't. I don't hear that I have an accent,

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<v Speaker 1>except if I have to pronounce the word M I

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<v Speaker 1>l K. Peter used to rag me all the time.

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<v Speaker 1>Let's say, I'll take a glass of milk. He said, exactly,

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<v Speaker 1>there's a knee in there that we don't have on

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<v Speaker 1>the East Coast. Yeah, that's right. I spent a summer

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<v Speaker 1>in Chicago in sixty nine, which makes me an antique.

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<v Speaker 1>But they called soda pop, which was a new thing

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<v Speaker 1>for Uh. Yeah, okay, you're in. Egg creams were a

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<v Speaker 1>new thing to me when I moved to New York.

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<v Speaker 1>That's very much a New York thing. I mean I

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<v Speaker 1>had heard about them, but I grew up in Connecticut,

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<v Speaker 1>fifty miles from New York, and you certainly just couldn't

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<v Speaker 1>run around get an egg cream in Fairfield, Connecticut or

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<v Speaker 1>Bridgeport right next to it. But right now you're in Maine.

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<v Speaker 1>I am. I'm on the coast, beautiful little town that

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<v Speaker 1>I am reluctant to give you the title of because

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<v Speaker 1>many people will to move here, uh and obscure the

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<v Speaker 1>quaintness of the village. But yeah, I live in Blue Hill, Maine.

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<v Speaker 1>I have for the past forty seven years with my wife,

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<v Speaker 1>Betty of fifty seven years, and we brought our three

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<v Speaker 1>children up here. Uh. Followed it back to the Earth

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<v Speaker 1>movement really in the late sixties early seventies. Absolutely, Yeah,

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<v Speaker 1>which on top of we're licking our wounds after the

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<v Speaker 1>Vietnam War protests. Yeah, yes, Well, the desire I think

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<v Speaker 1>of every human heart is to get to the essence

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<v Speaker 1>of what life is all about. And it's hard to

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<v Speaker 1>do that when you're being shaken around in New York City.

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<v Speaker 1>So we were very happy to move here. Life was simpler.

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<v Speaker 1>We had to abandon some of the niceties, but then

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<v Speaker 1>we found, you know, deeper niceties. And it's been and

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<v Speaker 1>of course, you know, pandemic notwithstanding, Uh, it's been very

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<v Speaker 1>easy to travel. Most of my work was on a stage.

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<v Speaker 1>If it wasn't in Ohio, it was in San Francisco

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<v Speaker 1>or Utah or Chicago. So it didn't really make any

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<v Speaker 1>difference where my home base was. Okay, how far from

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<v Speaker 1>Boston are you? Uh, five hour drive? Okay, so what's

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<v Speaker 1>the nearest main city, Bangor? That's where the airport. Oh

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<v Speaker 1>you're way up there, Bangor. Oh you have w I

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<v Speaker 1>went on a canoe trip on the Alagash once again.

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<v Speaker 1>That was but we flew to Bangor and then he

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<v Speaker 1>had to take like a four four hour bus ride.

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<v Speaker 1>People have no idea how large Maine really is. That's true,

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<v Speaker 1>that's true. You get to go far north is but boy,

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<v Speaker 1>it is beautiful. Uh. You know, there are what a

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<v Speaker 1>million people in the whole state. Uh, and I would say,

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<v Speaker 1>fully a quarter of them living in the Portland area.

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<v Speaker 1>So uh, I think that accounts for the reason that

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<v Speaker 1>people are so friendly to one another because there's a

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<v Speaker 1>few of us. We're so happy to see each other.

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<v Speaker 1>Oh my gosh, another human being. Uh, it's it's great

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<v Speaker 1>and I'm yes, you're right. We are really up here.

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<v Speaker 1>It's almost in down what you've considered down east. Okay,

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<v Speaker 1>So the water never gets warm where you are, not

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<v Speaker 1>really okay? And how many people are in the town

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<v Speaker 1>of Blue Hill about in the summertime it swells to

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<v Speaker 1>maybet Okay, so at least a decent number. You're not

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<v Speaker 1>there twiddling your fingers alone. So you say you've been

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<v Speaker 1>married for fifty seven years, and that's also you've lived

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<v Speaker 1>your life to a great degree on the road. The

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<v Speaker 1>combination doesn't always work. So what is the secret to success? Well,

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<v Speaker 1>it's a combination of friendship. Now that that may sound

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<v Speaker 1>lightweight when you're trying to describe a marriage relationship, but

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<v Speaker 1>the fact is Benny and I went to high school

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<v Speaker 1>together in Michigan, and though we never dated then, we

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<v Speaker 1>knew of each other for various reasons. She was a

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<v Speaker 1>knockout dream queen cheerleader and a year behind me and

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<v Speaker 1>I was the local rock and roll kid with my

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<v Speaker 1>own rhythm and blues band in high school. And we met.

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<v Speaker 1>Get this bob in the distance, We'll hear a drum roll?

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<v Speaker 1>We met. We met by chance coming out of a

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<v Speaker 1>subway in New York City some eight years later, and

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<v Speaker 1>I said, Betty bannered and she said, no, old stookey,

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<v Speaker 1>and her date said, you know, we really got to

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<v Speaker 1>get moving along. And I said, that's all right, I'll

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<v Speaker 1>walk with you to the wherever you're going. So that

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<v Speaker 1>beginner relationship, but the challenges of being on the road

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<v Speaker 1>and maintaining a relationship were many, and I wasn't always

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<v Speaker 1>equal to the task. The first ten years. We're filled

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<v Speaker 1>with so much success and so much work. I mean, honestly,

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<v Speaker 1>we did three hundred shows a year, three hundred shows

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<v Speaker 1>in one year, and that's you know. We're tried to

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<v Speaker 1>shoehorn in record albums, television appearances, publicity, travel itself. You know,

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<v Speaker 1>a half day to get there, in a half day

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<v Speaker 1>to get back. So a remarkable wife who has raised

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<v Speaker 1>now three daughters with me, Uh, you can understand why

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<v Speaker 1>we would want to get out of the city and

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<v Speaker 1>simplify our life. And frankly, if it hadn't been for

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<v Speaker 1>a deep longing to know who I was and what

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<v Speaker 1>this thing called living was all about, I wouldn't have

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<v Speaker 1>taken the spiritual turn that I took in the late sixties,

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<v Speaker 1>which really changed my life. Gave me a whole perspective

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<v Speaker 1>on what really has value, you know, other human beings,

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<v Speaker 1>and also a desire to be authentic. I grew up

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<v Speaker 1>as an only child, so I could be authentic to myself.

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<v Speaker 1>But what did it mean to be authentic to the world? Uh?

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<v Speaker 1>Does that mean telling the truth all the time? Well,

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<v Speaker 1>passing through the gate of marijuana, one can be overly

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<v Speaker 1>authentic with people, and I tended to be a little

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<v Speaker 1>excessive the first uh oh say, ten twelve years of

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<v Speaker 1>my life. But ultimately I have been very blessed to

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<v Speaker 1>discover the language of metaphor, which is what songwriting is

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<v Speaker 1>all about, and realized that everybody has a spiritual sense.

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<v Speaker 1>They just need to be acquainted with it. You know,

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<v Speaker 1>the atheist who denies God really is very hard pressed

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<v Speaker 1>to deny love. And yet if you read the Bible,

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<v Speaker 1>you see that Paul says that God is loved, and

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<v Speaker 1>if you interact normally in your life. You begin to

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<v Speaker 1>recognize the value of love in your own life, whether

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<v Speaker 1>it's interpersonal or whether it's kind of faith that tomorrow

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<v Speaker 1>will be a better time. So all of those things

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<v Speaker 1>factored into how I've been able to enjoy this marriage

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<v Speaker 1>with this beautiful woman that I married, still enjoy a

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<v Speaker 1>companionship with my children. Uh. There's a lot of humor,

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<v Speaker 1>a lot of laughter. Um. Some of it, uh, you

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<v Speaker 1>know is hard pressed. Some of it particularly in these

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<v Speaker 1>contested times in which we live, where we're taught by

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<v Speaker 1>our leaders to mistrust that which we read, and we

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<v Speaker 1>end up um carrying that over into a mistrust of

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<v Speaker 1>each other or a cynicism. That's more of a challenge

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<v Speaker 1>than it used to be. But at the core of it, Bob,

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<v Speaker 1>I swear, if you can retain your compassion for your

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<v Speaker 1>fellow human beings, for your fellow citizens, Um, you can

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<v Speaker 1>make a go of it. You can turn lemons into lemonade,

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<v Speaker 1>and you can create hope where there has been fear

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<v Speaker 1>and distrusted. Okay, let's talk about this spiritual You can't

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<v Speaker 1>see the air quotes on the podcast conversion. Uh. This

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<v Speaker 1>is not uncommon with musical artists traveling people were almost

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<v Speaker 1>you know, they're in partaking of substances and all of

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<v Speaker 1>a sudden they find themselves on the floor and they

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<v Speaker 1>have a transformative moment. Was that how it happened to you?

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<v Speaker 1>Or was an evolution? How did the light go on? Um?

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<v Speaker 1>You know, I think once again, if I can refer

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<v Speaker 1>to being an only child, there's an inner dialogue going

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<v Speaker 1>on all the time because I didn't have brothers and

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<v Speaker 1>sisters to have that dialogue with. So there's a refutation,

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<v Speaker 1>a kind of distrust that's built into the character of

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<v Speaker 1>only child because he doesn't really know what's dependable. And

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<v Speaker 1>so this whole barrel of fame and fortune that landed

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<v Speaker 1>on me in nineteen sixty was increasingly more difficult to

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<v Speaker 1>figure out personal worth from. Uh. If I was standing

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<v Speaker 1>in line with Betty waiting to go into a movie

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<v Speaker 1>and the manager saw and recognize me, say, oh, Mr Stukey,

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<v Speaker 1>come out, come out you You don't you don't have

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<v Speaker 1>to wait? You start to take these or Mr Stucky,

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<v Speaker 1>we we have a table. I don't have a reservation. Wait,

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<v Speaker 1>it's okay, we have a we have a table for you.

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<v Speaker 1>Oh Mr Stukey, here could come here? You begin to

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<v Speaker 1>believe your own press clipics, and that becomes a very empty,

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<v Speaker 1>hollow existence because you have to make a choice. You

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<v Speaker 1>are either going to start believing it and buying into it,

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<v Speaker 1>or if you're trying to be real, you're going to

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<v Speaker 1>stick with people who are truth tellers, like my wife

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<v Speaker 1>or that little piece of conscience that you hung onto

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<v Speaker 1>since you were a little kid that told you it

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<v Speaker 1>was bad to take that piece of candy from the

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<v Speaker 1>five in time and you say, okay, well it's bad

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<v Speaker 1>to borrow on other people's awarenesses. Uh, I just want

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<v Speaker 1>to be a citizen. So it wasn't really a drug

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<v Speaker 1>problem that brought me to my knees. It was more

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<v Speaker 1>of a soul problem. Um. I just really needed to

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<v Speaker 1>know if there was some direction in life that was

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<v Speaker 1>valuable with a capital V. And you know, I don't

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<v Speaker 1>know if you want to hear the whole story, but

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<v Speaker 1>I was backstage in Austin, um in Abilene, Texas and

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<v Speaker 1>a kid, and I'm going through these changes. You know,

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<v Speaker 1>I'm asking myself, what's life all out? My god? You know,

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<v Speaker 1>I want to be on the on the right side.

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<v Speaker 1>I want me on the good side. Now. Parenthetically, I

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<v Speaker 1>have to insert here something that you already know. When

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<v Speaker 1>you're out in the world and there's a chance to

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<v Speaker 1>do good, whether it's feeding or housing the homeless, or

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<v Speaker 1>whether it's protesting the war in Vietnam, or whether it's

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<v Speaker 1>marching for human rights, there is a sense of participation

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<v Speaker 1>in something that's bigger than yourself and something that's good. So,

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<v Speaker 1>notwithstanding those kind of uh encouragements, one asks oneself, well, okay,

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<v Speaker 1>but these are just actions. I want to be connected

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<v Speaker 1>with these actions. I want to have a sense of

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<v Speaker 1>familial participation in the betterment of the world. Where do

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<v Speaker 1>I find that? So flat? And parentheses flash flash back

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<v Speaker 1>to uh Adelene, Texas. Kid comes up to me backstage.

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<v Speaker 1>There's nobody around, you know. Um, security is pretty good

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<v Speaker 1>at concerts and usually people don't you know, are not

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<v Speaker 1>allowed backstage. So I'm back there tuning the guitar and

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<v Speaker 1>there's his kids standing there and he says, can I

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<v Speaker 1>talk to you? I say, well, yeah, I'll look for

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<v Speaker 1>you after. Okay, I'm a little busy right now. But

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<v Speaker 1>as those things go, and one tries to be true

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<v Speaker 1>to one's word. When the show was over, I've tried

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<v Speaker 1>to look for him, and sure enough, there he was,

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<v Speaker 1>so in the midst of a bunch of people, maybe

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<v Speaker 1>a half dozen of them, handing me albums to sign

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<v Speaker 1>and pictures and telling me about the last time that

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<v Speaker 1>they saw the trio. I turned to the kid and say,

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<v Speaker 1>what was it you wanted to talk to me about?

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<v Speaker 1>And he says, I want to talk to you about

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<v Speaker 1>the Lord. And I don't know the The bottom dropped

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<v Speaker 1>out of reality and I go, oh, okay, well hang

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<v Speaker 1>on just a second. But my heart is going chapboom,

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<v Speaker 1>chiboom chi boom, because it's like an answer to prayer.

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<v Speaker 1>You know, where did this guy come from and what

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<v Speaker 1>gives him the audacious right to say that he wants

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<v Speaker 1>to talk to me about the Lord? So we get

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<v Speaker 1>so the crowd clears out, and he says, I think

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<v Speaker 1>we should go someplace where we can talk. I say, well, sure, well,

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<v Speaker 1>let's go back to my hotel room. Hearts still going

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<v Speaker 1>bum bum bum bump. But now I'm beginning to think, Hey,

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<v Speaker 1>I'm a star here. Okay, I got I got a reputation,

0:14:33.440 --> 0:14:36.560
<v Speaker 1>I've got I've got knowledge of the world. I've I've

0:14:36.600 --> 0:14:39.880
<v Speaker 1>I've smoked dope, I've I've read Edgar Casey I I

0:14:39.960 --> 0:14:42.680
<v Speaker 1>understand the complexity of things. So as we climb into

0:14:42.720 --> 0:14:45.640
<v Speaker 1>the back of his pickup truck this friends are driving,

0:14:45.840 --> 0:14:48.320
<v Speaker 1>I turned to when they say, so, what do you

0:14:48.320 --> 0:14:51.320
<v Speaker 1>think about reincarnation, you know, trying to level out the

0:14:51.360 --> 0:14:55.600
<v Speaker 1>balance of our spiritual experiences, And he says, well, it

0:14:55.640 --> 0:14:57.080
<v Speaker 1>may or may not be true, but I think we

0:14:57.120 --> 0:14:59.320
<v Speaker 1>have more important things to talk about tonight, don't you.

0:15:02.800 --> 0:15:04.920
<v Speaker 1>So we go back to the hotel room and I'm

0:15:05.000 --> 0:15:07.400
<v Speaker 1>fussing all around. I'm you know, would you like a coke?

0:15:07.720 --> 0:15:10.360
<v Speaker 1>The want me to open the window, anything but confront

0:15:10.440 --> 0:15:14.720
<v Speaker 1>what it is this kid's possibly gonna say, and he says,

0:15:15.080 --> 0:15:19.240
<v Speaker 1>I think we should pray, And at that moment he

0:15:19.320 --> 0:15:21.200
<v Speaker 1>hits the floor on his knees. His friends hit the

0:15:21.200 --> 0:15:25.080
<v Speaker 1>floor on their knees, and so I do too. And

0:15:25.280 --> 0:15:29.120
<v Speaker 1>all he said, Bob was, I think no one wants

0:15:29.160 --> 0:15:32.960
<v Speaker 1>to say thank you Lord for getting me backstage without

0:15:33.200 --> 0:15:36.560
<v Speaker 1>into the concert, without a ticket, backstage without to pass,

0:15:37.560 --> 0:15:39.640
<v Speaker 1>And I think no one wants to talk to you.

0:15:41.040 --> 0:15:45.280
<v Speaker 1>And I just started to cry because in that moment

0:15:45.320 --> 0:15:50.320
<v Speaker 1>I realized how disenfranchised I was from the core of belief.

0:15:52.400 --> 0:15:58.000
<v Speaker 1>And that was the transformative moment for me. Uh. After that,

0:15:58.200 --> 0:16:03.280
<v Speaker 1>I can't say that, you know, I moved as beatifically

0:16:04.000 --> 0:16:07.400
<v Speaker 1>as Saint Francis. I was really kind of a bore

0:16:07.920 --> 0:16:15.200
<v Speaker 1>and and I was antagonistic. I was aggressive, I was

0:16:17.200 --> 0:16:22.680
<v Speaker 1>I was a Jesus freak. Uh for about two years

0:16:22.800 --> 0:16:28.760
<v Speaker 1>before I learned the language or readopted the language of

0:16:28.840 --> 0:16:33.680
<v Speaker 1>metaphor and could speak about my faith and what had

0:16:33.720 --> 0:16:36.760
<v Speaker 1>happened to me in terms that other people could understand,

0:16:36.760 --> 0:16:40.800
<v Speaker 1>maybe even sympathize with, maybe even emulate. But when you

0:16:40.960 --> 0:16:48.880
<v Speaker 1>use labels to describe your situation, you're adopting somebody else's descriptions. Uh.

0:16:49.000 --> 0:16:58.160
<v Speaker 1>And they don't always sit well, they're not personalized. Uh So,

0:16:58.400 --> 0:17:03.160
<v Speaker 1>over these past what forty years or so, forty to

0:17:03.280 --> 0:17:07.840
<v Speaker 1>fifty years, I've learned the language of an inclusiveness in

0:17:08.000 --> 0:17:15.840
<v Speaker 1>terms of expressing my faith. Um So, the transformation didn't stop, uh,

0:17:16.320 --> 0:17:20.600
<v Speaker 1>you know in nineteen nineteen seventy. It began in nineteen

0:17:21.840 --> 0:17:25.480
<v Speaker 1>seventy and I'm still I'm still going through a matter

0:17:25.520 --> 0:17:28.639
<v Speaker 1>of fact, this do you want to? Can I do

0:17:28.680 --> 0:17:31.760
<v Speaker 1>a little song for you? Well, the only issue is

0:17:31.800 --> 0:17:34.879
<v Speaker 1>the rights issue. Who wrote the song? Okay, Well we'recovered.

0:17:35.760 --> 0:17:38.080
<v Speaker 1>There's this guy named Stooky that used to sing with

0:17:38.080 --> 0:17:41.000
<v Speaker 1>Peter Paul Mary. He wrote this song, okay, and you

0:17:41.080 --> 0:17:43.800
<v Speaker 1>own the song and I owned the song out Okay,

0:17:43.800 --> 0:17:46.320
<v Speaker 1>then you can say just say you're giving us permission. Okay,

0:17:46.359 --> 0:17:51.280
<v Speaker 1>I'm giving you permission, but I'm wondering if maybe uh yeah,

0:17:51.400 --> 0:17:53.600
<v Speaker 1>so I'll just do a little bit of it. But

0:17:53.800 --> 0:18:13.000
<v Speaker 1>you'll get the idea. So let's talk about love with

0:18:13.160 --> 0:18:19.000
<v Speaker 1>the capital L When was the last time you've heard it?

0:18:19.160 --> 0:18:26.520
<v Speaker 1>Spell with the emphasis in the proper place. Well, let's

0:18:26.560 --> 0:18:33.880
<v Speaker 1>talk about love in the upper case. Some might call

0:18:33.960 --> 0:18:41.600
<v Speaker 1>it amazing grace or the author of time and space.

0:18:42.320 --> 0:18:49.640
<v Speaker 1>Let's talk about love, love, love, love love. You may

0:18:49.760 --> 0:19:00.360
<v Speaker 1>recall this situation change your heart you hadn't seen were

0:19:00.440 --> 0:19:08.080
<v Speaker 1>Love's the only explanation for a miracle that sets somebody free?

0:19:08.119 --> 0:19:14.720
<v Speaker 1>Who is? Let's talk about love with capital litt. Not

0:19:14.960 --> 0:19:20.680
<v Speaker 1>talking about witchcraft or a magic spell or hain't keep

0:19:20.720 --> 0:19:28.480
<v Speaker 1>painkre in a cheap motel. No talk love, love, love love.

0:19:32.040 --> 0:19:39.760
<v Speaker 1>I'm not saying that I love you anymore or any less.

0:19:42.520 --> 0:19:47.280
<v Speaker 1>I'm just saying that there's more here then we are

0:19:47.520 --> 0:19:54.520
<v Speaker 1>usually willing to confessis it. Let's talk about love where

0:19:54.560 --> 0:20:00.960
<v Speaker 1>it all begin Yeah, love love love like I'm master plan.

0:20:02.000 --> 0:20:08.679
<v Speaker 1>If you believe, then raise you and let's talk about love.

0:20:09.000 --> 0:20:17.240
<v Speaker 1>Love love, love love love with the capitol hel WHOA,

0:20:17.560 --> 0:20:21.080
<v Speaker 1>So how were you? That's for a couple of things. Hey,

0:20:21.119 --> 0:20:25.439
<v Speaker 1>how old is that song? Six months? Maybe? Wow? You

0:20:25.480 --> 0:20:28.640
<v Speaker 1>still got it? Secondly, you still have your voice when

0:20:28.680 --> 0:20:32.840
<v Speaker 1>many people, you know, they get older in their voice. Subsides,

0:20:33.520 --> 0:20:39.960
<v Speaker 1>any special trick or just you know, God helped you out. Uh,

0:20:40.000 --> 0:20:43.480
<v Speaker 1>that's a nice way to put the question. Doubtless there's

0:20:43.480 --> 0:20:47.679
<v Speaker 1>some assistance from h you know, having faith. Uh, but

0:20:48.600 --> 0:20:51.399
<v Speaker 1>uh no, I don't. I haven't smoked since August fourteen.

0:20:52.680 --> 0:20:55.800
<v Speaker 1>And you may ask why I remember that date so specifically.

0:20:56.640 --> 0:20:59.280
<v Speaker 1>I was driving with a friend, Jim Mason, who produced

0:20:59.280 --> 0:21:03.000
<v Speaker 1>a couple of Poco albums, and there was a cigarette.

0:21:03.119 --> 0:21:05.800
<v Speaker 1>There was a cigarette lighter whole but no cigarette lighter

0:21:05.840 --> 0:21:08.479
<v Speaker 1>in the run rental car that he was driving, and

0:21:08.520 --> 0:21:10.960
<v Speaker 1>we both had cigarettes, and I took that as a sign,

0:21:11.000 --> 0:21:13.160
<v Speaker 1>so I reached over, took the cigarette out of his mouth,

0:21:13.320 --> 0:21:15.000
<v Speaker 1>out of my mouth, through it out the window, and

0:21:15.040 --> 0:21:19.320
<v Speaker 1>I said August fourteenth, nineteen seventy, the day Noel Stookey

0:21:19.400 --> 0:21:22.840
<v Speaker 1>and Jim Mason stopped smoking. Well, unfortunately it was true

0:21:22.880 --> 0:21:24.680
<v Speaker 1>for me, but you know, you can't make truth for

0:21:24.800 --> 0:21:27.959
<v Speaker 1>somebody else. He went back to it eventually quit. But

0:21:28.960 --> 0:21:31.679
<v Speaker 1>so I think not smoking has helped a lot. I

0:21:31.720 --> 0:21:33.960
<v Speaker 1>still drink a fair amount. I mean, you'd like to

0:21:34.000 --> 0:21:36.800
<v Speaker 1>have margarita in the evening and maybe a glass of

0:21:36.840 --> 0:21:41.040
<v Speaker 1>wine with dinner. Um, my wife certainly keeps me on

0:21:41.160 --> 0:21:43.800
<v Speaker 1>the straight and narrow in terms of nutrition. You know,

0:21:43.920 --> 0:21:48.439
<v Speaker 1>lots of veggies and and I'm living in the country, Bob.

0:21:48.840 --> 0:21:52.639
<v Speaker 1>I mean, it's laid back here, and you have the pandemic.

0:21:52.680 --> 0:21:55.440
<v Speaker 1>Didn't lay me. Didn't lay me back any further. I'd

0:21:55.480 --> 0:22:00.240
<v Speaker 1>be lying in bed. But uh, it's very comfortable and

0:22:00.440 --> 0:22:06.320
<v Speaker 1>very inspiring to be here. Okay, speaking of inspiration, we

0:22:06.359 --> 0:22:08.479
<v Speaker 1>live in an era very different from the one you

0:22:08.560 --> 0:22:10.359
<v Speaker 1>came up in. Well, if you came up, it was

0:22:10.400 --> 0:22:13.640
<v Speaker 1>a monoculture. If you were successful, everybody knew your name,

0:22:14.160 --> 0:22:19.760
<v Speaker 1>whereas today it's really a cornucopy of stuff. So how

0:22:19.800 --> 0:22:24.480
<v Speaker 1>do you keep your inspiration to create? Mm hmm, Well,

0:22:24.560 --> 0:22:27.560
<v Speaker 1>I've I've always been you know, I have to confess

0:22:28.840 --> 0:22:35.440
<v Speaker 1>that I'm not a writer who writes for remuneration. That's

0:22:35.440 --> 0:22:40.080
<v Speaker 1>why folk music was so great for me, because it's

0:22:40.119 --> 0:22:48.159
<v Speaker 1>an institution that uh, that depends on people articulating concerns

0:22:48.160 --> 0:22:52.440
<v Speaker 1>of the day. Um. They don't write for money. They

0:22:52.520 --> 0:22:55.160
<v Speaker 1>write because it had to be said. So I really

0:22:55.160 --> 0:22:57.680
<v Speaker 1>am a cathartic writer. That is to say, I don't

0:22:57.720 --> 0:23:02.000
<v Speaker 1>sit down like a backrack and generate music every day

0:23:02.040 --> 0:23:04.480
<v Speaker 1>because it's a discipline that I feel I have to obey.

0:23:05.240 --> 0:23:11.240
<v Speaker 1>I really respond to the particular moment or the particular concern.

0:23:11.320 --> 0:23:14.960
<v Speaker 1>I mean when I did when I did impeachable to

0:23:15.000 --> 0:23:19.679
<v Speaker 1>the tune of Unforgettable that went viral on YouTube and Facebook,

0:23:20.840 --> 0:23:26.920
<v Speaker 1>I was responding to what I felt were flagrant UH

0:23:27.280 --> 0:23:31.600
<v Speaker 1>offenses by Donald Trump, and I thought that they would

0:23:31.600 --> 0:23:36.160
<v Speaker 1>be traceable to UH to Russia. That that investigation went

0:23:36.240 --> 0:23:41.920
<v Speaker 1>by the bye when Mueller was removed from the opportunity

0:23:42.000 --> 0:23:48.440
<v Speaker 1>to take it to its finality along with Comey, and

0:23:48.440 --> 0:23:52.160
<v Speaker 1>and then I wrote, Uh. I wrote a song called

0:23:52.200 --> 0:23:55.960
<v Speaker 1>I Will stand Uh. You know that open the election

0:23:56.080 --> 0:23:58.040
<v Speaker 1>is over. Some say what's done, it's done. Well, that's

0:23:58.040 --> 0:24:01.440
<v Speaker 1>easier if your side is one. Um, so why don't

0:24:01.480 --> 0:24:03.560
<v Speaker 1>we just work together? And I said, well, there are

0:24:03.560 --> 0:24:05.400
<v Speaker 1>a list of things that I'm not going to work

0:24:05.400 --> 0:24:07.960
<v Speaker 1>together on and I sang a song with about nine

0:24:08.000 --> 0:24:15.439
<v Speaker 1>of them. And there's also reinforcement, you know. Uh. For instance,

0:24:15.480 --> 0:24:19.480
<v Speaker 1>if I was creating totally in a vacuum, UM, I'd

0:24:19.480 --> 0:24:23.320
<v Speaker 1>probably have a more difficult time sustaining it. But when

0:24:23.359 --> 0:24:29.080
<v Speaker 1>you go in front of anywhere from fifteen to people

0:24:29.960 --> 0:24:34.400
<v Speaker 1>and you make a statement musically, you're going to find

0:24:34.400 --> 0:24:36.800
<v Speaker 1>out pretty quickly if the audience agrees with it. Now

0:24:36.880 --> 0:24:40.920
<v Speaker 1>they may one think it's entertaining h, in which case

0:24:41.080 --> 0:24:45.560
<v Speaker 1>the applause will be light and smattering, or they may

0:24:45.800 --> 0:24:49.000
<v Speaker 1>think that it's moving, in which case you will get

0:24:49.000 --> 0:24:52.359
<v Speaker 1>a very pronounced, heavy applause at the end of it,

0:24:52.480 --> 0:24:55.320
<v Speaker 1>like I sometimes do for the two new verses I

0:24:55.320 --> 0:24:59.520
<v Speaker 1>wrote to America they're beautiful. Or sometimes you will get

0:25:00.320 --> 0:25:04.719
<v Speaker 1>and a response that you just hadn't planned on, like

0:25:05.000 --> 0:25:08.720
<v Speaker 1>people standing up in the middle of what you're singing about,

0:25:08.880 --> 0:25:12.600
<v Speaker 1>or cheering uh in the middle of a verse because

0:25:12.640 --> 0:25:17.000
<v Speaker 1>they agree so strongly with what's being said and the

0:25:17.000 --> 0:25:22.280
<v Speaker 1>manner in which it's being said. So those encouragements keep

0:25:22.320 --> 0:25:25.520
<v Speaker 1>me going. But to return to your original question, I

0:25:25.600 --> 0:25:30.919
<v Speaker 1>basically write in response to that which I see needs articulation. Okay,

0:25:30.920 --> 0:25:32.960
<v Speaker 1>what I have to ask, because you're talking about politics,

0:25:33.000 --> 0:25:35.639
<v Speaker 1>you're talking about today's world, I must ask, as a

0:25:35.680 --> 0:25:40.960
<v Speaker 1>resident of Maine, why did Susan Collins get reelected? Well,

0:25:41.800 --> 0:25:45.400
<v Speaker 1>I mean, aside from all the impressive moneys that were

0:25:45.400 --> 0:25:50.960
<v Speaker 1>spent to degrade her opponent, because actually there's two sides

0:25:51.000 --> 0:25:53.119
<v Speaker 1>to that street. There was a lot of impressive moneies

0:25:53.119 --> 0:25:59.160
<v Speaker 1>that were spent to degrade Susan Collins. Essentially, the reasoning

0:25:59.280 --> 0:26:04.239
<v Speaker 1>behind the deposition of Susan Collins was that she was

0:26:05.080 --> 0:26:09.639
<v Speaker 1>Trump's lapdog. Um that anything Trump wanted she voted for.

0:26:09.840 --> 0:26:14.320
<v Speaker 1>Well that's you know, Maine is not a totally liberal state.

0:26:14.520 --> 0:26:18.520
<v Speaker 1>I mean, I were very I can't speak for the Natives,

0:26:18.560 --> 0:26:21.000
<v Speaker 1>but they're all straight shooters as far as I'm concerned.

0:26:21.040 --> 0:26:26.280
<v Speaker 1>You know, they're really honest, god fearing if you work hard.

0:26:26.400 --> 0:26:32.040
<v Speaker 1>I mean, they're the American ethic underlined. And Susan Collins

0:26:32.240 --> 0:26:35.480
<v Speaker 1>has been there for most of them, most of the time.

0:26:36.359 --> 0:26:41.720
<v Speaker 1>And like I was telling your engineer before, a lot

0:26:41.800 --> 0:26:45.719
<v Speaker 1>of Trump's success is not because of who he is,

0:26:45.960 --> 0:26:48.479
<v Speaker 1>but the fact that people who voted for him are

0:26:48.560 --> 0:26:52.800
<v Speaker 1>single issue voters, and the people that voted for Susan

0:26:52.840 --> 0:26:57.280
<v Speaker 1>Collins were single issue, you know. They they wanted to

0:26:57.320 --> 0:27:03.359
<v Speaker 1>support somebody who is more anti abortion than she is

0:27:03.400 --> 0:27:09.280
<v Speaker 1>pro life uh she uh or pro choice. They wanted

0:27:09.320 --> 0:27:13.840
<v Speaker 1>to support somebody that they knew, uh, particularly in this

0:27:13.880 --> 0:27:20.280
<v Speaker 1>cacophony of political um chaos that was echoing all around us.

0:27:20.600 --> 0:27:28.560
<v Speaker 1>And like I said, the issues were pretty angrily ignored

0:27:29.680 --> 0:27:34.920
<v Speaker 1>so that character assassination could take place. And she had

0:27:35.000 --> 0:27:40.720
<v Speaker 1>more bucks, and I think she made her point about

0:27:40.760 --> 0:27:45.440
<v Speaker 1>Gideon's family to the point where, you know, people bought

0:27:45.480 --> 0:27:47.520
<v Speaker 1>into it. Well, and then I don't want to go

0:27:47.640 --> 0:27:49.680
<v Speaker 1>someplace that I don't knew about. I'm going to stick

0:27:49.720 --> 0:27:51.840
<v Speaker 1>with Susan. But I had a bumper. I had a

0:27:51.840 --> 0:27:53.760
<v Speaker 1>bumper sticker on the back of my truck that said

0:27:53.760 --> 0:28:02.679
<v Speaker 1>bye bye Susan. That was a big popular side. Okay,

0:28:02.720 --> 0:28:04.320
<v Speaker 1>let's go back to the beginning. So what did your

0:28:04.320 --> 0:28:06.840
<v Speaker 1>parents do for a living? You were an only child. Yeah,

0:28:06.920 --> 0:28:10.359
<v Speaker 1>my dad was a really a mechanical engineer with a

0:28:10.480 --> 0:28:15.160
<v Speaker 1>very clever uh. He is very clever, hands on kind

0:28:15.200 --> 0:28:18.400
<v Speaker 1>of guy. Uh. He worked for the Gates Rubber Company

0:28:18.560 --> 0:28:21.199
<v Speaker 1>during the war years and then had a couple of

0:28:21.200 --> 0:28:24.240
<v Speaker 1>promotions that took us to Michigan one and then to Pennsylvania,

0:28:25.840 --> 0:28:28.560
<v Speaker 1>where living ninety miles from New York City just made

0:28:28.640 --> 0:28:31.399
<v Speaker 1>me thirsty to move to the city. Eventually, in in

0:28:31.560 --> 0:28:39.040
<v Speaker 1>nineteen sixty nine, my mom was ah. She was a

0:28:39.120 --> 0:28:41.360
<v Speaker 1>cashier at a restaurant where my dad used to go

0:28:41.400 --> 0:28:43.479
<v Speaker 1>and play the pinball machine and he would come up

0:28:43.480 --> 0:28:45.880
<v Speaker 1>to her. He would come up to her and ask

0:28:45.960 --> 0:28:49.160
<v Speaker 1>her for a change, and she would hand him a

0:28:49.160 --> 0:28:51.880
<v Speaker 1>bunch of nickels, and he became known as Nick. That

0:28:52.040 --> 0:28:56.360
<v Speaker 1>was his nickname. She came from the St. Aubrey family,

0:28:57.240 --> 0:29:01.640
<v Speaker 1>had actually an uncle I think who designed Juliet Prison uh,

0:29:01.760 --> 0:29:08.640
<v Speaker 1>the architecture for Juliet Prison. Um. She was a very gracious, lovely,

0:29:08.840 --> 0:29:13.880
<v Speaker 1>lovely woman, UM, spiritual in her own way. Former Catholic.

0:29:13.960 --> 0:29:17.840
<v Speaker 1>Dad was a former Mormon UM, but they both had

0:29:17.880 --> 0:29:22.000
<v Speaker 1>to leave their religions to get married. For dad it

0:29:22.040 --> 0:29:25.360
<v Speaker 1>was the second marriage UM. And they brought me up

0:29:25.360 --> 0:29:27.959
<v Speaker 1>in the country in a little town called Dorsey, Maryland,

0:29:27.960 --> 0:29:32.480
<v Speaker 1>about halfway between Baltimore and Washington, and that that was

0:29:32.520 --> 0:29:35.040
<v Speaker 1>a great experience for me. I mean we've you know,

0:29:35.120 --> 0:29:38.040
<v Speaker 1>farmed with a horse pulling a plow. I had woods

0:29:38.040 --> 0:29:39.920
<v Speaker 1>out behind and a lake up on top of a

0:29:39.960 --> 0:29:45.080
<v Speaker 1>mountain and um and a handful of friends. And I

0:29:45.160 --> 0:29:48.600
<v Speaker 1>say that in in a positive way. I had five

0:29:48.600 --> 0:29:51.200
<v Speaker 1>of the closest buddies you could ever want. We did

0:29:51.240 --> 0:29:56.040
<v Speaker 1>everything together and explored together, played games together, imagined together.

0:29:57.280 --> 0:30:01.360
<v Speaker 1>I even had a circus uh in my garage where

0:30:01.360 --> 0:30:03.800
<v Speaker 1>I put the cat under an orange crate and dragged

0:30:03.800 --> 0:30:07.640
<v Speaker 1>her around in a wagon. And uh, my friends were,

0:30:07.680 --> 0:30:10.840
<v Speaker 1>you know, the strong man. My friends were selling lemonade.

0:30:10.880 --> 0:30:17.440
<v Speaker 1>My friends were, uh the ringmaster. Um. And then I

0:30:17.480 --> 0:30:21.360
<v Speaker 1>had and once again returning to the theme of being

0:30:21.360 --> 0:30:25.800
<v Speaker 1>an only child, I had all of the imagination in

0:30:25.800 --> 0:30:29.840
<v Speaker 1>the world available to me. Um. My parents were really

0:30:29.920 --> 0:30:35.120
<v Speaker 1>really supportive all the time. And my dad had a

0:30:35.160 --> 0:30:40.400
<v Speaker 1>four string tenor guitar, uh, which I thought it was

0:30:40.440 --> 0:30:43.120
<v Speaker 1>just a big uku lele as I grew up, but

0:30:43.200 --> 0:30:45.680
<v Speaker 1>then discovered that it could be tuned like a yuku lele.

0:30:46.040 --> 0:30:52.400
<v Speaker 1>And that's really where I began loving making music. Yeah,

0:30:52.560 --> 0:30:55.600
<v Speaker 1>and did you take any lessons? How did you ultimately

0:30:55.600 --> 0:30:59.880
<v Speaker 1>become a performer and more of a rock and roll performer. Uh? Well,

0:31:00.280 --> 0:31:03.239
<v Speaker 1>you know, I'm I'm fourteen, fifteen years old. How can

0:31:03.280 --> 0:31:06.160
<v Speaker 1>you not be a rock and roll performer. That's what

0:31:06.280 --> 0:31:10.280
<v Speaker 1>you're hearing, you know. Well, my mom, I mean you

0:31:10.320 --> 0:31:13.760
<v Speaker 1>want to be kind of hip. So but I'll tell

0:31:13.800 --> 0:31:16.760
<v Speaker 1>you hip was not Elvis Presley to me, who I

0:31:16.840 --> 0:31:22.400
<v Speaker 1>just tried to imitate. Their hip was the Pontiac African

0:31:22.400 --> 0:31:26.160
<v Speaker 1>American record store because it was rhythm and blues, it

0:31:26.280 --> 0:31:29.240
<v Speaker 1>was the doo wop. It was the street music that

0:31:29.400 --> 0:31:33.040
<v Speaker 1>really got to me. And we had a group in

0:31:33.120 --> 0:31:37.760
<v Speaker 1>high school called the Birds of Paradise Um. We wrote

0:31:37.760 --> 0:31:44.920
<v Speaker 1>our own theme song, the Birds of pit Rudize do

0:31:45.280 --> 0:31:53.120
<v Speaker 1>wah are here to say Hello? Do doo wah? The

0:31:53.160 --> 0:32:02.400
<v Speaker 1>only way they know do do wah is with song.

0:32:05.000 --> 0:32:09.040
<v Speaker 1>There were five of us drummer, bass player and three

0:32:09.040 --> 0:32:15.520
<v Speaker 1>singers and uh and my guitar and we we were

0:32:15.560 --> 0:32:17.600
<v Speaker 1>busy and we put out an album. I mean that

0:32:17.680 --> 0:32:19.560
<v Speaker 1>was unheard of for a high school group. In ninet.

0:32:20.520 --> 0:32:22.720
<v Speaker 1>We pressed our own album and sold it in the

0:32:22.840 --> 0:32:27.640
<v Speaker 1>high school with some original songs that are still embarrassing

0:32:27.680 --> 0:32:33.720
<v Speaker 1>to me when I hear them. Yeah, so you graduate

0:32:33.760 --> 0:32:37.800
<v Speaker 1>from high school, what's the next step? Well, I always

0:32:38.000 --> 0:32:41.000
<v Speaker 1>I had a job, part time job in a camera

0:32:41.080 --> 0:32:46.840
<v Speaker 1>shop in Birmingham, Michigan, and I made movies UM with

0:32:46.880 --> 0:32:50.640
<v Speaker 1>my friends in Birmingham. UM. This was after the move

0:32:50.720 --> 0:32:55.600
<v Speaker 1>to Michigan, and took that knowledge with me to New York.

0:32:55.680 --> 0:32:57.800
<v Speaker 1>But I'll tell you, I don't know how many times

0:32:57.800 --> 0:33:01.000
<v Speaker 1>in your life, Bob, you have walked in through the

0:33:01.040 --> 0:33:04.640
<v Speaker 1>door expecting one kind of response, received another, and then

0:33:04.760 --> 0:33:07.440
<v Speaker 1>recognized it was Hey, that's a heck of a lot

0:33:07.480 --> 0:33:10.800
<v Speaker 1>better the response than the one I was expecting. I

0:33:11.640 --> 0:33:14.480
<v Speaker 1>answered an ad in the New York Times for what

0:33:14.600 --> 0:33:18.560
<v Speaker 1>I thought would be a camera shop job, and it

0:33:18.640 --> 0:33:23.080
<v Speaker 1>turned out the guy, uh said, I'm sorry. He said,

0:33:23.200 --> 0:33:26.440
<v Speaker 1>you're applying for your experience is all on a camera shop.

0:33:26.560 --> 0:33:31.280
<v Speaker 1>This is for a photo copier job, selling photo cop

0:33:31.360 --> 0:33:34.239
<v Speaker 1>her machines. And went, oh, he said, but wait just

0:33:34.280 --> 0:33:36.560
<v Speaker 1>a minute, and he walked into the back room. And

0:33:36.600 --> 0:33:38.800
<v Speaker 1>it turns out that this was the beginning of a

0:33:38.920 --> 0:33:44.120
<v Speaker 1>Uni bath, which was a single chemical process for the

0:33:44.200 --> 0:33:49.200
<v Speaker 1>three stages that are usually required to process negatives from

0:33:49.200 --> 0:33:53.040
<v Speaker 1>photographic film. And we worked with the jet propulsion lab.

0:33:53.080 --> 0:33:54.920
<v Speaker 1>Only way I got the job worked with the jet

0:33:54.960 --> 0:33:57.120
<v Speaker 1>propulsion lab and went down to the village to play

0:33:57.160 --> 0:34:01.440
<v Speaker 1>chess one day and or one night with some friends

0:34:01.440 --> 0:34:05.000
<v Speaker 1>in the business, and the table was gone where we

0:34:05.120 --> 0:34:08.399
<v Speaker 1>usually played chess, and they were constructing a stage. I said,

0:34:08.520 --> 0:34:11.719
<v Speaker 1>what's going on and he said, oh, we're we're gonna

0:34:11.719 --> 0:34:14.040
<v Speaker 1>have entertainment here in the village, which was pretty new

0:34:14.160 --> 0:34:17.080
<v Speaker 1>in nineteen sixty nine. I mean there were poets that

0:34:17.160 --> 0:34:21.160
<v Speaker 1>stood up, but there were no stages. Uh. And I said, well,

0:34:21.160 --> 0:34:24.279
<v Speaker 1>what do you have to do to entertain here? Remembering

0:34:24.320 --> 0:34:28.000
<v Speaker 1>that I was, hey, a nascent rock and roll star.

0:34:28.880 --> 0:34:31.160
<v Speaker 1>He said, we'll come down an audition. So in my

0:34:31.280 --> 0:34:34.800
<v Speaker 1>three piece Brooks Brothers suit, I went down to Greenwich

0:34:34.960 --> 0:34:39.399
<v Speaker 1>Village and did the Mickey Mouse Song as a rock

0:34:39.440 --> 0:34:42.759
<v Speaker 1>and roll tune and like m I c kuy you

0:34:42.880 --> 0:34:47.560
<v Speaker 1>got it? Who's the leader? Do do wah of the bay?

0:34:47.840 --> 0:34:52.719
<v Speaker 1>And anyway, they thought I was weird enough that they

0:34:52.800 --> 0:34:56.160
<v Speaker 1>hired me. And one thing that to another. I always

0:34:56.200 --> 0:34:59.200
<v Speaker 1>loved Jonathan Winners, you know the sound effects. I was

0:34:59.239 --> 0:35:02.160
<v Speaker 1>doing sound effects in high school. The moment I realized

0:35:02.200 --> 0:35:06.120
<v Speaker 1>I could abuse a microphone for fun and profit, I

0:35:06.160 --> 0:35:09.520
<v Speaker 1>went for it. So I was doing traffic noises and

0:35:10.040 --> 0:35:13.399
<v Speaker 1>the probably the most famous sound effect that I did

0:35:13.440 --> 0:35:17.160
<v Speaker 1>in the village was the American Standard, which I would

0:35:17.160 --> 0:35:19.640
<v Speaker 1>introduce as a song and then do the flush of

0:35:19.719 --> 0:35:23.359
<v Speaker 1>an of a toilet. Can you still do that? Yes?

0:35:23.440 --> 0:35:25.120
<v Speaker 1>I can, but I don't know if this Mike will

0:35:25.200 --> 0:35:27.879
<v Speaker 1>let me. It was, I did get the handle, I went,

0:35:28.920 --> 0:35:49.520
<v Speaker 1>and then sure, very good, very good. Okay, So you're

0:35:49.520 --> 0:35:51.760
<v Speaker 1>a jack of all trades down there in the village.

0:35:51.840 --> 0:35:53.680
<v Speaker 1>I was. I was, and I was a good I

0:35:53.680 --> 0:35:55.279
<v Speaker 1>think I was a good choice for that. I was

0:35:55.360 --> 0:35:58.520
<v Speaker 1>a everything from a major d to a comedian, to

0:35:58.640 --> 0:36:03.360
<v Speaker 1>a songwriter to the master of ceremonies. Because no, really,

0:36:04.040 --> 0:36:06.960
<v Speaker 1>no serious artist actually wanted to get up and introduce

0:36:07.000 --> 0:36:09.520
<v Speaker 1>another artist. I mean, they might do it as a

0:36:09.600 --> 0:36:13.080
<v Speaker 1>tale and to their performance, but they didn't want to

0:36:13.120 --> 0:36:15.920
<v Speaker 1>do it as a constant. But I was. I was

0:36:16.000 --> 0:36:21.080
<v Speaker 1>fine with that, um because of my uh, I don't know,

0:36:21.160 --> 0:36:27.520
<v Speaker 1>my predilection for wanting to make nice. So when Albert

0:36:27.560 --> 0:36:32.279
<v Speaker 1>Grossman came in and said, uh, have you ever thought

0:36:32.320 --> 0:36:35.080
<v Speaker 1>of being in a group Albert Grossman going on to

0:36:35.239 --> 0:36:39.520
<v Speaker 1>become the manager of Dylan Jimmy of in Genesee and

0:36:40.200 --> 0:36:44.560
<v Speaker 1>Uh the band, Uh, I said, well, no, I got

0:36:44.560 --> 0:36:47.279
<v Speaker 1>a few things I want to do my myself. Evidently,

0:36:47.480 --> 0:36:50.960
<v Speaker 1>at the result of that uh meeting, he went back

0:36:50.960 --> 0:36:53.440
<v Speaker 1>to Peter and said, well, he said no, but I

0:36:53.440 --> 0:36:58.080
<v Speaker 1>think he will. I guess that's what made Albert what

0:36:58.200 --> 0:37:02.279
<v Speaker 1>Albert was, and he was right. The turning point came

0:37:02.600 --> 0:37:08.160
<v Speaker 1>in Mary's apartment after about five months of rehearsal, where

0:37:08.200 --> 0:37:12.520
<v Speaker 1>we had taken come up with about six tunes on

0:37:12.760 --> 0:37:17.360
<v Speaker 1>the subposition that maybe if Albert liked them, he'd we

0:37:17.400 --> 0:37:20.200
<v Speaker 1>could be in a group. And the words out of

0:37:20.920 --> 0:37:23.880
<v Speaker 1>Albert were, will have you thought about a name for

0:37:23.920 --> 0:37:26.960
<v Speaker 1>the group? And yeah? And we said yeah, I'm even

0:37:27.000 --> 0:37:29.880
<v Speaker 1>thinking about the Willows. And he said, well, how about

0:37:30.320 --> 0:37:32.920
<v Speaker 1>if Nold changes his name, we could we could call

0:37:32.960 --> 0:37:36.120
<v Speaker 1>the group Peter, Paul and Mary. Well, I don't know

0:37:36.160 --> 0:37:38.960
<v Speaker 1>if you're familiar with a song called the ten th

0:37:39.320 --> 0:37:43.799
<v Speaker 1>year Old Man. I know you talk about the comedy routine. No, no, no,

0:37:43.880 --> 0:37:47.239
<v Speaker 1>I'm talking about the song of the folk song I

0:37:47.280 --> 0:37:50.040
<v Speaker 1>was born about ten thousand years ago. Actually I don't

0:37:50.040 --> 0:37:52.040
<v Speaker 1>know it. Okay, Well, I'll give you a little verse.

0:37:52.560 --> 0:37:54.799
<v Speaker 1>And there's nothing in this world that I don't know.

0:37:55.120 --> 0:37:58.400
<v Speaker 1>Get Ready, here comes the alliteration. I saw Peter Paul

0:37:58.480 --> 0:38:02.279
<v Speaker 1>and os is playing ring around the roses, and I'll

0:38:02.280 --> 0:38:04.560
<v Speaker 1>look at the guy that says it isn't. So it's

0:38:04.560 --> 0:38:08.560
<v Speaker 1>a cute song talks about the development of world history.

0:38:08.680 --> 0:38:12.560
<v Speaker 1>But the Peter Paul and was already there on our lips.

0:38:13.280 --> 0:38:16.799
<v Speaker 1>But I recognized, oh my gosh, I am I'm not

0:38:16.840 --> 0:38:19.680
<v Speaker 1>going to be a carry Wizanowski. You know, no one

0:38:19.840 --> 0:38:23.759
<v Speaker 1>is Carrie Grant later or whatever. I'm I want to

0:38:23.800 --> 0:38:26.160
<v Speaker 1>hang onto my name. But then it occurred to me,

0:38:26.200 --> 0:38:29.040
<v Speaker 1>I never did like my middle name of Carol. So

0:38:29.080 --> 0:38:31.120
<v Speaker 1>I'll tell you what, Albert, I'll take it on as

0:38:31.160 --> 0:38:34.200
<v Speaker 1>a middle name, not knowing that my middle name is

0:38:34.200 --> 0:38:37.680
<v Speaker 1>gonna take me on and take me out because from

0:38:37.719 --> 0:38:40.600
<v Speaker 1>there on there's a funny thing that happens when you

0:38:40.640 --> 0:38:43.080
<v Speaker 1>get interviewed. You know, somebody sits down and says, so

0:38:43.200 --> 0:38:46.960
<v Speaker 1>tell me, Paul. Now they've already assumed something about you,

0:38:48.400 --> 0:38:51.239
<v Speaker 1>which for most people would not be a handicap, but

0:38:51.320 --> 0:38:54.360
<v Speaker 1>for me, I wanted to defend the fact that Noel

0:38:54.520 --> 0:38:58.200
<v Speaker 1>was my first name. But it became immediately obvious that

0:38:58.280 --> 0:39:00.560
<v Speaker 1>the question they were asking me it was more important

0:39:01.080 --> 0:39:04.000
<v Speaker 1>then straightening them out as to what my first name was.

0:39:04.080 --> 0:39:09.480
<v Speaker 1>So Paul took me over for about ten or twelve years,

0:39:10.560 --> 0:39:14.919
<v Speaker 1>and then after the spiritual change and having my own

0:39:14.960 --> 0:39:18.160
<v Speaker 1>life one Peter Paulmary took seven years off for good

0:39:18.200 --> 0:39:22.160
<v Speaker 1>behavior between nineteen seventy and nineteen seventy eight. When I

0:39:22.200 --> 0:39:24.719
<v Speaker 1>came back to the group, I said, okay, let's use

0:39:24.719 --> 0:39:27.360
<v Speaker 1>my full name now, I'm no old Paul Stucky. However

0:39:27.480 --> 0:39:30.640
<v Speaker 1>you want to couch that that's who That's who I am.

0:39:31.280 --> 0:39:33.479
<v Speaker 1>That's that's fine, but I need to have my first

0:39:33.560 --> 0:39:38.759
<v Speaker 1>name happening. So okay, So okay, we jumped through a

0:39:38.760 --> 0:39:42.000
<v Speaker 1>few things. There, you're you're there, You change the name.

0:39:42.680 --> 0:39:47.080
<v Speaker 1>Tell us about the agreement for Albert to actually manage you,

0:39:47.480 --> 0:39:49.960
<v Speaker 1>how you selected the initial songs, how you got a

0:39:49.960 --> 0:39:55.160
<v Speaker 1>record deal? In what happened there? Wow? Okay, well down

0:39:55.320 --> 0:39:58.760
<v Speaker 1>down in the weeds a little bit more. Um. Albert

0:39:58.840 --> 0:40:02.359
<v Speaker 1>was handling Peter as a solo artist and felt that

0:40:02.400 --> 0:40:07.319
<v Speaker 1>Peter's voice deserved a better setting. Uh, So he wanted

0:40:07.360 --> 0:40:11.480
<v Speaker 1>to create a group. The first member of the group

0:40:11.560 --> 0:40:16.080
<v Speaker 1>that he thought of was Mary Travers, whose picture was

0:40:16.320 --> 0:40:21.400
<v Speaker 1>hanging up on the wall. Peter said, who's that? Uh in? Uh?

0:40:21.600 --> 0:40:25.720
<v Speaker 1>Is he Young's Folklore Center in Greenwich Village? And Albert

0:40:25.719 --> 0:40:28.000
<v Speaker 1>looked up and knew who she was because she had

0:40:28.040 --> 0:40:33.400
<v Speaker 1>sung with the with Harry Bell Foddi singers and Uh

0:40:33.440 --> 0:40:37.200
<v Speaker 1>and Pete Seeger of the song Swappers, And he said,

0:40:37.239 --> 0:40:39.560
<v Speaker 1>that's Mary Travers. He said she'd be good if you

0:40:39.600 --> 0:40:42.959
<v Speaker 1>could get her to work, and we to this day.

0:40:43.400 --> 0:40:45.759
<v Speaker 1>Mary passed away in two thousand nine. But to this day,

0:40:45.880 --> 0:40:48.080
<v Speaker 1>Peter and I still don't know if what Albert meant

0:40:48.239 --> 0:40:51.120
<v Speaker 1>was if you can get her to focus, or if

0:40:51.120 --> 0:40:53.960
<v Speaker 1>he meant if you could because she has a small child,

0:40:54.040 --> 0:40:58.120
<v Speaker 1>she'd she would consider going into, you know, a career,

0:40:59.360 --> 0:41:02.279
<v Speaker 1>but none the us. She was already on board. I

0:41:02.320 --> 0:41:06.000
<v Speaker 1>had already declined working in a group because I had

0:41:06.000 --> 0:41:08.640
<v Speaker 1>some things I wanted to do by myself. And I

0:41:08.680 --> 0:41:11.480
<v Speaker 1>was commuting to Boston to sing up at Club forty

0:41:11.560 --> 0:41:16.919
<v Speaker 1>seven in between Joan Baez and Tom Rush appearances up there. Uh,

0:41:16.960 --> 0:41:20.239
<v Speaker 1>and Betty, my wife, had moved to Boston, so we

0:41:20.280 --> 0:41:23.560
<v Speaker 1>saw each other up there. Uh. That was another reason

0:41:23.600 --> 0:41:26.400
<v Speaker 1>for me to find a job up there. But anyway,

0:41:26.440 --> 0:41:30.320
<v Speaker 1>I'm I'm back in the apartment in New York. It's uh,

0:41:30.440 --> 0:41:33.920
<v Speaker 1>it's midweek. The phone rings. Then it's Mary on the phone,

0:41:33.920 --> 0:41:37.759
<v Speaker 1>and she says, I've got this guy over here who's

0:41:37.840 --> 0:41:39.320
<v Speaker 1>visiting and we're wondering if we can come over and

0:41:39.360 --> 0:41:45.280
<v Speaker 1>sing some songs. Well, you know, you put it like that. Oh,

0:41:45.520 --> 0:41:49.160
<v Speaker 1>so I had worked up a solo tune for Mary

0:41:49.239 --> 0:41:51.759
<v Speaker 1>to sing a Single Girl, which eventually made it on

0:41:51.760 --> 0:41:55.799
<v Speaker 1>a record. Actually, and a Single Girl is sort of

0:41:56.680 --> 0:41:59.760
<v Speaker 1>symbolic of the way that the tunes came to the trio.

0:41:59.840 --> 0:42:02.080
<v Speaker 1>In the beginning. I'd say at least half of our

0:42:02.120 --> 0:42:07.640
<v Speaker 1>repertoire was drawn on, uh, folk music's history. Whether they

0:42:07.760 --> 0:42:12.600
<v Speaker 1>were gospel tunes, whether they were tunes by Pete Seeger

0:42:13.040 --> 0:42:17.200
<v Speaker 1>or Woody Guthrie, or whether they were songs like the

0:42:17.239 --> 0:42:20.719
<v Speaker 1>Golden Vanity, you know that had been in the in

0:42:20.920 --> 0:42:26.480
<v Speaker 1>the folk ballads lexicon for you know, a hundred years. Uh,

0:42:26.880 --> 0:42:31.000
<v Speaker 1>but we could not agree. This is a wonderful moment.

0:42:31.320 --> 0:42:35.840
<v Speaker 1>We're in my apartment, Peter, Mary and I and we

0:42:35.920 --> 0:42:39.520
<v Speaker 1>know I know by this time that Peter's represented by

0:42:39.560 --> 0:42:43.319
<v Speaker 1>Peter represented by Albert, and we want to see if

0:42:43.320 --> 0:42:47.200
<v Speaker 1>we could sing together. And we're not related. We ain't

0:42:47.200 --> 0:42:51.400
<v Speaker 1>no everly brothers, so we don't have that familial vibe

0:42:51.520 --> 0:42:55.280
<v Speaker 1>that occurs when people are the same family and genetic

0:42:55.320 --> 0:43:00.400
<v Speaker 1>background make harmonies. So we're kind of fishing around. But

0:43:00.480 --> 0:43:02.680
<v Speaker 1>every song we come up with, everybody's got a different

0:43:02.800 --> 0:43:05.480
<v Speaker 1>version of Such was the way of folk music in

0:43:05.520 --> 0:43:11.640
<v Speaker 1>the late fifties early sixties until we landed on Mary

0:43:11.800 --> 0:43:17.479
<v Speaker 1>had a little lamb, Little lamb. So first Mary took

0:43:17.480 --> 0:43:20.480
<v Speaker 1>the melody, Peter and I sang harmony. Then Peter took

0:43:20.520 --> 0:43:24.080
<v Speaker 1>the melody, Mary and I sang harmony. Then I took

0:43:24.080 --> 0:43:26.719
<v Speaker 1>the melody Peter and Mary sang harmony. And no matter

0:43:26.760 --> 0:43:31.080
<v Speaker 1>which way we sliced or diced it, it sounded like

0:43:31.600 --> 0:43:36.320
<v Speaker 1>a group. Uh. There was a and I was just looking,

0:43:36.400 --> 0:43:39.799
<v Speaker 1>you know, it's funny. Uh. Timing is everything, And I

0:43:39.840 --> 0:43:43.760
<v Speaker 1>was just watching an old video of Mary singing. Uh.

0:43:43.800 --> 0:43:46.200
<v Speaker 1>The other day was a light one candle that Peter

0:43:46.280 --> 0:43:50.440
<v Speaker 1>had written. Uh, and we sat. We didn't have to

0:43:50.480 --> 0:43:53.960
<v Speaker 1>modulate for the woman to sing, you know, we didn't

0:43:53.960 --> 0:43:56.520
<v Speaker 1>have to change to another key as sometimes it's often

0:43:56.600 --> 0:44:00.560
<v Speaker 1>done for choruses. Mary's vocal range was quite white, as

0:44:00.680 --> 0:44:03.480
<v Speaker 1>was mine, as was Peters, so we were able to

0:44:03.520 --> 0:44:07.799
<v Speaker 1>make a sound that. Uh. We would trade leads all

0:44:07.800 --> 0:44:12.839
<v Speaker 1>the time. We I think that was and and isn't

0:44:12.880 --> 0:44:16.360
<v Speaker 1>it curious in retrospect talking about walking in through the

0:44:16.360 --> 0:44:19.480
<v Speaker 1>door expecting one thing and leaving with another. That we

0:44:19.480 --> 0:44:24.839
<v Speaker 1>were named Peter, Paul and Mary, which meant the three

0:44:24.880 --> 0:44:30.319
<v Speaker 1>individuals who lent their voices to each other for performances

0:44:30.480 --> 0:44:33.839
<v Speaker 1>also had these moments in the sun where they would

0:44:33.880 --> 0:44:38.000
<v Speaker 1>come out and do solo performances. Peter would sing two songs,

0:44:38.040 --> 0:44:40.759
<v Speaker 1>bring me out. I would do some comedy, sing a song.

0:44:40.880 --> 0:44:43.520
<v Speaker 1>I'd bring Mary out. She douced two songs. Then the

0:44:43.520 --> 0:44:46.600
<v Speaker 1>group would reassemble to finish the concert. So there was

0:44:46.640 --> 0:44:52.319
<v Speaker 1>a kind of continuity, and it showed up not only

0:44:52.480 --> 0:44:56.080
<v Speaker 1>in as the group went on, not only in song selection,

0:44:56.160 --> 0:44:59.480
<v Speaker 1>but the way that our harmonies came together. They were

0:44:59.520 --> 0:45:04.840
<v Speaker 1>not additional harmonies, that is to say, we could sing uh,

0:45:05.400 --> 0:45:08.120
<v Speaker 1>pronouncing the words at the same time. But we more

0:45:08.160 --> 0:45:12.279
<v Speaker 1>and more began to fall into the gospel kind of

0:45:12.320 --> 0:45:15.080
<v Speaker 1>shout and answer, you know, where one would sing a

0:45:15.160 --> 0:45:19.840
<v Speaker 1>lead and we Mary and I might answer Peter or

0:45:21.000 --> 0:45:27.040
<v Speaker 1>Peter was beautiful at creating alternative counterabilodies. Sometimes it got

0:45:27.040 --> 0:45:28.919
<v Speaker 1>to the point where we would write a whole other

0:45:29.040 --> 0:45:32.080
<v Speaker 1>song and then lay that in against a traditional song.

0:45:32.800 --> 0:45:37.920
<v Speaker 1>So are we We kept each other interested in what

0:45:37.960 --> 0:45:41.560
<v Speaker 1>we were doing by virtue of bringing our individual choices

0:45:41.960 --> 0:45:47.160
<v Speaker 1>and surprising each other with our songs selections. And then

0:45:47.360 --> 0:45:51.680
<v Speaker 1>Peter and I as the mid sixties came, began to

0:45:51.960 --> 0:45:55.960
<v Speaker 1>create more and more original material. So that's okay. Yeah.

0:45:56.239 --> 0:45:59.360
<v Speaker 1>Would would the group have been as successful if Albert

0:45:59.440 --> 0:46:04.239
<v Speaker 1>was not the manager? Probably not. Uh. Albert had a

0:46:04.280 --> 0:46:10.279
<v Speaker 1>philosophy that it was quite righteous in nature. Uh. It

0:46:10.400 --> 0:46:14.719
<v Speaker 1>was a little bit of concealment because Albert was a

0:46:14.760 --> 0:46:20.080
<v Speaker 1>great Uh. Albert had great taste, and so he knew

0:46:20.120 --> 0:46:23.200
<v Speaker 1>the value of things before other people could see the

0:46:23.280 --> 0:46:27.120
<v Speaker 1>value of things. So when he went to Warner Brothers,

0:46:27.239 --> 0:46:32.040
<v Speaker 1>for instance, uh, who were at that point there own

0:46:32.239 --> 0:46:34.840
<v Speaker 1>Warner Brothers Records was housed in a closet hut on

0:46:34.880 --> 0:46:39.200
<v Speaker 1>the Burbank lots, the film lots, and I think they

0:46:39.440 --> 0:46:46.719
<v Speaker 1>had maybe Bill Cosby and uh uh Bob Newhart. That

0:46:46.880 --> 0:46:49.200
<v Speaker 1>was about it. Oh, and they had the ever least

0:46:49.280 --> 0:46:53.200
<v Speaker 1>I think. But they were looking for new material. But

0:46:53.280 --> 0:46:57.520
<v Speaker 1>they weren't willing to go Uh. They weren't willing to

0:46:57.640 --> 0:47:02.680
<v Speaker 1>let the artist control their own material. They wanted to

0:47:02.719 --> 0:47:05.560
<v Speaker 1>dictate what the songs were. They wanted to assign a producer.

0:47:05.600 --> 0:47:07.120
<v Speaker 1>Albert said, no, no no, no, no, I'm gonna do that.

0:47:07.120 --> 0:47:09.720
<v Speaker 1>I'll tell you what, though, you give us a single

0:47:09.800 --> 0:47:12.680
<v Speaker 1>record deal, just one record. We don't need three records.

0:47:12.840 --> 0:47:14.600
<v Speaker 1>You know, we're not going to sign a long deal.

0:47:15.120 --> 0:47:17.520
<v Speaker 1>Just give us one record and the right to do

0:47:17.600 --> 0:47:20.200
<v Speaker 1>whatever we want and the budget for that, and then

0:47:20.200 --> 0:47:25.200
<v Speaker 1>we'll see where it goes from there. Help needless to say,

0:47:25.280 --> 0:47:27.960
<v Speaker 1>the first album went through the roof. Peter, Paul and

0:47:28.000 --> 0:47:31.640
<v Speaker 1>Mary were established. We had Lemon Tree, we had if

0:47:31.719 --> 0:47:37.640
<v Speaker 1>I had a hammer the end. The music suited the times.

0:47:37.680 --> 0:47:41.760
<v Speaker 1>But to put a caper on the description of Albert,

0:47:42.840 --> 0:47:47.120
<v Speaker 1>his capacity to recognize the value of what he had

0:47:47.200 --> 0:47:51.120
<v Speaker 1>to bargain with was kind of an invisible leverage. That

0:47:51.239 --> 0:47:54.320
<v Speaker 1>is to say, he would go to a promoter, uh

0:47:54.320 --> 0:47:57.760
<v Speaker 1>and say we would like to do the London Palladium,

0:47:58.040 --> 0:48:02.120
<v Speaker 1>or we would like to do Constitution Hall in Washington,

0:48:02.200 --> 0:48:06.000
<v Speaker 1>d C. And the promoters say, well, uh, you know

0:48:07.040 --> 0:48:11.040
<v Speaker 1>I can't I can't give you ten dollar guarantee. And

0:48:11.040 --> 0:48:13.880
<v Speaker 1>I would say, oh, we don't want to guarantee, we

0:48:13.960 --> 0:48:19.800
<v Speaker 1>just want of the ticket sales. So he was always

0:48:19.840 --> 0:48:23.359
<v Speaker 1>on the comp not on the take. So he got

0:48:23.360 --> 0:48:26.400
<v Speaker 1>a reputation for being a hard nosed businessman, but actually

0:48:26.600 --> 0:48:29.799
<v Speaker 1>he just had great faith in what he thought was

0:48:30.840 --> 0:48:35.520
<v Speaker 1>a coming attraction. So you know, an eight percent turned

0:48:35.520 --> 0:48:37.640
<v Speaker 1>out to be twenty four tho dollars who needed the

0:48:37.680 --> 0:48:41.239
<v Speaker 1>guarantee and that you know, I'm just making those numbers up,

0:48:41.239 --> 0:48:44.480
<v Speaker 1>but relatively you understand what I'm saying. He was able

0:48:44.560 --> 0:48:47.319
<v Speaker 1>to negotiate great terms for us no matter where we went,

0:48:47.360 --> 0:48:49.320
<v Speaker 1>and he was our manager for the first ten eleven

0:48:49.400 --> 0:48:52.279
<v Speaker 1>years of our lives. And probably the greatest coup that

0:48:52.320 --> 0:48:58.600
<v Speaker 1>he pulled off was when the trio recorded their individual

0:48:58.600 --> 0:49:03.200
<v Speaker 1>solo albums in the early evanies. He negotiated that those records,

0:49:03.440 --> 0:49:08.600
<v Speaker 1>the those tapes, those master tapes, would revert to the

0:49:08.719 --> 0:49:13.600
<v Speaker 1>artists as their property, that Warner Brothers was only leasing them,

0:49:14.560 --> 0:49:19.000
<v Speaker 1>and so both Peter, Mary and myself had those records

0:49:19.000 --> 0:49:23.480
<v Speaker 1>as our own property. They came back to us. Um. Yeah,

0:49:24.160 --> 0:49:28.640
<v Speaker 1>Albert was pretty pretty amazing guy. And what it's it's

0:49:28.760 --> 0:49:39.920
<v Speaker 1>very ironic being the cuisine, being the culinary artiste. Uh,

0:49:39.960 --> 0:49:42.600
<v Speaker 1>you know, he was really he really understood good food,

0:49:42.719 --> 0:49:45.560
<v Speaker 1>had a restaurant and would's not called the Bear. And

0:49:45.760 --> 0:49:49.239
<v Speaker 1>how ironic that he should die die on an airplane

0:49:49.320 --> 0:49:53.160
<v Speaker 1>headed for London. Uh. And the first question that most

0:49:53.160 --> 0:49:58.719
<v Speaker 1>people had was before or after the meal. He was

0:49:58.760 --> 0:50:03.440
<v Speaker 1>a delightful man. Uh, with a great giggle. That's what

0:50:03.560 --> 0:50:05.920
<v Speaker 1>I remember most about how he used to go. He

0:50:05.920 --> 0:50:13.480
<v Speaker 1>would never laugh out loud, he would go yeah, okay. Now,

0:50:13.560 --> 0:50:18.719
<v Speaker 1>Dylan ultimately fell out with him over money. Uh do

0:50:18.840 --> 0:50:22.439
<v Speaker 1>you I would ask a what percentage did he take in? Uh?

0:50:22.480 --> 0:50:25.040
<v Speaker 1>Do you feel comfortable with the deal? And how things

0:50:25.120 --> 0:50:29.879
<v Speaker 1>the financial accountings? Well? For us? Mind you, Albert put

0:50:29.960 --> 0:50:33.320
<v Speaker 1>us together. So the fact that he, in his office

0:50:33.320 --> 0:50:38.280
<v Speaker 1>took it was absolutely proper as far as we were concerned.

0:50:39.120 --> 0:50:41.520
<v Speaker 1>Not only that the success was of the group was

0:50:41.600 --> 0:50:45.560
<v Speaker 1>so large and so immediate that uh, you know, I

0:50:45.960 --> 0:50:50.880
<v Speaker 1>think we would have had to develop some kind of

0:50:51.440 --> 0:50:54.840
<v Speaker 1>animosity much much later, you know, maybe when the money

0:50:54.920 --> 0:50:58.400
<v Speaker 1>was running out, or or our career tends turned south,

0:50:58.440 --> 0:51:03.000
<v Speaker 1>which it never did. Um. We did leave Albert after

0:51:03.160 --> 0:51:05.520
<v Speaker 1>the time off for good behavior, but but he had

0:51:05.560 --> 0:51:07.640
<v Speaker 1>so many other irons in the fire by that time,

0:51:08.120 --> 0:51:11.320
<v Speaker 1>he really didn't need us anymore. And I think Bobby's

0:51:11.440 --> 0:51:15.520
<v Speaker 1>falling out with Albert was more question of the publishing

0:51:15.719 --> 0:51:22.880
<v Speaker 1>than it was how Albert was handling his career. Uh yeah, okay,

0:51:22.880 --> 0:51:25.160
<v Speaker 1>So how did you decide to do The first hit

0:51:25.239 --> 0:51:26.840
<v Speaker 1>was if I Had a Hammer? So, how did you

0:51:26.880 --> 0:51:29.279
<v Speaker 1>decide to do that? No? No, No, first hit was

0:51:29.400 --> 0:51:35.839
<v Speaker 1>Lemon Try. Lemon Try was on. It was just on

0:51:35.880 --> 0:51:41.439
<v Speaker 1>the Peter Polymery album and Buck Herron Young DJ out

0:51:41.480 --> 0:51:45.080
<v Speaker 1>of Oakland. Um, I can't remember the KF e W

0:51:45.360 --> 0:51:48.120
<v Speaker 1>k B E GO. I don't know what the radio

0:51:48.160 --> 0:51:52.719
<v Speaker 1>station was. Anyway, he pulled it off, made it the

0:51:52.840 --> 0:51:56.879
<v Speaker 1>single of the week or something. A couple of other

0:51:56.960 --> 0:51:59.080
<v Speaker 1>radio stations picked up on it, and you know, the

0:51:59.160 --> 0:52:01.920
<v Speaker 1>charts were into meant then, I mean Billboard and cash

0:52:01.920 --> 0:52:06.120
<v Speaker 1>Box they were the only charts around maybe Bill Gavin's Report. Uh.

0:52:06.200 --> 0:52:09.319
<v Speaker 1>And so people would see what Lemon Try? What is that?

0:52:09.400 --> 0:52:11.440
<v Speaker 1>Who are these people? Give me? Give me that album,

0:52:11.520 --> 0:52:14.520
<v Speaker 1>let me hear that. And so we went up to

0:52:14.560 --> 0:52:18.840
<v Speaker 1>we were top thirty with Lemon Try. Well, you know,

0:52:19.640 --> 0:52:24.320
<v Speaker 1>fame acceptance is quite often built on a previous record,

0:52:24.600 --> 0:52:29.160
<v Speaker 1>and certainly it was in this case. And though Lemonry

0:52:29.360 --> 0:52:34.760
<v Speaker 1>was not a political statement, it's certainly set up the

0:52:35.000 --> 0:52:38.560
<v Speaker 1>visibility of the group, so that in nineteen sixty two

0:52:38.719 --> 0:52:45.440
<v Speaker 1>sixty three, when the foment about civil rights was happening, Uh,

0:52:45.760 --> 0:52:49.600
<v Speaker 1>if I Had a Hammer was uh, you know, became

0:52:49.640 --> 0:52:55.000
<v Speaker 1>a calling card. Uh. It's timing was expressive of a

0:52:55.200 --> 0:52:58.560
<v Speaker 1>lot of the sentiment that was felt across the country.

0:52:59.239 --> 0:53:03.840
<v Speaker 1>And you know, we were we were the right people

0:53:04.080 --> 0:53:07.719
<v Speaker 1>at the right time, with the right message and following

0:53:07.800 --> 0:53:12.360
<v Speaker 1>that to be able to because of Albert's handling of

0:53:13.200 --> 0:53:18.440
<v Speaker 1>Dylan and the opportunity to hear Dylan's tunes before anybody

0:53:18.440 --> 0:53:21.640
<v Speaker 1>else heard them. When we heard Don't Think Twice and

0:53:21.800 --> 0:53:24.359
<v Speaker 1>Blowing in the Wind one night backstage at the Gate

0:53:24.400 --> 0:53:26.960
<v Speaker 1>of Horne in Chicago, we wanted to do both the

0:53:26.960 --> 0:53:30.440
<v Speaker 1>tune and as you well know, Blowing in the Wind

0:53:30.719 --> 0:53:35.560
<v Speaker 1>not only became number two hit, uh, following If I

0:53:35.600 --> 0:53:38.080
<v Speaker 1>Had a Hammer, but also has gone on to become

0:53:38.120 --> 0:53:41.319
<v Speaker 1>a classic done by you know, tons of performers and

0:53:41.560 --> 0:53:46.560
<v Speaker 1>always has a certain residence among uh those people who

0:53:47.120 --> 0:53:51.960
<v Speaker 1>still fight for human rights world around. Okay, so when

0:53:51.960 --> 0:53:54.279
<v Speaker 1>you say you heard it backstage on an ascetator, was

0:53:55.600 --> 0:53:59.239
<v Speaker 1>what was going on? Hunt? No on an estate? Yeah. Now,

0:53:59.360 --> 0:54:01.839
<v Speaker 1>for those people don't know what an ascetate is, you

0:54:01.840 --> 0:54:07.520
<v Speaker 1>know that's like a vinyl gone early. Uh. It requires

0:54:07.120 --> 0:54:12.200
<v Speaker 1>a needle on cutting a groove. Uh. And as the

0:54:12.239 --> 0:54:15.640
<v Speaker 1>sound comes out the groove move sideways and up and down,

0:54:15.760 --> 0:54:19.040
<v Speaker 1>lateral and vertical. And then when you put a needle

0:54:19.080 --> 0:54:21.879
<v Speaker 1>on that play back through an amplified process, you get

0:54:22.280 --> 0:54:25.120
<v Speaker 1>you get what was recorded. So, yes, it was an

0:54:25.160 --> 0:54:29.120
<v Speaker 1>ascetate played on a turntable at the bar and at

0:54:29.120 --> 0:54:35.799
<v Speaker 1>the gate of Horn. But Albert was managing Dylan. So

0:54:36.120 --> 0:54:39.200
<v Speaker 1>was it just a matter of him, uh feeding you

0:54:39.360 --> 0:54:43.480
<v Speaker 1>these songs or was it a whole cabal with Albert

0:54:43.640 --> 0:54:45.600
<v Speaker 1>and his acts that you were in it together and

0:54:45.640 --> 0:54:47.439
<v Speaker 1>you had a relationship with Dylan, you were the same

0:54:47.480 --> 0:54:51.880
<v Speaker 1>scene or were you really in different verticals? That's interesting.

0:54:54.040 --> 0:54:57.160
<v Speaker 1>You probably believe a lot of other conspiracy theories to write.

0:54:58.200 --> 0:55:02.000
<v Speaker 1>Believe me on the opposite of a conspiracy. Okay, well, no,

0:55:02.400 --> 0:55:05.759
<v Speaker 1>there was no conspiracy involved. There was just a you know,

0:55:05.960 --> 0:55:10.280
<v Speaker 1>a parallel of themes, you know, I mean, like I said,

0:55:10.360 --> 0:55:14.399
<v Speaker 1>these are the times in which we lived. And uh,

0:55:14.480 --> 0:55:17.160
<v Speaker 1>you know, my first contact with Bobby as a passing

0:55:17.719 --> 0:55:22.280
<v Speaker 1>artist was when I was master of ceremonies in Greenwich

0:55:22.400 --> 0:55:24.560
<v Speaker 1>Village and Bobby came in to do a set and

0:55:24.600 --> 0:55:29.640
<v Speaker 1>he at that time the first time through the gaslight. Uh,

0:55:29.680 --> 0:55:32.720
<v Speaker 1>he sang mostly, Uh, what do he got three tunes

0:55:32.760 --> 0:55:35.120
<v Speaker 1>and he had a voice very much that suited what

0:55:35.280 --> 0:55:37.960
<v Speaker 1>he got three tunes, and then he went away to

0:55:38.120 --> 0:55:40.360
<v Speaker 1>go on tour I think I think it was in

0:55:40.400 --> 0:55:42.920
<v Speaker 1>New Jersey, and he came back maybe a couple of

0:55:43.080 --> 0:55:47.040
<v Speaker 1>months later and asked if he could do a set,

0:55:47.080 --> 0:55:49.800
<v Speaker 1>and I, kind of being in charge of the entertainment,

0:55:49.840 --> 0:55:52.120
<v Speaker 1>I said yeah, sure of course, and he got up

0:55:52.120 --> 0:55:57.240
<v Speaker 1>on stage and he did a song about, uh, Buffalo,

0:55:58.680 --> 0:56:02.680
<v Speaker 1>I can't remember what not Buffalo writers Buffalo, I don't know.

0:56:02.760 --> 0:56:05.280
<v Speaker 1>There's a song about a guy that gets a job

0:56:05.440 --> 0:56:09.439
<v Speaker 1>out in the west, uh, skinning buffalo, buffalo skinner. That's

0:56:09.440 --> 0:56:14.040
<v Speaker 1>what it was. Uh. But these were totally different lyrics.

0:56:14.640 --> 0:56:17.680
<v Speaker 1>The original lyric was about how the buffalo skinner goes

0:56:17.719 --> 0:56:21.879
<v Speaker 1>to get paid and they give him skins and he says, well,

0:56:21.920 --> 0:56:24.319
<v Speaker 1>I can't do anything with this. I gotta eat. And

0:56:24.360 --> 0:56:26.200
<v Speaker 1>the guy says, take it to the general store and

0:56:26.239 --> 0:56:29.400
<v Speaker 1>trade in the skins and he'll give you the food. Oh.

0:56:29.480 --> 0:56:32.880
<v Speaker 1>So that's this is told to a plaintive three chord

0:56:33.120 --> 0:56:37.400
<v Speaker 1>folk melody, right, that's the traditional tune. Dylan comes back

0:56:37.480 --> 0:56:41.400
<v Speaker 1>from two months in New Jersey singing at a folk

0:56:41.400 --> 0:56:46.880
<v Speaker 1>club and he starts playing the chords behind Buffalo Skinner,

0:56:47.280 --> 0:56:50.640
<v Speaker 1>only he's talking about a guy that's gone to work

0:56:50.760 --> 0:56:53.880
<v Speaker 1>at this chess folk club in New Jersey. That's what

0:56:53.960 --> 0:56:56.840
<v Speaker 1>the lyric is about, and the fact that when he

0:56:56.880 --> 0:56:59.960
<v Speaker 1>comes to get his payroll, the the owner of the

0:57:00.600 --> 0:57:04.120
<v Speaker 1>of the chess club, gives him a chess set instead

0:57:04.160 --> 0:57:06.759
<v Speaker 1>of money. And he says, what am I supposed to

0:57:06.760 --> 0:57:09.080
<v Speaker 1>do with this? And he says, take it to the bartender.

0:57:09.160 --> 0:57:12.239
<v Speaker 1>So he goes to the bar and he's orders a

0:57:12.280 --> 0:57:14.840
<v Speaker 1>beer and he pays him mcking and gets two ponds

0:57:14.840 --> 0:57:20.240
<v Speaker 1>on a rook and return. Now the moment I saw that,

0:57:20.760 --> 0:57:23.080
<v Speaker 1>you know, um, And that was a revelation to me.

0:57:23.200 --> 0:57:27.760
<v Speaker 1>Here was somebody who understood in a more significant level

0:57:27.800 --> 0:57:31.240
<v Speaker 1>the abstract of folk music, that it had the capacity

0:57:31.320 --> 0:57:34.560
<v Speaker 1>to inform tell a story, but that it was timeless,

0:57:34.680 --> 0:57:41.480
<v Speaker 1>that the that the arrangement was conceivably just an opportunity

0:57:41.520 --> 0:57:46.920
<v Speaker 1>to voice more contemporary concerns. So two days later, I

0:57:46.960 --> 0:57:49.480
<v Speaker 1>don't know if you remember, but a ferry runs a

0:57:49.560 --> 0:57:53.440
<v Speaker 1>ground in New York City, in New York Harbor in

0:57:53.480 --> 0:57:57.360
<v Speaker 1>the Hudson River. Because counterfeit tickets were printed for a

0:57:57.360 --> 0:58:01.560
<v Speaker 1>bare mountain picnic, and too many people got on board

0:58:01.600 --> 0:58:04.600
<v Speaker 1>the ship. They refused to believe that they were counterfeit,

0:58:04.680 --> 0:58:07.880
<v Speaker 1>and the ship sank. And the irony of that was

0:58:07.920 --> 0:58:10.560
<v Speaker 1>not lost on the person who wrote the news article.

0:58:10.760 --> 0:58:14.160
<v Speaker 1>And I handed the article to Dylan, who was there

0:58:14.160 --> 0:58:17.440
<v Speaker 1>for the weekend. The next night he came in and

0:58:17.520 --> 0:58:22.840
<v Speaker 1>does the talking Bear Mountain Picnic Massacre blues. So two

0:58:22.920 --> 0:58:27.680
<v Speaker 1>days later or thereabouts, I say to Albert, you gotta

0:58:27.720 --> 0:58:29.920
<v Speaker 1>come down and hear this guy. He is a genius.

0:58:30.560 --> 0:58:34.520
<v Speaker 1>So that was Albert's I think, first contact with Dylan,

0:58:34.600 --> 0:58:37.800
<v Speaker 1>our first awareness of Dylan. But they were a great couple.

0:58:37.840 --> 0:58:41.000
<v Speaker 1>I mean, Dylan moved right into Woodstock and what a

0:58:41.160 --> 0:58:46.240
<v Speaker 1>great synergy between him and Robbie and and uh, you

0:58:46.280 --> 0:58:49.800
<v Speaker 1>know the band. I mean, what a great, great group

0:58:49.840 --> 0:58:52.840
<v Speaker 1>of musicians and thinkers. And the Basement tapes are just

0:58:53.080 --> 0:58:58.600
<v Speaker 1>so lovely. Um and you know, an inspiration once again

0:58:59.520 --> 0:59:04.400
<v Speaker 1>for being authentic. You know, find find the best way

0:59:04.440 --> 0:59:07.760
<v Speaker 1>in your own voice to speak to that which concerns you,

0:59:07.880 --> 0:59:10.600
<v Speaker 1>and you'll include a lot of people, because I think

0:59:10.640 --> 0:59:14.760
<v Speaker 1>people can they just sense the truth. It's like what

0:59:14.880 --> 0:59:24.160
<v Speaker 1>Richard Nixon was not. Okay, let's go back to that era.

0:59:24.280 --> 0:59:26.880
<v Speaker 1>I'm old enough to be aware. Most people only read

0:59:26.920 --> 0:59:30.760
<v Speaker 1>about it in books. But prior to the Beatles, there

0:59:30.880 --> 0:59:33.480
<v Speaker 1>was a huge folk scene, even to the point there

0:59:33.480 --> 0:59:37.960
<v Speaker 1>was a TV show puting in You've You've referenced the

0:59:38.000 --> 0:59:41.040
<v Speaker 1>fact that there was a scene in Greenwich Village once

0:59:41.080 --> 0:59:44.600
<v Speaker 1>again legendary, but it was happening when most people were

0:59:44.640 --> 0:59:48.840
<v Speaker 1>not aware. Needless to say, with your success, you were

0:59:49.600 --> 0:59:52.960
<v Speaker 1>kings and queen of that scene. What was it like

0:59:53.080 --> 0:59:55.920
<v Speaker 1>in the folk world at that time, Well, don't forget

0:59:56.000 --> 1:00:00.320
<v Speaker 1>speaking of kings, the King has done trio who were

1:00:00.440 --> 1:00:03.200
<v Speaker 1>out the door early maybe two years prior to us,

1:00:03.640 --> 1:00:06.439
<v Speaker 1>uh with folk music. But it was kind of good

1:00:06.480 --> 1:00:10.720
<v Speaker 1>time folk music. It was, you know, let's all get

1:00:10.720 --> 1:00:14.360
<v Speaker 1>together and have a u a great time singing together.

1:00:14.800 --> 1:00:16.880
<v Speaker 1>Um to have a couple of years, let's have a party,

1:00:16.960 --> 1:00:21.800
<v Speaker 1>let's uh sing uh Waltz Matilda, let's sing you know

1:00:22.080 --> 1:00:25.200
<v Speaker 1>songs that we all know. Well that was that was good.

1:00:25.240 --> 1:00:27.240
<v Speaker 1>But this was a different kind of music, and so

1:00:27.280 --> 1:00:31.600
<v Speaker 1>the folks scenes sort of changed, bent in that direction

1:00:32.120 --> 1:00:38.360
<v Speaker 1>and augured uh for a a more concerned lyric in

1:00:38.400 --> 1:00:42.720
<v Speaker 1>general that in now the folks scene itself. Okay, I

1:00:42.720 --> 1:00:46.120
<v Speaker 1>mean there was the Kingston's. There was John Stewart, who

1:00:46.160 --> 1:00:50.200
<v Speaker 1>brought arguably to the Kingston's a kind of political conscience

1:00:50.280 --> 1:00:54.919
<v Speaker 1>that they hadn't had since Dave Guard left the group. Um,

1:00:55.600 --> 1:01:01.680
<v Speaker 1>there was the Brandywine Singers. There was you know, uh

1:01:01.920 --> 1:01:05.840
<v Speaker 1>the Brothers Four. There were uh, you know, Entrudy. And

1:01:05.880 --> 1:01:08.320
<v Speaker 1>then there were the soloists. I mean there was Joan An,

1:01:08.440 --> 1:01:13.840
<v Speaker 1>there was Judy Collins, there was um, you know, I

1:01:14.400 --> 1:01:21.840
<v Speaker 1>the mind cannot really I can't fully embrace the breadth. Uh.

1:01:21.880 --> 1:01:25.960
<v Speaker 1>It was just such a wide variety of artists who

1:01:26.480 --> 1:01:33.200
<v Speaker 1>little by little made there made their statements through the

1:01:33.280 --> 1:01:36.960
<v Speaker 1>medium of folk music, and folk music began to have

1:01:37.120 --> 1:01:42.280
<v Speaker 1>its effect on pop music because here were here were DJs.

1:01:42.360 --> 1:01:44.640
<v Speaker 1>You know, they were used to playing lush ballads by

1:01:44.880 --> 1:01:48.880
<v Speaker 1>Bert Backrack, and now they were playing a guitar and

1:01:49.280 --> 1:01:52.120
<v Speaker 1>harmonica and a guy singing what is this? But you know,

1:01:52.200 --> 1:01:55.400
<v Speaker 1>where is the Where's the luster? Where's the glamour? Where's

1:01:55.960 --> 1:02:03.040
<v Speaker 1>And eventually that desire for a more uh how shall

1:02:03.120 --> 1:02:07.080
<v Speaker 1>I say, a more arresting sound began to manifest itself

1:02:07.120 --> 1:02:12.320
<v Speaker 1>in rock and roll and the lyrics subsequently, we're uh

1:02:12.360 --> 1:02:15.760
<v Speaker 1>inspired in rock and roll? You know I can't get

1:02:15.800 --> 1:02:19.800
<v Speaker 1>no satisfaction in a sense was a far cry from

1:02:20.040 --> 1:02:24.360
<v Speaker 1>what the world needs now is love sweet love. Yeah. So,

1:02:25.120 --> 1:02:30.160
<v Speaker 1>folk music's impact on pop music in the mid sixties

1:02:30.240 --> 1:02:35.280
<v Speaker 1>triggered the release of a variety. To me, one of

1:02:35.320 --> 1:02:41.400
<v Speaker 1>the main uh, main changes occurred when James Taylor UH

1:02:41.680 --> 1:02:45.600
<v Speaker 1>came on the scene because his ability to blend a

1:02:46.200 --> 1:02:51.320
<v Speaker 1>beautifully played acoustic guitar with piano drums. UH kind of

1:02:51.840 --> 1:02:54.439
<v Speaker 1>was the middle ground, you know, once again we could

1:02:54.480 --> 1:02:59.440
<v Speaker 1>have pretty music that spoke to very personal relations, that

1:02:59.600 --> 1:03:03.520
<v Speaker 1>had a broader conscience to it. And then of course

1:03:03.560 --> 1:03:07.920
<v Speaker 1>the Beatles arrived with Please Please Me, and the Stones continued,

1:03:08.240 --> 1:03:12.959
<v Speaker 1>and then we were into the Loving Spoonful and even

1:03:13.000 --> 1:03:15.280
<v Speaker 1>to this day, as a matter of fact, I'm holding

1:03:15.360 --> 1:03:17.960
<v Speaker 1>up your people can't see it, but I'm holding up

1:03:18.200 --> 1:03:22.120
<v Speaker 1>an album that says, hope rises. This is a this

1:03:22.200 --> 1:03:28.520
<v Speaker 1>is a album that contains fifteen new artists because a

1:03:28.560 --> 1:03:31.760
<v Speaker 1>lot of people uh. And I'm sure it's something that

1:03:31.800 --> 1:03:35.120
<v Speaker 1>you will ask later in this interview. Where can we

1:03:35.160 --> 1:03:39.600
<v Speaker 1>hear music that pertains to the times and the crises

1:03:39.720 --> 1:03:43.920
<v Speaker 1>in which we live now? And that music is there,

1:03:43.960 --> 1:03:49.720
<v Speaker 1>but the niche for their for its expression as narrowed considerably.

1:03:49.760 --> 1:03:54.600
<v Speaker 1>I mean, there are many slices of opportunity now and

1:03:54.760 --> 1:03:59.520
<v Speaker 1>what Music to Life does has done is to sponsor

1:04:00.280 --> 1:04:04.400
<v Speaker 1>these artists in their separate communities and to encourage them

1:04:04.440 --> 1:04:07.120
<v Speaker 1>to record and to use music as part of the

1:04:07.200 --> 1:04:10.919
<v Speaker 1>everyday outreach to their communities. But we'll talk about that later.

1:04:11.720 --> 1:04:15.960
<v Speaker 1>Um anyway, mhm. The fact that I brought it up

1:04:16.800 --> 1:04:21.600
<v Speaker 1>is part of the awareness that styles of music have

1:04:21.840 --> 1:04:26.120
<v Speaker 1>less to do with the success of the lyric than

1:04:26.520 --> 1:04:29.160
<v Speaker 1>they used to. Uh. You know, there was a time

1:04:29.200 --> 1:04:32.120
<v Speaker 1>when country and Western was hillbilly. You know, there was

1:04:32.160 --> 1:04:35.360
<v Speaker 1>a time when hip hop and rap was nothing but anger.

1:04:36.040 --> 1:04:39.760
<v Speaker 1>There was a time, you know when bossa Nova was

1:04:40.640 --> 1:04:46.200
<v Speaker 1>a lush rather than pointed. Uh So, these changes I

1:04:46.240 --> 1:04:48.720
<v Speaker 1>think came about to a large part because they were

1:04:48.800 --> 1:04:55.680
<v Speaker 1>encouraged by folk musics encouragement to speak to those events

1:04:55.720 --> 1:05:00.160
<v Speaker 1>that we share as a world community. But you know,

1:05:00.240 --> 1:05:02.440
<v Speaker 1>from the outside, not being a maker of this music,

1:05:02.520 --> 1:05:05.640
<v Speaker 1>what do I know, everyone wherever you went there was

1:05:05.640 --> 1:05:08.120
<v Speaker 1>a guitar and you sang these songs. They were sung

1:05:08.160 --> 1:05:11.960
<v Speaker 1>at summer camps, etcetera. And in addition, there was a

1:05:11.960 --> 1:05:14.360
<v Speaker 1>lot of you know, even when Kennedy was there. There

1:05:14.360 --> 1:05:18.000
<v Speaker 1>were a lot of political issues, certainly starting with what

1:05:18.080 --> 1:05:21.560
<v Speaker 1>was going on in Cuba. It seemed from the outside

1:05:22.120 --> 1:05:25.720
<v Speaker 1>that the folk artists had their finger on the pulse

1:05:25.880 --> 1:05:30.040
<v Speaker 1>and we're singing to move sentiment in a certain direction.

1:05:30.120 --> 1:05:33.080
<v Speaker 1>Did it feel like that on the inside? Yeah, I

1:05:33.080 --> 1:05:36.040
<v Speaker 1>mean by nineteen sixty three for sure. Standing on the

1:05:36.040 --> 1:05:40.400
<v Speaker 1>steps of the Lincoln Memorial with the Dr. King, I've

1:05:40.440 --> 1:05:42.560
<v Speaker 1>referred to it many times. You know. Mary turned to

1:05:42.600 --> 1:05:47.200
<v Speaker 1>Peter and said, Hope is palpable. Okay, that begs the question.

1:05:47.240 --> 1:05:52.600
<v Speaker 1>I gotta say, although Obama ran on Hope you know

1:05:53.160 --> 1:05:57.360
<v Speaker 1>a number of years ago, two thousand and eight, as

1:05:57.400 --> 1:06:00.240
<v Speaker 1>someone who's seen it seen at all, Contract asked, I

1:06:00.240 --> 1:06:02.440
<v Speaker 1>don't want to sound like a college question. Contrast and

1:06:02.520 --> 1:06:07.360
<v Speaker 1>compare the vibe in the American mentality then as opposed

1:06:07.360 --> 1:06:11.280
<v Speaker 1>to today. I think there was some resistance to the

1:06:11.360 --> 1:06:17.680
<v Speaker 1>human rights movement, particularly as it UH presented itself in

1:06:17.760 --> 1:06:23.600
<v Speaker 1>the UH as a challenge to the white racists in

1:06:23.680 --> 1:06:29.200
<v Speaker 1>the South UH and that it wasn't. But the overall

1:06:29.600 --> 1:06:35.360
<v Speaker 1>effectiveness of that movement, of the civil rights movement was

1:06:35.440 --> 1:06:40.440
<v Speaker 1>that it expressed a desire for America to get righteous, Uh,

1:06:40.480 --> 1:06:45.200
<v Speaker 1>to be inclusive, as its history has indicated. It was

1:06:46.080 --> 1:06:49.640
<v Speaker 1>give me retired, your poor, your masses yearning to be free.

1:06:50.600 --> 1:06:55.360
<v Speaker 1>This was this was a chance to go on public

1:06:55.400 --> 1:07:04.960
<v Speaker 1>record as the encouragement, and that then morphed into Oh,

1:07:05.000 --> 1:07:08.400
<v Speaker 1>I see we can as a large group get together

1:07:09.320 --> 1:07:14.280
<v Speaker 1>and in if not influence people's opinions, we can at

1:07:14.360 --> 1:07:20.360
<v Speaker 1>least express our own in numbers that would encourage them

1:07:20.400 --> 1:07:24.320
<v Speaker 1>to discover what the true facts behind this are. And

1:07:24.560 --> 1:07:30.840
<v Speaker 1>so that's when it morphed into the the anti war movement. Uh.

1:07:31.000 --> 1:07:35.120
<v Speaker 1>It was a natural chain of events, I think, uh

1:07:35.440 --> 1:07:38.920
<v Speaker 1>in a sense empowered large groups of people to make statements,

1:07:39.360 --> 1:07:41.880
<v Speaker 1>and the music was a thread that ran through all

1:07:41.880 --> 1:07:48.080
<v Speaker 1>of that. Okay, but today, do you believe that we

1:07:48.120 --> 1:07:50.760
<v Speaker 1>are off course? Or we can only self correct and

1:07:50.880 --> 1:08:00.600
<v Speaker 1>have hope? And where is music's place in today's consciousness? Well,

1:08:00.680 --> 1:08:03.160
<v Speaker 1>you know you're talking to Mr Hopeful here. I mean,

1:08:03.400 --> 1:08:08.200
<v Speaker 1>I I am loathed to despair. I mean, I see

1:08:08.200 --> 1:08:14.080
<v Speaker 1>inequities still, but I know that in my own life, uh,

1:08:15.000 --> 1:08:17.760
<v Speaker 1>I've seen change. So I can't help but feel that

1:08:17.800 --> 1:08:20.920
<v Speaker 1>everybody's life has the possibility to change. And I know

1:08:21.040 --> 1:08:27.000
<v Speaker 1>that we're at longer heads uh conceptually with many of

1:08:27.040 --> 1:08:33.360
<v Speaker 1>the people who back Donald Trump. Oh, but I can't

1:08:33.360 --> 1:08:37.759
<v Speaker 1>help but feel that when we discover the larger issue,

1:08:38.760 --> 1:08:42.679
<v Speaker 1>and that is one of respect and compassion, we will

1:08:42.800 --> 1:08:51.080
<v Speaker 1>ultimately be joined again. Now, you can't legislate compassion, You

1:08:51.120 --> 1:08:55.799
<v Speaker 1>can only invite it by being compassionate yourself. You can't

1:08:55.960 --> 1:09:00.920
<v Speaker 1>legislate forgiveness. But you know, taking a page of Mandela's

1:09:01.320 --> 1:09:06.639
<v Speaker 1>handling of APARTHEIDU, you can have public forums where people

1:09:07.040 --> 1:09:12.719
<v Speaker 1>voice their concerns and are, if not assuaged, at least

1:09:12.880 --> 1:09:19.080
<v Speaker 1>aware that reconciliation is possible. Because every human life has value.

1:09:19.960 --> 1:09:25.599
<v Speaker 1>So the the hope that we will begin to consider

1:09:25.920 --> 1:09:38.000
<v Speaker 1>the larger inspiration for the human uh, for the human experience. Ah,

1:09:38.160 --> 1:09:42.320
<v Speaker 1>it goes on. Um. That's why you know the song

1:09:42.400 --> 1:09:45.040
<v Speaker 1>I sang to you before about love with the capital L.

1:09:45.720 --> 1:09:50.320
<v Speaker 1>That's that is the awareness. Uh. Sure the atheists will

1:09:50.360 --> 1:09:53.920
<v Speaker 1>not accept the G word, you know, but if they've

1:09:53.960 --> 1:09:56.880
<v Speaker 1>ever been in love, then they have an inkling of

1:09:56.920 --> 1:10:01.439
<v Speaker 1>what it is that can draw us together. And that

1:10:01.680 --> 1:10:07.920
<v Speaker 1>means that you know, the better angels in us UH

1:10:08.200 --> 1:10:13.680
<v Speaker 1>begins to embrace and include our fellow human beings. I

1:10:13.720 --> 1:10:16.280
<v Speaker 1>think town halls. You know, actually, they're going to become

1:10:16.439 --> 1:10:20.680
<v Speaker 1>a very important aspect because on a local level, they

1:10:20.680 --> 1:10:26.000
<v Speaker 1>will allow us to voice concerns that relate directly to

1:10:26.040 --> 1:10:28.759
<v Speaker 1>our lives, and then we're gonna be able to translate

1:10:28.800 --> 1:10:33.000
<v Speaker 1>that into a larger picture. Okay, let's go back to

1:10:33.000 --> 1:10:36.320
<v Speaker 1>the six season our timeline. The Beatles come along, they

1:10:36.360 --> 1:10:40.120
<v Speaker 1>wipe out a zillion acts, very few sustain. Okay, the

1:10:40.200 --> 1:10:44.760
<v Speaker 1>Beach Boys sustained, the four seasons sustained, but ultimately Peter

1:10:44.880 --> 1:10:47.880
<v Speaker 1>Paul Mary end up having a couple of gigantic kits.

1:10:48.600 --> 1:10:51.080
<v Speaker 1>One is I dig rock and roll music? Can you

1:10:51.120 --> 1:10:54.800
<v Speaker 1>tell us the story of that? Yeah, Yeah, I got

1:10:54.880 --> 1:10:56.800
<v Speaker 1>a I got a great friend. I think I mentioned

1:10:56.880 --> 1:11:00.880
<v Speaker 1>him earlier, Jim Mason, who reduced a couple of things

1:11:00.880 --> 1:11:05.360
<v Speaker 1>for Poco. I was introduced to him by Dave Dixon,

1:11:06.120 --> 1:11:09.759
<v Speaker 1>who was the voice of Norman Normal in a cartoon

1:11:09.800 --> 1:11:14.599
<v Speaker 1>that I did for Warner Brothers. Um, Jim Mason came in,

1:11:15.560 --> 1:11:18.120
<v Speaker 1>sat down in the living room of uh, Dave Dixon's

1:11:18.160 --> 1:11:21.360
<v Speaker 1>living room where we used to in New York City

1:11:21.360 --> 1:11:24.880
<v Speaker 1>on Jane Street, and Uh, he said, I got a

1:11:24.880 --> 1:11:31.960
<v Speaker 1>new tune for you, and he sang datandan that with

1:11:32.080 --> 1:11:35.320
<v Speaker 1>the most inane lyrics you've ever heard in your life

1:11:35.400 --> 1:11:39.000
<v Speaker 1>about my girl. She left me on a Thursday, and

1:11:39.080 --> 1:11:42.000
<v Speaker 1>I wonder if she ever cared, you know, that kind

1:11:42.040 --> 1:11:45.880
<v Speaker 1>of thing. And I when it got all done, I

1:11:45.920 --> 1:11:49.320
<v Speaker 1>looked at Jim and I said, that's the hippest piece

1:11:49.320 --> 1:11:52.760
<v Speaker 1>of music to the most banallyps I've ever heard in

1:11:52.960 --> 1:11:55.080
<v Speaker 1>my life. And he said, well, what do you think

1:11:55.080 --> 1:11:58.559
<v Speaker 1>it's about. And so between the three of us we

1:11:58.600 --> 1:12:03.880
<v Speaker 1>started writing I did and roll music. Now we just

1:12:03.920 --> 1:12:05.720
<v Speaker 1>went through this period of time where I did my

1:12:05.800 --> 1:12:09.120
<v Speaker 1>toilet for you in a couple of sound effects. So

1:12:09.479 --> 1:12:13.599
<v Speaker 1>I love to mimic uh. And this was we knew

1:12:13.640 --> 1:12:16.000
<v Speaker 1>all the people that we were making. By this time,

1:12:16.479 --> 1:12:19.679
<v Speaker 1>we had Peter Mary and I had met the Beatles

1:12:19.720 --> 1:12:23.439
<v Speaker 1>on the set of Hard Days Night, uh, and I

1:12:23.479 --> 1:12:26.000
<v Speaker 1>loved I mean ever since, Please Please Me. I was

1:12:26.040 --> 1:12:30.760
<v Speaker 1>blown away by their harmonic inventions and their recordings. Uh.

1:12:30.920 --> 1:12:34.439
<v Speaker 1>You know. And Donovan bless his bless his soul, was

1:12:34.439 --> 1:12:36.519
<v Speaker 1>was part folky too. I mean he came to a

1:12:36.520 --> 1:12:40.320
<v Speaker 1>couple of Newport folk festivals, uh, and was the one

1:12:40.400 --> 1:12:43.880
<v Speaker 1>guy from that era who always, I don't know, our

1:12:43.880 --> 1:12:48.479
<v Speaker 1>paths seemed to cross all the time and nicest, nicest

1:12:48.520 --> 1:12:52.000
<v Speaker 1>man um but with a very distinctive singing style. And

1:12:52.080 --> 1:12:55.680
<v Speaker 1>of course there was the Mamas and the Papas, Oh yeah,

1:12:55.960 --> 1:12:59.719
<v Speaker 1>the John Phillips signature stuff and Mary newcasts really well.

1:13:00.040 --> 1:13:04.519
<v Speaker 1>And so we put this thing together almost like in secret.

1:13:04.640 --> 1:13:07.439
<v Speaker 1>I mean it was like we went into the laboratory.

1:13:07.920 --> 1:13:11.200
<v Speaker 1>Peter played guitar and recorded it backwards, so we get

1:13:11.240 --> 1:13:17.759
<v Speaker 1>that muss you know, that backwards sound. I imitated Donovan's voice,

1:13:17.960 --> 1:13:22.280
<v Speaker 1>we did Mary did the oh yeah, the tagline for

1:13:22.320 --> 1:13:26.880
<v Speaker 1>the Moms and the Papas. And here's the funny story.

1:13:27.360 --> 1:13:31.080
<v Speaker 1>We're in Australia when the test pressing comes through. Well

1:13:31.160 --> 1:13:33.080
<v Speaker 1>we don't have any way to play a test pressing.

1:13:33.120 --> 1:13:35.600
<v Speaker 1>We're in a hotel, you know. So we go to

1:13:35.640 --> 1:13:38.439
<v Speaker 1>the local record store and we put it on and

1:13:38.479 --> 1:13:40.400
<v Speaker 1>we asked if we can borrow one of the booths,

1:13:40.479 --> 1:13:42.479
<v Speaker 1>and the guy says, yeah, I'll just leave the door open.

1:13:42.600 --> 1:13:46.120
<v Speaker 1>So we left the door open. We play it and

1:13:46.200 --> 1:13:51.679
<v Speaker 1>he says to us, who's who's that? Who's that saying?

1:13:51.720 --> 1:13:54.760
<v Speaker 1>And we said it's Peter, Paul and Mary because he

1:13:54.760 --> 1:13:57.640
<v Speaker 1>didn't he didn't recognize us, and he said well, that

1:13:57.720 --> 1:14:06.120
<v Speaker 1>will never sell. So that was and that was a

1:14:06.200 --> 1:14:10.880
<v Speaker 1>remarkable UH comeback. But that's not the true irony. The

1:14:10.880 --> 1:14:15.799
<v Speaker 1>true irony is leaving on a jet plane, which happened

1:14:15.800 --> 1:14:19.840
<v Speaker 1>in ninev just before the group took its seven years

1:14:19.880 --> 1:14:23.559
<v Speaker 1>off for good behavior. And that irony was based on

1:14:24.439 --> 1:14:29.080
<v Speaker 1>the the lament and the angst that was shared by

1:14:29.200 --> 1:14:33.880
<v Speaker 1>so many families and their sons and their daughters and

1:14:34.720 --> 1:14:39.640
<v Speaker 1>the soldiers returning to or departing for the war in Vietnam. Uh.

1:14:39.960 --> 1:14:44.280
<v Speaker 1>John Denver's tune was just touched so many buttons at

1:14:44.320 --> 1:14:47.880
<v Speaker 1>that point, and that that tune was on an album

1:14:47.960 --> 1:14:50.160
<v Speaker 1>that was released two years earlier that had I did

1:14:50.240 --> 1:14:54.400
<v Speaker 1>rock and roll music on. I remember that because you know,

1:14:54.640 --> 1:14:59.040
<v Speaker 1>in UH youth groups, religious youth groups, myself, I was involved.

1:14:59.240 --> 1:15:01.599
<v Speaker 1>Album seven teen hundred was a big deal. We always

1:15:01.640 --> 1:15:03.799
<v Speaker 1>sang leaving on in Jepline. Then what it was ultimately

1:15:03.840 --> 1:15:06.320
<v Speaker 1>a hit was such a surprise. But I have to

1:15:06.360 --> 1:15:09.400
<v Speaker 1>ask those of us number it was called album seventeen

1:15:09.439 --> 1:15:12.799
<v Speaker 1>hundred because was number seventeen hundred in the Warner Brothers catalog.

1:15:13.000 --> 1:15:16.240
<v Speaker 1>Who came up with that. Our idea was to try

1:15:16.280 --> 1:15:20.759
<v Speaker 1>to escape the title, and we just wanted the number

1:15:21.439 --> 1:15:24.040
<v Speaker 1>of the album to be the title, and we were

1:15:24.040 --> 1:15:28.280
<v Speaker 1>thinking he was gonna be like or you know, two

1:15:28.320 --> 1:15:31.920
<v Speaker 1>thousand twelve or whatever. We didn't care. We just wanted

1:15:32.080 --> 1:15:34.920
<v Speaker 1>that was our idea. That was Peter, Mary and I said,

1:15:35.280 --> 1:15:37.719
<v Speaker 1>let's just have the number. We told that the Warners

1:15:37.920 --> 1:15:43.960
<v Speaker 1>Warner said fine. So when seventeen hundred came out, we said,

1:15:44.200 --> 1:15:48.799
<v Speaker 1>seventeen hundred, that'sn't even number. What's so memorable about that?

1:15:49.120 --> 1:15:51.000
<v Speaker 1>And you got the word album in front of it.

1:15:51.040 --> 1:15:53.920
<v Speaker 1>We didn't want that, but it turned out not to

1:15:54.000 --> 1:15:59.840
<v Speaker 1>matter because hundred head really quite a few major turning

1:16:00.000 --> 1:16:02.280
<v Speaker 1>point tunes for us. By that time. Peter and I

1:16:02.320 --> 1:16:05.760
<v Speaker 1>were generating a lot of the material. Um, I don't

1:16:05.760 --> 1:16:09.120
<v Speaker 1>I don't remember what was on that album specifically, besides

1:16:09.160 --> 1:16:10.760
<v Speaker 1>I did rock and home music. But I think it

1:16:10.840 --> 1:16:13.280
<v Speaker 1>might have had the song was Love, It might have

1:16:13.360 --> 1:16:16.920
<v Speaker 1>had him, It might have had might have had the

1:16:16.960 --> 1:16:19.479
<v Speaker 1>House song on it. There were those were mine. I

1:16:19.479 --> 1:16:22.960
<v Speaker 1>think I think the great Mandela was on it. Peter's

1:16:23.120 --> 1:16:26.760
<v Speaker 1>anti war tune. Yeah, that was a end. It was

1:16:26.800 --> 1:16:30.200
<v Speaker 1>the last of the albums done by Phil Ramon, who was,

1:16:30.600 --> 1:16:34.960
<v Speaker 1>you know, a production genius. Uh he he did come

1:16:35.000 --> 1:16:39.240
<v Speaker 1>back and do a album that disappeared quickly called Reunion.

1:16:40.120 --> 1:16:42.240
<v Speaker 1>Oh no, not the Reunion album. He did the one

1:16:42.360 --> 1:16:46.439
<v Speaker 1>after that, Lifelines Live Lifelines and Lifelines Live where we

1:16:47.240 --> 1:16:52.760
<v Speaker 1>uh reconnected in the early eighties with John Sebashian and

1:16:52.880 --> 1:16:56.200
<v Speaker 1>Dave Van Rock and Odetta and Richie Havens and u

1:16:56.960 --> 1:17:00.439
<v Speaker 1>uh Susan Werner a lot of our friends Emmy Lou

1:17:00.520 --> 1:17:06.840
<v Speaker 1>Harris to do an album songs. Okay tell me the

1:17:06.840 --> 1:17:08.920
<v Speaker 1>story though, was too much of nothing because I was

1:17:08.960 --> 1:17:13.200
<v Speaker 1>on the Basement Tapes and was unknown the Basement Teams album.

1:17:13.280 --> 1:17:15.280
<v Speaker 1>There have been a number of iterations, but the original

1:17:15.280 --> 1:17:18.360
<v Speaker 1>double album was not out yet, so most people did

1:17:18.400 --> 1:17:20.720
<v Speaker 1>not know the song. And this not only was a

1:17:20.760 --> 1:17:23.599
<v Speaker 1>Dylan song, the ultimate arrangement was different and it had

1:17:23.840 --> 1:17:30.719
<v Speaker 1>very modern recording productions. Yep. Well you know, we got

1:17:31.880 --> 1:17:38.360
<v Speaker 1>we got better at setting the tunes and we also

1:17:38.479 --> 1:17:42.120
<v Speaker 1>had access to really brilliant musicians that slide guitar and

1:17:42.160 --> 1:17:49.240
<v Speaker 1>too much of nothing is just I mean, there is

1:17:50.720 --> 1:17:54.639
<v Speaker 1>always an attempt when you're producing a piece of lyrical

1:17:54.800 --> 1:18:02.080
<v Speaker 1>music to have the music joined the lyrics, uh, you know,

1:18:03.360 --> 1:18:07.519
<v Speaker 1>as an additive, to be part of what's being said.

1:18:08.160 --> 1:18:11.760
<v Speaker 1>Not only suit the mood, but maybe even embellish the

1:18:11.840 --> 1:18:15.280
<v Speaker 1>character a little bit. Sometimes it gets out of hand,

1:18:15.360 --> 1:18:18.479
<v Speaker 1>you overshoot. I can remember there are sometimes where I

1:18:18.560 --> 1:18:21.200
<v Speaker 1>used to play some color chords to a Woody Guthrie tune.

1:18:21.720 --> 1:18:24.040
<v Speaker 1>By color chords, I mean like a major seventh, you know,

1:18:24.080 --> 1:18:26.880
<v Speaker 1>We're diminished or something that Peter would go, you can't

1:18:26.880 --> 1:18:30.519
<v Speaker 1>play that, said, why not? He said, that's not what

1:18:30.600 --> 1:18:34.919
<v Speaker 1>the song is about. And I you know, you understand

1:18:35.040 --> 1:18:38.800
<v Speaker 1>on a certain level you have to capitulate to what

1:18:39.000 --> 1:18:41.639
<v Speaker 1>the song is trying to say. But on too much

1:18:41.640 --> 1:18:45.960
<v Speaker 1>of nothing, you know, the embellishment really suited it. Uh.

1:18:46.200 --> 1:18:47.920
<v Speaker 1>We had a great drummer. I don't remember what his

1:18:48.000 --> 1:18:51.479
<v Speaker 1>name was, but uh yeah, too much a nothing can

1:18:51.520 --> 1:18:55.320
<v Speaker 1>make a man feel ill at ease, and as certainly

1:18:55.360 --> 1:18:58.960
<v Speaker 1>as the time in which we live now, and that's

1:18:58.960 --> 1:19:02.280
<v Speaker 1>for sure. Okay, Ultimately the group separates and everybody puts

1:19:02.320 --> 1:19:05.559
<v Speaker 1>out a solo album. Uh, you're the only one who

1:19:05.560 --> 1:19:07.600
<v Speaker 1>has a hit, and it's a pretty big hit, the

1:19:07.640 --> 1:19:12.400
<v Speaker 1>wedding song. And then ultimately you even donate the income

1:19:12.439 --> 1:19:15.360
<v Speaker 1>from that song and start a foundation. Can you tell

1:19:15.439 --> 1:19:20.360
<v Speaker 1>us all that? Yeah, well, you know, the creation of

1:19:20.360 --> 1:19:25.519
<v Speaker 1>the song was I had gone through a real spiritual turnaround.

1:19:25.600 --> 1:19:31.360
<v Speaker 1>Peter saw that, uh, we are you know, we are

1:19:31.400 --> 1:19:36.160
<v Speaker 1>still a trio, but it's getting a little lobbily because

1:19:36.200 --> 1:19:41.080
<v Speaker 1>I'm beginning to proselytize on stage and really challenging the

1:19:40.800 --> 1:19:43.479
<v Speaker 1>uh the Jewish audience, because I haven't learned the language

1:19:43.520 --> 1:19:48.640
<v Speaker 1>of inclusiveness yet. And and yet Peter approaches me and says,

1:19:48.760 --> 1:19:51.519
<v Speaker 1>you know, Mary Beth and I are getting married, and

1:19:51.680 --> 1:19:53.840
<v Speaker 1>we would love you to bless our wedding with the song.

1:19:55.120 --> 1:20:00.760
<v Speaker 1>And I've said this from stage before, you know. I

1:20:00.760 --> 1:20:03.600
<v Speaker 1>I knew that I wasn't authorized to dispense blessings, but

1:20:03.680 --> 1:20:07.160
<v Speaker 1>I knew where I could get one. So so I

1:20:07.320 --> 1:20:09.800
<v Speaker 1>prayed for the song and the and the prayer was

1:20:10.880 --> 1:20:15.479
<v Speaker 1>unique insofar as it was not give me a song

1:20:15.560 --> 1:20:19.599
<v Speaker 1>for Peter's wedding. It was how would you capital why

1:20:22.520 --> 1:20:26.760
<v Speaker 1>manifest yourself at Peter's wedding? And the lyric was, I

1:20:26.840 --> 1:20:30.080
<v Speaker 1>am now to be among you at the calling of

1:20:30.160 --> 1:20:34.200
<v Speaker 1>your hearts. Rest assured this bozo, which I changed the

1:20:34.240 --> 1:20:39.880
<v Speaker 1>troubador is acting, is acting on my part anyway. The

1:20:40.000 --> 1:20:43.200
<v Speaker 1>lyric came so quickly, I, you know, could barely write it.

1:20:43.240 --> 1:20:45.960
<v Speaker 1>Down and you've heard these stories from other songwriters before

1:20:46.000 --> 1:20:51.040
<v Speaker 1>where it just flows, but it was direct answer to prayer.

1:20:51.280 --> 1:20:54.960
<v Speaker 1>So flash forward nine months later, I've recorded it on

1:20:55.000 --> 1:20:59.559
<v Speaker 1>a solo album. The trio is no longer together, and

1:21:00.040 --> 1:21:04.479
<v Speaker 1>I am driving to New York, back to the Rye

1:21:04.479 --> 1:21:08.240
<v Speaker 1>House from Scarsdale. I think I can't remember, maybe we

1:21:08.240 --> 1:21:12.519
<v Speaker 1>were visiting somebody in New Hampshire. But anyway, I've kind

1:21:12.520 --> 1:21:15.720
<v Speaker 1>of make a decision about publishing. Every one of the

1:21:15.760 --> 1:21:17.920
<v Speaker 1>tunes is Scott. You know. I'm doing a tune by

1:21:17.920 --> 1:21:21.800
<v Speaker 1>Bill Hughes called Meanings Will Change. I've you know, I've

1:21:21.840 --> 1:21:24.000
<v Speaker 1>written a lot of the tunes that are on the album,

1:21:24.040 --> 1:21:29.759
<v Speaker 1>but there's this tune that I can't really incredibly except

1:21:29.800 --> 1:21:32.760
<v Speaker 1>the authorship of because I prayed for it. I mean,

1:21:33.360 --> 1:21:36.760
<v Speaker 1>you know, they had a category in songwriting that said

1:21:36.800 --> 1:21:40.800
<v Speaker 1>good Steward. Maybe I'll qualify, you know, but they don't

1:21:40.840 --> 1:21:43.080
<v Speaker 1>allow that in publishing. Either wrote it or you didn't

1:21:43.120 --> 1:21:46.519
<v Speaker 1>write it. So as I'm driving, I turned to Betty

1:21:46.560 --> 1:21:49.559
<v Speaker 1>and I say, you know, I ain't gonna give this tune.

1:21:50.560 --> 1:21:54.280
<v Speaker 1>I'm going to give this tune to a foundation and

1:21:54.320 --> 1:21:57.080
<v Speaker 1>then so that way the money's will still come in

1:21:57.160 --> 1:21:59.960
<v Speaker 1>there won't be a new portion the Warner Brothers parking

1:22:00.000 --> 1:22:03.200
<v Speaker 1>a lot that knowns that belongs to some executive because

1:22:03.200 --> 1:22:05.200
<v Speaker 1>he didn't have to pay out the money for the publishing.

1:22:05.560 --> 1:22:08.560
<v Speaker 1>The money will go to not now mind you, this

1:22:08.680 --> 1:22:10.760
<v Speaker 1>is still just a track on an album. I don't

1:22:10.760 --> 1:22:14.640
<v Speaker 1>know that it's gonna go you know, platinum as a

1:22:14.720 --> 1:22:20.760
<v Speaker 1>single or become a mainstay for weddings. Uh. So I

1:22:20.800 --> 1:22:24.160
<v Speaker 1>gave it to the public Domain Foundation, made sure that

1:22:24.200 --> 1:22:26.760
<v Speaker 1>everybody knew that that's where the money should go. And

1:22:26.800 --> 1:22:33.120
<v Speaker 1>you know what, the Public Domain Foundation fostered the Music

1:22:33.160 --> 1:22:38.120
<v Speaker 1>to Life Organization, which now supports young singer songwriters all

1:22:38.200 --> 1:22:42.280
<v Speaker 1>over America in their various communities. It also, you know,

1:22:42.360 --> 1:22:48.320
<v Speaker 1>in that process, uh supported a lot of other charities too.

1:22:48.760 --> 1:22:51.880
<v Speaker 1>And the nice thing about it, U was I got

1:22:51.920 --> 1:22:54.599
<v Speaker 1>to choose who the charities were because it was such

1:22:54.600 --> 1:22:59.200
<v Speaker 1>a homespun foundation. I mean, yeah, I gave you know,

1:22:59.640 --> 1:23:03.200
<v Speaker 1>public Domain Foundation gave thirty dollars to Oxfam, which a

1:23:03.240 --> 1:23:05.960
<v Speaker 1>lot of people know the works of. But it also

1:23:06.040 --> 1:23:08.600
<v Speaker 1>gave like forty one dollars and thirty four cents to

1:23:08.640 --> 1:23:12.519
<v Speaker 1>a church in Alabama to get its roof fixed. That

1:23:12.600 --> 1:23:16.840
<v Speaker 1>kind of flexibility was just a joy to me. Um,

1:23:16.880 --> 1:23:20.840
<v Speaker 1>you know, and people didn't know where to apply to

1:23:21.040 --> 1:23:25.479
<v Speaker 1>the foundation. But the Moneys went for you know, for

1:23:25.600 --> 1:23:28.519
<v Speaker 1>good causes. And I felt like I had made a statement.

1:23:28.800 --> 1:23:34.519
<v Speaker 1>And the song continues to make a statement. Okay, you know,

1:23:34.880 --> 1:23:37.920
<v Speaker 1>you can't talk about the music business without talking about

1:23:38.000 --> 1:23:41.120
<v Speaker 1>the money. What do we know back then? You know,

1:23:41.520 --> 1:23:45.000
<v Speaker 1>contrat tickets could be a dollar fifty records could be

1:23:45.040 --> 1:23:48.439
<v Speaker 1>two dollars and fifty cents. You didn't write a lot

1:23:48.479 --> 1:23:52.040
<v Speaker 1>of these songs now, one level economics were different. There

1:23:52.080 --> 1:23:54.600
<v Speaker 1>was more of a middle class. We didn't have billionaires.

1:23:55.080 --> 1:23:58.160
<v Speaker 1>So I guess it's you know, a multipart question, which

1:23:58.280 --> 1:24:01.719
<v Speaker 1>was a did you see the money? Could you live

1:24:01.800 --> 1:24:05.120
<v Speaker 1>with a lifestyle you were comfortable with? Do you felt

1:24:05.200 --> 1:24:08.519
<v Speaker 1>feel like you were ripped off when the heyday was done?

1:24:08.640 --> 1:24:14.200
<v Speaker 1>Was there any money coming in? Oh, that's such an

1:24:14.280 --> 1:24:20.200
<v Speaker 1>uninformed question, Bob. We'll lay it on, criticize, we go

1:24:20.280 --> 1:24:26.000
<v Speaker 1>for it. Oh yeah, I mean, well, let's work backwards.

1:24:27.200 --> 1:24:33.839
<v Speaker 1>Even today, from Warner Brothers Publishing or New World Publishing,

1:24:33.880 --> 1:24:38.000
<v Speaker 1>which is my own, or Peters I think it's Silver

1:24:38.120 --> 1:24:44.400
<v Speaker 1>Dawn Publishing. We get accountings. They come in the form

1:24:44.760 --> 1:24:49.800
<v Speaker 1>of two inch thick uh pieces of paper, a two

1:24:49.880 --> 1:24:55.320
<v Speaker 1>inch stack of papers typed out by a computer that says,

1:24:55.400 --> 1:25:01.960
<v Speaker 1>for instance, too much of nothing Singapore point zero zero

1:25:02.200 --> 1:25:08.760
<v Speaker 1>one to five cents. These things add up, and when

1:25:08.760 --> 1:25:12.120
<v Speaker 1>you're talking about a worldwide release, they had up to

1:25:12.160 --> 1:25:15.759
<v Speaker 1>a considerable amount of money. So even to this date,

1:25:17.000 --> 1:25:21.160
<v Speaker 1>I probably just my part of it. And I'm you know,

1:25:21.200 --> 1:25:23.439
<v Speaker 1>I didn't have puff the magic dragon. You know, I

1:25:23.479 --> 1:25:27.080
<v Speaker 1>didn't have I would say the lion's share of the publishing.

1:25:27.120 --> 1:25:31.120
<v Speaker 1>But even to this date, I'm well into five figures

1:25:31.640 --> 1:25:37.880
<v Speaker 1>uh publishing moneys that come in quarterly. Um So, I'm

1:25:37.920 --> 1:25:42.240
<v Speaker 1>just blessed beyond belief, really, And I think most people

1:25:42.360 --> 1:25:47.680
<v Speaker 1>who had record deals from the sixties who are revisited

1:25:47.720 --> 1:25:52.120
<v Speaker 1>for nostalgia purposes or revisited because an advertising campaign wants

1:25:52.160 --> 1:25:57.800
<v Speaker 1>to use their music the ask cap and after and

1:25:57.880 --> 1:26:01.679
<v Speaker 1>all of the unions that have protected artists these past

1:26:01.760 --> 1:26:05.160
<v Speaker 1>years have done their work very well. And to the

1:26:05.200 --> 1:26:10.400
<v Speaker 1>extent that you earn in royalty, uh, you get a

1:26:10.479 --> 1:26:16.439
<v Speaker 1>pretty fair shake from the world around you. Um So

1:26:16.560 --> 1:26:18.920
<v Speaker 1>I have I have no complaints, no quarrel with the

1:26:18.960 --> 1:26:22.000
<v Speaker 1>way that the money's were played out. There probably are

1:26:22.600 --> 1:26:28.080
<v Speaker 1>horror stories based on unscrupulous managers, you know, or unscrupulous

1:26:28.120 --> 1:26:30.960
<v Speaker 1>companies who had you sign on a dotted line in

1:26:30.960 --> 1:26:34.400
<v Speaker 1>invisible length that went away or went through a shredder

1:26:34.640 --> 1:26:40.439
<v Speaker 1>or into some offshore account. But for the most part,

1:26:40.800 --> 1:26:44.880
<v Speaker 1>the people that we dealt with were very upright, very

1:26:45.280 --> 1:26:49.599
<v Speaker 1>uh yeah, very honorable folks. And most of the music industry,

1:26:49.640 --> 1:26:54.120
<v Speaker 1>I think, is that way. Well, as I say, there's

1:26:54.120 --> 1:26:57.240
<v Speaker 1>certainly horror stories. Thank god it wasn't down in your

1:26:57.280 --> 1:26:59.760
<v Speaker 1>neck of the woods. Let's go to the Music to

1:26:59.840 --> 1:27:02.840
<v Speaker 1>lie when. So, when did you start Music to Life

1:27:02.920 --> 1:27:05.280
<v Speaker 1>And what is the mission you sort of generally said,

1:27:05.280 --> 1:27:08.679
<v Speaker 1>and what are the activities of the organization? For asking

1:27:09.120 --> 1:27:11.360
<v Speaker 1>because that is a contemporary thing and most people like

1:27:11.439 --> 1:27:13.840
<v Speaker 1>to dwell in the land of nostalgia. When they talked

1:27:13.880 --> 1:27:17.000
<v Speaker 1>to a a former member of Peter, Paul and Mary,

1:27:17.120 --> 1:27:22.640
<v Speaker 1>the fact is, as I mentioned before, folk music has

1:27:22.680 --> 1:27:27.080
<v Speaker 1>an ongoing life, and that means that there are writers,

1:27:27.479 --> 1:27:31.599
<v Speaker 1>singer songwriters out there who are writing about contemporary events,

1:27:31.720 --> 1:27:36.680
<v Speaker 1>contemporary concerns, and they are a group of songwriters nationally

1:27:36.880 --> 1:27:42.160
<v Speaker 1>and probably even worldwide. Now that an organization called Music

1:27:42.200 --> 1:27:46.000
<v Speaker 1>to Life that was begun by my daughter Elizabeth Sunday

1:27:46.040 --> 1:27:52.679
<v Speaker 1>Stooky UH support but the evolution is interesting, and it's

1:27:52.680 --> 1:27:58.120
<v Speaker 1>interesting because most people can identify with the beginnings easier

1:27:58.160 --> 1:28:03.080
<v Speaker 1>than they can with where it has come. In the beginning,

1:28:03.600 --> 1:28:06.880
<v Speaker 1>there were folk festivals and at these folk festivals there

1:28:06.920 --> 1:28:11.080
<v Speaker 1>would be singer songwriters. One of the primary folk festivals

1:28:11.120 --> 1:28:14.400
<v Speaker 1>was in Texas in the little town called Cerville. And

1:28:14.479 --> 1:28:22.640
<v Speaker 1>every year, beginning in the late hundreds, UH, Elizabeth, my

1:28:22.720 --> 1:28:27.599
<v Speaker 1>daughter and I would scan anywhere between three hundred and

1:28:27.640 --> 1:28:33.599
<v Speaker 1>five hundred applicants to be included on an album called

1:28:33.680 --> 1:28:38.360
<v Speaker 1>Music to Life, and UH an appear at the Silver

1:28:38.400 --> 1:28:45.200
<v Speaker 1>Thorn Theater. UH as one of ten finalists who would

1:28:45.200 --> 1:28:51.400
<v Speaker 1>receive receive awards. Those were curious concerts UH beginning. Then

1:28:51.640 --> 1:28:54.360
<v Speaker 1>First of all, they were recorded live and released later

1:28:54.400 --> 1:29:00.200
<v Speaker 1>as an album. But what what what year was in

1:29:00.200 --> 1:29:02.360
<v Speaker 1>the beginning, But it went on until two thousand six,

1:29:02.439 --> 1:29:04.559
<v Speaker 1>two thousand nine, actually I think it was the last

1:29:04.600 --> 1:29:09.640
<v Speaker 1>one UM, and they supported and encouraged singer songwriters to

1:29:09.680 --> 1:29:17.200
<v Speaker 1>speak about UH contemporary concerns. UM. The it was recorded live, UH.

1:29:17.479 --> 1:29:21.120
<v Speaker 1>The CD was released didn't really make much money, but

1:29:21.160 --> 1:29:24.679
<v Speaker 1>it was great to go on record as having uh

1:29:24.800 --> 1:29:29.080
<v Speaker 1>encouraged these singer songwriters. Well over the course of that

1:29:29.120 --> 1:29:33.000
<v Speaker 1>period of time, my daughter Liz begin to understand that

1:29:33.120 --> 1:29:37.559
<v Speaker 1>many of these artists didn't do the music just because

1:29:37.600 --> 1:29:39.920
<v Speaker 1>it was a hip thing to do. They did it

1:29:40.040 --> 1:29:45.440
<v Speaker 1>because they were factoring as a lifestyle into the community

1:29:46.240 --> 1:29:51.519
<v Speaker 1>and concerned with homelessness, concerned with the environment, concerned with

1:29:52.360 --> 1:29:57.000
<v Speaker 1>So the music wasn't only to be sung at a

1:29:57.080 --> 1:30:02.679
<v Speaker 1>rubber chicken benefit dinner. It was actually could be used

1:30:02.680 --> 1:30:05.400
<v Speaker 1>with a group of people as a kind of an

1:30:05.400 --> 1:30:12.919
<v Speaker 1>anthem for them. So by community sponsorship, Uh, they for instance,

1:30:13.080 --> 1:30:18.280
<v Speaker 1>in Austin, Texas, now there's a homeless group that gathers

1:30:18.520 --> 1:30:23.599
<v Speaker 1>weekly and they make up songs together. Um. They sing together.

1:30:23.720 --> 1:30:26.240
<v Speaker 1>They have more of a sense of family than they

1:30:26.280 --> 1:30:32.360
<v Speaker 1>ever could isolated as you would imagine they would be. Um.

1:30:32.479 --> 1:30:38.160
<v Speaker 1>The they're singing in prisons now. UM. So that music

1:30:38.320 --> 1:30:44.400
<v Speaker 1>becomes kind of educational and a collective tool for the

1:30:44.439 --> 1:30:49.439
<v Speaker 1>movement itself. Um. And to that end, my daughter Liz

1:30:49.439 --> 1:30:53.640
<v Speaker 1>has started the Activist Artist program, which these two of

1:30:53.680 --> 1:30:57.120
<v Speaker 1>the two of the people on this album are activist artists.

1:30:57.120 --> 1:31:00.559
<v Speaker 1>The others are still on the point where they're commenting

1:31:00.920 --> 1:31:05.960
<v Speaker 1>on the circumstances, but uh, not taking a role in

1:31:06.000 --> 1:31:12.040
<v Speaker 1>the community yet, So we raise money, we mentor them. Uh.

1:31:13.960 --> 1:31:17.800
<v Speaker 1>The most one of the local guys, uh, you know,

1:31:17.840 --> 1:31:21.479
<v Speaker 1>Miles Bullen down in Portland, Maine. It was a former

1:31:21.520 --> 1:31:25.800
<v Speaker 1>addict and we support him on a monthly basis and

1:31:25.960 --> 1:31:28.680
<v Speaker 1>he deals with high schools. I mean he has to

1:31:28.720 --> 1:31:31.240
<v Speaker 1>do it because of the pandemic. Now you know through

1:31:31.320 --> 1:31:35.960
<v Speaker 1>zoom or through uh you know, through online methods. But

1:31:37.320 --> 1:31:41.080
<v Speaker 1>we support these artists and their involvement in their neighborhoods

1:31:41.320 --> 1:31:46.720
<v Speaker 1>as they bring their message of hope and their Yeah,

1:31:46.920 --> 1:31:50.639
<v Speaker 1>they bring their message of hope through music to their

1:31:50.680 --> 1:31:56.160
<v Speaker 1>their fellow citizens. Okay, now you recently put out an album,

1:31:56.240 --> 1:32:02.479
<v Speaker 1>and how high hands on are you personally? Well, you

1:32:02.560 --> 1:32:05.200
<v Speaker 1>know that that brings That's a good question, and it

1:32:05.280 --> 1:32:08.200
<v Speaker 1>brings to mind the fact that I didn't properly answer

1:32:08.640 --> 1:32:12.559
<v Speaker 1>the question about the earlier aspect of who chose these

1:32:12.560 --> 1:32:14.679
<v Speaker 1>songs to go on this album? Out of the three

1:32:15.080 --> 1:32:18.240
<v Speaker 1>to five hundred tunes that was a great cast at

1:32:18.280 --> 1:32:23.880
<v Speaker 1>Kathy Mattea, Judy Collins, Tom Chapin, Tom Paxton, A lot

1:32:23.920 --> 1:32:28.040
<v Speaker 1>of the folkis uh served on a board that analyzed

1:32:28.080 --> 1:32:32.080
<v Speaker 1>and listened to these tunes. So this same concept now

1:32:32.479 --> 1:32:36.800
<v Speaker 1>came to bear on these fifteen tunes. Uh. My involvement,

1:32:36.880 --> 1:32:42.640
<v Speaker 1>aside from being one of the judges, was two sequence.

1:32:43.360 --> 1:32:45.640
<v Speaker 1>I'm from the old school. I'll bet you are too.

1:32:45.840 --> 1:32:47.960
<v Speaker 1>I When I put a record on, I love to

1:32:48.040 --> 1:32:50.200
<v Speaker 1>hear what the next tune is going to be. And

1:32:50.280 --> 1:32:53.040
<v Speaker 1>I mean it's part of what makes radio so fascinating.

1:32:53.240 --> 1:32:55.519
<v Speaker 1>If the disc jockey is really good, then he tells

1:32:55.520 --> 1:32:59.360
<v Speaker 1>a story with the songs that he tends to program.

1:32:59.439 --> 1:33:04.280
<v Speaker 1>So sequencing was important to me on this album. Hope

1:33:04.400 --> 1:33:11.240
<v Speaker 1>rises Um. That was probably a major contribution. Uh. The

1:33:11.960 --> 1:33:16.240
<v Speaker 1>fact is the I would say fully a dozen of

1:33:16.280 --> 1:33:21.759
<v Speaker 1>the fifteen tunes were selected just by quantitatively, uh saying

1:33:21.840 --> 1:33:24.200
<v Speaker 1>this song spoke spoke to me on a scale of

1:33:24.320 --> 1:33:26.400
<v Speaker 1>zero to ten. This was a nine, or this is

1:33:26.400 --> 1:33:28.280
<v Speaker 1>an eight and a half, or this was a But

1:33:28.720 --> 1:33:30.680
<v Speaker 1>three of the songs, and I can't remember which ones

1:33:30.680 --> 1:33:32.120
<v Speaker 1>they are, but three of the songs are on the

1:33:32.160 --> 1:33:37.559
<v Speaker 1>album because well they damn well should be. It was

1:33:37.640 --> 1:33:40.920
<v Speaker 1>one of those Okay, everybody gets a personal vote at

1:33:40.960 --> 1:33:43.839
<v Speaker 1>some point, you know, you get the it's the opposite

1:33:43.880 --> 1:33:49.400
<v Speaker 1>of a veto, it's a must have so uh so

1:33:49.760 --> 1:33:53.120
<v Speaker 1>it was mostly a democratic process that brought the songs together.

1:33:53.920 --> 1:33:56.439
<v Speaker 1>But the there's a great deal of excitement, and you

1:33:56.439 --> 1:33:59.479
<v Speaker 1>know what really knocks me out. These are fifteen very

1:33:59.560 --> 1:34:03.240
<v Speaker 1>diverse started. I mean we're talking hip hop, we're talking reggae,

1:34:03.240 --> 1:34:08.479
<v Speaker 1>we're talking uh, we're talking folky, we're talking lots of echo,

1:34:08.520 --> 1:34:12.360
<v Speaker 1>we're talking no echo, we're talking spare, we're talking to lush,

1:34:12.400 --> 1:34:15.160
<v Speaker 1>And I don't you know, I'd like to claim credit

1:34:15.280 --> 1:34:17.680
<v Speaker 1>that because of the sequencing, you're drawn into it. But

1:34:17.760 --> 1:34:20.320
<v Speaker 1>the nicest compliment that we've gotten so far is that

1:34:20.360 --> 1:34:22.400
<v Speaker 1>people can put on the record and they can play

1:34:22.439 --> 1:34:25.160
<v Speaker 1>the entire record and they're not put off by any

1:34:25.200 --> 1:34:27.800
<v Speaker 1>of the changes. I mean, as diverse as all of

1:34:27.800 --> 1:34:32.200
<v Speaker 1>these tracks are, they flow one to another. Now one's

1:34:32.200 --> 1:34:35.000
<v Speaker 1>got a secretly hope that the reason for that is

1:34:35.080 --> 1:34:41.080
<v Speaker 1>because the intention is selling the tune, that the caring

1:34:41.560 --> 1:34:45.280
<v Speaker 1>that these artists have is being expressed in a way

1:34:45.320 --> 1:34:49.000
<v Speaker 1>that's subliminal, and you just can't help but warmly respond

1:34:49.040 --> 1:34:55.440
<v Speaker 1>to it. Now, needless to say, the landscape in society,

1:34:55.520 --> 1:34:58.080
<v Speaker 1>in the music world is completely different from when you

1:34:58.120 --> 1:35:02.200
<v Speaker 1>guys came up in the early sixties. So when we

1:35:02.240 --> 1:35:05.760
<v Speaker 1>talk about this type of music, I'll use labels, which

1:35:05.880 --> 1:35:09.360
<v Speaker 1>you know, don't really nail it, but message music, music

1:35:09.439 --> 1:35:12.320
<v Speaker 1>that might you know, reflect society or want to push

1:35:12.360 --> 1:35:15.000
<v Speaker 1>it into a certain degree. Many people who have been

1:35:15.040 --> 1:35:17.639
<v Speaker 1>around felt that we'd see a surge of this music

1:35:17.840 --> 1:35:20.800
<v Speaker 1>after the surge when we had a rack war in

1:35:20.840 --> 1:35:23.559
<v Speaker 1>the earlier part of the century. But what we know

1:35:23.800 --> 1:35:30.040
<v Speaker 1>is that no specific uh, social commentary, anti war political

1:35:30.120 --> 1:35:35.000
<v Speaker 1>song has come top of mind and society. So I

1:35:35.080 --> 1:35:40.240
<v Speaker 1>must ask you, is that a matter of the breath

1:35:41.000 --> 1:35:45.200
<v Speaker 1>of music today and that it's almost hard to have

1:35:45.280 --> 1:35:48.639
<v Speaker 1>anything heard by everybody? Or are we lacking the one

1:35:48.800 --> 1:35:53.320
<v Speaker 1>specific writer or artist who will make something definitive and

1:35:53.360 --> 1:35:57.759
<v Speaker 1>then start a new movement. I think both of those

1:35:58.800 --> 1:36:04.200
<v Speaker 1>possibilities are true. For instance, uh, and we will remind

1:36:04.240 --> 1:36:09.200
<v Speaker 1>you of Bruce Springsteen and his important position in bringing

1:36:09.760 --> 1:36:15.320
<v Speaker 1>two the public mind issues and perspectives on the way

1:36:15.360 --> 1:36:18.360
<v Speaker 1>that we live our lives together. Whether that whether he

1:36:18.760 --> 1:36:22.439
<v Speaker 1>enacted it through his you know, ten thousand people in

1:36:22.520 --> 1:36:25.640
<v Speaker 1>an in an arena, or whether he does it on Broadway,

1:36:26.439 --> 1:36:31.600
<v Speaker 1>So and and Lady Gaga, you know, uh, to a

1:36:31.960 --> 1:36:35.639
<v Speaker 1>certain extent, But these Lady Gaga is perhaps more niche

1:36:36.040 --> 1:36:40.240
<v Speaker 1>in in terms of what she is expressing. Uh, but

1:36:40.439 --> 1:36:46.240
<v Speaker 1>nonetheless So that's why that's why the the other possibility

1:36:46.280 --> 1:36:49.720
<v Speaker 1>that you introduced is also correct. There are just so

1:36:49.840 --> 1:36:55.400
<v Speaker 1>many fragments of musical opportunity that exists now for artists

1:36:55.920 --> 1:36:59.320
<v Speaker 1>that they have to pick their particular community to speak to.

1:37:00.200 --> 1:37:03.839
<v Speaker 1>There is not going to be one. I mean, unless

1:37:03.880 --> 1:37:08.080
<v Speaker 1>the Messiah is going to arrive and be accompanied by

1:37:08.120 --> 1:37:11.679
<v Speaker 1>a twelve piece band and bring a whole different kind

1:37:11.760 --> 1:37:15.600
<v Speaker 1>of music that everybody immediately recognizes as the answer to

1:37:15.680 --> 1:37:20.920
<v Speaker 1>all of the foibles of humankind, that's not gonna happen

1:37:21.439 --> 1:37:25.719
<v Speaker 1>in the way that we were able to accept music

1:37:25.760 --> 1:37:29.879
<v Speaker 1>of the civil rights movement, music of the anti apartheid movement,

1:37:30.160 --> 1:37:34.200
<v Speaker 1>music of the environmental movement. I mean, these are, uh,

1:37:34.240 --> 1:37:38.200
<v Speaker 1>they're bigger than splinters, they're probably even planks, But they're

1:37:38.200 --> 1:37:45.519
<v Speaker 1>not an entire house interesting metaphor. Okay, Uh, just to

1:37:45.600 --> 1:37:47.760
<v Speaker 1>cover one thing before, because we're gonna have to wrap

1:37:47.800 --> 1:37:50.120
<v Speaker 1>it up, you have to go, and we've gone at length.

1:37:50.520 --> 1:37:55.280
<v Speaker 1>Do you ever get tired of singing these legendary songs?

1:37:58.200 --> 1:38:01.320
<v Speaker 1>I do have a little trouble with puff the magic Dragon.

1:38:02.200 --> 1:38:06.600
<v Speaker 1>Um though, you know, sometimes just in defense of the

1:38:06.640 --> 1:38:10.920
<v Speaker 1>poor dragon who's maligned for his a parent or alleged

1:38:10.920 --> 1:38:14.120
<v Speaker 1>association with drugs, I don't mind standing up for the

1:38:14.160 --> 1:38:17.320
<v Speaker 1>poor little guy, uh, you know, and setting the record

1:38:17.360 --> 1:38:20.240
<v Speaker 1>straight that he is really just a song about a

1:38:20.479 --> 1:38:26.759
<v Speaker 1>kid who's coming of age. Uh. It's what Tom Paxson

1:38:26.880 --> 1:38:30.120
<v Speaker 1>had a great line for this, Bob. He said, it's

1:38:30.160 --> 1:38:33.280
<v Speaker 1>all right to look at the past, you just don't

1:38:33.320 --> 1:38:39.439
<v Speaker 1>want to be caught staring at it. And to the

1:38:39.479 --> 1:38:43.479
<v Speaker 1>extent that I'm still writing new tunes and embracing tunes

1:38:43.560 --> 1:38:49.120
<v Speaker 1>by other artists that speak to the here and now. Ah,

1:38:49.840 --> 1:38:54.760
<v Speaker 1>I feel like it's important to include some songs of

1:38:54.840 --> 1:38:58.840
<v Speaker 1>the past, but it's also important to register the fact

1:38:58.880 --> 1:39:02.519
<v Speaker 1>that we are living temporarily and that there is a

1:39:02.560 --> 1:39:08.280
<v Speaker 1>possible future before us that has a brighter light, uh

1:39:08.280 --> 1:39:10.559
<v Speaker 1>than the than the world that we're living in now.

1:39:12.680 --> 1:39:15.240
<v Speaker 1>I'm that note of optimism. I don't think I can

1:39:15.280 --> 1:39:20.080
<v Speaker 1>add anything more, Nol. This has been fantastic. You're very erudite,

1:39:20.479 --> 1:39:24.080
<v Speaker 1>very articulate. You can speak as well as saying I

1:39:24.120 --> 1:39:27.519
<v Speaker 1>really appreciate you spending the time, Bob. I was not

1:39:27.600 --> 1:39:31.320
<v Speaker 1>looking forward to this at all, two hours out of

1:39:31.360 --> 1:39:33.760
<v Speaker 1>my life was not the kind of thing that I

1:39:33.840 --> 1:39:38.600
<v Speaker 1>wanted to do. And you are an irascible, wonderful old

1:39:38.640 --> 1:39:44.200
<v Speaker 1>host who brought the best out of my history. I

1:39:44.520 --> 1:39:48.799
<v Speaker 1>enjoyed so much, uh this time with you. And once again,

1:39:49.360 --> 1:39:53.440
<v Speaker 1>to make that analogy, I entered this door with an expectation,

1:39:53.720 --> 1:39:58.639
<v Speaker 1>and I am leaving with a far greater excitement than

1:39:58.760 --> 1:40:00.920
<v Speaker 1>I thought I would have. Thank so much for having me.

1:40:02.200 --> 1:40:05.160
<v Speaker 1>Well to use that old Yiddish expression, I'm veelling even

1:40:05.200 --> 1:40:08.280
<v Speaker 1>though people can't see it on the screen, but you know,

1:40:08.840 --> 1:40:12.120
<v Speaker 1>you have to understand. You know, there's a huge thought

1:40:12.600 --> 1:40:16.439
<v Speaker 1>that today's society, youngsters don't have a sense of history.

1:40:16.479 --> 1:40:19.479
<v Speaker 1>They talk about baseball players not knowing the people before.

1:40:20.160 --> 1:40:24.120
<v Speaker 1>But for those of us who live through this era, okay,

1:40:24.479 --> 1:40:26.599
<v Speaker 1>not only is it a thrill to speak with you,

1:40:26.720 --> 1:40:30.559
<v Speaker 1>but I am aware. I mean, the the folk era

1:40:30.720 --> 1:40:36.439
<v Speaker 1>has been distilled essentially to Dylan going to electric a Newport. Okay,

1:40:37.280 --> 1:40:40.200
<v Speaker 1>you know, forgetting the whole essence of what was going on,

1:40:40.360 --> 1:40:43.000
<v Speaker 1>not that that was not important, the relative to the

1:40:43.040 --> 1:40:46.240
<v Speaker 1>scene at large, which is much larger, and the fact

1:40:46.280 --> 1:40:49.040
<v Speaker 1>that you can talk about it and put it in

1:40:49.120 --> 1:40:52.320
<v Speaker 1>context is certainly thrilling to me. And I'm not I'm

1:40:52.320 --> 1:40:55.719
<v Speaker 1>not exaggerating. It's like, you know, if we had more time,

1:40:55.840 --> 1:40:57.800
<v Speaker 1>what was it really like? I mean, I grew up

1:40:57.840 --> 1:41:01.400
<v Speaker 1>only fifty miles away. I'll tell you something that you'll get,

1:41:01.680 --> 1:41:04.679
<v Speaker 1>which most people won't. And then I was a freshman

1:41:04.720 --> 1:41:07.679
<v Speaker 1>in high school and we're social studies. We were going

1:41:07.760 --> 1:41:10.120
<v Speaker 1>to go on a trip, a field trip, and we're

1:41:10.120 --> 1:41:13.000
<v Speaker 1>deciding where to go, and we were going to go

1:41:13.080 --> 1:41:17.040
<v Speaker 1>to Sturbridge Village. You're aware of Sturbridge Village, right, that's

1:41:17.120 --> 1:41:20.880
<v Speaker 1>you know, just over the line from Connecticut, Massachusetts. It's

1:41:20.960 --> 1:41:24.360
<v Speaker 1>kind of like Williamsburg. People know better where it's, you know,

1:41:24.400 --> 1:41:27.760
<v Speaker 1>a reenactment of the way life used to be. All

1:41:27.760 --> 1:41:29.759
<v Speaker 1>of a sudden, the guy in the back, Steve Blink,

1:41:29.800 --> 1:41:33.839
<v Speaker 1>he says, we can't go there. It's terrible, all the people,

1:41:34.320 --> 1:41:37.800
<v Speaker 1>it's crowded, and we're all sitting there in classic you

1:41:37.840 --> 1:41:41.519
<v Speaker 1>know what is he talking about? Sturbridge Village? And then

1:41:41.560 --> 1:41:49.160
<v Speaker 1>somebody says, you mean Greenwich Village? Uh? And as I say,

1:41:49.280 --> 1:41:51.599
<v Speaker 1>it was such a scene. You know, it's funny that

1:41:51.640 --> 1:41:53.559
<v Speaker 1>you know, things happened. I wouldn't say, right under my

1:41:53.600 --> 1:41:55.759
<v Speaker 1>nose because I was young at the time and I

1:41:55.800 --> 1:41:58.880
<v Speaker 1>was not living in the city and I didn't have wheels.

1:41:58.920 --> 1:42:02.920
<v Speaker 1>But these you all scenes fomented and you were right

1:42:02.920 --> 1:42:05.760
<v Speaker 1>there at the epicenter, and as I say, once again,

1:42:05.760 --> 1:42:08.120
<v Speaker 1>you can talk about it, which is very impressive to me.

1:42:08.640 --> 1:42:10.679
<v Speaker 1>So maybe in a future day we can go deeper

1:42:10.680 --> 1:42:13.720
<v Speaker 1>into some of those scenes. But thanks again so much

1:42:13.760 --> 1:42:16.719
<v Speaker 1>for doing this. It was my pleasure. Thank you again.

1:42:17.000 --> 1:42:21.639
<v Speaker 1>It was really fun. Til next time. This is Bob Left.

1:42:21.720 --> 1:42:22.000
<v Speaker 1>Fans