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Speaker 1: Play Good on the special LA edition of the Taking

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Speaker 1: a Walk series. I'm on Ventura Boulevard in Studio City,

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Speaker 1: and I'm thrilled to be taking a walk with an

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Speaker 1: iconic photographer of our time, a man who has had

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Speaker 1: the bird's eye view of a who's who of rock stars.

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Speaker 1: Name a classic artist, He's probably photographed them. His work

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Speaker 1: is represented by the Morrison Hotel Goward. His name is

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Speaker 1: Henry Dilts. I can't wait to hear what this rockin

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Speaker 1: tour has to say. Let's take a walk with Henry Dilts.

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Speaker 1: Taking a walk with blusnif Well, Henry Dilts, it's so

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Speaker 1: great to be with you here at Studio City taking

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Speaker 1: a walk. Yes, now crowded Ventura Boulevard. I know it's

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Speaker 1: got a great energy though, there's so much. There's so

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Speaker 1: much going on here, a vibrant spot. Oh there goes

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Speaker 1: a school bus. Yeah, there's a school bus. As long

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Speaker 1: as there's no sirens going by, all right, you know.

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Speaker 1: But Henry, it's an honor really to meet you. And

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Speaker 1: I really look at all your work and I'm in

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Speaker 1: awe of what you've had a bird's eye you for,

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Speaker 1: like so many amazing pieces of work. But let's go

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Speaker 1: to the beginning with you as a musician, and tell me.

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Speaker 1: Tell me how the Modern Folk Quartet became a band. Yes, okay,

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Speaker 1: it was the folk music days, you know, the fifty

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Speaker 1: nine sixty sixty one. And I had just been to

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Speaker 1: college in Germany and American College in Munich, Germany, and

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Speaker 1: I was and I transferred to the University of Hawaii

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Speaker 1: to study psychology. But I also wanted to play the banjo,

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Speaker 1: So I bought a banjo and went to Hawaii, studied

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Speaker 1: psychology for a few years in philosophy, ended up singing

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Speaker 1: in a little coffee house every night called the Green

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Speaker 1: Sleeves Coffee House, and you know, we would sing folk songs.

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Speaker 1: Different people would come in and play the guitar. We'd

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Speaker 1: put a group together, a harmony group. And we came

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Speaker 1: to California to seek our fortune, and we did well

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Speaker 1: right away. We've been we were very well rehearsed for

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Speaker 1: several years in Hawaii, and no one had heard of

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Speaker 1: us here in La So when we went to the

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Speaker 1: Troubadour Club for their boot Nanny Knight, which was their

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Speaker 1: open which was their open mic night. We got up

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Speaker 1: there and when we hit the first chord in this song,

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Speaker 1: the ox Drivery, the whole audience stood up clapping, and

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Speaker 1: it was scary, you know, like what is happening because

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Speaker 1: we had this four part harmony, you know, and there

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Speaker 1: weren't There weren't many four part harmony groups, mostly three

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Speaker 1: part you know, or a jupepart, and so that kind

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Speaker 1: of sealed our our fortune. For a few years. Signed

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Speaker 1: up with Warner Brothers Records, we started touring folk tours

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Speaker 1: around the country and being on shows and stuff, and

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Speaker 1: we did that for four or five years. During that time,

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Speaker 1: I met all of these fellow musicians that were you know,

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Speaker 1: fellow folks singers. I mean, I met Stephen Stills in

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Speaker 1: New York. He used to come down to the village

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Speaker 1: gate and sit on the edge of the stage and

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Speaker 1: listen to our harmony, you know. I met David Crosby

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Speaker 1: on tour in Florida. I just you know, the mamas

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Speaker 1: and papa's were real good friends of mine. They were

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Speaker 1: all people that we knew from backstage, you know, and

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Speaker 1: from from from meeting on the road and hanging out

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Speaker 1: at the troubador. And then one day on one of

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Speaker 1: our tours, we went in a second hand store, and

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Speaker 1: the guy in front of me, Cyrus Fariar, walked in

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Speaker 1: and there was a table full of used cameras and

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Speaker 1: he just reached down and grabbed one and said, oh,

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Speaker 1: a camera, I'll have one. You know, I was looking

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Speaker 1: for one, he said, so I'm going to buy that.

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Speaker 1: And I was right behind him, and I just thought

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Speaker 1: with that, I didn't think, without even thinking, I just

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Speaker 1: reached down and said, yeah, hey, me too. Just it

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Speaker 1: was an impulse, you know. Well, this was like a

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Speaker 1: twenty dollars camera, right, twenty dollars used camera, A little

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Speaker 1: to used. It was a Japanese camera. I remember that

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Speaker 1: instead of just the folding open, the whole back came

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Speaker 1: off and then you put the film in. I managed. So.

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Speaker 1: Then Cyrus said, when we got back in our vehicle,

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Speaker 1: he said, pull into the next drugstore and I'll buy film.

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Speaker 1: And he handed the three of us spot cameras. He

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Speaker 1: handed us each a yellow box and I said, well, Cyrus,

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Speaker 1: how do you set these numbers on the camera. He said, well, look,

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Speaker 1: i'm the box Kodak film book. It says sunlight two

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Speaker 1: fifty at eight. I said, oh, okay, two fifty at eight,

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Speaker 1: and let's go outside, and so for about a month

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Speaker 1: we took a lot of pictures on the road, got

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Speaker 1: back to California, developed the film, and I was surprised

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Speaker 1: and lighted to see that they were all these little

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Speaker 1: square transparencies. Oh you can hold it up, look at it.

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Speaker 1: And I said, well, let's have a slide show then,

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Speaker 1: And that was the whole thinge that started it, because

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Speaker 1: because if it had been a black and white proof sheet, wait,

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Speaker 1: I want to take this picture here. If it had

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Speaker 1: been a black and white proof sheet, I wouldn't have

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Speaker 1: been so interested, you know, I wouldn't have I'm sorry,

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Speaker 1: It's okay, And he's taking a picture a true photographer.

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Speaker 1: That window is that round window? That's such a great well.

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Speaker 1: I loved. I love that you stop and take a picture. Now,

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Speaker 1: I'm going to tell you who this reminds me of. Hint,

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Speaker 1: my wife in a second, because my wife's a photographer

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Speaker 1: and we will be walking and talking Henry and she

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Speaker 1: has to stop and take a picture. Sat that you

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Speaker 1: see it, you gotta take it, you know, I think

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Speaker 1: that's fat. You still have the original camera. It might

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Speaker 1: be in the back of one of my several garage.

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Speaker 1: I'm not really sure. You know. But the thing was

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Speaker 1: we have the slide show. And what really the moment

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Speaker 1: that had bit me was when I saw the first

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Speaker 1: slide on the wall in the dark, all of my

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Speaker 1: hippie friends watching, and this huge eight foot picture of

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Speaker 1: a great moment on the road with us where the

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Speaker 1: bass player blew his cardboard bass case up with M

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Speaker 1: eighty's in the desert and it shot up in the

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Speaker 1: air and he's running away in the background, and there

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Speaker 1: was that picture on the wall to share with all

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Speaker 1: our friends. I said, this is magic. I mean, it's

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Speaker 1: like we're right back there, you know, right that was

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Speaker 1: the moment you were hooking. Yeah, I just said, man,

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Speaker 1: I got to take more pictures so we can have

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Speaker 1: more of these slide shows. You know. It was so

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Speaker 1: much fun, and you know they were my friends. It

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Speaker 1: was a great audience. Was there any extracurricular stimulants that

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Speaker 1: were part of that, Well, we all smoke God's Herb,

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Speaker 1: you know, I mean in the sixties seventies, and as

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Speaker 1: I often say, how do you think all that music

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Speaker 1: came out of Laurel Canyon? You know, I mean it

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Speaker 1: wasn't you know. It's not a drug, as Raymond's Eric

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Speaker 1: from the door said, it's not a drug. It's a sacrament,

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Speaker 1: you know, smoking a little bit of grass. I now

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Speaker 1: call it God's irb because it is. It's a flower

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Speaker 1: got put here, that's right. And it keeps children from having,

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Speaker 1: you know, convulsions. It actually keeps my hand steady. I

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Speaker 1: have a little tiny tremor when I signed photos. If

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Speaker 1: I have a few little hits of a of a joint,

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Speaker 1: my hand settles down your side. Oh, it's a great thing.

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Speaker 1: I don't know how it got such a bad name.

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Speaker 1: Oh well things have changed. Yes, you know, musicians love

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Speaker 1: to smoke it because it kind of turns off the

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Speaker 1: monkey tapes in your mind and it makes you in

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Speaker 1: the moments like smell the roses. So you sit there,

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Speaker 1: you have a little smoke, and then immediately you want

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Speaker 1: to pick up your instrument and you want to start

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Speaker 1: playing making music. Yeah, it's just it's just a really

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Speaker 1: wonderful thing that makes you makes you happy, make engages

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Speaker 1: your mind. I mean, it makes life better. So anyway,

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Speaker 1: that's the end, that's that's perfect. Well, yeah, did you

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Speaker 1: ever think in your lifetime, by the way, that you

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Speaker 1: would see the legalization of cannabis. I mean, I don't know.

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Speaker 1: Mickey Dolan's used to say, you know, if they ever

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Speaker 1: legalize the stuff, it will ruin it because we do

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Speaker 1: it together as a sort of brotherhood, you know, secretly

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Speaker 1: and illegally, right, and we all break the law together.

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Speaker 1: That's kind of interesting idea, you know. Uh, but did

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Speaker 1: you know so when you realized you were captivated by photography?

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Speaker 1: Is that when you kind of segued out of music,

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Speaker 1: meaning as a musician. Well, no, you know, for a

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Speaker 1: while there I was in music and a photographer. I

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Speaker 1: wasn't a photographer. I was just a musician that picked

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Speaker 1: up a camera and love. I've always I've always loved people,

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Speaker 1: you know, I'm very interested in people. In fact, when

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Speaker 1: I went to college in Germany and Hawaii, I majored

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Speaker 1: in psychology, which only meant that that too, I was

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Speaker 1: interested in what is this? Who are we? What are

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Speaker 1: we doing? What are we? I'm very interested in, you know,

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Speaker 1: the being here on this planet and what that means. Well,

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Speaker 1: what's so cool too about walking here in places like

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Speaker 1: this is the people watching too? I mean, yeah, it's

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Speaker 1: just a fabulous thing to just see. Yeah, people engage.

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Speaker 1: I always try to wonder when I walk by somebody,

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Speaker 1: I'm Michael, what are they thinking about? You know, what's

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Speaker 1: on their minds? You know? Are they having a good day?

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Speaker 1: Are they having a lousy day? Oh yeah, you know.

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Speaker 1: Sometimes at the airport, I will sit if you have

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Speaker 1: to wait an hour for a flight, I'll sit there

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Speaker 1: and watch hundreds and hundreds of people walk by. I

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Speaker 1: was sitting and I was thinking, you know, you know

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Speaker 1: how big your life is. You're the center of a

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Speaker 1: live you have a past, you have a history, hope screams,

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Speaker 1: your connection with people. All of that is repeated in

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Speaker 1: every single person. In other words, every single person walking

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Speaker 1: by is the center of a whole universe, their own

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Speaker 1: private universe. And it's kind of awesome because you see

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Speaker 1: all these nameless people, but you think each one is

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Speaker 1: this incredible sort of galaxy. You know, there's a story

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Speaker 1: to tell her. Is that, you know. But back to

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Speaker 1: that morning when when we were leaving the University of

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Speaker 1: Michigan and we stopped in the second hand store, and

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Speaker 1: of course we had smoked a little little morning top

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Speaker 1: like like every musician does. You know, it's kind of

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Speaker 1: just kind of like a way of life, and so

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Speaker 1: you know, being a little high. It was like not

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Speaker 1: even high, just normal. It just kind of wakes you up,

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Speaker 1: you know. So when I saw Cyrus grab a camera,

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Speaker 1: I just said, what the heck? Yeah, you know me too. Wow.

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Speaker 1: If I'd have been walking in there with a load

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Speaker 1: of stuff on my mind, I wouldn't have noticed, right,

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Speaker 1: and just think, yeah right, I think what you would

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Speaker 1: have what you would have missed? So where after that

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Speaker 1: first initial like look at what you did? Yeah and amazement,

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Speaker 1: what was the next moment that you realized that you

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Speaker 1: were further hooked? Was it a particular album cover? No? No,

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Speaker 1: First of all, after that night, I swore I would

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Speaker 1: take more photos for more slide shows. Now I wasn't.

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Speaker 1: I hadn't photographed any any groups or music. I mean.

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Speaker 1: So the next couple of weeks, I was hanging out

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Speaker 1: with all my friends. That's what we did in LA

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Speaker 1: We hung out every day. And by the way, that's

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Speaker 1: what musicians do. They hang out. We don't have a

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Speaker 1: nine to five, you know, and almost everything we do

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Speaker 1: with our fellow musicians and a club or you know,

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Speaker 1: wherever it is. And I I just started photographing everything

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Speaker 1: everybody I saw in the next two weeks, so I

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Speaker 1: could get more pictures to show. And they were the

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Speaker 1: guys in my group, their girl friends, friends of friends,

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Speaker 1: you know, whatever it was. Wherever I was, I would

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Speaker 1: just I was turned on to collecting images that would

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Speaker 1: entertain my friends. That's what it was. And it was

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Speaker 1: framing that The added fun part is framing. You know,

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Speaker 1: you see something and there's several ways you could frame it.

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Speaker 1: If you get in close, if you get the wide shot,

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Speaker 1: you could go vertical, horizontal, and there's something you know,

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Speaker 1: kind of internally artistic about that. It's feeling though, it's

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Speaker 1: just feeling. So that kind of seized me, you know.

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Speaker 1: It's just now, when you said the slide show, I

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Speaker 1: seem to recall at the Fillmore East, when I saw

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Speaker 1: my first concert there, which was the Jefferson Airplane and

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Speaker 1: Joe Cocker actually, but I seem to remember that at

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Speaker 1: the shows then there would be almost like slide shows

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Speaker 1: that were being shown at concerts. Am I right, yeah, yeah, yeah,

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Speaker 1: Sometimes they'll show him behind, you know, and it used

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Speaker 1: to be light shows on colored lights and Joshua yeah,

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Speaker 1: you know, swirling psychedelic lights. I mean, I've done plenty

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Speaker 1: of slide shows for singers that want up something on

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Speaker 1: the back, you know, in the background, my friend John

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Speaker 1: Stewart from the Kingston Trio and his solo career did

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Speaker 1: these great songs about people Midwest, you know, people in America,

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Speaker 1: and so we put together a slide show of farmers

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Speaker 1: and just people that I had and he had that

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Speaker 1: behind him while he was singing. Now, that was really fun,

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Speaker 1: you know. Yeah, so we did. When I say a

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Speaker 1: slide show, it means I put a carousel together of

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Speaker 1: eighty slides and we'd gone to a friend's living room

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Speaker 1: and have twenty or thirty friends over. Are you still

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Speaker 1: doing slide shows for friends? I do. Now I do

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Speaker 1: it on the road, and it's digital, you know, through

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Speaker 1: an iPad and a digital projector. Okay, but now I'm

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Speaker 1: up on stage talking out the pictures to a whole audience. No,

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Speaker 1: it's not my karmic group of friends. I would say

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Speaker 1: more than half of them. I've already gone to the

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Speaker 1: other side anyway. Now, how does a photographer who started

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Speaker 1: the way you started think of digital photography today? Well,

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Speaker 1: in five I was saying I will never be a

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Speaker 1: digital guy. I'm a film guy through and through. And

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Speaker 1: then I picked up my friend had a cannon with

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Speaker 1: the big telephoto lens, and I just picked it up

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Speaker 1: and looked through it, and I said, oh my god,

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Speaker 1: it's it's focusing itself and it's setting its own light reading.

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Speaker 1: I mean, here I was using a stop meter. I

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Speaker 1: have to hold this thing up to my eyeball and

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Speaker 1: read somebody's face and then set the numbers on the

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Speaker 1: camera and do all that. This was automatic. I said,

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Speaker 1: my god, it's like you don't even have to be there.

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Speaker 1: You could just send the camera. And so you were

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Speaker 1: then like you bought it then, right, yeah, I said,

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Speaker 1: the self focusing thing was great because you know, if

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Speaker 1: you're in a hurry and you don't get it really sharp,

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Speaker 1: and then later you think, damn it, you know, I

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Speaker 1: can't use that it's not sharp enough. I said, well,

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Speaker 1: that'll be a solution to that. I just yeah, I

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Speaker 1: was immediately interested in it. And the thing that I

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Speaker 1: really love about digital photography is you can keep all

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Speaker 1: the photos you ever take, and you can give them

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Speaker 1: all away at the same time. In the old days,

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Speaker 1: when I would shoot slides for an album cover, they

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Speaker 1: would have to go to the art director or the

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Speaker 1: record company, and nine times out of ten you'd never

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Speaker 1: get a pack. They'd get lost somewhere at a printing

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Speaker 1: company or that. You know, nobody cared once they had

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Speaker 1: the cover. So many of my album covers I don't

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Speaker 1: have the original pictures. Were they if they were digital,

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Speaker 1: I would because you keep them all and you give

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Speaker 1: digital copies. Like I'm saying. You know, I would shoot

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Speaker 1: a group, I'd have to that next day, bring the

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Speaker 1: film to the camera store, pick it up a day later.

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Speaker 1: Then then you know, put stamp my name on it,

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Speaker 1: sort it all out, you know, put it in a

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Speaker 1: plastic sheets and give it to the manager or the

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Speaker 1: art director, whoever it was. That would take a good

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Speaker 1: part of a week. Today, you shoot, you go home,

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Speaker 1: you put it on your computer, you print well, And

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Speaker 1: I mean a few years ago you put a CD.

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Speaker 1: Now I guess it's a thumb rip, or you just

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Speaker 1: email it to the record company, the manager, the agency,

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Speaker 1: each guy in the group. Everybody can get everything, and

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Speaker 1: I get to keep it all as well. That's to

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Speaker 1: me his magic. Well, and how do you feel about

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Speaker 1: the fact that albums have made such a resurgence, Well,

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Speaker 1: I think it's great. The old album cover was a

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Speaker 1: great art form, you know, the twelve inch square. That

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Speaker 1: was a great art form, and I worked with a

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Speaker 1: terrific art director, Gary Burden. Most of the covers I

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Speaker 1: did were with Gary Burton. We were a little team

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Speaker 1: and we would we would always Gary's idea. He was

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Speaker 1: like the like the scout leader, you know, the scout master,

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Speaker 1: because he would plan the trip, he would plan to do,

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Speaker 1: We're going to go. What he wanted to do is

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Speaker 1: get the group out of town, away from their girlfriends

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Speaker 1: and their managers and their phones. We didn't have cell phones,

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Speaker 1: and so in the early seventies, like we went out

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Speaker 1: to the desert with the Eagles to do their first

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Speaker 1: album cover. So we would plan an adventure that would

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Speaker 1: get these guys out just with us, right, and then

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Speaker 1: Gary would say, just shoot everything that happens, films the

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Speaker 1: cheapest part, hee, That was the sake, which I did. Anyway,

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Speaker 1: I just shot everything I saw. I mean, I'm just

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Speaker 1: busy framing and clicking. And by the way, I am

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Speaker 1: a passive photographer. I am not an in your face

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Speaker 1: guy that would never work, you know in the music business.

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Speaker 1: The reason I was able to be in the lives

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Speaker 1: of all these people and be on the road with

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Speaker 1: progbysas Nash and Eagles and Bad Company and the Monkeys,

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Speaker 1: David Kaffany all over the world. Is because I wasn't

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Speaker 1: a pain in the ass. You know, I was quiet.

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Speaker 1: I was respect fully. You know, I'm not jumping in

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Speaker 1: there in front of everybody saying okay, you know, look

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Speaker 1: over here, like I'm the photographer. I'm here to take

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Speaker 1: your picture. You stand over there. I mean, oh god,

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Speaker 1: I hate that, you know, I like to that. I'm sorry. No,

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Speaker 1: I just like to just quietly observe and watch and document.

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Speaker 1: I'm kind of doing it internally. It's my own thing

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Speaker 1: I'm doing. I'm not thinking, oh boy, I'll get this

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Speaker 1: picture from the world now. I mean, I took all

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Speaker 1: for me. It was all my fun framing watching people,

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Speaker 1: you know. And of course, of course I knew they

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Speaker 1: were great musicians, and I love love the music too.

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Speaker 1: It was a way to get me to keep me

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Speaker 1: into that world, you know. So go back to that

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Speaker 1: first Eagles session that you were talking about out there.

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Speaker 1: I would imagine those young gentlemen at that time. They

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Speaker 1: were like probably like choir boys in that era, right

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Speaker 1: the look. I mean, we left the Troubadour at two

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Speaker 1: in the morning and drove out to Joshua Tree. He

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Speaker 1: got there at five in the morning in the dark,

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Speaker 1: eight payoty buttons, smoked a joint, climbed a mountain, and

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Speaker 1: spent the day laughing on top of this mountain, you know,

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Speaker 1: with a teapot of bubbling peyote buttons on the fire

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Speaker 1: and oh yeah, we yeah, the great. That's what you

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Speaker 1: do in the desert, you know, you let go, you

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Speaker 1: let loose. What was Clint Fry's comment about your photography

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Speaker 1: something He's at this that this isn't photography, this is evidence. Yeah,

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Speaker 1: because I'm just shooting everything that happened, and you know,

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Speaker 1: people aren't posing for me. It's way you know, that's

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Speaker 1: you know that we're over that, you know in five minutes.

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Speaker 1: You know, we're all just doing what we do. And

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Speaker 1: I am too, And then I just turned around and

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Speaker 1: snapped a couple of pictures. I mean, you know, but

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Speaker 1: you don't realize in that moment. I'm sure that it's

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Speaker 1: a moment, right, I mean, when you're in that moment,

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Speaker 1: go back back in time, you don't realize how special

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Speaker 1: that moment is, do you know? Now, it's just it's

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Speaker 1: just the moment, you know, it's what's going on. Yeah,

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Speaker 1: I mean life is an adventure, you know, it really

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00:20:12,960 --> 00:20:16,280
Speaker 1: is an adventure every day. But these particular days were

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Speaker 1: huge adventures because we plan them out and go somewhere,

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Speaker 1: go to an Indian reservation, or go up the Big Third,

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Speaker 1: you know, and just bring a group along and get

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Speaker 1: them away from their everyday stuff. Right they might I

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Speaker 1: have to go pick my girlfriend up. I can't shoot anymore,

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Speaker 1: you know. No. Now we're out there for the day

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Speaker 1: and the night, and there's no interruptions. Yep. So the

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Speaker 1: organic adventure thing, yeah, and it's I always enjoy it.

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Speaker 1: I'm participating in it, but I never stop to think, well, boy,

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Speaker 1: where will this fit, you know, in the timeline of

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Speaker 1: my life? Who thinks that? Nobody? Yeah, So that first

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Speaker 1: Crosby Stills Nash session. How did all that come together

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Speaker 1: in that particular iconic album company. Gary Burden, my graphic

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Speaker 1: artist partner, and myself both knew these three guys. I

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Speaker 1: had known Steven that was sixty nine. I met him

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Speaker 1: in sixty three in New York. You know, I knew

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Speaker 1: Crosby for years. I knew all these guys before the

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Speaker 1: birds in the Buffalo, Springfield, you know before so musicians,

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Speaker 1: I say, it is like a club. We all know

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Speaker 1: each other, especially in La. We all hang out of

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Speaker 1: the troupater. Everybody knew what was going on. We knew

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Speaker 1: they were recording an album together, you know, and they

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Speaker 1: needed pictures. Nobody had taken any pictures of them, even

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Speaker 1: to announce that they're singing together. So Gary and I said,

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Speaker 1: let's let's go. Come on. We're getting this old Ford

385
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Speaker 1: station wagon fifty something Ford station wagon and drive around

386
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Speaker 1: La looking for little spots to take interest photos. And

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00:22:01,200 --> 00:22:03,720
Speaker 1: we found that little house. Graham had seen that house

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Speaker 1: sometime earlier and said, I know, there's this great little

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Speaker 1: house around here. And we found it and it was

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Speaker 1: a couch in front of it. They sat there. We

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Speaker 1: took a bunch of pictures, and Gary said the other

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Speaker 1: thing that he said to me. First thing was just shoot,

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Speaker 1: everything going to happen filmed the cheaper part. Second thing

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Speaker 1: he always said to me was back up, back up,

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Speaker 1: get the whole house. That's so they sit on the couch.

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Speaker 1: I'm right up close to him getting the couch from

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Speaker 1: end to end in a horizontal frame, you know. But

398
00:22:35,000 --> 00:22:38,240
Speaker 1: then Gary saw something and we're just shooting publicity photos,

399
00:22:38,359 --> 00:22:41,280
Speaker 1: not an album cover. But Gary could saw that that

400
00:22:41,320 --> 00:22:43,840
Speaker 1: whole house is interesting, and he said, back up, back up.

401
00:22:43,880 --> 00:22:46,920
Speaker 1: I backed up across the street, and then I could

402
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Speaker 1: see them on the couch at the bottom and the

403
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Speaker 1: whole house around And so that's how that happened. The

404
00:22:54,800 --> 00:22:57,800
Speaker 1: story with that is that they hadn't even named themselves yet,

405
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Speaker 1: so when they sat on the couch randomly, it happened

406
00:23:01,040 --> 00:23:04,280
Speaker 1: to be Nash, Hills and Crosby. And then we looked

407
00:23:04,280 --> 00:23:06,600
Speaker 1: at that in a slide show a few days later

408
00:23:06,640 --> 00:23:08,760
Speaker 1: it said, boy, someone said that would be a great

409
00:23:08,800 --> 00:23:11,760
Speaker 1: album cover. But we're in the wrong order because now

410
00:23:11,800 --> 00:23:15,040
Speaker 1: we just decided to be Cosby filling that that rolls

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Speaker 1: off the tom right. So I said, no problem, let's

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Speaker 1: just go back there. How long would it take for

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Speaker 1: you to jump on the couch in the right order?

414
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Speaker 1: I'll go click, click, click, we'll have the same shot

415
00:23:26,200 --> 00:23:28,400
Speaker 1: in the right order. And so we did. A few

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Speaker 1: days later, Gott Gary's Ford station wagon drove back and

417
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Speaker 1: the house wasn't there. It was an empty lot, and

418
00:23:37,520 --> 00:23:41,520
Speaker 1: as Graham says, it was hey. There was a bunch

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Speaker 1: of sticks in the back of the lot. They bulldozed

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00:23:44,200 --> 00:23:46,239
Speaker 1: the whole thing down and made a parking lot out

421
00:23:46,280 --> 00:23:49,159
Speaker 1: of them, right around the time that Jony Song paved

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00:23:49,200 --> 00:23:52,560
Speaker 1: Paradise put up a parking lot and I said, my god,

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00:23:52,640 --> 00:23:56,880
Speaker 1: that is exactly right. So they're sitting in the wrong

424
00:23:57,000 --> 00:24:01,080
Speaker 1: order and on that cover, but that we will, you know,

425
00:24:01,200 --> 00:24:03,199
Speaker 1: And I'll tell you an interesting thing about that. Gary

426
00:24:03,359 --> 00:24:06,960
Speaker 1: was an architect. He'd been fixing up Mama Cass's house.

427
00:24:07,200 --> 00:24:11,200
Speaker 1: Let me turn off myself. He'd been fixing up Mama

428
00:24:11,240 --> 00:24:14,479
Speaker 1: Cass's house and she said, Gary, I want you to

429
00:24:14,960 --> 00:24:17,600
Speaker 1: They got to be good friends, you know, probably smoking

430
00:24:17,600 --> 00:24:20,439
Speaker 1: a little and laughing, and she said, I want why

431
00:24:20,480 --> 00:24:23,360
Speaker 1: don't you do my first album coming doing a solo album?

432
00:24:23,480 --> 00:24:26,919
Speaker 1: And he said, well, Cass, I'm not a graphic artist.

433
00:24:26,960 --> 00:24:30,560
Speaker 1: I'm an architect. And she said, well, you make a blueprint,

434
00:24:30,640 --> 00:24:33,560
Speaker 1: you do an album cover. What's the difference, right, So

435
00:24:34,000 --> 00:24:36,120
Speaker 1: he said, okay, I'll try it, and he a few

436
00:24:36,160 --> 00:24:38,840
Speaker 1: days later saw me at a love in on a

437
00:24:38,840 --> 00:24:41,080
Speaker 1: Sunday in a park which was to get together of

438
00:24:41,160 --> 00:24:45,080
Speaker 1: hippies and said, hey, you're a photographery you want to

439
00:24:45,080 --> 00:24:46,960
Speaker 1: help me do this? And I said, I know. Mama

440
00:24:47,000 --> 00:24:51,679
Speaker 1: cass Real. Well, yeah, so that's how we started working together.

441
00:24:51,840 --> 00:24:54,920
Speaker 1: Gary and I, that's so cool. How did you first

442
00:24:54,920 --> 00:24:58,280
Speaker 1: meet Jonie through CSN? I probably saw her play at

443
00:24:58,280 --> 00:25:01,480
Speaker 1: the Troubadour one night, you know, and then I met her,

444
00:25:01,760 --> 00:25:04,720
Speaker 1: uh with Graham Nash. I met her up at Mama

445
00:25:04,800 --> 00:25:06,919
Speaker 1: Cassa's house. I'd tear her around town, you know, we

446
00:25:06,960 --> 00:25:09,359
Speaker 1: all saw each other. Yeah, what was it like to

447
00:25:09,359 --> 00:25:13,480
Speaker 1: photograph Johnie? Well, she's very beautiful and very smart, you know,

448
00:25:13,560 --> 00:25:16,800
Speaker 1: so it's always an interesting conversation which you don't get

449
00:25:16,840 --> 00:25:20,960
Speaker 1: in the picture. She always says, really, you know, wildly

450
00:25:21,119 --> 00:25:26,520
Speaker 1: deep thoughts, you know about mankind and you know we're

451
00:25:26,560 --> 00:25:29,760
Speaker 1: the most destructive generation. Where are the whales? Where are

452
00:25:29,800 --> 00:25:32,360
Speaker 1: the butterflies? You know where? You know? And thank God

453
00:25:32,440 --> 00:25:36,200
Speaker 1: for Buddhism, and you know, talks about her the original sin,

454
00:25:36,400 --> 00:25:39,040
Speaker 1: you know, and you're like, oh my god, this is

455
00:25:39,200 --> 00:25:42,680
Speaker 1: like a history class, you know, really right, every time

456
00:25:42,680 --> 00:25:45,040
Speaker 1: I've ever gone over to our house and talk to her,

457
00:25:45,080 --> 00:25:48,520
Speaker 1: I wished I had either a tape recorder or a

458
00:25:48,680 --> 00:25:51,360
Speaker 1: dark video crew. But then it wouldn't have been the same.

459
00:25:51,440 --> 00:25:54,159
Speaker 1: We wouldn't have talked rietly about all this stuff. You know,

460
00:25:54,760 --> 00:25:58,439
Speaker 1: so she's marvelous, lady, very you know. I often I

461
00:25:58,480 --> 00:26:01,520
Speaker 1: do slide shows around the country and talk to audience.

462
00:26:01,600 --> 00:26:04,200
Speaker 1: I've show them the pictures and tell them the stories basically,

463
00:26:04,960 --> 00:26:08,560
Speaker 1: and I always say, you know, folks, all of these

464
00:26:08,560 --> 00:26:11,480
Speaker 1: people in these pictures, the reason they're so well known

465
00:26:11,600 --> 00:26:16,240
Speaker 1: and beloved is they're amazing people. You know, they are

466
00:26:16,520 --> 00:26:20,040
Speaker 1: a little bit a cut above you know, the ordinary person.

467
00:26:20,160 --> 00:26:23,840
Speaker 1: Is that they're clever. I mean, good Lord James Taylor,

468
00:26:23,920 --> 00:26:28,080
Speaker 1: you know, Jackson Brown, I mean, Jimmy Webb, He's one

469
00:26:28,080 --> 00:26:31,160
Speaker 1: of my favorite composers. I mean, but they're all amazing

470
00:26:31,200 --> 00:26:35,680
Speaker 1: that they could. Well. The thing is they're songwriters. Now

471
00:26:36,359 --> 00:26:39,720
Speaker 1: hit my little rap about that because because years ago

472
00:26:39,840 --> 00:26:43,680
Speaker 1: there were songwriters and singers like Frank Sinatra never wrote

473
00:26:43,680 --> 00:26:47,200
Speaker 1: any songs. Espressley never wrote these songs. They sang the

474
00:26:47,320 --> 00:26:52,440
Speaker 1: song that songwriters wrote. And then a combination of the

475
00:26:52,720 --> 00:26:57,240
Speaker 1: Beatles playing at Sullivan and all the folk groups made

476
00:26:57,280 --> 00:26:59,159
Speaker 1: sure they were We were on the road up in

477
00:26:59,240 --> 00:27:01,400
Speaker 1: New England, we pulled into a motel early to watch

478
00:27:01,560 --> 00:27:03,359
Speaker 1: Ed Sullivan. We knew the Beatles will be on. We

479
00:27:03,760 --> 00:27:06,720
Speaker 1: heard about him, knew they were some fantastic thing. But

480
00:27:06,840 --> 00:27:09,720
Speaker 1: never really knew much about them. And we saw them

481
00:27:09,800 --> 00:27:13,160
Speaker 1: wagging their heads and singing, she loves you, yeah, yeah, yeah,

482
00:27:13,520 --> 00:27:16,560
Speaker 1: and it's like, wow, that is so joyful. And look

483
00:27:16,640 --> 00:27:19,080
Speaker 1: they have an electric bass. We had a stand up bass.

484
00:27:19,560 --> 00:27:21,640
Speaker 1: We went out the next week and gout an electric

485
00:27:21,720 --> 00:27:24,320
Speaker 1: bass and electrified our guitars and we said, what are

486
00:27:24,359 --> 00:27:27,720
Speaker 1: we singing about the ox driver for? We could be singing,

487
00:27:27,880 --> 00:27:32,119
Speaker 1: you know. So that happened. And also Bob Dylan wrote

488
00:27:32,160 --> 00:27:34,840
Speaker 1: a song for Woody Gustrie, right, kind of a talking

489
00:27:35,400 --> 00:27:38,080
Speaker 1: thing about Woody Guthrie. And so that was the beginning

490
00:27:38,200 --> 00:27:42,159
Speaker 1: sort of of singers actually writing their own songs, their

491
00:27:42,240 --> 00:27:45,639
Speaker 1: own thoughts. So now when you can hear Joni Mitchell

492
00:27:45,880 --> 00:27:50,159
Speaker 1: sing about her you know, her love for somebody or something,

493
00:27:50,280 --> 00:27:55,240
Speaker 1: you know, oh my god, her observations are so amazing.

494
00:27:55,520 --> 00:27:59,200
Speaker 1: You know, she's striking. Yeah, so you get this. It's

495
00:27:59,280 --> 00:28:03,040
Speaker 1: the fruit of her mind and her feeling and all

496
00:28:03,160 --> 00:28:07,200
Speaker 1: of that it comes out. You know, you mentioned earlier

497
00:28:07,280 --> 00:28:11,760
Speaker 1: before about how huge music is in our wives. You know, yeah,

498
00:28:11,840 --> 00:28:15,440
Speaker 1: I say, yeah, is it twenty percent? Is it fifty percent?

499
00:28:15,600 --> 00:28:17,840
Speaker 1: I heard a lady once said, for me, it's one

500
00:28:17,920 --> 00:28:20,840
Speaker 1: hundred percent, because I don't do anything without music on.

501
00:28:21,480 --> 00:28:26,440
Speaker 1: So you know, we are a frequency. You know, we

502
00:28:26,600 --> 00:28:32,560
Speaker 1: are millions of cells, we are we are electrons spinning around.

503
00:28:32,680 --> 00:28:35,399
Speaker 1: We are made up of that our bodies, you know,

504
00:28:35,520 --> 00:28:40,280
Speaker 1: and we're a frequency. And so his music is a frequency.

505
00:28:41,520 --> 00:28:44,440
Speaker 1: You know. It's interesting Cyrus. In our group when we

506
00:28:44,520 --> 00:28:47,640
Speaker 1: would sing folk concerts, he would often he would say,

507
00:28:47,720 --> 00:28:49,880
Speaker 1: or he told me once anyway, he said, you know,

508
00:28:50,160 --> 00:28:53,360
Speaker 1: when we sing to an audience, the sound is coming

509
00:28:53,400 --> 00:28:56,120
Speaker 1: out of our mouths and going straight into their ears.

510
00:28:56,240 --> 00:28:59,560
Speaker 1: It's a one to one connection of that musical frequency.

511
00:29:00,040 --> 00:29:01,520
Speaker 1: I mean, the same thing happened when you put a

512
00:29:01,600 --> 00:29:04,200
Speaker 1: record on, but it's you know, it's coming through, but

513
00:29:04,320 --> 00:29:08,240
Speaker 1: you're getting that frequency. And that's why it's so huge.

514
00:29:08,320 --> 00:29:11,320
Speaker 1: I guess it just stimulates our mind and our brain

515
00:29:11,480 --> 00:29:16,280
Speaker 1: and our memory, you know the first time you heard it. Yes, yes,

516
00:29:16,440 --> 00:29:18,720
Speaker 1: so many things you gotta have to ask you though.

517
00:29:18,720 --> 00:29:21,680
Speaker 1: There's a couple of movies that as we were talking

518
00:29:21,720 --> 00:29:25,200
Speaker 1: about folk music and everything, I wanted to see what

519
00:29:25,360 --> 00:29:29,320
Speaker 1: you thought of these movies just for their perspective. One

520
00:29:29,600 --> 00:29:36,520
Speaker 1: was The Mighty Wind, you know, the mockumentary done by

521
00:29:36,600 --> 00:29:40,040
Speaker 1: Christopher Guest. I love that movie. Sure, I mean it's

522
00:29:40,080 --> 00:29:43,120
Speaker 1: bred Ed Begley Jr. Who Yeah, it wasn't there. Yeah,

523
00:29:43,160 --> 00:29:45,200
Speaker 1: I've seen that a few times. I love that. Right,

524
00:29:46,240 --> 00:29:48,360
Speaker 1: it's kind of the machinations of it are kind of

525
00:29:48,400 --> 00:29:50,640
Speaker 1: what it was like. You don't get into everybody's head,

526
00:29:50,760 --> 00:29:53,400
Speaker 1: you know, really, so a little bit. Yeah, I mean

527
00:29:53,440 --> 00:29:56,400
Speaker 1: it's it's it is. It is a mockumentary. The other

528
00:29:56,440 --> 00:30:01,000
Speaker 1: one is did you see Inside Lewin Davis? No? I

529
00:30:01,120 --> 00:30:05,360
Speaker 1: never got Kola Brothers. And that is the takeoff on

530
00:30:06,120 --> 00:30:09,200
Speaker 1: you know, the Dave van Ron sort of Dylan your

531
00:30:09,640 --> 00:30:14,120
Speaker 1: You're in its village and everything. But it's a strange story.

532
00:30:14,200 --> 00:30:16,600
Speaker 1: I love it to death, but it's a strange story

533
00:30:16,920 --> 00:30:20,480
Speaker 1: involves and if you see that movie and you could

534
00:30:20,520 --> 00:30:23,200
Speaker 1: figure out what that movie is about, would you please

535
00:30:23,280 --> 00:30:26,680
Speaker 1: let me know? Yeah? Okay, oh sure, okay, yeah, yeah,

536
00:30:26,760 --> 00:30:29,680
Speaker 1: but I love it. Yeah, the cat gets away. Yeah,

537
00:30:29,800 --> 00:30:31,760
Speaker 1: I won't ruin it for you because I think you

538
00:30:31,920 --> 00:30:36,360
Speaker 1: I think you'll appreciate it. So the Morrison Hotel cover,

539
00:30:37,280 --> 00:30:40,680
Speaker 1: that is okay, oh you know it was. I started

540
00:30:40,720 --> 00:30:43,360
Speaker 1: out by telling you that Gary was an architect. Yes,

541
00:30:43,840 --> 00:30:46,520
Speaker 1: so when he made album covers as architects, do they

542
00:30:46,560 --> 00:30:50,840
Speaker 1: want to incorporate new materials or new ideas. So when

543
00:30:50,880 --> 00:30:54,000
Speaker 1: we went to print that Crosby Silles Match first album

544
00:30:54,120 --> 00:30:57,680
Speaker 1: on the couch, he told the printers with the printing company,

545
00:30:57,960 --> 00:31:00,400
Speaker 1: I want you to turn the paper over and printed

546
00:31:00,480 --> 00:31:03,560
Speaker 1: on the uncoded side. Now, up to then, all album

547
00:31:03,680 --> 00:31:07,320
Speaker 1: covers are glossy. They have a glossy finished two. He said, no,

548
00:31:07,480 --> 00:31:10,160
Speaker 1: I want to print on the uncoded, the matt side

549
00:31:10,200 --> 00:31:13,160
Speaker 1: of the paper. And they said, well, we've never done that,

550
00:31:13,360 --> 00:31:15,040
Speaker 1: you know, I mean it'll soak up the egg. He said,

551
00:31:15,040 --> 00:31:17,280
Speaker 1: I don't care to do it, and he had the

552
00:31:17,320 --> 00:31:20,880
Speaker 1: group behind him do what he says. And so when

553
00:31:20,920 --> 00:31:25,000
Speaker 1: you hold that first original cover that folds out, it's

554
00:31:25,040 --> 00:31:27,480
Speaker 1: got to feel a texture to it. It's organic. You

555
00:31:27,600 --> 00:31:30,520
Speaker 1: feel the roughness of the paper, not a slick, glossy

556
00:31:30,760 --> 00:31:34,840
Speaker 1: plastic thing. And so that that was a great you

557
00:31:34,920 --> 00:31:38,920
Speaker 1: know innovation, that's a fine yea through experimentation, that's right.

558
00:31:39,320 --> 00:31:42,040
Speaker 1: That's what I was leading up to about Gary Burden.

559
00:31:42,080 --> 00:31:45,880
Speaker 1: But now so the Doors apparently saw that album and

560
00:31:46,120 --> 00:31:49,240
Speaker 1: called us, you know, within a week or two, and

561
00:31:49,760 --> 00:31:52,200
Speaker 1: it's called Gary. He was the art direct because they

562
00:31:52,280 --> 00:31:55,000
Speaker 1: call him and say, we want you to do our cover.

563
00:31:56,160 --> 00:31:58,000
Speaker 1: So we went to meet with them at their little

564
00:31:58,120 --> 00:32:00,560
Speaker 1: office and it was just Jim and ray Men's Eric

565
00:32:00,640 --> 00:32:04,320
Speaker 1: and Gary and I and we said, okay, great, have

566
00:32:04,400 --> 00:32:08,520
Speaker 1: you got a title? I said, well, no, Well do

567
00:32:08,600 --> 00:32:10,520
Speaker 1: you have an idea? What kind of what do you

568
00:32:10,640 --> 00:32:12,880
Speaker 1: want on the cover? What's what's it abound? What do

569
00:32:12,920 --> 00:32:15,560
Speaker 1: you know? We don't know, that's why we called you.

570
00:32:15,680 --> 00:32:19,880
Speaker 1: And we're going, well, uh, you know. Ray Men's Eric

571
00:32:20,360 --> 00:32:23,960
Speaker 1: randomly speaks up at that point and just says, you know,

572
00:32:24,560 --> 00:32:28,000
Speaker 1: my wife, Dorothy and I were driving through downtown LA

573
00:32:28,120 --> 00:32:31,120
Speaker 1: the other day and we saw this old funky hotel.

574
00:32:31,800 --> 00:32:36,320
Speaker 1: It said Morrison Hotel on the window, and Kerry and

575
00:32:36,360 --> 00:32:40,360
Speaker 1: I both went, wow, that sounds great, and we went

576
00:32:40,440 --> 00:32:43,160
Speaker 1: down that same afternoon. We got in their Volkswagen vand

577
00:32:43,200 --> 00:32:45,920
Speaker 1: and wrote down there it was. It was great, and

578
00:32:46,040 --> 00:32:48,600
Speaker 1: I took a picture of Jim behind the window sitting there.

579
00:32:49,160 --> 00:32:50,760
Speaker 1: So then we went back a week later with the

580
00:32:50,800 --> 00:32:54,320
Speaker 1: whole group and we got out of our car. Who's

581
00:32:54,360 --> 00:32:57,640
Speaker 1: the band's Volkswagen van. We all fit in there. We

582
00:32:57,800 --> 00:33:00,800
Speaker 1: walked in and they walked into the lawny was empty

583
00:33:01,000 --> 00:33:04,200
Speaker 1: of some old secondhand furniture, you know, and a guy

584
00:33:04,400 --> 00:33:08,240
Speaker 1: young guy behind the desk I was walking in laughed.

585
00:33:08,240 --> 00:33:09,600
Speaker 1: I just said, yeah, we're just going to be over

586
00:33:09,680 --> 00:33:11,640
Speaker 1: there for a few minutes taking a few shots. You know,

587
00:33:12,560 --> 00:33:15,520
Speaker 1: was nobody to bother, you know, And he got very animated.

588
00:33:15,560 --> 00:33:18,120
Speaker 1: Oh no, no, you can't take any pictures in here.

589
00:33:18,160 --> 00:33:20,920
Speaker 1: You've got to get the owner's permission. But where's he Well,

590
00:33:20,960 --> 00:33:25,600
Speaker 1: he's not here, you know. Apparently in retrospect, it turns

591
00:33:25,640 --> 00:33:28,280
Speaker 1: out he was a famous slum layd. It was very,

592
00:33:28,840 --> 00:33:31,000
Speaker 1: very hard to deal with, and that guy was in

593
00:33:31,120 --> 00:33:33,400
Speaker 1: fear of his life if we took a picture in there.

594
00:33:33,800 --> 00:33:35,880
Speaker 1: So I walked up to the doors and I said, hey,

595
00:33:35,920 --> 00:33:38,160
Speaker 1: you guys, the guy's not going to let us shoo

596
00:33:38,200 --> 00:33:41,680
Speaker 1: in here. Let's walk out on the sidewalk. I'm thinking

597
00:33:41,880 --> 00:33:43,960
Speaker 1: they can't stop us on the sidewalk. We'll take it

598
00:33:44,000 --> 00:33:46,920
Speaker 1: in front of the window. Right. To tell you the truth,

599
00:33:46,960 --> 00:33:48,920
Speaker 1: I don't know what picture I would have taken in

600
00:33:49,080 --> 00:33:54,160
Speaker 1: the lobby, because you know, so we all marched outside

601
00:33:54,440 --> 00:33:56,480
Speaker 1: and we stood in front of that big window that

602
00:33:56,560 --> 00:33:59,440
Speaker 1: said Morrison Attel. And they're just about to stand with

603
00:33:59,520 --> 00:34:01,640
Speaker 1: their backs that window, and I looked in and I

604
00:34:01,720 --> 00:34:03,520
Speaker 1: saw a light go on in the back of the

605
00:34:03,640 --> 00:34:06,440
Speaker 1: lobby a big light and I looked through the window.

606
00:34:06,480 --> 00:34:10,200
Speaker 1: I said, oh, that's the elevator light. The guy left

607
00:34:10,239 --> 00:34:13,520
Speaker 1: the desk, so quit run in there, and by gully

608
00:34:14,280 --> 00:34:16,840
Speaker 1: they ran in and just hit those marks. You know.

609
00:34:16,960 --> 00:34:19,360
Speaker 1: We didn't have to say, you know, you moved the

610
00:34:19,400 --> 00:34:22,480
Speaker 1: little left you, but they just bang right there. And

611
00:34:22,640 --> 00:34:25,200
Speaker 1: I backed up, and I well, at first I took

612
00:34:25,239 --> 00:34:27,959
Speaker 1: a few shots close up, and then Gary Burdon said,

613
00:34:28,400 --> 00:34:32,239
Speaker 1: back up, Henry, back up, get the whole window, you know,

614
00:34:33,239 --> 00:34:36,080
Speaker 1: and there is again. So I did that. Five minutes

615
00:34:36,400 --> 00:34:39,440
Speaker 1: we were out of there. Really yeah. And then Jim said, well,

616
00:34:39,560 --> 00:34:41,880
Speaker 1: let's go get a drink. We're in downtown La. We

617
00:34:41,920 --> 00:34:45,320
Speaker 1: went a few blocks to skid Row where we're driving

618
00:34:45,360 --> 00:34:48,040
Speaker 1: along looking for trying to pick a bar. They're all

619
00:34:48,120 --> 00:34:52,360
Speaker 1: bars and pawn shops, and out out from the front

620
00:34:52,400 --> 00:34:56,720
Speaker 1: window on the next corner, somebody said, look, hard Rock Cafe.

621
00:34:57,560 --> 00:35:00,839
Speaker 1: No one ever heard of that before, so we'll get

622
00:35:00,880 --> 00:35:03,160
Speaker 1: our beers in there. We went in. We spent you know,

623
00:35:03,360 --> 00:35:05,239
Speaker 1: an hour or two, I don't know how long it was,

624
00:35:05,360 --> 00:35:08,279
Speaker 1: but Jim liked to buy beers for some of the

625
00:35:08,360 --> 00:35:10,759
Speaker 1: old whinos in there because he liked to hear them

626
00:35:10,840 --> 00:35:15,440
Speaker 1: tell their stories. Jim was a very kind of quiet

627
00:35:15,600 --> 00:35:19,560
Speaker 1: internal like a poetic guy, you know, and so he

628
00:35:20,400 --> 00:35:23,360
Speaker 1: wasn't outgoing, he didn't talk a lot, but he liked

629
00:35:23,400 --> 00:35:25,920
Speaker 1: to listen. He liked to hear people and mullet over

630
00:35:26,000 --> 00:35:29,160
Speaker 1: in his mind. These guys were saying, we left home

631
00:35:29,200 --> 00:35:31,560
Speaker 1: at sixteen and joining the Merchant Marine and you know,

632
00:35:33,560 --> 00:35:39,960
Speaker 1: you know, yeah, so and then we put that a

633
00:35:40,040 --> 00:35:42,680
Speaker 1: picture of that hard Rock cafe on the back of

634
00:35:42,800 --> 00:35:46,600
Speaker 1: the doors Morrison Hotel. And they got a call from

635
00:35:46,640 --> 00:35:48,600
Speaker 1: England as soon as that record came out in a

636
00:35:48,680 --> 00:35:51,480
Speaker 1: voice said would you mind if we use that name?

637
00:35:51,680 --> 00:35:55,320
Speaker 1: We're studying a cafe here in London, and they said no,

638
00:35:55,520 --> 00:35:59,759
Speaker 1: go ahead. So that was and now years later I

639
00:36:00,000 --> 00:36:04,480
Speaker 1: I'm part owner of a bust a chain of galleries

640
00:36:04,560 --> 00:36:08,120
Speaker 1: called Morrison Hotel Galleries and which we can buy my

641
00:36:08,280 --> 00:36:11,880
Speaker 1: photos and one hundred and twenty five other photographers photos.

642
00:36:12,920 --> 00:36:14,640
Speaker 1: And so that one day we got the name of

643
00:36:14,719 --> 00:36:16,799
Speaker 1: our business and the name of the hard Rocket fact

644
00:36:16,920 --> 00:36:19,960
Speaker 1: which all in that afternoon. That was a yeah, I

645
00:36:20,120 --> 00:36:22,880
Speaker 1: need to go back and consult my my horoscope for

646
00:36:23,000 --> 00:36:27,360
Speaker 1: that day, right, that was something something was conjunct something.

647
00:36:27,520 --> 00:36:33,000
Speaker 1: I'm sure you know. How Now, how did the opportunity

648
00:36:33,080 --> 00:36:36,520
Speaker 1: for you come to be the photographer of record for

649
00:36:37,239 --> 00:36:42,880
Speaker 1: a Woodstock and for moderate you know both. I always

650
00:36:42,920 --> 00:36:47,120
Speaker 1: say phone call starts out, but with Monterey Pop, I

651
00:36:47,160 --> 00:36:49,160
Speaker 1: think it was just, you know, John Phillips from the

652
00:36:49,239 --> 00:36:51,120
Speaker 1: Mom and Pop is because a good friend of mine

653
00:36:51,160 --> 00:36:54,279
Speaker 1: as a fellow folk singer, you know, long before I

654
00:36:54,360 --> 00:36:57,760
Speaker 1: picked up a camera, I saw him somewhere and he said, hey, Henry,

655
00:36:57,800 --> 00:37:00,719
Speaker 1: we're going to do this big festival up and you

656
00:37:00,760 --> 00:37:04,600
Speaker 1: want to take pictures for me. I said yeah, And

657
00:37:04,760 --> 00:37:07,600
Speaker 1: that was that sad anyone would stock. The phone rang

658
00:37:08,040 --> 00:37:13,760
Speaker 1: and it was a fellow named Chipmunk, Edward Beresford Monk.

659
00:37:14,320 --> 00:37:17,560
Speaker 1: Of course, his nickname was Chip, so Chipmunk, and I

660
00:37:17,680 --> 00:37:20,000
Speaker 1: had seen him well at Monterey. He was a lighting

661
00:37:20,400 --> 00:37:23,800
Speaker 1: director there and then a lot of the folk tours

662
00:37:23,840 --> 00:37:27,040
Speaker 1: that we did he was there doing up sound and lighting,

663
00:37:27,160 --> 00:37:30,000
Speaker 1: staging all that. So he called me, he said, Henry,

664
00:37:30,640 --> 00:37:32,160
Speaker 1: He said, I'm out in New York. We're gonna have

665
00:37:32,200 --> 00:37:35,120
Speaker 1: a big music vessel out here in a couple of weeks.

666
00:37:35,360 --> 00:37:38,120
Speaker 1: You ought to be here. I said, well, Chip, I've

667
00:37:38,200 --> 00:37:40,960
Speaker 1: read about it, but I don't know those guys. You know,

668
00:37:41,120 --> 00:37:42,960
Speaker 1: how am I gonna He said, look, I'll talk to

669
00:37:43,080 --> 00:37:46,640
Speaker 1: the producer. And the next day Michael Lang called me

670
00:37:46,840 --> 00:37:52,000
Speaker 1: right and a man of few words, he said, Chip says,

671
00:37:52,080 --> 00:37:54,480
Speaker 1: we need you. I'm sending you an airline ticket and

672
00:37:54,560 --> 00:37:57,880
Speaker 1: five hundred dollars. He said, okay, I'll go eb and

673
00:37:58,000 --> 00:38:00,520
Speaker 1: I got there a couple of weeks before I think

674
00:38:00,600 --> 00:38:04,359
Speaker 1: almost three weeks before the festival. They had changed locations

675
00:38:04,840 --> 00:38:07,880
Speaker 1: the original township that voted them out, you know, they

676
00:38:07,920 --> 00:38:10,560
Speaker 1: didn't want all those damn hippies all over their lawn.

677
00:38:10,680 --> 00:38:13,960
Speaker 1: So then they found Yaskar's farm and they were just

678
00:38:14,080 --> 00:38:16,759
Speaker 1: starting to build that great, big wooden deck at the

679
00:38:16,800 --> 00:38:21,960
Speaker 1: bottom of that natural amphitheater which was growing with alfalfa,

680
00:38:22,440 --> 00:38:26,000
Speaker 1: you know, a beautiful green field. And my job was

681
00:38:26,120 --> 00:38:28,480
Speaker 1: just to hang out all day and document what was

682
00:38:28,520 --> 00:38:31,120
Speaker 1: going on, waiting for the festival to start. But in

683
00:38:31,200 --> 00:38:33,759
Speaker 1: those couple of weeks it was like being at summer camp.

684
00:38:33,920 --> 00:38:36,160
Speaker 1: I went to summer camp in upstate New York, you know,

685
00:38:36,280 --> 00:38:38,680
Speaker 1: as a boy, and this was like that. Of course,

686
00:38:39,160 --> 00:38:41,640
Speaker 1: I didn't have anybody to answer to. I'd just walk

687
00:38:41,680 --> 00:38:44,680
Speaker 1: around doing this thing. I loved doing and couldn't stop

688
00:38:44,719 --> 00:38:47,000
Speaker 1: doing anyway, you know, right, I mean, go to the

689
00:38:47,080 --> 00:38:49,960
Speaker 1: Hog Farm, which was the peak. The Hog Farm from

690
00:38:50,000 --> 00:38:52,640
Speaker 1: New Mexico came up and built the camp sites and

691
00:38:52,800 --> 00:38:56,040
Speaker 1: help with security. I'd go over there and hang out top,

692
00:38:56,160 --> 00:38:59,560
Speaker 1: maybe smoke a joint, watch the girls chopping up cabbage

693
00:38:59,640 --> 00:39:02,560
Speaker 1: to make holds law, you know, someone erecting a TP

694
00:39:02,920 --> 00:39:06,040
Speaker 1: and photograph and back to the stage where there was

695
00:39:06,120 --> 00:39:08,880
Speaker 1: this big wooden deck like an aircraft carrier, and all

696
00:39:08,920 --> 00:39:13,720
Speaker 1: these hippie carpenters with their shirts off, all brown, sawing

697
00:39:13,840 --> 00:39:16,399
Speaker 1: and hammering, you know. And the girls would come over

698
00:39:16,680 --> 00:39:19,560
Speaker 1: lunchtime and bring drinks and lunch, and I'm just there

699
00:39:19,680 --> 00:39:22,279
Speaker 1: having a time of my life, you know. And it

700
00:39:22,440 --> 00:39:25,759
Speaker 1: was like an aircraft carrier in a sea of alfalfa,

701
00:39:25,840 --> 00:39:28,360
Speaker 1: because that's what was That's all we saw you blowing

702
00:39:28,400 --> 00:39:30,800
Speaker 1: in the wind. And then after a couple of weeks,

703
00:39:30,880 --> 00:39:33,640
Speaker 1: one day I was there and I looked up and

704
00:39:33,719 --> 00:39:35,960
Speaker 1: at the top of that hill was a few people

705
00:39:36,120 --> 00:39:39,239
Speaker 1: sitting there, and I thought, what the hell are they doing.

706
00:39:39,320 --> 00:39:41,920
Speaker 1: We're you know, we're out in the country here. What

707
00:39:42,080 --> 00:39:44,239
Speaker 1: are they doing there? What are they looking at? And

708
00:39:44,360 --> 00:39:46,480
Speaker 1: I thought, oh, yeah, that's right. I forgot, you know,

709
00:39:46,920 --> 00:39:48,800
Speaker 1: And then the next day there was you know, a

710
00:39:48,880 --> 00:39:50,960
Speaker 1: thousand people, and then the next day there were four

711
00:39:51,040 --> 00:39:54,640
Speaker 1: hundred thousand people. It just happened, bang bang bang. And

712
00:39:54,800 --> 00:39:57,640
Speaker 1: I was living in a rooming house down a dirt

713
00:39:57,800 --> 00:40:00,840
Speaker 1: road that ran behind the stage about a mile. But

714
00:40:01,520 --> 00:40:05,600
Speaker 1: and I had my rented station wagon parking hide the stage.

715
00:40:06,040 --> 00:40:08,320
Speaker 1: That day when four hundred thousand people got there, I

716
00:40:08,360 --> 00:40:11,200
Speaker 1: couldn't get home. I couldn't drive down that road. His

717
00:40:11,440 --> 00:40:13,920
Speaker 1: cars were parked on either side of the dirt road,

718
00:40:14,160 --> 00:40:16,960
Speaker 1: not leaving space for a car in the middle, and

719
00:40:17,120 --> 00:40:20,880
Speaker 1: even that space was full of bodies walking. It was,

720
00:40:21,440 --> 00:40:25,560
Speaker 1: you know, like at the subway in New York City

721
00:40:25,719 --> 00:40:28,640
Speaker 1: or something suddenly on this little country road. So I

722
00:40:28,719 --> 00:40:31,080
Speaker 1: had to sleep in my station wagon backstage for a

723
00:40:31,160 --> 00:40:35,279
Speaker 1: few days. And I just basically I mostly stayed up

724
00:40:35,320 --> 00:40:37,600
Speaker 1: on the stage. That was my job, you know, document

725
00:40:37,680 --> 00:40:39,520
Speaker 1: all the acts, you know, And what was it like

726
00:40:39,640 --> 00:40:43,640
Speaker 1: shooting photos of Jimmy Hendricks. Well, you know, he didn't

727
00:40:43,640 --> 00:40:45,960
Speaker 1: play until Monday morning. He was supposed to close the

728
00:40:46,040 --> 00:40:48,880
Speaker 1: show Sunday night, but it was so backed up and

729
00:40:49,000 --> 00:40:51,600
Speaker 1: he didn't start till Monday morning, and came out right

730
00:40:51,640 --> 00:40:55,840
Speaker 1: at dawn wearing these colorful bandanas on their heads, and

731
00:40:55,920 --> 00:40:57,920
Speaker 1: it was a liking whoop. But we'd all been up

732
00:40:58,040 --> 00:41:00,040
Speaker 1: for a hour, you know. I was. I got a

733
00:41:00,120 --> 00:41:03,000
Speaker 1: couple of hours sleep in my station wagon before I

734
00:41:03,160 --> 00:41:08,480
Speaker 1: heard Lady the Goman know it was Chipmunk up on stage,

735
00:41:08,520 --> 00:41:12,239
Speaker 1: you know, And I said, I grabbed my cameras and

736
00:41:12,360 --> 00:41:14,160
Speaker 1: ran up there. And I'm standing right at the edge

737
00:41:14,600 --> 00:41:18,400
Speaker 1: on stage. I had the big all access pats. I

738
00:41:18,480 --> 00:41:20,960
Speaker 1: could go anywhere. All the other photographers were down in

739
00:41:21,000 --> 00:41:22,680
Speaker 1: the pit in front of the stage, but I was

740
00:41:22,800 --> 00:41:26,719
Speaker 1: like on stage Jimmy, and it was great, you know.

741
00:41:26,800 --> 00:41:29,879
Speaker 1: And then but the moment, the quintessential moment, was when

742
00:41:29,920 --> 00:41:34,319
Speaker 1: he started playing the Stars Tangled Panner, Because I mean,

743
00:41:34,400 --> 00:41:37,720
Speaker 1: here we were an army of peace and love hippies,

744
00:41:39,880 --> 00:41:43,200
Speaker 1: many of whom were susceptible to the draft. The hell, no,

745
00:41:43,400 --> 00:41:45,640
Speaker 1: I'm not going to go over there and shoot strangers.

746
00:41:45,880 --> 00:41:48,719
Speaker 1: And for what, you know, we were peace and love brotherhood.

747
00:41:49,239 --> 00:41:52,360
Speaker 1: We were talking about angels, you know, and gurus and

748
00:41:52,480 --> 00:41:56,000
Speaker 1: Indian medicine men and the good things in life, you know.

749
00:41:57,320 --> 00:41:59,440
Speaker 1: And so suddenly he started playing that song, and I know,

750
00:41:59,600 --> 00:42:03,560
Speaker 1: my reactor was wait a minute, you know, that's their song.

751
00:42:03,800 --> 00:42:07,440
Speaker 1: That's the official country, you know, that's the president and

752
00:42:07,520 --> 00:42:10,160
Speaker 1: the army and the whole Ya rah Raw put up

753
00:42:10,200 --> 00:42:13,759
Speaker 1: the flag. That's the opposite of where we're at. But

754
00:42:13,920 --> 00:42:17,759
Speaker 1: then as he played in all those you know, the

755
00:42:17,880 --> 00:42:22,200
Speaker 1: sounds of war, yeah boom, you know you're making all

756
00:42:22,280 --> 00:42:25,160
Speaker 1: the sounds that went with that song, and they kind

757
00:42:25,160 --> 00:42:28,759
Speaker 1: of saw it. Wait a minute, he's reclaiming it for us,

758
00:42:29,160 --> 00:42:32,879
Speaker 1: you know, because we were like looking at that four

759
00:42:32,960 --> 00:42:36,440
Speaker 1: hundred and four and fifty thousand people filling that whole basin,

760
00:42:36,560 --> 00:42:38,480
Speaker 1: you know, was and up to the top of the hill.

761
00:42:39,160 --> 00:42:42,320
Speaker 1: It was like like probably what the Sioux Indians felt like,

762
00:42:42,440 --> 00:42:44,520
Speaker 1: you know when they all got together and got rid

763
00:42:44,560 --> 00:42:47,799
Speaker 1: of Cuntter. But I mean thousands of them, but they'd

764
00:42:47,840 --> 00:42:50,759
Speaker 1: never been that many together, you know, the same for us,

765
00:42:50,880 --> 00:42:53,880
Speaker 1: you know, and these were all peace and love hippies

766
00:42:53,960 --> 00:42:57,440
Speaker 1: passing the joint, you know, shirts off, dancing may mean

767
00:42:57,480 --> 00:43:01,680
Speaker 1: there were no fights, There was no negative because everybody

768
00:43:01,880 --> 00:43:05,480
Speaker 1: was happy. You know. That was Michael Lang's original idea,

769
00:43:05,680 --> 00:43:09,160
Speaker 1: three days of peace and music, you know, by Gully

770
00:43:09,280 --> 00:43:12,360
Speaker 1: he pulled it off. So Jimmy played that song, and

771
00:43:12,440 --> 00:43:16,160
Speaker 1: then I thought, wow, yeah, he's reclaiming it. So I

772
00:43:16,280 --> 00:43:18,880
Speaker 1: never got a chance to ask him about it, but

773
00:43:19,040 --> 00:43:21,680
Speaker 1: I talked to his conga player a few years ago

774
00:43:22,560 --> 00:43:26,040
Speaker 1: on the fiftieth anniversary. I was doing a talk with him.

775
00:43:26,560 --> 00:43:29,000
Speaker 1: He said, Yeah, we were in a rooming house near

776
00:43:29,120 --> 00:43:32,239
Speaker 1: there for a couple of weeks before the concert, and

777
00:43:32,360 --> 00:43:35,239
Speaker 1: he practiced that song every day, the star spangled banner.

778
00:43:35,400 --> 00:43:38,320
Speaker 1: So it wasn't just a sing off the top of

779
00:43:38,400 --> 00:43:40,759
Speaker 1: his head. He had a reason. He was a paratrooper.

780
00:43:41,680 --> 00:43:43,600
Speaker 1: And you know, in later years I have come to

781
00:43:43,719 --> 00:43:46,839
Speaker 1: real life that the brilliance of that, that whole thing,

782
00:43:46,960 --> 00:43:51,200
Speaker 1: because when Francis scott Key wrote that song, he was

783
00:43:51,280 --> 00:43:55,360
Speaker 1: up on the hillside looking over Fort McHenry and the

784
00:43:55,440 --> 00:44:02,080
Speaker 1: British fleet in the bay bombarding Fort McHenry. Boom, boom,

785
00:44:02,400 --> 00:44:04,840
Speaker 1: you know, all that was going on, shooting their cannons

786
00:44:05,719 --> 00:44:08,560
Speaker 1: and the flag was still waving, you know, so he

787
00:44:08,760 --> 00:44:12,200
Speaker 1: was recreating that whole thing, that whole opinions. You know,

788
00:44:12,360 --> 00:44:15,839
Speaker 1: that was brilliant. Well, Henry, I got one last question

789
00:44:16,000 --> 00:44:19,560
Speaker 1: for you. I was thinking about this one, and we

790
00:44:19,680 --> 00:44:23,760
Speaker 1: could go on forever taking this walk, but I was thinking,

791
00:44:24,239 --> 00:44:27,719
Speaker 1: you know, we all have dreams that, you know, come

792
00:44:27,800 --> 00:44:31,480
Speaker 1: out of nowhere in our our our sleep patterns. Right,

793
00:44:32,040 --> 00:44:36,640
Speaker 1: So do you ever have these dreams where you flash

794
00:44:36,760 --> 00:44:39,960
Speaker 1: back to this moment with one of these you know,

795
00:44:40,360 --> 00:44:43,360
Speaker 1: iconic figures and they're in the dream in a different form.

796
00:44:43,480 --> 00:44:45,680
Speaker 1: Has that ever happened? It has happened to me. Yeah,

797
00:44:45,800 --> 00:44:49,480
Speaker 1: I'm a big, you know, a big aficionado of dreams,

798
00:44:49,600 --> 00:44:52,439
Speaker 1: and you know what's happening really on the other side

799
00:44:52,480 --> 00:44:55,520
Speaker 1: and all that. But yeah, it's funny. I have had

800
00:44:56,680 --> 00:44:59,720
Speaker 1: like one dream of the Eagles, one dream of the doors,

801
00:44:59,800 --> 00:45:02,000
Speaker 1: one dream of Stephen Stills. I can I have one

802
00:45:02,040 --> 00:45:05,319
Speaker 1: a year kind of And it's never a replay if

803
00:45:05,360 --> 00:45:08,200
Speaker 1: something that happened, it's always something else, you know. I mean,

804
00:45:08,280 --> 00:45:11,160
Speaker 1: we're on the road somewhere and something's happening. They're there,

805
00:45:11,360 --> 00:45:14,960
Speaker 1: I see them. Generally, my dreams are all people I

806
00:45:15,040 --> 00:45:18,560
Speaker 1: don't know. You know. There used to be dreams where

807
00:45:20,040 --> 00:45:23,359
Speaker 1: I was late getting to the train station. I had

808
00:45:23,640 --> 00:45:25,600
Speaker 1: all my friends were at the station waiting for the

809
00:45:25,640 --> 00:45:28,279
Speaker 1: train and I had to get home and pack to

810
00:45:28,440 --> 00:45:31,640
Speaker 1: get there. You know. You know, what do they call

811
00:45:31,719 --> 00:45:37,440
Speaker 1: those kind of dreams, you know, uptight dreams? But then

812
00:45:37,520 --> 00:45:40,240
Speaker 1: I do. I have dreams where there's lots of people

813
00:45:40,320 --> 00:45:43,400
Speaker 1: around and I'm really good friend right there with everybody,

814
00:45:43,480 --> 00:45:45,200
Speaker 1: but I don't know who they are. They're nobody that

815
00:45:45,320 --> 00:45:48,640
Speaker 1: I know, Yes, and I don't know. You know, some

816
00:45:48,760 --> 00:45:50,239
Speaker 1: of it might be in your brain. Some of it

817
00:45:50,360 --> 00:45:52,479
Speaker 1: you might leave your body and go to a play

818
00:45:52,520 --> 00:45:55,560
Speaker 1: for a bunch of people. So I don't know. But yeah,

819
00:45:56,040 --> 00:45:58,439
Speaker 1: I have had I know I had a doors dream

820
00:45:58,480 --> 00:46:02,080
Speaker 1: once I could remember that I did. It doesn't recur, Yeah,

821
00:46:02,560 --> 00:46:04,600
Speaker 1: just one time, and I don't even know why. Oh

822
00:46:04,760 --> 00:46:09,680
Speaker 1: my god. Yeah, Well you have left an indelible mark

823
00:46:10,280 --> 00:46:14,960
Speaker 1: on me today, but on a multitude of generations here

824
00:46:15,200 --> 00:46:21,480
Speaker 1: with your amazing work, your thoughtful eye, the way you

825
00:46:21,600 --> 00:46:26,799
Speaker 1: made everybody that you were photographing comfortable, and the way

826
00:46:26,920 --> 00:46:29,360
Speaker 1: you have sort of captured all of that is just

827
00:46:29,560 --> 00:46:31,920
Speaker 1: a part of our life, and I really thank you.

828
00:46:32,200 --> 00:46:35,400
Speaker 1: It's just the byproduct of my own adventure. Like I

829
00:46:35,480 --> 00:46:38,239
Speaker 1: said before, I mean people used to say, oh, oh,

830
00:46:38,280 --> 00:46:41,560
Speaker 1: you're a photographer. Are you a professional? Without thinking I

831
00:46:41,600 --> 00:46:44,319
Speaker 1: always think no, you know no, I mean I don't

832
00:46:44,360 --> 00:46:47,160
Speaker 1: have a gallery, I don't have assistance, I don't have lights,

833
00:46:47,200 --> 00:46:49,160
Speaker 1: I don't have just a guy who likes to look

834
00:46:49,200 --> 00:46:53,040
Speaker 1: at things and take a picture of them. And you know, then,

835
00:46:53,360 --> 00:46:55,880
Speaker 1: you know, I took a course in existentialism, you know,

836
00:46:55,960 --> 00:46:58,680
Speaker 1: which is took the moment. I mean, the past has passed.

837
00:46:59,160 --> 00:47:01,720
Speaker 1: The future is a dream or a pope or a plan.

838
00:47:02,520 --> 00:47:04,920
Speaker 1: But the only thing that's real is the moment that

839
00:47:04,960 --> 00:47:07,360
Speaker 1: we're in right now. And it kind of then bothered

840
00:47:07,400 --> 00:47:10,440
Speaker 1: me that I was known for all these past moments.

841
00:47:10,880 --> 00:47:13,359
Speaker 1: And then somebody said to me, yeah, but you bring

842
00:47:13,480 --> 00:47:17,840
Speaker 1: the past moments into the prison, and I said, oh, okay,

843
00:47:18,800 --> 00:47:21,080
Speaker 1: I can live with that, you know, I can live

844
00:47:21,160 --> 00:47:24,680
Speaker 1: with that. But it is the older you get and

845
00:47:24,800 --> 00:47:27,560
Speaker 1: the longer ago you took those pictures, it gets more

846
00:47:27,600 --> 00:47:31,279
Speaker 1: and more surreal. You know. I read the gurus. I

847
00:47:31,320 --> 00:47:35,440
Speaker 1: read the Indian gurus, Yoga Nanda, Swami, Sacha Donanda, I

848
00:47:35,520 --> 00:47:39,040
Speaker 1: mean the Dalai Lama. I love books like that. Books,

849
00:47:40,920 --> 00:47:43,640
Speaker 1: books that are spoken through people, you know, from the

850
00:47:43,719 --> 00:47:47,640
Speaker 1: other side, from archangels and from masters on the other side.

851
00:47:47,719 --> 00:47:51,759
Speaker 1: They speak to somebody and they dictate a book. I

852
00:47:52,040 --> 00:47:56,440
Speaker 1: really love all that stuff. You know. Some guru you know, said, hey,

853
00:47:56,840 --> 00:47:59,160
Speaker 1: when you leave, when you die, it's you know, I

854
00:47:59,160 --> 00:48:01,640
Speaker 1: don't like to use that because nobody does die, you know,

855
00:48:01,800 --> 00:48:04,279
Speaker 1: you by you drop your body, but your spirit lives

856
00:48:04,320 --> 00:48:07,560
Speaker 1: on and you do go to the other side. And

857
00:48:07,640 --> 00:48:09,600
Speaker 1: they said, it's no big deal. You walk into the

858
00:48:09,719 --> 00:48:14,040
Speaker 1: next room. That's you know, that's it. And so I

859
00:48:14,160 --> 00:48:17,279
Speaker 1: glibly tell that to everybody, and I believe it. I mean,

860
00:48:17,320 --> 00:48:19,840
Speaker 1: I'll be happy to get there and see. You know,

861
00:48:20,040 --> 00:48:22,840
Speaker 1: I've read a lot about it. People die on the

862
00:48:22,920 --> 00:48:25,480
Speaker 1: operating table and then they come back and they say, wow,

863
00:48:26,000 --> 00:48:28,880
Speaker 1: I can't describe the music. I can't describe there for

864
00:48:28,960 --> 00:48:31,879
Speaker 1: a couple of minutes. Sometimes they say I saw God

865
00:48:32,000 --> 00:48:34,600
Speaker 1: and he said you have to go back. One lady said,

866
00:48:34,600 --> 00:48:37,080
Speaker 1: I was running over a meadow, but my feet weren't

867
00:48:37,160 --> 00:48:40,160
Speaker 1: touching the ground. And then somebody said, this is not

868
00:48:40,320 --> 00:48:42,680
Speaker 1: your time. You have to go back, and you just

869
00:48:42,880 --> 00:48:45,960
Speaker 1: want to be there, you know. And then recently, a

870
00:48:46,840 --> 00:48:51,640
Speaker 1: dear lady friend of mine for twenty years transitioned out

871
00:48:51,680 --> 00:48:54,759
Speaker 1: of the physically, you know, left your body, and it

872
00:48:54,880 --> 00:48:58,520
Speaker 1: was only a couple of weeks ago, and I suddenly said, wow,

873
00:48:59,440 --> 00:49:01,520
Speaker 1: It's one thing to say no big deal, you know,

874
00:49:01,640 --> 00:49:04,160
Speaker 1: you're just welcome, But when it's somebody who's a big

875
00:49:04,239 --> 00:49:06,799
Speaker 1: part of your life, and they're gone. There's a big

876
00:49:06,920 --> 00:49:09,560
Speaker 1: hole out there, you know, their energy is just gone.

877
00:49:09,760 --> 00:49:14,000
Speaker 1: That's so I'm working with that now. And what, as

878
00:49:14,120 --> 00:49:16,960
Speaker 1: my spiritual teacher used to tell me, isn't it great?

879
00:49:17,840 --> 00:49:21,120
Speaker 1: Isn't it great that we can deal with these things,

880
00:49:21,239 --> 00:49:24,719
Speaker 1: you know, and and learn from these things? You know?

881
00:49:24,800 --> 00:49:29,320
Speaker 1: One of my favorite Ghuruswami Satcha Donanda, he said, of

882
00:49:29,440 --> 00:49:32,239
Speaker 1: course we're all here to learn. We know that, so

883
00:49:32,400 --> 00:49:36,080
Speaker 1: therefore we're all students. But you should think of yourself

884
00:49:36,360 --> 00:49:42,239
Speaker 1: as the only students and everybody you meet is your teacher. Now,

885
00:49:42,360 --> 00:49:45,440
Speaker 1: that will change the valance of the day, you know

886
00:49:45,520 --> 00:49:48,160
Speaker 1: what I mean, instead of you know, I mean if

887
00:49:48,200 --> 00:49:50,839
Speaker 1: somebody yells at you and yell back, you yell back,

888
00:49:50,920 --> 00:49:53,440
Speaker 1: I mean, that's a waste. Instead, you know, you say

889
00:49:53,520 --> 00:49:56,520
Speaker 1: thank you for telling me that. You know you're teaching me.

890
00:49:57,400 --> 00:50:00,360
Speaker 1: Maybe they're just teaching you to deal with with that

891
00:50:00,560 --> 00:50:04,080
Speaker 1: kind of a person. You know that everybody can teach somebody.

892
00:50:05,040 --> 00:50:07,680
Speaker 1: It's right, Peace and love. I'm dressing old hippie, you know,

893
00:50:07,880 --> 00:50:11,319
Speaker 1: I really believe in it. Well, Henry Dils, it's an

894
00:50:11,360 --> 00:50:13,719
Speaker 1: honor to meet you, and I'm so grateful that you

895
00:50:13,800 --> 00:50:16,359
Speaker 1: took a walk with me. Thank you for everything. Sure thing,

896
00:50:16,480 --> 00:50:19,360
Speaker 1: Buzz my pleasure. This is great. Now we gotta we

897
00:50:19,440 --> 00:50:25,960
Speaker 1: gotta walk ten miles back. Taking a Walk with Buzznight

898
00:50:26,400 --> 00:50:31,319
Speaker 1: is available on Spotify, Apple Podcasts, or wherever you get

899
00:50:31,400 --> 00:50:32,160
Speaker 1: your podcasts.