Latest / The Bob Lefsetz Podcast / Jann Wenner

Transcript

Jann Wenner · The Bob Lefsetz Podcast

• 0:08
  Speaker 1: Welcome, Welcome, Welcome back to the Bob Left Sets podcast.
• 0:12
  Speaker 1: My guest today is Yon Winner, who's got a new
• 0:16
  Speaker 1: book of interviews entitled The Masters. Yon. How'd you decide
• 0:21
  Speaker 1: who's going to be in the.
• 0:22
  Speaker 2: Book, Well, first off, it's good to be here with you, Bob,
• 0:26
  Speaker 2: and I'm had to be glad to be welcomed and
• 0:28
  Speaker 2: welcomed and welcomed. You bet. Surely I picked the interviews.
• 0:33
  Speaker 2: I didn't choose the interviews. They chose me. They are
• 0:38
  Speaker 2: the ones I did over a fifty year period rolling Zone,
• 0:40
  Speaker 2: and they were just the people who I was totally
• 0:42
  Speaker 2: interested in the most of talking to and finding out
• 0:46
  Speaker 2: what they were thinking and about how they did, what
• 0:49
  Speaker 2: they were doing, what they thought about rock and roll.
• 0:52
  Speaker 2: So it wasn't every deliberate. I didn't decide even to
• 0:55
  Speaker 2: do this until last year when I look back and
• 0:57
  Speaker 2: saw this collection of people represent a really great selection
• 1:04
  Speaker 2: of the of the men not women unfortunately, who made
• 1:08
  Speaker 2: rock and roll and over this last fifty years made
• 1:11
  Speaker 2: it what it was today. They mainly were people, you know,
• 1:14
  Speaker 2: they were old. These are people who have been around
• 1:17
  Speaker 2: for a while, but they weren't sense The Masters, the Stones, Dylan,
• 1:23
  Speaker 2: the Beatles, you know, Bono, the Dead, Bruce Springsteen to who.
• 1:30
  Speaker 2: These are the great names of our times. They're not
• 1:33
  Speaker 2: all of them, it's not complete, but these are the
• 1:36
  Speaker 2: ones I gravitated to, and it turns out to be
• 1:38
  Speaker 2: a great selection.
• 1:40
  Speaker 1: So who was left on the cutting room floor?
• 1:42
  Speaker 2: Well, nobody was left on the cutting floor. I mean
• 1:44
  Speaker 2: there's a few interviews I did that I did were
• 1:46
  Speaker 2: done with the kind of gravitass and length and intensity.
• 1:51
  Speaker 2: I mean I did leave a Hendrix's interview on the
• 1:53
  Speaker 2: cutting room floor, because you know, looking back, I was
• 1:58
  Speaker 2: like nineteen sixty eight. I just went he was in
• 2:00
  Speaker 2: San Francisco, and I went over to his hotel room.
• 2:03
  Speaker 2: We sat aroun all afternoon, smoking dope and playing with
• 2:06
  Speaker 2: the tape recorder. It just wasn't that good. It's not
• 2:10
  Speaker 2: very much one. It's going to last a long time.
• 2:14
  Speaker 2: And then I'm one of the very first sentenced with
• 2:15
  Speaker 2: a guitar named Mike Blomfield, who was a great guitarist,
• 2:19
  Speaker 2: somewhat obscure but also not a great think about rock
• 2:23
  Speaker 2: and roll and all the issues that were attacked to
• 2:26
  Speaker 2: it in terms of youth culture and the politics of
• 2:31
  Speaker 2: the United States.
• 2:33
  Speaker 1: Okay, The interviews ranged from nineteen sixty eight with Pete
• 2:37
  Speaker 1: Towns into today twenty twenty three with Springsteen. Did you
• 2:42
  Speaker 1: always have in the back of your mind this fifty
• 2:45
  Speaker 1: five year old interview with Townshend or did you have
• 2:50
  Speaker 1: to go back and review what interviews you had done.
• 2:54
  Speaker 2: I always had it in mind. Once the idea that
• 2:56
  Speaker 2: I would do this book came, I didn't do that.
• 3:00
  Speaker 2: I mean, this is this is most of the work
• 3:02
  Speaker 2: that I did, because I didn't do interviews as a
• 3:05
  Speaker 2: general thing. I was busy running a magazine. But if
• 3:07
  Speaker 2: there was somebody I was really interested in, wanted to
• 3:09
  Speaker 2: talk and wanted to learn from, wanted to just soak
• 3:12
  Speaker 2: up the vibe, I understand, why is it that we're
• 3:14
  Speaker 2: all so excited about this music? I would I would
• 3:17
  Speaker 2: go do interview them with so I knew that they
• 3:20
  Speaker 2: were there. Of course I read them again, but it
• 3:23
  Speaker 2: was clear to me which they were. These were all
• 3:25
  Speaker 2: of them, really, except for Hendricks and Bloomfield. Okay, but
• 3:29
  Speaker 2: I used to interview the presidents too. I interviewed Obama
• 3:33
  Speaker 2: and Clinton and gal Go and so forth. But this
• 3:36
  Speaker 2: is about music, not about politics.
• 3:39
  Speaker 1: Just staying with the politics for a second, could you
• 3:42
  Speaker 1: get straight? I mean, I read these interviews were in
• 3:44
  Speaker 1: when they were in the magazine Rolling Stone, of course,
• 3:48
  Speaker 1: but when you're there sitting down with them, are they
• 3:52
  Speaker 1: answering honestly or are they always weaseling? And how do
• 3:54
  Speaker 1: you nail them.
• 3:55
  Speaker 2: Down about musicians or politicians? Politicians politicians are not weasling
• 4:03
  Speaker 2: or lying or if you try to ask them stuff
• 4:10
  Speaker 2: that is kind of got youa question or is going
• 4:13
  Speaker 2: to get them in trouble. You know they're not going
• 4:16
  Speaker 2: to answer you. Number one, because the slightest mistake they
• 4:19
  Speaker 2: make can be used by the opposing party. Now, these
• 4:23
  Speaker 2: are interviews I did in the middle of elections. You know,
• 4:26
  Speaker 2: the slightest little mistatement and the other guy's going to
• 4:28
  Speaker 2: jump on you. And the other guy being Republican, they're
• 4:31
  Speaker 2: usually merciless, you know, I'm thankless, and they're ability to
• 4:34
  Speaker 2: distort and anything. So there's a danger in it. So
• 4:38
  Speaker 2: also I find those areas boring. You know, the gotcha
• 4:41
  Speaker 2: question is never interesting in the end what I'm trying
• 4:47
  Speaker 2: to do. And also the other thing is that because
• 4:50
  Speaker 2: the politics are so rough these days and the communications
• 4:55
  Speaker 2: around us, media is so intense, you know, focus on everything.
• 5:00
  Speaker 2: They are really pretty carefully rehearsed about everything they're going
• 5:03
  Speaker 2: to say. Not rehearse in the sense of rehearsal for debate,
• 5:06
  Speaker 2: but their practice. They know their positions on stuff. They've
• 5:10
  Speaker 2: been vetted, They've discussed the stuff with their advisors. It's
• 5:13
  Speaker 2: a product of a lot of policy stuff. They've decided
• 5:15
  Speaker 2: already what they're going to stand for, and what they're
• 5:17
  Speaker 2: going to campaign, and what they're going to stand for,
• 5:18
  Speaker 2: and what's the best compromise of interests, say between unions
• 5:22
  Speaker 2: in the coal industry and you know, environmentals. They've come
• 5:25
  Speaker 2: up with their ability how to satisfy all the interests
• 5:28
  Speaker 2: where they want where they want to be on a position.
• 5:30
  Speaker 2: So you're not going to get them to make any
• 5:32
  Speaker 2: breakthroughs there. So what I do is when I interview
• 5:36
  Speaker 2: them is I want to try and get to know
• 5:37
  Speaker 2: them a little better. I want to know a little
• 5:39
  Speaker 2: about how they feel about things. How do you feel
• 5:41
  Speaker 2: about you know, when you go to the Arctic, like
• 5:44
  Speaker 2: say Obama did or whatever. Do you worry about your
• 5:47
  Speaker 2: own kids and what's going to happen you know in
• 5:50
  Speaker 2: twenty years, where's your level of compassion about this anything?
• 5:53
  Speaker 2: And just trying to get the personal aspect. You have
• 5:55
  Speaker 2: to know those persons. I always ask them, of course,
• 5:57
  Speaker 2: what's their favorite music? And not to me that's fascinating
• 6:00
  Speaker 2: and it tells you a lot about the individuals. I mean,
• 6:04
  Speaker 2: I can tell you exactly these people are almost by
• 6:07
  Speaker 2: type because of the music they listen to. You know,
• 6:11
  Speaker 2: al Go is a total Beatles fan, you know, Bob
• 6:15
  Speaker 2: Dylan fan. The new Dylan record come out, he listened
• 6:18
  Speaker 2: to thirty times. I know, I know that person. You know. Uh,
• 6:22
  Speaker 2: Obama was a big Stevie Wonder loved the Rolling Stones,
• 6:25
  Speaker 2: picked all the right albums, you know. Quoted Dylan to me,
• 6:28
  Speaker 2: but not the when Obama said that's one of his
• 6:31
  Speaker 2: favorite spoke to him during his campaign. The Dylan. He
• 6:34
  Speaker 2: didn't say blowing in the wind or the times that
• 6:37
  Speaker 2: you know, or how many roads must say. He said, well,
• 6:39
  Speaker 2: it's Pizza's, you know, Maggie's farm. In others, I ain't
• 6:42
  Speaker 2: going to work on Maggie's farm no more. And which
• 6:46
  Speaker 2: is a song about, you know, it's working on plantation,
• 6:49
  Speaker 2: you know, black people being I mean, he was deep
• 6:52
  Speaker 2: into it, you know, and he's getting the real anyway.
• 6:54
  Speaker 2: That's the politician thing not to say. You know, you
• 6:59
  Speaker 2: asked about issues and a lot of serious stuff. But
• 7:03
  Speaker 2: I think the issue with my interviewing, well, I like
• 7:08
  Speaker 2: about my interviews with the musicians and with the politicians.
• 7:11
  Speaker 2: I am not there to challenge you, you know, or
• 7:18
  Speaker 2: hold you up on the cross for your sins imagine. Otherwise,
• 7:22
  Speaker 2: I'm there to find out what you think you know,
• 7:25
  Speaker 2: and what you believe, and what's influenced you and where
• 7:28
  Speaker 2: you came from, and what your vision is for yourself
• 7:32
  Speaker 2: and for our country. And I find those things much
• 7:37
  Speaker 2: more interesting, harder to get and rare to find. And
• 7:40
  Speaker 2: I think that's one of the things that's so special
• 7:42
  Speaker 2: about my interviewing and style and about the book I
• 7:45
  Speaker 2: just wrote or just put out.
• 7:47
  Speaker 1: Just staying with politics for a minute, Jimmy Carter was
• 7:50
  Speaker 1: constantly quoting Bob Dylan other rock lyrics. Was friends with
• 7:55
  Speaker 1: the Allman Brothers. Was that fake or was that real?
• 8:00
  Speaker 2: So that was real? You know, I mean that was real.
• 8:02
  Speaker 2: You look talked to re endorsed him, Hunter, fell in
• 8:06
  Speaker 2: love with him, but talked to Bob about it, for example,
• 8:09
  Speaker 2: you know who spent all this time with Carter talking
• 8:13
  Speaker 2: to him, you know, and uh, discussing all the concerns
• 8:18
  Speaker 2: that they would have in his lyrics. I mean, Jimmy
• 8:21
  Speaker 2: Carter is the real deal, you know his I'm very
• 8:24
  Speaker 2: unusual for president to be so direct and open, you know,
• 8:27
  Speaker 2: and candidate about stuff. And you know, he paid the
• 8:31
  Speaker 2: price for that a little, you know, he paid the
• 8:34
  Speaker 2: price for his times. He I don't you know, he
• 8:37
  Speaker 2: van against Reagan. He had the hostage christ. I mean,
• 8:40
  Speaker 2: I think that could have all worked, and he would
• 8:43
  Speaker 2: if he had been in reelected. It wouldn have gone
• 8:45
  Speaker 2: through even greater things, you know, but in of itself,
• 8:49
  Speaker 2: I think he would have did was so important. Okay.
• 8:52
  Speaker 1: There are two Dylan interviews in the book. One is
• 8:55
  Speaker 1: classic Dylan in the Yobs the Skates. One is more honest,
• 9:01
  Speaker 1: what was your experience like in terms of getting some
• 9:04
  Speaker 1: level of truth, getting anything at all from doing well?
• 9:10
  Speaker 2: Bob is the trickster, you know, he's a the joker man.
• 9:13
  Speaker 2: He's the you know, a song and dance guy. He's
• 9:17
  Speaker 2: very funny, he has and a great wit was he
• 9:21
  Speaker 2: like says, and he also it's an attitude which is
• 9:24
  Speaker 2: I don't he doesn't really want to explain a lot
• 9:28
  Speaker 2: of stuff to you, you know, I mean he's reluctant
• 9:30
  Speaker 2: to give it up, and what do you need to
• 9:33
  Speaker 2: know it for? And also he's been bugged all his
• 9:35
  Speaker 2: life by people who have found such deep meaning and
• 9:41
  Speaker 2: views about life that are so more important to them.
• 9:43
  Speaker 2: I mean, he understands the role he's played in people's
• 9:46
  Speaker 2: life and people's lives, in our country's life, and he
• 9:49
  Speaker 2: gets all that. And I think he understands where where
• 9:52
  Speaker 2: he stands in poetry and literature, and almost exactly where
• 9:58
  Speaker 2: he stands. You know, he would never admen any of that.
• 10:02
  Speaker 2: He would profess I don't know, you know this. I
• 10:05
  Speaker 2: just can here to amuse people. I'man here to sing
• 10:08
  Speaker 2: songs or amuse people, or I'm a song and dance
• 10:10
  Speaker 2: man or stuff like that, which is patently untrue. And
• 10:14
  Speaker 2: he knows that, but he and he just likes playing games.
• 10:18
  Speaker 2: So I think when I read over the first interview,
• 10:21
  Speaker 2: the one you're referring to it as a classic, and
• 10:23
  Speaker 2: the one that's which he seems to be most evasive,
• 10:26
  Speaker 2: read a little more carefully. He's not that evasive. If
• 10:30
  Speaker 2: he doesn't want to answer a question, he won't answer it,
• 10:33
  Speaker 2: and he'll say so, you know, I mean, it's or
• 10:39
  Speaker 2: where was that one about? Or I say, well, we'll
• 10:42
  Speaker 2: have to see about that. I mean, he gets out
• 10:44
  Speaker 2: of it not by lying, you know, but by kind
• 10:49
  Speaker 2: of amusingly, you know, softball in the question, throw any
• 10:54
  Speaker 2: question away, or hitting with the side of his hand
• 10:57
  Speaker 2: in a gentle and very funny fashion. And at that period,
• 11:04
  Speaker 2: at that time, for that period, that was as straight
• 11:06
  Speaker 2: as he was ever and again straightforward with people in interviews.
• 11:09
  Speaker 2: So but I know what you're saying, and so you
• 11:12
  Speaker 2: know these he's difficult to interview. But the thing about
• 11:15
  Speaker 2: that partic an interview I thought was really great is
• 11:17
  Speaker 2: it felt so much of that time and place. It's
• 11:20
  Speaker 2: so recalled that Bob Dylan. You know, you could just
• 11:23
  Speaker 2: hear it, you know, that was him. Then it was
• 11:25
  Speaker 2: so authentic, you know. And he was also reading again
• 11:30
  Speaker 2: readingting in life. He was very personal about stuff, you know,
• 11:33
  Speaker 2: because I was kept asking, how do you feel about being,
• 11:35
  Speaker 2: you know, the so called youth theater and he said
• 11:38
  Speaker 2: I don't. And he says, I don't want to. I
• 11:39
  Speaker 2: wasn't meant for that. You know, there are people in
• 11:41
  Speaker 2: that position. I could lift every burden. I would, but
• 11:44
  Speaker 2: that's not me. That's not my job. But then so
• 11:51
  Speaker 2: I find it such an interesting document. I mean, just
• 11:54
  Speaker 2: that preserves Bob in that period so brilliantly, and it's
• 11:57
  Speaker 2: a better and nicer Bob than you see and don't
• 11:59
  Speaker 2: look back. And then in the second one, which we
• 12:02
  Speaker 2: did in two thousand seven, I think because the day
• 12:07
  Speaker 2: this is of course very much sure Bob. I mean,
• 12:09
  Speaker 2: he's got modern times out at that time, and he's
• 12:12
  Speaker 2: just much more reflective and deep and thoughtful about everything.
• 12:15
  Speaker 2: But it's that funny thing. It starts off with a
• 12:18
  Speaker 2: tease he's doing to me, you know, like saying, well,
• 12:20
  Speaker 2: I don't you know, like I'm not gonna hang I
• 12:22
  Speaker 2: can't you know what? You know? Like just putting me
• 12:26
  Speaker 2: through the ringer a little. And by that time we
• 12:29
  Speaker 2: gotten to know each other and trust each other, and
• 12:31
  Speaker 2: it's reflective of that.
• 12:34
  Speaker 1: Okay, you leave the grammatical errors in Bob's language in
• 12:38
  Speaker 1: the book. Is that an affectation? Does he really know
• 12:43
  Speaker 1: the right word to use or is it him being uneducated?
• 12:48
  Speaker 2: What is it? I don't think I leave the grammatical
• 12:52
  Speaker 2: errors and.
• 12:53
  Speaker 1: Well, no, he'll say them instead of they Yeah.
• 12:58
  Speaker 2: Well, I think think when you edit a verbal interview
• 13:02
  Speaker 2: for reading, you have to now turn into something as readable.
• 13:06
  Speaker 2: And if you always get this, if you get a
• 13:08
  Speaker 2: constant repeating thing all the time, or misuse of grammar,
• 13:14
  Speaker 2: you know, I gintly take it all out, unless somehow
• 13:16
  Speaker 2: you're learning something from that or there's something idiomatic or
• 13:20
  Speaker 2: special about that. But the repetition of stuff can become cliched. Also,
• 13:25
  Speaker 2: like and the ones who are hardest. It took a
• 13:28
  Speaker 2: lot of editing, particularly Jerry Garcia, because here's a lot
• 13:31
  Speaker 2: of a man's and old man and wow, and you know,
• 13:34
  Speaker 2: a lot of that kind of hippie stuff. And when
• 13:37
  Speaker 2: you listen to the tape you don't even hear it,
• 13:39
  Speaker 2: but if you see it on the written page, you know, Jesus,
• 13:41
  Speaker 2: there's five wows in one sense, you know, in seven us.
• 13:45
  Speaker 2: And so you want to clean up as a courtesy,
• 13:47
  Speaker 2: but without changing any meaning and also leaving enough in
• 13:52
  Speaker 2: so you can get the sense of the person, the
• 13:53
  Speaker 2: way they talk and who they are.
• 13:56
  Speaker 1: So striking a balance. Okay, what's fascinating to me is
• 14:01
  Speaker 1: in your talk with Dylan and your talk with Bono,
• 14:04
  Speaker 1: there's a lot of accolades for bringing it all back home.
• 14:08
  Speaker 1: Whereas conventional wisdom is highway sixty one, which has like
• 14:13
  Speaker 1: a rolling stone and then blonde on blonde thereafter. So
• 14:17
  Speaker 1: in your own personal hierarchy from that early era, the
• 14:21
  Speaker 1: pre seventy or the pre so called motorcycle accident era,
• 14:25
  Speaker 1: what is the greatest work?
• 14:28
  Speaker 2: Well, it's that's a hard and say. But say in
• 14:31
  Speaker 2: that era if you want to talk about that pre
• 14:35
  Speaker 2: John Mussey Harding, pre motorcycle accident, and you're saying, really
• 14:39
  Speaker 2: the bawd I'm blombering out back Home or or Highway
• 14:43
  Speaker 2: sixty one. I mean it's a matter of personal preference really,
• 14:46
  Speaker 2: or maybe when you first heard it, I'm a Highway
• 14:48
  Speaker 2: sixty one guy. Yeah, but the other two are just
• 14:52
  Speaker 2: genius as well. Bono as an intellectual guy, so he
• 15:00
  Speaker 2: he likes bringing it All back home, you know, and
• 15:02
  Speaker 2: they're grateful dead first Jerry and those people came into
• 15:05
  Speaker 2: it during Bringing It All Back Home, during that kind
• 15:07
  Speaker 2: of folk era. But like Bruce says, he's listened to
• 15:11
  Speaker 2: I Was sixty one of one hundred times, you know.
• 15:14
  Speaker 2: I mean that's where he got his rock. That's when
• 15:16
  Speaker 2: he grew up and he came into it. Was it
• 15:18
  Speaker 2: that record he didn't renewed Bringing All Back home and existed.
• 15:21
  Speaker 2: He just heard that rock and roll sound on sixty
• 15:23
  Speaker 2: one with Mike Bloomfield and Al Kubernet Band and went nuts,
• 15:28
  Speaker 2: as did I. So they're all it's hard to say.
• 15:33
  Speaker 2: They are great records, you know, and they continue to
• 15:37
  Speaker 2: be records.
• 15:39
  Speaker 1: Okay. So were you aware of the first Dylan album
• 15:43
  Speaker 1: on Columbia which was mostly covers or did you come
• 15:46
  Speaker 1: in on free Wheeling? Where did you come in?
• 15:49
  Speaker 2: I came in on Bringing It All Back Home, and
• 15:53
  Speaker 2: I suppose Highway sixty one more than anything.
• 15:55
  Speaker 1: Okay, So how did you become aware of Bringing in
• 15:58
  Speaker 1: It All back Home? Because of course there were covers,
• 16:00
  Speaker 1: but it wasn't until Highway sixty one that Bob was
• 16:03
  Speaker 1: on top forty radio and this is prior to the
• 16:07
  Speaker 1: breakthrough of underground FM radio.
• 16:10
  Speaker 2: Well, you know, the first big, big Dyn't hit song
• 16:13
  Speaker 2: was Mister Tambourine Man by the Birds, and so once
• 16:18
  Speaker 2: you heard that, which was a breakout song, you know
• 16:21
  Speaker 2: in this writing and what was saying and take me
• 16:24
  Speaker 2: on a trip on your wellness spaceship whatever you know,
• 16:27
  Speaker 2: through the smoke brings of your mind with that so
• 16:30
  Speaker 2: called folk rock twelves Dring, Jim mcguinnac companyment. You know,
• 16:34
  Speaker 2: you merely sat up and said, where'd this come from?
• 16:35
  Speaker 2: And let me find out about it? But also your
• 16:37
  Speaker 2: friends were telling you about it, and it just you know,
• 16:42
  Speaker 2: everybody's discovering you know, a lot of people were discovering
• 16:45
  Speaker 2: Bob Big at that particular point, you know, and the
• 16:49
  Speaker 2: more populars that song broke broke Bob through to the
• 16:52
  Speaker 2: rock and roll audience and broke through folk rock and
• 16:56
  Speaker 2: set the stage for a sixty one.
• 16:59
  Speaker 1: Okay. There's a lot of debate fifty odd years later
• 17:03
  Speaker 1: as to how extensive Bob's motorcycle accident was, whether that's
• 17:08
  Speaker 1: an issue of retiring from public observation, or whether he
• 17:11
  Speaker 1: was really banged up. What's your opinion.
• 17:14
  Speaker 2: I think he was really banged up. You can get
• 17:17
  Speaker 2: pretty banged up in a motorcycle accident. But I also
• 17:21
  Speaker 2: think it came at a time where he needed to
• 17:23
  Speaker 2: be slowed down because I think he was taking a
• 17:25
  Speaker 2: lot of speed then a lot of drugs, and I
• 17:27
  Speaker 2: think it's kind of evident in his behavior and his lyrics.
• 17:31
  Speaker 2: You know, I'm just you know, this just an intuitive,
• 17:34
  Speaker 2: non experts opinion. This is an expert opinion. The UH
• 17:40
  Speaker 2: and he needed to slow down. He's forced to slow down,
• 17:44
  Speaker 2: you know, by the hand of God or whatever by
• 17:46
  Speaker 2: taking a turn or too fast. And he understood it
• 17:49
  Speaker 2: as such that it was a sign signal, you know,
• 17:53
  Speaker 2: they wouldn't been out there recklessly motorcycles. So I think
• 17:57
  Speaker 2: it was key and critical to his work. I mean,
• 17:59
  Speaker 2: I think what he did next, because he did John
• 18:01
  Speaker 2: Wessey Harden, right, which is a complete turn from you know,
• 18:06
  Speaker 2: thirty minutes songs on blonde and Blonde I'm talking about,
• 18:10
  Speaker 2: you know, amphetamines and pearls and your magazine husband just
• 18:14
  Speaker 2: has to go and stuff like that to a very
• 18:16
  Speaker 2: very classic restrained country album made National, which is a
• 18:20
  Speaker 2: beauty and said, you know, it's a different Bob. After that,
• 18:24
  Speaker 2: I think it was very real.
• 18:26
  Speaker 1: Okay, in a different era where there are limited media sources,
• 18:30
  Speaker 1: Rolling Stone broke the story of the basement Tapes, the
• 18:36
  Speaker 1: Great White wonder, how did you become aware of that?
• 18:40
  Speaker 2: I had forgotten that I had done that I had
• 18:43
  Speaker 2: and I read it somewhere in its very small world
• 18:47
  Speaker 2: then of the music industry and music people and music scenes.
• 18:52
  Speaker 2: Somebody gave me a copy of this tape that they
• 18:54
  Speaker 2: had sent out for Demos to as Demos started selling songs,
• 18:58
  Speaker 2: and it was circling around at A few people know
• 19:00
  Speaker 2: about it, and here here's something special. Was well, had
• 19:04
  Speaker 2: no public visibility whatsoever. And I heard it and loved it,
• 19:08
  Speaker 2: and then I thought, this is an album. I mean,
• 19:10
  Speaker 2: this could justifies easily being released on I wrote a
• 19:13
  Speaker 2: thing in Rolling Stone and like issue fifteen or fourteen
• 19:16
  Speaker 2: or something, say debate and said the Basement Tapes must
• 19:19
  Speaker 2: be released, you know. And and I reviewed what was
• 19:23
  Speaker 2: on there and said why it should be released, And
• 19:25
  Speaker 2: soon enough they released him.
• 19:33
  Speaker 1: Okay, in the fall of seventies, I believe you printed
• 19:37
  Speaker 1: a whole story that was a hoax about this album.
• 19:42
  Speaker 1: What was the genesis of that?
• 19:44
  Speaker 2: I had nothing to do with it. It was greal Marcus.
• 19:48
  Speaker 2: It was a very distinguished Craig was our record review
• 19:50
  Speaker 2: headed there, and he and some of the other his friends,
• 19:52
  Speaker 2: and there were also some of the critics decide they
• 19:54
  Speaker 2: put together. It was an album called the Masked Marauders
• 19:59
  Speaker 2: or was it called Yeah, Great Much Wonder the Hottest.
• 20:03
  Speaker 2: The name of the album was A Great White Wonder.
• 20:05
  Speaker 2: This is after this is uh at the era of
• 20:10
  Speaker 2: the super group. So called it was when you know,
• 20:14
  Speaker 2: uh Bloomfield was playing. I forgot which the groups were.
• 20:18
  Speaker 2: Traffic may have formed in or maybe it was Cream
• 20:21
  Speaker 2: was around then, and they started guest musicians with other bands.
• 20:25
  Speaker 2: Was very unusual then it didn't happen. You had to
• 20:27
  Speaker 2: have the actual permission of the record company that you
• 20:29
  Speaker 2: were signed you to participate. I mean so antique. It's
• 20:33
  Speaker 2: these these are long ago days, feel And so they
• 20:38
  Speaker 2: wrote a spoof. They did a spoof for the super
• 20:40
  Speaker 2: group and they reviewed it. I mean, they didn't do
• 20:43
  Speaker 2: the right They wrote a review of the Great White
• 20:45
  Speaker 2: Wonder and said that Bob Dylan, Mick Jagger and Paul
• 20:48
  Speaker 2: McCartney or whomever had all assembled secretly in Hudson Bay, Canada,
• 20:53
  Speaker 2: you know, and put together this great record and it
• 20:55
  Speaker 2: was flying out the shelves or whatever. People. So we
• 20:58
  Speaker 2: started getting phone call with the office asked how do
• 21:00
  Speaker 2: you get the record? How do you get in touch
• 21:01
  Speaker 2: with the group? You know, managers calling record comings balling
• 21:04
  Speaker 2: there because they want to get a hold of it. Well,
• 21:06
  Speaker 2: of course, so Greal said, whether they go ahead and
• 21:10
  Speaker 2: record the album? And then Warner Brothers signed it, you know,
• 21:15
  Speaker 2: no as a just general good time goof okay. In
• 21:20
  Speaker 2: the second Dillon interview, nowadays throw you in jail for
• 21:23
  Speaker 2: violenting your copyright.
• 21:26
  Speaker 1: The second Dillon interview, you talk about the Endless Tour,
• 21:31
  Speaker 1: although it's not referred to under that moniker. Whereupon he
• 21:37
  Speaker 1: rearranges the music and he the classic tunes. Anybody who
• 21:42
  Speaker 1: goes to the show knows that he may play a
• 21:45
  Speaker 1: classic tune and you may not even recognize it. Bob
• 21:49
  Speaker 1: gives his explanation. Do you buy his explanation, and do
• 21:54
  Speaker 1: you still enjoy the modern day concerts which are not faithful?
• 21:58
  Speaker 2: Well, I forget his explanation and just refresh me on that.
• 22:01
  Speaker 1: Well, it's basically he says, the song deems to be
• 22:05
  Speaker 1: played that way, that ultimately you start with the recording,
• 22:08
  Speaker 1: then the song evolves and every night there's a different listen.
• 22:11
  Speaker 1: It's a facocta explanation. That's why I asked you.
• 22:18
  Speaker 2: There's a you know, there's a grain of truth in
• 22:20
  Speaker 2: that explanation, but that's all. That's about what there is
• 22:23
  Speaker 2: on that beach. I think that there's a couple of
• 22:27
  Speaker 2: things work. He has more fun doing it differently rather
• 22:32
  Speaker 2: than singing at the same time. Eighteen million time in
• 22:35
  Speaker 2: a row, and then there's a period in there where
• 22:37
  Speaker 2: he would I thought, did it deliberately just to confuse, frustrate,
• 22:41
  Speaker 2: you know, do whatever kind of strange thing is in
• 22:46
  Speaker 2: his mind. I mean, he has got to have known
• 22:48
  Speaker 2: that the audience comes to hear some of the big
• 22:50
  Speaker 2: hits as well his new stuff, and it's a disappointments
• 22:53
  Speaker 2: to people not to hear one of their favorite Bob
• 22:56
  Speaker 2: songs done in a way you expect to hear, and
• 22:59
  Speaker 2: then to not regulariz which he knows they're not recognizable,
• 23:02
  Speaker 2: and we called them on it, and I'm sure a
• 23:05
  Speaker 2: lot of other people that I remember even walking out
• 23:07
  Speaker 2: of a Dylan show years ago because of that. You know,
• 23:10
  Speaker 2: it's just so you know, you don't want to know
• 23:13
  Speaker 2: that the song is you know, you barely recognize it,
• 23:16
  Speaker 2: and it's frustrating and it's and it's disrespectful of his audience. Well,
• 23:22
  Speaker 2: somewhere along the line, you know, about ten years ago,
• 23:25
  Speaker 2: he changed that and he went back to doing this song.
• 23:27
  Speaker 2: So now he does something really interesting. He does a
• 23:30
  Speaker 2: couple of versions of the old songs in generally the
• 23:33
  Speaker 2: old style or the familiar style, you know, a little
• 23:36
  Speaker 2: a little better, a little that which is really satisfacing.
• 23:39
  Speaker 2: They don't take a few, he'll really rework them in
• 23:43
  Speaker 2: a way that's so amazing. He will turn something, you know,
• 23:46
  Speaker 2: a ballot into a stately, dignified, aching, beautiful song of
• 23:52
  Speaker 2: something like like don't Think twice, you know it just
• 23:55
  Speaker 2: it becomes a gospel tune almost. I mean, they're beautiful
• 23:58
  Speaker 2: what he does with it. And now what he's doing,
• 24:01
  Speaker 2: and that is he's really singing primarily his new records
• 24:05
  Speaker 2: and his new songs, which he's got a lot of now,
• 24:07
  Speaker 2: and he doesn't have the voice for the old songs,
• 24:10
  Speaker 2: you know, it's not they don't suit him anymore, and
• 24:13
  Speaker 2: it's better for him to stay away from them because
• 24:15
  Speaker 2: he can't do you know, tambourine man or blown in
• 24:18
  Speaker 2: the wind like he used to in the way you want.
• 24:20
  Speaker 2: It's got to be in a different way. And he's
• 24:23
  Speaker 2: doing that with real taste and style of imagination now
• 24:26
  Speaker 2: and he's accepting, you know, his new voice. It's kind
• 24:30
  Speaker 2: of blown out and horsemen smoking, but nonetheless quite beautiful.
• 24:36
  Speaker 1: Let's switch to Jerry Garcia.
• 24:38
  Speaker 2: What do we know?
• 24:41
  Speaker 1: Had four albums, well, three albums before Live Dead, and
• 24:45
  Speaker 1: if you opened up Live Dead from nineteen sixty nine,
• 24:48
  Speaker 1: you saw the Grateful Dead playing in the streets of
• 24:51
  Speaker 1: San Francisco. The real breakthrough was working Man'stead and then
• 24:56
  Speaker 1: American Beauty. But since you were living on the West
• 24:59
  Speaker 1: Coast prior to Working Man's Dead. In the book, Jerry
• 25:03
  Speaker 1: gives a relatively complete delineation of his history and his
• 25:08
  Speaker 1: history of the band. But were you aware of the
• 25:12
  Speaker 1: Dead back then and what was their cultural impact? Oh?
• 25:16
  Speaker 2: Well, I was aware of the Dead before I even
• 25:18
  Speaker 2: started Rolling Stone. I mean they were part of this
• 25:21
  Speaker 2: kind of like hippie drug scene that I was getting into.
• 25:26
  Speaker 2: A few people in Palo Alto near Stanford, doing me
• 25:30
  Speaker 2: in Berkeley, and a bunch of kids in San Francisco
• 25:33
  Speaker 2: State And so everybody in each of those three scenes
• 25:36
  Speaker 2: was taking drugs and aware of the people in the
• 25:38
  Speaker 2: other scenes and go back and forth. That was the
• 25:41
  Speaker 2: genesis of it all. So I happened to because of
• 25:44
  Speaker 2: that run into the Dead. In nineteen sixty sixty five,
• 25:49
  Speaker 2: I went to a Rolling Stones concert in San Jose
• 25:52
  Speaker 2: and next door to the you know, or in that
• 25:54
  Speaker 2: same neighborhood. The very first as well, so the very
• 25:58
  Speaker 2: first asstest was being and I went to that and
• 26:01
  Speaker 2: it was The Dead was playing in the living room
• 26:03
  Speaker 2: of this big kind of college attorney or something like that.
• 26:07
  Speaker 2: And it was the first night they'd ever performed as
• 26:10
  Speaker 2: the Grateful Dead. They had been Mother McCurry's jug band
• 26:13
  Speaker 2: up until that, and that was the first night they
• 26:15
  Speaker 2: were using that name. It was just in somebody's living room,
• 26:19
  Speaker 2: but it was the group. It was them, and and
• 26:22
  Speaker 2: I went up to it was either less or we
• 26:24
  Speaker 2: Are and I said, well, wow, you guys, and I'm
• 26:27
  Speaker 2: taking acid at the time. You guys are like, oh
• 26:30
  Speaker 2: my god, mind blowing. What is your name? And he
• 26:32
  Speaker 2: turns around and goes, we are the Grateful Dead, and
• 26:35
  Speaker 2: well what is that? Okay? But then so anyway, I
• 26:40
  Speaker 2: would see them a lot before starting rolling the Stone,
• 26:42
  Speaker 2: and once I started Rolling Stone, they were, of course,
• 26:44
  Speaker 2: you know, part of what we did. One of my
• 26:47
  Speaker 2: best friends was the best friend of the Bill Kreisman,
• 26:50
  Speaker 2: a drummer, and kind of managed them on the road
• 26:53
  Speaker 2: for a little bit. And so you know, I saw
• 26:54
  Speaker 2: a lot of them, you know, And I'm a dead head.
• 26:58
  Speaker 1: And what about keys? You were you aware? Have you
• 27:01
  Speaker 1: read one flew overs the Cuckoo's Nests and the Acid
• 27:04
  Speaker 1: tests and was he a presence or did you have
• 27:07
  Speaker 1: to wait for Tom Wolves book to find out what
• 27:09
  Speaker 1: was really going on?
• 27:11
  Speaker 2: Oh? I didn't have to wait for Tom's book. I
• 27:17
  Speaker 2: we keasey how I was aware of Keysy. I went
• 27:22
  Speaker 2: to acid tests. I've been down at his house. We
• 27:25
  Speaker 2: uh uh. Everybody knew his books and there were brilliant,
• 27:31
  Speaker 2: great books, I mean great books. And he was just
• 27:33
  Speaker 2: a key member of that that tripartina was part tight
• 27:37
  Speaker 2: scene I was talking about. He was in Stanford. He
• 27:40
  Speaker 2: participated in the first LSD experiments conducted by some government
• 27:45
  Speaker 2: agency with Stanford under contract to Stanford, and part of
• 27:49
  Speaker 2: that group of guys go, who this stuff is fantastic.
• 27:52
  Speaker 2: I don't know what they're trying to test for, and
• 27:54
  Speaker 2: turned on the Grateful Dead and a lot of other
• 27:56
  Speaker 2: people to the acid around there. And so keysys in
• 28:00
  Speaker 2: a way the v godfather of the San Francisco scene
• 28:04
  Speaker 2: and asked tests and you know, just sort of one
• 28:07
  Speaker 2: branch of the hippie thing. Ken later, you know, became
• 28:10
  Speaker 2: a regular contribute to Throwing Stone. I mean, I think
• 28:13
  Speaker 2: I cut it up. He wrote about I think twenty
• 28:16
  Speaker 2: seven pieces for Rolling Stone over the years, and you know,
• 28:20
  Speaker 2: He's a hero of mine, and in a way I mean,
• 28:22
  Speaker 2: I think he's I said, the god of the sea.
• 28:24
  Speaker 2: He is a great man, great American novelist.
• 28:27
  Speaker 1: Okay, so to what degree did electrocool aid acid test
• 28:31
  Speaker 1: have an impact upon you personally?
• 28:34
  Speaker 2: He didn't personally impact I'd already been there and done that.
• 28:38
  Speaker 2: It impacted me on that. I was so impressed with
• 28:41
  Speaker 2: Tom and how he was able to catch what I
• 28:44
  Speaker 2: consider such an evanescent scene, you know, something that's ephemeral
• 28:49
  Speaker 2: and ethereal and hard hard to get, and he got it,
• 28:53
  Speaker 2: and it made me all the more impressed with him.
• 28:55
  Speaker 2: So I just one of the first things I did
• 28:56
  Speaker 2: when I started rolling stones try and find him, seek
• 28:59
  Speaker 2: him out, and to get the right to get to
• 29:01
  Speaker 2: get him to write for us. And I did, and
• 29:05
  Speaker 2: he did write for us, and the history came out
• 29:07
  Speaker 2: of that.
• 29:09
  Speaker 1: Okay. Unfortunately Tom has passed, But in the aftermath and
• 29:14
  Speaker 1: a little bit during his leader years, people said that
• 29:17
  Speaker 1: he was a Republican right winger. Would you agree with that?
• 29:22
  Speaker 2: Uh? You know, I never talked politics with Tom in
• 29:26
  Speaker 2: that way, partially because I suspected or new he was
• 29:32
  Speaker 2: very conservative individual, but not he wasn't concerned in this
• 29:36
  Speaker 2: hard right sense that people are now. Tom was a humanist,
• 29:40
  Speaker 2: you know, he liked people. He liked weird people, you know,
• 29:43
  Speaker 2: and weird culture. I mean, by no means was he
• 29:47
  Speaker 2: kind of one of those William F. Buckley type haters.
• 29:52
  Speaker 2: He was kind of snobby Tom. You know, he could
• 29:56
  Speaker 2: be very he was very elegant, aristocratic his thing. He
• 30:02
  Speaker 2: was very conservative. He's old fashioned. He's a very old
• 30:05
  Speaker 2: fashioned gentleman. And he was a great gentleman from the south,
• 30:09
  Speaker 2: from Virginia. But he wasn't a radical, you know. I
• 30:12
  Speaker 2: mean he would never go for something like Trump and
• 30:15
  Speaker 2: would be terribly imus this is my Trump. But uh yeah,
• 30:21
  Speaker 2: he was conservative. I think he was politically conservative, yes,
• 30:24
  Speaker 2: but not in that way that you hate people these days.
• 30:27
  Speaker 1: So the Dead have this burst of popularity in the seventies.
• 30:32
  Speaker 1: They ultimately have an MTV hit on earst in the eighties,
• 30:36
  Speaker 1: but there becomes this whole new wave of fans before
• 30:41
  Speaker 1: Jerry dies. Of course, we have the incident at the
• 30:45
  Speaker 1: gig where the stands, where people die, etc. But as
• 30:49
  Speaker 1: someone who has been there from day one, what do
• 30:53
  Speaker 1: you think about the latter day deadheads? Let me go
• 30:55
  Speaker 1: a little bit further. If I say anything about the
• 30:59
  Speaker 1: Grateful Dead, people correct me, even though I saw him
• 31:03
  Speaker 1: in nineteen seventy and they weren't even born yet.
• 31:08
  Speaker 2: Wells shown your age. I mean, what what is exactly?
• 31:16
  Speaker 2: What is the question there?
• 31:18
  Speaker 1: How do you feel do you feel that the latter
• 31:21
  Speaker 1: day that it's an affectation that the gen xers have
• 31:26
  Speaker 1: latched on to the grateful Dead? Let me go one
• 31:31
  Speaker 1: step further. Springsteen, who's in your book and very eloquent
• 31:35
  Speaker 1: in your book. You know I saw Springsteen. I bought
• 31:39
  Speaker 1: the first album, saw Im the bottom Line in seventy four,
• 31:41
  Speaker 1: the year before Bla to Run. What I always say
• 31:45
  Speaker 1: about Springsteen is I have no problem with Springsteen. I
• 31:49
  Speaker 1: just hate his fans. Same deal with the dead, their authorities.
• 31:55
  Speaker 1: You can't say anything negative, etc. Now the Grateful Day,
• 32:00
  Speaker 1: since you were around back then, they would play for
• 32:02
  Speaker 1: four hours. One hour would be unlistenable, one hour would
• 32:06
  Speaker 1: be great, and two hours would be so so. But
• 32:10
  Speaker 1: you can't even say that the dead have been iconized
• 32:13
  Speaker 1: at this point in time. So with your perspective, how
• 32:17
  Speaker 1: do you feel about the dead and the modern day
• 32:19
  Speaker 1: interpretation of them?
• 32:22
  Speaker 2: Well, I mean I love the classical Dead, The Dead
• 32:25
  Speaker 2: before anybody, before they made their first record that was
• 32:29
  Speaker 2: The Dead. I grew up with herd gotten indelible and
• 32:35
  Speaker 2: was made indelible in my mind, whether Pig Pens blues
• 32:38
  Speaker 2: playing or Jerry's Garteit guars. Jerry's wonderful guitar playing, and
• 32:46
  Speaker 2: I liked where they evolved too, but they got to
• 32:48
  Speaker 2: a point for me that's hard to say. When I
• 32:52
  Speaker 2: got so involved with Rolling Stone Range in New York,
• 32:54
  Speaker 2: I kind of lost track for a while there. But
• 32:56
  Speaker 2: there's a period there that they just like I lost
• 33:01
  Speaker 2: Got two Jazzy too, prophevizational and I think that came
• 33:06
  Speaker 2: to go too many drugs, So I think I lost that.
• 33:09
  Speaker 2: Even to this day, I prefer the more structured songs
• 33:12
  Speaker 2: uh and uh, you know, where they're tight and they're
• 33:15
  Speaker 2: bluesy and you can really hear the guitar playing and
• 33:17
  Speaker 2: really act as a good rhythm section. I can kind
• 33:21
  Speaker 2: of get lost in China Cat Sunflower, you know, and
• 33:24
  Speaker 2: just I love to listen for Jerry's Garcian garci Is
• 33:28
  Speaker 2: guitar playing and it's really wonderful voice. But you know,
• 33:32
  Speaker 2: have a limited there's a limited range of dead stuff.
• 33:35
  Speaker 2: I like today the band of the last several years
• 33:40
  Speaker 2: with John Mayer and it I went. So it was terrific, actually,
• 33:43
  Speaker 2: and I think it's really shaped up. I think a
• 33:45
  Speaker 2: lot to do with John Mayer being there. I mean,
• 33:48
  Speaker 2: he's a wonderful interpreter, non imitator of Jerry, but I
• 33:51
  Speaker 2: think he bought some kind of missing structure and professionalism
• 33:55
  Speaker 2: to the band. You know that this set is organized
• 33:58
  Speaker 2: and tighter, and they're kind of thing more responsible to
• 34:01
  Speaker 2: the audience, and they still deliver the long jams and
• 34:03
  Speaker 2: they still deliver all that, and you know, but it's
• 34:07
  Speaker 2: the essence of it. I have no problem with the fans.
• 34:09
  Speaker 2: I mean I look at it, and you know, I
• 34:12
  Speaker 2: just see people, you know, when I see it, I
• 34:14
  Speaker 2: see people having a good time and trying to recreate
• 34:18
  Speaker 2: the old days or trying to live another live in
• 34:21
  Speaker 2: another era. And you know, whether they felt it deep
• 34:27
  Speaker 2: in their soul or where it came from, where his
• 34:29
  Speaker 2: style or whatever. I just think it's all sincere and
• 34:31
  Speaker 2: have a good time and looking strange and you know,
• 34:35
  Speaker 2: celebrating an era which was wonderful. I mean, it's great
• 34:39
  Speaker 2: to be a fan of something, you know. I mean,
• 34:42
  Speaker 2: I'm a more I'm a big fan, you know, of
• 34:47
  Speaker 2: lots of particularly Stones and Bruce and Bob and the
• 34:50
  Speaker 2: people I've had here in the Dead and you know,
• 34:56
  Speaker 2: it's deep into the trivia of it and the passionate
• 34:58
  Speaker 2: about what song is better? Alb and you liked one. Yeah,
• 35:01
  Speaker 2: it's fun. It's good to do that. And I think
• 35:05
  Speaker 2: with a group like that which has stands for such
• 35:07
  Speaker 2: positive stuff, you know, and with the music is so
• 35:11
  Speaker 2: interesting and fulfilling, I think it's great, you know. And
• 35:16
  Speaker 2: uh so I don't distain him and am I and
• 35:22
  Speaker 2: you know, half the time in their opinion, some random
• 35:24
  Speaker 2: fans opinion is as good as mine, you know. I mean,
• 35:26
  Speaker 2: Bruce plays for three and a half hours, the Dead
• 35:28
  Speaker 2: plays for three and a half hours. Stones just to
• 35:31
  Speaker 2: two and a half. I'm ripped off, you know. But they,
• 35:35
  Speaker 2: on the other had put fortunate to at fucking stage,
• 35:37
  Speaker 2: you know. Okay, just staying with John Mayer, Dead End
• 35:42
  Speaker 2: Company was tighter and more together than The Grateful Dead
• 35:46
  Speaker 2: with Jerry ever were, although if you say that, you
• 35:50
  Speaker 2: know you're a heretic. But let's switch to John Lennon.
• 35:54
  Speaker 2: You have an edited version of what came out as
• 35:57
  Speaker 2: a book as Lennon remembers. Now supposedly Lennon was pissed
• 36:03
  Speaker 2: that he gave you this interview that you turned into
• 36:06
  Speaker 2: a book that you sold as a book. Was that
• 36:09
  Speaker 2: your understanding and what was going on there? Well, the
• 36:14
  Speaker 2: book as it now is out is the full and
• 36:16
  Speaker 2: complete thing, and the interview that is in the book
• 36:19
  Speaker 2: that I'm just publishing. I cleaned up a lot for
• 36:23
  Speaker 2: as you mentioned before, for you know, verbal tics, and
• 36:26
  Speaker 2: I took a lot of stuff out there was just
• 36:27
  Speaker 2: not relevant, you know, some discussion of apple business. There's
• 36:30
  Speaker 2: things that are current then and names that don't mean anything.
• 36:32
  Speaker 2: They're just you know, focusing more stuff, and and uh,
• 36:38
  Speaker 2: the reaction, the reaction after the book came out was
• 36:42
  Speaker 2: pretty stunny. You know. It was like became worldwide headlines
• 36:46
  Speaker 2: because it was the first time that any Beatle talked
• 36:50
  Speaker 2: openly about what it was like to be in the Beatles,
• 36:53
  Speaker 2: who they were, what they did, let alone, you know,
• 36:56
  Speaker 2: who wrote what, and all the kind of musicianship questions.
• 36:59
  Speaker 2: But nobody had pierced or gone inside the Beatles. They
• 37:02
  Speaker 2: were sealed off. They were the most famous group in
• 37:05
  Speaker 2: the world. They had lovable mop tops kept behind glass barriers,
• 37:09
  Speaker 2: and all stuff. So this breaking of the silence and
• 37:13
  Speaker 2: this kind of and also saying that they were breaking up.
• 37:16
  Speaker 2: And in this interview he detailed the breakup and while
• 37:19
  Speaker 2: they wake up upset lots of people, and he was
• 37:21
  Speaker 2: harsh about McCartney. Any case. Reaction was amazing. I mean,
• 37:25
  Speaker 2: it was headlines around the world, every even in Tibet,
• 37:29
  Speaker 2: you know, the Laws of Laws of Daily covered in
• 37:33
  Speaker 2: the front page. You know, it was everywhere because the
• 37:35
  Speaker 2: Beatles were everywhere. They were the Beatles. So I think
• 37:39
  Speaker 2: it shocked John, and John did not want to see
• 37:41
  Speaker 2: it reissued as a book, and I did and uh,
• 37:47
  Speaker 2: because no more that was already published tonight, it was
• 37:49
  Speaker 2: my right to do so, uh, And I went ahead
• 37:53
  Speaker 2: and did it. And I regretted the bad feelings that caused,
• 37:57
  Speaker 2: but you know, because I didn't, I hated, you know,
• 38:02
  Speaker 2: doing that. I mean, John meant so much to me personally,
• 38:05
  Speaker 2: and he had done so much for Rolling Stone, including
• 38:09
  Speaker 2: giving us this interviews and earlier stuff that put Rolling
• 38:12
  Speaker 2: Stone on the map. You know, I don't. I don't
• 38:17
  Speaker 2: know how I would have done it today. You know,
• 38:19
  Speaker 2: today I might have done it differently. You know, today
• 38:22
  Speaker 2: I maybe didn't. I don't need the money, you know
• 38:23
  Speaker 2: I needed need it then or whatever it was. But
• 38:27
  Speaker 2: so anyway, customer. But we reconciled and we start corresponding again,
• 38:31
  Speaker 2: and Rolling Stones always backing him on everything he was doing,
• 38:35
  Speaker 2: and he was always writing us letters and uh, you
• 38:38
  Speaker 2: know in the end, Gabe, you know, I was giving
• 38:40
  Speaker 2: another huge interview view to you know, to Rolling Stone
• 38:43
  Speaker 2: at that time, and he was show me another cover.
• 38:46
  Speaker 2: So you know, I mean I we would become friends again,
• 38:50
  Speaker 2: you know.
• 38:51
  Speaker 1: So okay, so have you seen the extended let it
• 38:57
  Speaker 1: be get back on TV?
• 39:00
  Speaker 2: Know? I haven't.
• 39:01
  Speaker 1: Well, I would say, and as he had lenin Fiend,
• 39:05
  Speaker 1: he comes across as an asshole. Yeah, so what was
• 39:09
  Speaker 1: your experience one on one with him? Well, John was
• 39:13
  Speaker 1: a had a sharp tongue. It would be very tough,
• 39:17
  Speaker 1: you know, constantly going on. You know, I've talked all
• 39:21
  Speaker 1: the time and just sharp.
• 39:24
  Speaker 2: You know, one of those people's can't act just they're
• 39:27
  Speaker 2: with you know, they're saying something funny is more important
• 39:29
  Speaker 2: than any feelings or friendship. You know, if it's a
• 39:33
  Speaker 2: clever line, let's do it, you know. And if you're
• 39:35
  Speaker 2: not strong enough or tough enough to take it, too bad,
• 39:38
  Speaker 2: you know, and the when I saw that, when I
• 39:48
  Speaker 2: saw Well, I did see a little bit of that
• 39:49
  Speaker 2: movie though, but let it be uh well, the first
• 39:53
  Speaker 2: time I saw as I saw with John and his
• 39:55
  Speaker 2: things after is Oh, it's just Paul's point of view.
• 39:57
  Speaker 2: This is an edit that came out years ago and
• 39:59
  Speaker 2: I guess had a limited releasing with drawn or something
• 40:02
  Speaker 2: like that. He felt it was Paul doing his selections
• 40:05
  Speaker 2: of the stuff and the material. This point Paul's point
• 40:08
  Speaker 2: of view, and I was always kind of sympathetic to John,
• 40:11
  Speaker 2: and because I've been listening only to John about there
• 40:14
  Speaker 2: were conditions. But once you see that movie, see John
• 40:17
  Speaker 2: looks like he's trying to sabotage the whole session, difficult
• 40:21
  Speaker 2: to reign and difficult to pay attention, you know, always
• 40:24
  Speaker 2: making cutting remarks not available, slumped in the side of
• 40:27
  Speaker 2: the room, and Paul is desperately trying to organize this
• 40:30
  Speaker 2: session and make people show up on time and doing
• 40:33
  Speaker 2: all the things you do as a leader. It and
• 40:37
  Speaker 2: the movie is fantastic, but I saw a very I
• 40:40
  Speaker 2: saw a forty vinement selection of clips that were admittedly
• 40:45
  Speaker 2: assembled by Paul, and that he showed you a bunch
• 40:50
  Speaker 2: of friends and he had the director Peter Jackson put
• 40:52
  Speaker 2: this together as a private thing. And your first thing
• 40:59
  Speaker 2: is you told swept away by that history, by that
• 41:03
  Speaker 2: time that placed those songs down there, made the magic
• 41:06
  Speaker 2: of the entire thing is alive and full blast. Then
• 41:11
  Speaker 2: as you as you're a Beals fan like I am
• 41:15
  Speaker 2: was will always be, and you start parsing it for
• 41:19
  Speaker 2: the details of the relationship and things you're learning, and
• 41:22
  Speaker 2: things you thought this and all the little stuff that
• 41:24
  Speaker 2: goes along with it, and what every move of a
• 41:26
  Speaker 2: hander indicates or something like that. You see that you
• 41:28
  Speaker 2: know Paul, John was dealing. Paul was dealing John who
• 41:33
  Speaker 2: was trying to sabotage the session, you know, somewhat consciously.
• 41:37
  Speaker 2: Somewhat self consciously he'd had it. He wanted to make
• 41:40
  Speaker 2: it rough for Paul. You know, okay, Paul, if you
• 41:43
  Speaker 2: want to take this thing over, go right ahead, you
• 41:44
  Speaker 2: take it over. You run the sessions, you do, let's
• 41:47
  Speaker 2: do your material and you know, make me work, you know,
• 41:49
  Speaker 2: pay for it. You know. Meantime, I think he and
• 41:52
  Speaker 2: the open corner taking junk, which doesn't help anything, and
• 41:56
  Speaker 2: Paul's trying to get it to going. Having said all that,
• 42:00
  Speaker 2: at that album that came out of that, but It'd
• 42:03
  Speaker 2: be is their worst record for the obvious reasons. You
• 42:09
  Speaker 2: can see it in the studio. You know they're trying
• 42:12
  Speaker 2: to patch it together. Okay, that record.
• 42:21
  Speaker 1: Was legendarily remixed and added to by Phil Spector. Right,
• 42:26
  Speaker 1: forget Phil Spector's crimes and going to jail. Whatever, where
• 42:31
  Speaker 1: are you at with Phil Spector and his work with
• 42:34
  Speaker 1: the Beatles?
• 42:35
  Speaker 2: Okay, I think you're gonna want to critique that album
• 42:39
  Speaker 2: and I can. And people just said that's not such
• 42:41
  Speaker 2: a bout, And I say, okay, well, let's go through
• 42:43
  Speaker 2: the playlist. Can you tell me? Shall I bring it up?
• 42:47
  Speaker 2: Or is this pointless?
• 42:49
  Speaker 1: Well, let me be specific to you. The strings on
• 42:51
  Speaker 1: long and winding winding road, good or bad?
• 42:55
  Speaker 2: Soupy, soapy, you know, sentimental. Here's here's the songs. I'll
• 43:02
  Speaker 2: let it be. You tell me A few things is
• 43:03
  Speaker 2: a great be The Two of Us.
• 43:07
  Speaker 1: Two of Us is a good It's a minor George
• 43:10
  Speaker 1: Harrison song, but with the intro and the acoustic guitars,
• 43:13
  Speaker 1: I'm down with who two of Us?
• 43:15
  Speaker 2: Sweet? It's a sweet song. It's a long and minding road,
• 43:18
  Speaker 2: long winding road.
• 43:19
  Speaker 1: I have no time for.
• 43:22
  Speaker 2: Across the Universe, No time for one after nine oh
• 43:26
  Speaker 2: nine better, that's.
• 43:28
  Speaker 1: A song from before where they really were the Beatles.
• 43:31
  Speaker 2: It's okay, that's oh no, but it's not for you
• 43:36
  Speaker 2: Blue for.
• 43:38
  Speaker 1: You Blue is once again. It was the flip side
• 43:40
  Speaker 1: I think of Long Winding Road. Whatever or get back.
• 43:43
  Speaker 1: It's got an interesting sound. It's a George Harrison album track.
• 43:47
  Speaker 1: Doesn't belong on that album.
• 43:49
  Speaker 2: It's my okay, get back. We all agree that's good,
• 43:52
  Speaker 2: right right? I mean mine? I mean mine.
• 43:57
  Speaker 1: No, it's strained.
• 43:59
  Speaker 2: Let it be. We can say that's a good one too.
• 44:02
  Speaker 1: Okay.
• 44:02
  Speaker 2: I don't love that feeling. I got a feeling I love.
• 44:06
  Speaker 2: I love.
• 44:07
  Speaker 1: It's a it's just you know, everybody had a good time.
• 44:10
  Speaker 1: Everybody let their hair down. When you get John going underneath,
• 44:14
  Speaker 1: I dig that.
• 44:16
  Speaker 3: You dig it. But it's a great song. But wait,
• 44:19
  Speaker 3: dig it dig a pony, Maggie. I agree with this
• 44:24
  Speaker 3: is this is my album.
• 44:27
  Speaker 2: Okay, let's go. It's got three songs that they're worth it.
• 44:30
  Speaker 2: You know, they got a lot of nice tunes, you know.
• 44:32
  Speaker 2: But that's anyway.
• 44:34
  Speaker 1: But the question, let's stay with Phil Spector, what's your
• 44:38
  Speaker 1: view of instant Karma.
• 44:41
  Speaker 2: I love that song. I mean it's powerful, but that's
• 44:46
  Speaker 2: John song. I mean, what they'll do it echo, But
• 44:48
  Speaker 2: the way.
• 44:49
  Speaker 1: The drums are the drums don't sound like anything on
• 44:52
  Speaker 1: a Beatles truck. I'm not talking about the ability, but
• 44:56
  Speaker 1: the way they sound. They like he's hitting cardboard. It's
• 44:59
  Speaker 1: got a different feel.
• 45:01
  Speaker 2: Phil is a genius. He means a genius producer, and
• 45:04
  Speaker 2: he can strip it down. I mean, I like that.
• 45:08
  Speaker 2: But they did terrifically. You know what else did they
• 45:12
  Speaker 2: do together? Didn't Phil produce Imagine? It seemed to produce.
• 45:15
  Speaker 1: Yeah, Phil worked with John. I always thought Imagine was
• 45:21
  Speaker 1: so obvious that I thought that John was laughing behind it,
• 45:26
  Speaker 1: although that doesn't seem to be the case. Sometimes when
• 45:29
  Speaker 1: something is too direct, it really kind of, you know,
• 45:32
  Speaker 1: rubs me the wrong way.
• 45:34
  Speaker 2: Well, I mean, it's such a simple song, Imagine. It's
• 45:38
  Speaker 2: got such a simple track, and it's just a piano really,
• 45:42
  Speaker 2: and the notion that it's gonna be so spare and
• 45:46
  Speaker 2: Instacarma is very spare too. I mean, and if Phil
• 45:50
  Speaker 2: was a great producer turned into a crazy man, I'm,
• 45:53
  Speaker 2: you know, sorry to hear him go. I don't think
• 45:55
  Speaker 2: that he did pretty great work with the Beatles, you
• 45:59
  Speaker 2: know you Yeah, he's nuts. I enjoyed Phil sort of.
• 46:08
  Speaker 1: Okay, let's stay with the Beatles before we get back
• 46:11
  Speaker 1: to Phil. So if I snap my fingers and you
• 46:15
  Speaker 1: have to get either McCartney's seventies output or John's seventies output,
• 46:22
  Speaker 1: what would you take if you could only pick one?
• 46:24
  Speaker 2: If I had to only, I mean of their solo
• 46:27
  Speaker 2: output post Beatles solo output, I'd be going for John.
• 46:34
  Speaker 2: I think Paul wrote wonderful songs and still does, and
• 46:38
  Speaker 2: they're pretty, but the major ones that live in history
• 46:42
  Speaker 2: are by John.
• 46:45
  Speaker 1: Okay, the plastic on would be in the first album.
• 46:47
  Speaker 1: You guys gave great reviews. It was not as commercially
• 46:51
  Speaker 1: successful as McCartney's first solo album, McCartney with Maybe I'm Amazed.
• 46:56
  Speaker 1: Of course, it had mother and it had other songs.
• 47:00
  Speaker 1: Do you think that and there was recently a re
• 47:02
  Speaker 1: release remix. Do you think that album was unfairly overlooked
• 47:07
  Speaker 1: or do you think that people really get that album today?
• 47:10
  Speaker 2: I think I don't think it was unfairly overlooked. It
• 47:13
  Speaker 2: was just not a commercial album in any sense, you know.
• 47:16
  Speaker 2: I mean, there's one pretty song you know, maybe Boy
• 47:19
  Speaker 2: was that it or so Paul's was the difference between
• 47:25
  Speaker 2: the two them in that thing. Paul's was a commercial album,
• 47:28
  Speaker 2: is pretty you know, it's easy to take Paul's out.
• 47:33
  Speaker 2: John's album was much more interesting, much dealt with much
• 47:37
  Speaker 2: more complex subjects, much better writing, and frankly better melodies.
• 47:43
  Speaker 2: But it was a hard album to listen to. It
• 47:46
  Speaker 2: was a confrontational album. You know. It wasn't about Moon
• 47:49
  Speaker 2: and June and Spoon and you know, maybe I'm amazed.
• 47:53
  Speaker 2: It was about mother, you did this to me, did
• 47:55
  Speaker 2: that to me? And the Beatles are over and just
• 47:57
  Speaker 2: everything was tough. You know, it came out of as
• 48:01
  Speaker 2: he said, I had a lot of pain. And it's
• 48:04
  Speaker 2: a great piece of work. That's the one that will
• 48:06
  Speaker 2: have a living history, no matter even if it wasn't
• 48:09
  Speaker 2: successful commercially.
• 48:11
  Speaker 1: When did you first hear the Beatles?
• 48:16
  Speaker 2: My first real awareness of the Beatles was seeing him
• 48:19
  Speaker 2: in Hard Day's Night. I totally missed the Sullivan Show
• 48:22
  Speaker 2: appearance and was told about it, but I wasn't on
• 48:25
  Speaker 2: my radar at that point. For whatever reason. I had
• 48:27
  Speaker 2: just gotten to college. When I saw Hard Day's Night.
• 48:29
  Speaker 2: I just that was a you know, real Road to
• 48:34
  Speaker 2: Damascus moment. That was a what do they call those things?
• 48:39
  Speaker 2: My age is getting it's a real revelation. It was
• 48:42
  Speaker 2: an epiphany. It was an epiphany for me.
• 48:45
  Speaker 1: Okay, for many boomers, and you're just a little bit
• 48:48
  Speaker 1: older than that. The Beatles were a line of demarcation.
• 48:53
  Speaker 1: You had Chuck Berry, you had Elvis in the fifties,
• 48:56
  Speaker 1: then we had the drek of Fabian slightly better with
• 48:59
  Speaker 1: Bobby Darren, and in the sixties we get the fourth
• 49:01
  Speaker 1: season and Beach Boys. Then the Beatles hits for you.
• 49:06
  Speaker 1: Is it just one long continuum or do you see
• 49:09
  Speaker 1: that as a vast turning point.
• 49:15
  Speaker 2: It's a vast turning point because it wasn't just the Beatles.
• 49:19
  Speaker 2: It was Beatles and Bob together and that changed it
• 49:25
  Speaker 2: all around, as well as the fact that but it
• 49:29
  Speaker 2: was also continuum. I mean, how can you say that
• 49:31
  Speaker 2: it was a continuum of Chuck to the Beach Boys
• 49:33
  Speaker 2: Elvis that all led to the Beatles. Limits It's a continuum, obviously,
• 49:37
  Speaker 2: but it was a huge pivot point. It wasn't an
• 49:40
  Speaker 2: abrupt start. It was just in the beginning of the
• 49:43
  Speaker 2: book The Matches, I wrote along essay about this and
• 49:48
  Speaker 2: about how the music of the fifties led into the
• 49:51
  Speaker 2: music of the sixties from a social and cultural point
• 49:54
  Speaker 2: of view, not from musical point of view. I don't
• 49:57
  Speaker 2: get in there and think it's to say how Chuck
• 49:59
  Speaker 2: Berry's song became Stone Songs and the Beatles, and I
• 50:02
  Speaker 2: don't that's you know, kind of obvious, but that it
• 50:09
  Speaker 2: was continue these people set the stage, you know, I
• 50:12
  Speaker 2: mean Jeredy Lewis and Elvis, and it just led right
• 50:15
  Speaker 2: to the Beatles, you know.
• 50:18
  Speaker 1: Okay, So if you speak with people today, and I do,
• 50:22
  Speaker 1: many people say, oh, it's the same as it ever was,
• 50:25
  Speaker 1: or to quote you know, Paul Simon or paraphrase, every
• 50:28
  Speaker 1: generation puts an act on the pop chart. What do
• 50:31
  Speaker 1: you think about music's place and impact in society compared
• 50:36
  Speaker 1: to the sixties in the early seventies.
• 50:40
  Speaker 2: We have to be a little more specificed about that,
• 50:42
  Speaker 2: but I think it all this particular music rock and
• 50:45
  Speaker 2: roll as a continuum from its origins in the fifties,
• 50:51
  Speaker 2: go back even from its origins as black music, but
• 50:56
  Speaker 2: from its origins is teeny pretained teen white music in
• 51:01
  Speaker 2: the fifties too. To days has this in every step
• 51:04
  Speaker 2: of the way, has had this enormous impact on the
• 51:09
  Speaker 2: people who grew up with it, and the people do
• 51:11
  Speaker 2: it now. But the people grow it stood for liberation,
• 51:15
  Speaker 2: to for liberation and sexuality. It's for literation, styles and
• 51:20
  Speaker 2: fashion and thinking. When you get to the college years
• 51:24
  Speaker 2: in the early sixties and the mid sixties and the
• 51:26
  Speaker 2: Baby Boom coincide. The Baby Boom and its knowledge of
• 51:29
  Speaker 2: civil rights and awareness with all the injustice there and
• 51:32
  Speaker 2: the assassination of Kennedy and going to worm, it coincides
• 51:36
  Speaker 2: neatly with this music. Now that they've all their lives
• 51:40
  Speaker 2: have loved and led and spoken to him now really
• 51:43
  Speaker 2: speaks from in a big, broader, deeper sense. And these people,
• 51:46
  Speaker 2: the Beats and Bob Millen coming along and articulate that.
• 51:50
  Speaker 2: Yet it continues as this musical form, and I think
• 51:53
  Speaker 2: it becomes just more and more important and more and
• 51:55
  Speaker 2: more profound, more moving, more powerful as you go on
• 51:58
  Speaker 2: and on, as the group's more popular and widespread, and
• 52:04
  Speaker 2: as technology comes with it, the technology of the long
• 52:10
  Speaker 2: playing record, that then the technology of the single, than
• 52:13
  Speaker 2: then the technology of the tape and the tape deck,
• 52:16
  Speaker 2: and now the a tract tape and the cassette and
• 52:19
  Speaker 2: all of a sudden the CD, and as we keep
• 52:21
  Speaker 2: on going, the music becomes bigger and more popular and
• 52:25
  Speaker 2: more widespread than ever. And today you can hear any
• 52:27
  Speaker 2: song ever written any place around the world that you
• 52:29
  Speaker 2: are at anytime free. So I mean, I think the impact,
• 52:32
  Speaker 2: the influence of the music is so broad and the
• 52:35
  Speaker 2: content was so important and real in people's lives, people's
• 52:39
  Speaker 2: personal lives emotionalized of how do I love two people ones?
• 52:44
  Speaker 2: Or how do I treat somebody I've wronged? Or you know,
• 52:47
  Speaker 2: just the deep or the personal moral level, plus the
• 52:51
  Speaker 2: political level, where do I Where do I stand? Where
• 52:54
  Speaker 2: I do in such an unjust as side that's been
• 52:57
  Speaker 2: so adjusted to its black population, or these unjust wars,
• 53:01
  Speaker 2: you know, and where we're destroying the plant. I mean,
• 53:04
  Speaker 2: So this music has spoken to it all all that
• 53:08
  Speaker 2: and for a generation and to the issue. And I
• 53:10
  Speaker 2: think two more than just a generation. And I think
• 53:13
  Speaker 2: it's it's influenced that generation, moved that generation and guided
• 53:17
  Speaker 2: that generation. And that has been the whole premise of
• 53:21
  Speaker 2: Rolling Stone, one of the whole one of the premises,
• 53:23
  Speaker 2: the key premises of Rolling Stone from the beginning that
• 53:27
  Speaker 2: these people and these people have interviewed in the book
• 53:29
  Speaker 2: that I call the masters, you know, were the poets,
• 53:31
  Speaker 2: were the truth tellers of you know, the gatekeepers of truth,
• 53:35
  Speaker 2: is what I call them. You know, any people have
• 53:37
  Speaker 2: come out and tell the truth about society, you know,
• 53:39
  Speaker 2: which you could learn more about what was going on
• 53:41
  Speaker 2: in America from Bob Dylan or The Grateful Dead then
• 53:46
  Speaker 2: and today from Bruce then you learn from any of
• 53:49
  Speaker 2: the poets, from any of the politicians or the preachers,
• 53:52
  Speaker 2: you know, or the the entertainers. You know, that truth
• 53:58
  Speaker 2: was coming out of these mouths. So now these eyes,
• 54:02
  Speaker 2: Is rock dead today? No, not at all. I mean again,
• 54:06
  Speaker 2: it depends how you want to define rock. Are you
• 54:09
  Speaker 2: talking about rock in the fifties, you're talking rock in
• 54:12
  Speaker 2: a broader sense? Is the musical I don't know. I
• 54:15
  Speaker 2: still love it. I'm still totally taken by it. I
• 54:19
  Speaker 2: know that thousands of my children and hundreds and thousands
• 54:23
  Speaker 2: of other people listen to it and love it because
• 54:25
  Speaker 2: they can hear it all the time. You have to
• 54:27
  Speaker 2: pay for it. So the Beals is still probably the
• 54:29
  Speaker 2: most popular group in the world, you know, of all
• 54:32
  Speaker 2: the things, and is its forefront of mine as it
• 54:37
  Speaker 2: was then. Now when we have these pop groups, in
• 54:40
  Speaker 2: the rap groups Domini and Charles all the place, which
• 54:43
  Speaker 2: we did again earlier on. You know, we had Fabian
• 54:46
  Speaker 2: and as you were talking about earlier, we had all
• 54:48
  Speaker 2: the teen groups. So I don't I don't think so.
• 54:51
  Speaker 2: I don't think music as a form is dead or
• 54:56
  Speaker 2: less influential in the lives of people who love it.
• 54:59
  Speaker 2: I think they' ill lots and lots of messages and
• 55:02
  Speaker 2: lots and lots of concern it. I mean it's a
• 55:04
  Speaker 2: passionate music. Music in and of itself, all the arts
• 55:07
  Speaker 2: is the most passionate and soulful because it's not articulable
• 55:12
  Speaker 2: and something you feel. Yeah, it's not something you visualize
• 55:16
  Speaker 2: and see a painting. It's not something you read. You know,
• 55:18
  Speaker 2: you feel that stuff and has that.
• 55:21
  Speaker 1: Okay, In the sixties, seventies and even eighties, it was
• 55:25
  Speaker 1: anathema to sell out. Now everybody says credibility is not
• 55:31
  Speaker 1: an issue. Everybody accepts that everybody sells out. Where are
• 55:34
  Speaker 1: you on that?
• 55:36
  Speaker 2: Well, I don't know again what you mean by selling out?
• 55:38
  Speaker 2: Do you mean accepting Curs's commercial sponsorship for scour or
• 55:42
  Speaker 2: selling your song for a car commercial.
• 55:45
  Speaker 1: Sell your car for a car commercial? Brand extension into clothing, perfume, etc.
• 55:52
  Speaker 2: I to me, it has not affected the quality of music,
• 55:57
  Speaker 2: what they've written, or my belief in the music. And
• 56:03
  Speaker 2: when I see Dylan doing a Jo Van commercial, you know,
• 56:06
  Speaker 2: or I think when I.
• 56:08
  Speaker 1: See the Stone started with the jove on for that
• 56:12
  Speaker 1: too was their first one.
• 56:13
  Speaker 2: But let's start. Let's go back to what I consider
• 56:15
  Speaker 2: the beginning of it in our era, which is the
• 56:18
  Speaker 2: Jefferson Airplane lent their music in nineteen sixty seven sixty
• 56:21
  Speaker 2: eight to a commercial for white levis. Now is that
• 56:27
  Speaker 2: selling out? Well, if we go.
• 56:30
  Speaker 1: Back into history and it's all on YouTube, most of
• 56:33
  Speaker 1: these acts on the way Up did commercials for soft drinks,
• 56:37
  Speaker 1: et cetera. It was only when they reached ubiquity that
• 56:40
  Speaker 1: they said.
• 56:41
  Speaker 2: No, well I don't like who. I don't know, I
• 56:44
  Speaker 2: don't I'm taking the who did commercials?
• 56:49
  Speaker 1: Everybody did commercials on the way up.
• 56:52
  Speaker 2: I don't think that who. They had one commercial, I
• 56:55
  Speaker 2: think that was it. But the reason I used to
• 56:57
  Speaker 2: watch Jeffers start Airplane and as a examples that that
• 57:01
  Speaker 2: is the very culture which started this whole bitch about
• 57:05
  Speaker 2: selling out and making it a nathma and making it
• 57:09
  Speaker 2: wrong thing to do and lack of conscience and good
• 57:12
  Speaker 2: vibes and you're now a hippie capitalist and you don't
• 57:14
  Speaker 2: subscribe to the new system of love is everywhere yet
• 57:18
  Speaker 2: And there was some bitching, not a lot, but that's
• 57:21
  Speaker 2: where the bitching started. And then bitching started right there
• 57:24
  Speaker 2: and over that particular use of that particular song. I
• 57:27
  Speaker 2: think it might have been White Rabbit. Now, I just asked,
• 57:30
  Speaker 2: looking back at it, I said, oh, well, yes, of
• 57:32
  Speaker 2: course they did accept money from a corporation for the
• 57:34
  Speaker 2: use of their you know, this beautiful music that it
• 57:37
  Speaker 2: is supposed to be their treasure and their special thing.
• 57:40
  Speaker 2: But what what did what did they harm? Did it cause?
• 57:44
  Speaker 2: What was the harmit did then or now? I mean,
• 57:46
  Speaker 2: you heard the music, you thought about why the VI's
• 57:49
  Speaker 2: you know, it wasn't that they weren't selling cigarettes. They
• 57:52
  Speaker 2: weren't telling you know, bad you know, uh cushion, bad
• 57:59
  Speaker 2: safety cush for cars, I mean, and so so the
• 58:02
  Speaker 2: Stones were letting their name to a perfume or Bob
• 58:07
  Speaker 2: Dylan is selling It was just I don't I mean,
• 58:12
  Speaker 2: in the end, I don't mind it at all, you know,
• 58:15
  Speaker 2: And I see the people I do it. These are
• 58:16
  Speaker 2: among the people who are have got the most integrity
• 58:18
  Speaker 2: of everybody I know, whether it's Bruce or Bob or
• 58:21
  Speaker 2: Neil Young, and they all do have their different things,
• 58:24
  Speaker 2: you know. You know Bob never did it. You know
• 58:27
  Speaker 2: you two does it with with iPhones or iTunes, which
• 58:30
  Speaker 2: is not a bad product at all, but you know
• 58:33
  Speaker 2: that's their attitude towards it. And they're relentlessly commercial bottom
• 58:37
  Speaker 2: and see a bigger audience coming from it, and see
• 58:40
  Speaker 2: most and all this sudden. If it doesn't bother them,
• 58:44
  Speaker 2: frankly doesn't bother me. I'm quite used to it. I
• 58:47
  Speaker 2: think it's harmless.
• 58:49
  Speaker 1: Okay, let's switch gears to Towns and who opens the book.
• 58:53
  Speaker 1: You interview them just before Tommy? Are you a Tommy
• 58:57
  Speaker 1: guy or a quadrophenia guy?
• 58:59
  Speaker 2: I have not thought in those terms. I'm not that
• 59:05
  Speaker 2: passionate on it.
• 59:07
  Speaker 1: Okay, then what was your motivation for opening the book
• 59:11
  Speaker 1: with Townsend?
• 59:13
  Speaker 2: He was the first real interview that I did, and
• 59:17
  Speaker 2: I thought, and I mentioned before I did Hendrix, and
• 59:20
  Speaker 2: that I mentioned I didn't air clapped into early on,
• 59:22
  Speaker 2: before Rolling Still started. This is the first attempt to
• 59:25
  Speaker 2: do a kind of deep dive. A lot of research
• 59:29
  Speaker 2: interview with the Rocks. You know that it was the
• 59:31
  Speaker 2: first one there, and it was nineteen sixty eight, and
• 59:34
  Speaker 2: it was so clearly of its time and era, the
• 59:38
  Speaker 2: way we were talking, what we were talking about, the passion,
• 59:42
  Speaker 2: the confidence, you know, a stuff. And I published a
• 59:47
  Speaker 2: whole book in chronological order, so it gives you a
• 59:49
  Speaker 2: sense of the growth of rock and roll and the
• 59:51
  Speaker 2: growth of the time period, the history of my own
• 59:53
  Speaker 2: history and what I was looking for and how we
• 59:56
  Speaker 2: all do and grow up. And really the epilogue is
• 1:00:01
  Speaker 2: Dinner with Bruce Springsteen, which I did just this year,
• 1:00:04
  Speaker 2: this last summer, this summer because I wouldn't put out
• 1:00:08
  Speaker 2: a book called The Masters without brucing it. And he
• 1:00:10
  Speaker 2: just happened to be a guy who I never got
• 1:00:12
  Speaker 2: around the interviewing while I was doing it, while I
• 1:00:15
  Speaker 2: was running Rolling Stone. I mean, the last one I did,
• 1:00:19
  Speaker 2: it was like six or seven years ago, was Bono
• 1:00:22
  Speaker 2: and uh by now and I just so it was
• 1:00:27
  Speaker 2: nice to sit down Bruce's house and let's look back
• 1:00:29
  Speaker 2: on all this. Now, remember when we were young and
• 1:00:32
  Speaker 2: we did that, what do we think today? So it
• 1:00:36
  Speaker 2: was the reason I put Pete first was to suggest
• 1:00:40
  Speaker 2: a kind of a history, a kind of historical pursessive
• 1:00:43
  Speaker 2: and that you could read this book also is a history.
• 1:00:54
  Speaker 1: Okay, this is audio only, but in video on zoom,
• 1:00:57
  Speaker 1: I can see you. You look young for your age,
• 1:01:00
  Speaker 1: but you're not taking any steps to forestall the physical
• 1:01:06
  Speaker 1: image of your body, whereas many of these acts they
• 1:01:10
  Speaker 1: play the people who are in their seventies, yet they
• 1:01:13
  Speaker 1: have plastic surgery and hair pieces. What do you think
• 1:01:18
  Speaker 1: about these aging rock acts? Do you lament the fact
• 1:01:22
  Speaker 1: that they haven't gotten older and instead of singing about
• 1:01:25
  Speaker 1: Moon and June, they haven't sung about divorce and other
• 1:01:29
  Speaker 1: issues that affect people who are older.
• 1:01:32
  Speaker 2: Well, I don't think that's wholly true. First off, of
• 1:01:39
  Speaker 2: the people we're talking about here the message, I'm just
• 1:01:42
  Speaker 2: trying to think who might have had plasic. First off,
• 1:01:45
  Speaker 2: they're all thin as could be to begin with, Yeah,
• 1:01:48
  Speaker 2: except for Bond.
• 1:01:49
  Speaker 1: Well, you know when I say Mick Jagger rehearsing for
• 1:01:53
  Speaker 1: a tour in a ballet studio dancing, that's a turn
• 1:01:58
  Speaker 1: off for me.
• 1:01:59
  Speaker 2: It is I look at it as my age. I think,
• 1:02:02
  Speaker 2: my god, this guy is several years older than me
• 1:02:06
  Speaker 2: and amazing shape. And same with Bruce. I mean younger
• 1:02:10
  Speaker 2: than me. But these guys are an amazing shape because
• 1:02:13
  Speaker 2: that's their profession. They I don't have to go up
• 1:02:15
  Speaker 2: on the stage and dance around for two and a
• 1:02:17
  Speaker 2: half hours. I don't have to look sexy and look
• 1:02:20
  Speaker 2: good and stay in that kind of shape to do that.
• 1:02:24
  Speaker 2: These guys do. That's their job, so I don't grudge
• 1:02:28
  Speaker 2: any of it. And Mick is not shot and plastic surgery.
• 1:02:31
  Speaker 2: Mick has not done plastic surgery. They take one look
• 1:02:34
  Speaker 2: at Mick. That's not a plastic surgery type person. And
• 1:02:37
  Speaker 2: I don't know anybody here I think that has done plastics.
• 1:02:41
  Speaker 2: This has done plastic surgery. You know they live well.
• 1:02:44
  Speaker 1: Well, I know things that I'd rather not reveal. But
• 1:02:47
  Speaker 1: my point is that we have aged, and some of
• 1:02:52
  Speaker 1: these acts, their major impact upon society in terms of
• 1:02:56
  Speaker 1: new material is in the past, and therefore one go
• 1:03:00
  Speaker 1: and have nostalgia. But aren't some of these acts frozen
• 1:03:03
  Speaker 1: in the ember? They're just playing the same songs. Let
• 1:03:06
  Speaker 1: me go one step further. Ruce Springsteen makes two solo albums. Okay,
• 1:03:12
  Speaker 1: you've been touching Lucky Town. The audience says, you can't
• 1:03:16
  Speaker 1: leave the EA Street behind Eastream being behind. Then he
• 1:03:20
  Speaker 1: reunites with the Eastreet Band. For me, that is giving
• 1:03:24
  Speaker 1: the audience what they want. One of the great things
• 1:03:27
  Speaker 1: about Dylan. I don't want to see him anymore. I've
• 1:03:29
  Speaker 1: been to the never ending tour, but he's making it interesting.
• 1:03:33
  Speaker 1: He's still pushing the envelope. But he's one of the
• 1:03:36
  Speaker 1: very few.
• 1:03:38
  Speaker 2: All right, let's first off, that's a lot of stuff
• 1:03:40
  Speaker 2: I have to deal with you, okay. And first off,
• 1:03:44
  Speaker 2: plastic surgery and looking at your age. I would submit
• 1:03:47
  Speaker 2: that Bob Dylan and Mick Jagger all look more than
• 1:03:50
  Speaker 2: their age. They look look their age. I haven't seen
• 1:03:53
  Speaker 2: Pete Laley, but I don't think he's gone for anything
• 1:03:56
  Speaker 2: radical anything. Secondly, but the bigger point is responding to
• 1:04:01
  Speaker 2: your audience in and of itself bad. Listen to the audience,
• 1:04:06
  Speaker 2: you know, listen from.
• 1:04:09
  Speaker 1: From subterranean home, pick blues you know, uh, don't follow leaders,
• 1:04:13
  Speaker 1: watch the parking meters.
• 1:04:15
  Speaker 2: Great.
• 1:04:16
  Speaker 1: Are you supposed to be independent?
• 1:04:18
  Speaker 2: What do you mean? He is independent? He writes whatever
• 1:04:22
  Speaker 2: he wants. He's not paying attention to his audience right now.
• 1:04:24
  Speaker 1: He's writing, I say, Dylan is a beacon. I'm talking
• 1:04:30
  Speaker 1: about these other racks, giving the audience what they want.
• 1:04:33
  Speaker 2: All right, so we're talking about let's talk about who
• 1:04:36
  Speaker 2: do you want to have Bruce? You mentioned Bruce's talk
• 1:04:40
  Speaker 2: about Jakay, Okay, okay, let's talk about Mick. Mick is
• 1:04:45
  Speaker 2: every each one of them is different. There's no rule
• 1:04:47
  Speaker 2: applies them all. Mick has got a new record coming out.
• 1:04:50
  Speaker 2: He's got some really great stuff on it. Okay, He's
• 1:04:52
  Speaker 2: not had plastic surgery. He stays in shape. He is
• 1:04:57
  Speaker 2: His whole thing is has to do with his audience.
• 1:05:00
  Speaker 2: It's from the beginning of time to now. You know.
• 1:05:03
  Speaker 2: He gets out there and he's a performer and he behaves, behaves,
• 1:05:08
  Speaker 2: he creates the rules for performing and the relationship with
• 1:05:12
  Speaker 2: the audience. That's his thing, you know. So he's still
• 1:05:16
  Speaker 2: doing it and he deserves praise for being able to
• 1:05:18
  Speaker 2: sing fucking jumping Jack Flash is good today as then,
• 1:05:21
  Speaker 2: and also his new records and blowing it away. What
• 1:05:25
  Speaker 2: is it? That's his job, the audience. He's not being
• 1:05:29
  Speaker 2: told to do by anything. That's what he can do,
• 1:05:32
  Speaker 2: and he enjoys doing. He loves getting out there. We're playing.
• 1:05:35
  Speaker 1: Did you watch the UH press conference with Jimmy Fallon?
• 1:05:40
  Speaker 2: I saw a business diough it.
• 1:05:42
  Speaker 1: Yeah, okay, didn't it look sad to eighty year old
• 1:05:45
  Speaker 1: guys out peddling their music with the jokester? These were
• 1:05:50
  Speaker 1: this was a this was a band that was dangerous
• 1:05:53
  Speaker 1: cutting edge at one point.
• 1:05:55
  Speaker 2: Excuse me, Well, I don't know how old you are,
• 1:05:57
  Speaker 2: but I'm seven. Okay. They were in their twenties, sixtyears
• 1:06:02
  Speaker 2: years long on sixty years later, on sixty years. They
• 1:06:06
  Speaker 2: may be less cutting edge, they may be less good looking,
• 1:06:10
  Speaker 2: they may be doing not but they're still there. They're
• 1:06:16
  Speaker 2: still performing in as pressively ever. They're still loving rock
• 1:06:20
  Speaker 2: and roll. They're still loving their life and then bringing
• 1:06:23
  Speaker 2: joy to all of ours. Hey six years wait, wait, wait,
• 1:06:28
  Speaker 2: you're a guy.
• 1:06:29
  Speaker 1: You're a guy who started Rolling Stone the music was
• 1:06:32
  Speaker 1: religious sixty actively, and now you're basically being long in
• 1:06:36
  Speaker 1: the tooth. Well, these off the cockers they're out there
• 1:06:39
  Speaker 1: doing I got to give them some credit.
• 1:06:41
  Speaker 2: No, I'm doing more than that. They're doing some of
• 1:06:43
  Speaker 2: their best work. They're still performing nearly at the top,
• 1:06:46
  Speaker 2: nearly at the top of their game. Wait, we're still
• 1:06:49
  Speaker 2: mark let me finish. They're still doing work that's vile,
• 1:06:53
  Speaker 2: that's pertinent to today. The things that are singing about
• 1:06:55
  Speaker 2: Ian Bruce is singing about this last album. He's singing
• 1:06:58
  Speaker 2: about death, and he's dealing with the concerns of being
• 1:07:02
  Speaker 2: his age and with death and going old and looking
• 1:07:04
  Speaker 2: back and the stulves. I mean, he's he's vitally involved
• 1:07:08
  Speaker 2: in the issues that are relevant to him and may
• 1:07:11
  Speaker 2: not be irrelevant and are going to be irrelevant to
• 1:07:13
  Speaker 2: his audience. I mean, I think you're I understand where
• 1:07:18
  Speaker 2: you're coming from. I've heard this point of view often. Yes,
• 1:07:21
  Speaker 2: we are getting old, b we look old. Yeah, see
• 1:07:24
  Speaker 2: we walk old, but we're still alive and we're still kicking,
• 1:07:28
  Speaker 2: and we're still kicking his shit out of everybody else.
• 1:07:31
  Speaker 1: Well, one of the think one of the time, one
• 1:07:35
  Speaker 1: of the things you popularize via your serialization of what
• 1:07:40
  Speaker 1: became the right stuff was the concept of pushing the envelope,
• 1:07:46
  Speaker 1: Chuck Yeger pushing the envelope, and that's what this music did.
• 1:07:51
  Speaker 1: If you wanted to know what was going on, you
• 1:07:54
  Speaker 1: listen to a record. I don't think that's the case anymore,
• 1:07:58
  Speaker 1: even in the hip hop. And therefore, I mean it's
• 1:08:02
  Speaker 1: if I watch streaming television, okay, and I watched some
• 1:08:06
  Speaker 1: of the Morgan Okay, Danish show on Netflix. I got
• 1:08:10
  Speaker 1: an impact in it and a feeling that I don't
• 1:08:13
  Speaker 1: get from most of the music. Doesn't mean there aren't
• 1:08:17
  Speaker 1: great records.
• 1:08:18
  Speaker 2: Which the music, which music. The music we're talking about
• 1:08:21
  Speaker 2: the masters of the music today that's coming out by
• 1:08:23
  Speaker 2: currently hot selling rocket records.
• 1:08:26
  Speaker 1: Currently talking about We're not talking about classic records. So
• 1:08:30
  Speaker 1: you're talking about new music. Okay, good, keep going, all right,
• 1:08:34
  Speaker 1: you want my response to that? Yes, basically, first and
• 1:08:39
  Speaker 1: first off, you're fucking seventy years old, and this is
• 1:08:41
  Speaker 1: the music being made by twenty and thirty year old,
• 1:08:43
  Speaker 1: so of course it won't it's not going to impact you.
• 1:08:45
  Speaker 1: You don't look at these people as being your contemporary,
• 1:08:48
  Speaker 1: you know the real their concerns are much groomer than
• 1:08:50
  Speaker 1: yours ours as seventy. That's one number one, Okay, Number
• 1:08:54
  Speaker 1: two is, boy, have the times changed? And I'll tell
• 1:08:58
  Speaker 1: you when this music came out, when the stones and
• 1:09:00
  Speaker 1: stuff that moved us that I'm celebrating here that I
• 1:09:03
  Speaker 1: think is still so great. Look at the media landscape.
• 1:09:06
  Speaker 1: Then there are three networks. You know today there was
• 1:09:10
  Speaker 1: no digital Today everything in the world is available instantly
• 1:09:15
  Speaker 1: by camera, by the social media, by Google. By it,
• 1:09:20
  Speaker 1: I mean there's no place in the world where something
• 1:09:22
  Speaker 1: has not already been articulated. And now, all of a sudden,
• 1:09:25
  Speaker 1: because of this new freedom of media, the media has
• 1:09:27
  Speaker 1: it's able to deal with the most avant garde issues,
• 1:09:31
  Speaker 1: the most sensitive topics, the most extreme stuff, the weirdest stuff,
• 1:09:34
  Speaker 1: whereas in back in the day you weren't allowed to
• 1:09:37
  Speaker 1: do that, but now it's everywhere. So it makes the
• 1:09:39
  Speaker 1: music that makes the music in this environment less vital
• 1:09:45
  Speaker 1: and important impactful that it wasn't in an environment fifty
• 1:09:49
  Speaker 1: years ago when you couldn't hear a lot of the
• 1:09:50
  Speaker 1: stuff expressed on TV or newspapers or magazines, when Rolling
• 1:09:54
  Speaker 1: Stone didn't exist, when the network, when the Internet didn't exist,
• 1:09:58
  Speaker 1: where when CDs and exists. So it's in a much
• 1:10:01
  Speaker 1: different context, and you're a much different audience. You're not
• 1:10:04
  Speaker 1: the audience for today's music. So I mean it makes sense.
• 1:10:07
  Speaker 2: I say, you know, I say you should sit back
• 1:10:10
  Speaker 2: and enjoy and celebrate how great this music wasn't how
• 1:10:14
  Speaker 2: lucky you were and I was to be alive in
• 1:10:19
  Speaker 2: a period in the sixties and seventies, some of the
• 1:10:21
  Speaker 2: eighties where all these brilliant fricking musicians and writers and
• 1:10:26
  Speaker 2: singers were all together about the same time, creating it
• 1:10:29
  Speaker 2: that same period, listening to each other, impacting each other,
• 1:10:32
  Speaker 2: influencing each other, driving each other along, you know, by
• 1:10:36
  Speaker 2: by competition or by inspiration. And what a rare period
• 1:10:40
  Speaker 2: this was in not just American history and musical history
• 1:10:47
  Speaker 2: that just love little genius, but in world history. You
• 1:10:50
  Speaker 2: know where we were present during one of the great
• 1:10:53
  Speaker 2: renaissances of our times and of world times. And it's
• 1:10:58
  Speaker 2: not something you see very often. Mean, Uh, it's easily
• 1:11:02
  Speaker 2: fully comparable to what we've seen to Paris in the
• 1:11:06
  Speaker 2: twenties when there are all these painters, matists, cause, etc.
• 1:11:10
  Speaker 2: When hemy Me and Fitstcher were there. But even and
• 1:11:13
  Speaker 2: as good as all they were, and this may sound
• 1:11:15
  Speaker 2: a extreme claim, they're change. The change they brought to art,
• 1:11:20
  Speaker 2: the revivocation of art, bringing along modern art were you know,
• 1:11:23
  Speaker 2: all art and writing by that time it become classical
• 1:11:26
  Speaker 2: and stale and borant. But this was also a company.
• 1:11:29
  Speaker 2: What we did does not only revived, but it came
• 1:11:32
  Speaker 2: along a time of great political, social, technological change in
• 1:11:37
  Speaker 2: the world. And this is this era was when the
• 1:11:39
  Speaker 2: world is transferred from that old world pre nuclear world
• 1:11:43
  Speaker 2: to this new world of destruction, of internet, of an
• 1:11:48
  Speaker 2: unfathomable number of things that have changed. The world has
• 1:11:50
  Speaker 2: more than shrunk. It's all a different place. It's not
• 1:11:53
  Speaker 2: a bunch of isolated different countries around the world after
• 1:11:55
  Speaker 2: World War Two. It's all We're now so unified as ever.
• 1:11:59
  Speaker 2: And it's comparable of the change in the world. It
• 1:12:00
  Speaker 2: took place, you know, in Greece, you know, or in
• 1:12:06
  Speaker 2: Italy and Venice in this in the classical era of
• 1:12:09
  Speaker 2: that era, or during Elizabeth Elizabethan England when they came
• 1:12:13
  Speaker 2: out of these countries were hugely powerful within the world. Venice, Greece,
• 1:12:18
  Speaker 2: you know which they were, and England they ran the world.
• 1:12:20
  Speaker 2: They were the richest countries in the world. They educated populace,
• 1:12:23
  Speaker 2: they had this sense of mastering, achievement and domination, and
• 1:12:28
  Speaker 2: they weren't charge themsel a bunch of stuff is more
• 1:12:30
  Speaker 2: and more complicated to tease out. But that's what this
• 1:12:35
  Speaker 2: period I think was about, you know, And and I
• 1:12:40
  Speaker 2: think that's what this work stands for. You know. It
• 1:12:42
  Speaker 2: had that relationship to its times, you know. And it
• 1:12:46
  Speaker 2: wasn't painting, it wasn't writing. It certainly took advantage of
• 1:12:50
  Speaker 2: the technology of the times. This is based on the
• 1:12:53
  Speaker 2: technology of the times, both the reproducing spread it, the
• 1:12:56
  Speaker 2: way that the printed word at one time reproducing spread
• 1:12:59
  Speaker 2: that and so forth. So I mean, that's the long view,
• 1:13:03
  Speaker 2: and we're just older now, you know.
• 1:13:05
  Speaker 1: No, I think that's very well articulated, that we don't
• 1:13:08
  Speaker 1: live in a monoculture. And you mentioned the word renaissance,
• 1:13:11
  Speaker 1: which I wholly agree with. There was a Renaissance hundreds
• 1:13:15
  Speaker 1: of years ago. People have painted and sculpted since then,
• 1:13:19
  Speaker 1: but there's only one renaissance, right, just going through the decades. Though,
• 1:13:25
  Speaker 1: to what degree do you believe our change in culture
• 1:13:30
  Speaker 1: and the attendant income inequality was driven by Reagan, who's
• 1:13:35
  Speaker 1: been canonized by the right, And to what degree has
• 1:13:39
  Speaker 1: that changed our society and left us where we are now?
• 1:13:44
  Speaker 2: Well, I mean, I think all these changes are afoot
• 1:13:48
  Speaker 2: despite without Reagan. I mean, this is all happened without him.
• 1:13:56
  Speaker 2: He's almost irrelevant to them. But Reagan was it, you know,
• 1:14:03
  Speaker 2: a gentle, easy to swallow salesman of a really increasingly
• 1:14:09
  Speaker 2: putrid influence on society, most particularly in what he did
• 1:14:18
  Speaker 2: with income taxes and taxes where the extreme wealth divide
• 1:14:24
  Speaker 2: which plagues us now started under him, under reduction of
• 1:14:27
  Speaker 2: gutting of the union starting under him. And uh, the
• 1:14:32
  Speaker 2: empowering of the religious right started under him from modern times.
• 1:14:36
  Speaker 2: And so he made it all seem smooth and wonderful.
• 1:14:39
  Speaker 2: But I don't view him as a hero or a
• 1:14:41
  Speaker 2: very good president or you know, but a funny, charming guy. Uh.
• 1:14:47
  Speaker 2: But all these things, I mean, I think, all the
• 1:14:49
  Speaker 2: worse stuff in contemporaries. It's not that it hasn't happened before.
• 1:14:53
  Speaker 2: You know, this kind of his warmart, the religious right
• 1:14:56
  Speaker 2: or income disparags haven't happened before in history. They've all
• 1:15:00
  Speaker 2: of this. Truth've had many religious awakenings, We've had many
• 1:15:03
  Speaker 2: right wing crusades, We've had many cuses berries wealth before
• 1:15:07
  Speaker 2: in modern times. Reagan was the first instrument of it,
• 1:15:10
  Speaker 2: and it just continued under you know, Bush senior, Bush
• 1:15:13
  Speaker 2: junior and Trump. Of them, all the worst has been
• 1:15:17
  Speaker 2: was Bush junior, George W. Bush. Uh. So I mean,
• 1:15:22
  Speaker 2: I I the Republican has been terrible. And I think, yes,
• 1:15:27
  Speaker 2: it's been a fight against the Republican ideology.
• 1:15:31
  Speaker 1: So you believe it's somewhat secular that these things wouldn't
• 1:15:35
  Speaker 1: have happened without Reagan? What was in the culture that
• 1:15:38
  Speaker 1: was driving these things?
• 1:15:40
  Speaker 2: Reagan that the regiaction is that the history of America.
• 1:15:43
  Speaker 2: I mean, America has been a weird place. We start
• 1:15:45
  Speaker 2: off burning witches, we start off flee you know, kind
• 1:15:52
  Speaker 2: is it pure in society? You know, there's very harsh
• 1:15:56
  Speaker 2: religious strictures in the society. We say we're a society
• 1:15:58
  Speaker 2: free of religion, but we had the puritanical stuff, and
• 1:16:02
  Speaker 2: so it's just been we were a slave society. We
• 1:16:06
  Speaker 2: I mean, how do you how do you account for
• 1:16:08
  Speaker 2: putting men in chains and whipping them in the way
• 1:16:10
  Speaker 2: they were treated. We fought a fucking warm which because
• 1:16:12
  Speaker 2: a couple of nine people died, I think the worst
• 1:16:15
  Speaker 2: over the issue of slavery. Well, how you treat your
• 1:16:17
  Speaker 2: fellow man? That war's never been resolved, you know, So,
• 1:16:21
  Speaker 2: I mean it's been lurking under the American surface as
• 1:16:24
  Speaker 2: part of the modern dilim for years. We've created great
• 1:16:29
  Speaker 2: good good in the world and great evil. And I
• 1:16:33
  Speaker 2: think that this kind of empowered this generation of America
• 1:16:36
  Speaker 2: has been called on to kind of look back and
• 1:16:38
  Speaker 2: sit back on that because we can't go on any longer.
• 1:16:41
  Speaker 2: As we've been going on. If we go on any
• 1:16:42
  Speaker 2: longer this, the planet's over, you know, by environmental destruction
• 1:16:47
  Speaker 2: and nuclear war. You know. So we need a change
• 1:16:51
  Speaker 2: in consciousness, you know, not we have to do this thing,
• 1:16:56
  Speaker 2: loved one another. We have to all these bromides that
• 1:17:00
  Speaker 2: we've heard in Wrock and all they're true, you know,
• 1:17:02
  Speaker 2: and we're where to point. If you don't do that,
• 1:17:04
  Speaker 2: you know, we're going to We're gonna some awful things
• 1:17:06
  Speaker 2: are going to happen. But I'm wondering whether that was
• 1:17:10
  Speaker 2: the question or not.
• 1:17:11
  Speaker 1: Well, no, you we answered, But let me let me
• 1:17:13
  Speaker 1: just go to the present. So in your crystal ball,
• 1:17:17
  Speaker 1: what happens in the future.
• 1:17:19
  Speaker 2: Jeez, I don't know, could go to me, It could
• 1:17:22
  Speaker 2: go either way, you know. I mean, there's great progress
• 1:17:27
  Speaker 2: are being made. We have great knowledge, great ability. Everybody
• 1:17:31
  Speaker 2: knows what the problems are, you know, we know essentially
• 1:17:34
  Speaker 2: how to technically solve all these things, what should be done,
• 1:17:38
  Speaker 2: what should be right. But they'll take you know, it's
• 1:17:40
  Speaker 2: a change in political will and consciousness and right and wrong.
• 1:17:44
  Speaker 2: I think al Gore expresses, really, once we see the
• 1:17:46
  Speaker 2: environmental question and all these questions as issues of right
• 1:17:50
  Speaker 2: or wrong, then We're going to solve them because we'll
• 1:17:56
  Speaker 2: know what's right to do, we'll know what's wrong to do,
• 1:17:58
  Speaker 2: and so patently clear what's right and what's wrong. And
• 1:18:02
  Speaker 2: if people just get on the side doing the right thing,
• 1:18:05
  Speaker 2: you know. I mean, he keeps saying political will is
• 1:18:08
  Speaker 2: renewable resource. I hope so. But you've got powerful But
• 1:18:12
  Speaker 2: on the other hands, Bob Filne says to me, and
• 1:18:14
  Speaker 2: the last time, he's just human nature hasn't changed fundamentally
• 1:18:17
  Speaker 2: in three thousand years. You know, it's still greed power.
• 1:18:21
  Speaker 2: You know, the dim side is greed driven, is power driven?
• 1:18:24
  Speaker 2: How do we break that cycle? These are powerful interests
• 1:18:27
  Speaker 2: and powerful wealthy people and corporations were up against you know,
• 1:18:31
  Speaker 2: and their hands. They're deeply involved in social structures. Now
• 1:18:37
  Speaker 2: things run. I mean, it's not just the greed of
• 1:18:39
  Speaker 2: the oil business, but it's greed of all the people
• 1:18:42
  Speaker 2: who underline it first, people who work there, let alone
• 1:18:45
  Speaker 2: people at Morgan Stanley who finance it. You know, the
• 1:18:47
  Speaker 2: Bank of America pay for and loan them billions of
• 1:18:50
  Speaker 2: dollars every year to keep fun. So that's hard to know,
• 1:18:56
  Speaker 2: but I think that in the end you have to
• 1:18:58
  Speaker 2: live with hope and optimism, and you have to take
• 1:19:02
  Speaker 2: the hopeful approach. I don't think you have any choice
• 1:19:04
  Speaker 2: but to do that, otherwise it's impossible to live.
• 1:19:08
  Speaker 1: Okay, you're a student of the game. We remember the
• 1:19:11
  Speaker 1: sixties when you didn't want to have long here south
• 1:19:14
  Speaker 1: of the Mason Dixon Line, red Knicks. Whatever's going on
• 1:19:18
  Speaker 1: is much further to the extreme. Now, what accounts for
• 1:19:23
  Speaker 1: the hardcore belief in Trump, irrelevant of the indictments and
• 1:19:29
  Speaker 1: other accusations.
• 1:19:32
  Speaker 2: Well, I mean two things. Once again, I would bring
• 1:19:34
  Speaker 2: you back to American history and this kind of these
• 1:19:39
  Speaker 2: kind of people have been a constant part of American history.
• 1:19:42
  Speaker 2: I've just guessed it's been thirty percent of American history
• 1:19:44
  Speaker 2: at the beginning. Remember again, we fought the Civil War.
• 1:19:47
  Speaker 2: We had hundreds of thousands of you know, millions of
• 1:19:50
  Speaker 2: people public fighting for slavery, like sacrificing our lives for slavery,
• 1:19:54
  Speaker 2: you know. And then we had Father Coughlin and the
• 1:19:58
  Speaker 2: pro Nazi movement keep America out of the war. We
• 1:20:01
  Speaker 2: have McCarthyism, so there's a and the religious. We've always
• 1:20:04
  Speaker 2: had this strain in American, in American culture. So obviously
• 1:20:08
  Speaker 2: I think Trump is tapped into that strain. It's a
• 1:20:11
  Speaker 2: big strain and it uh, it's gonna be loyal to anybody.
• 1:20:16
  Speaker 2: You know, it's loyal to me. And you cannot going
• 1:20:18
  Speaker 2: to change your minds. You know, there's no man of logic,
• 1:20:21
  Speaker 2: no man of grand jury, indictment. It's nothing that's going
• 1:20:23
  Speaker 2: to change their mind I mean not even as sinning
• 1:20:26
  Speaker 2: bastard Trump and his five wives and you know, on
• 1:20:30
  Speaker 2: and on whatever, even that doesn't turn these people off.
• 1:20:34
  Speaker 2: Who are the fundamental any abortion religious people, God fearing
• 1:20:38
  Speaker 2: you know, these are the least Christian people in the world.
• 1:20:43
  Speaker 2: You know, Trump's supporters, they're the most negative. They're they're
• 1:20:47
  Speaker 2: demeaning and of poor people. They're racial. I mean, let
• 1:20:53
  Speaker 2: me back off this. The other thing is that we've
• 1:20:55
  Speaker 2: got this economic disparity going on, this huge thing where
• 1:20:58
  Speaker 2: people are making you know, thirty thirty forty billion dollars,
• 1:21:02
  Speaker 2: I mean, excuse me, three hundred million dollars a year.
• 1:21:04
  Speaker 2: They're worth billions of dollars. The wealth is spread around
• 1:21:08
  Speaker 2: in the country is the wealth. The wealth. Wealth is
• 1:21:11
  Speaker 2: big and it's enormous and people, most people have been
• 1:21:15
  Speaker 2: cut out of the system. It's they don't live unions anymore.
• 1:21:18
  Speaker 2: They don't have highways ers, they don't have two cars
• 1:21:20
  Speaker 2: in their garage, intelligence and get their summer vacation. So
• 1:21:23
  Speaker 2: people are feeling deprived of the system, you know, they
• 1:21:27
  Speaker 2: take it that they haven't received the benefit system. Even
• 1:21:29
  Speaker 2: then they work their ass off. And it's been done
• 1:21:31
  Speaker 2: historically in the last thirty forty fifth years by Democrats
• 1:21:34
  Speaker 2: as well as Republicans, less so by the Democrats, more
• 1:21:37
  Speaker 2: so by the Republicans. But today it's stunning. The Democrats
• 1:21:42
  Speaker 2: are saying, let's lower debt, drug prices, let's give equitable
• 1:21:44
  Speaker 2: medical care, and the Republics are tooth and nail against
• 1:21:47
  Speaker 2: lowering dut prices. Let the farmer companies make billions of profits.
• 1:21:52
  Speaker 2: So they feel justly deprived, and so they're going to
• 1:21:56
  Speaker 2: go with the burst presertion like Trump, who have however,
• 1:21:59
  Speaker 2: in however inaccurately, he portrays it none less channels the
• 1:22:04
  Speaker 2: frustration of the swamp, even though he's part of the swamp.
• 1:22:08
  Speaker 2: These people are so angry, they're going to believe that
• 1:22:10
  Speaker 2: because they don't look beyond that. They want to blame.
• 1:22:11
  Speaker 2: So I'm getting fucked over by the establishment, you know,
• 1:22:14
  Speaker 2: by those people, and Trump says, I'm going to save you,
• 1:22:17
  Speaker 2: and that's it, and there's reason for it for him
• 1:22:20
  Speaker 2: them to think that.
• 1:22:23
  Speaker 1: Just going to the opposite. For twenty odd years, we've
• 1:22:26
  Speaker 1: had Fox News, We've had this incredible hammering of Democrats
• 1:22:30
  Speaker 1: in the left. We have the DNC operating on the
• 1:22:33
  Speaker 1: traditional principles nomine Hillary Clinton doesn't win. We have the
• 1:22:39
  Speaker 1: same DNC saying, well, biden't be Trump once. He's our man,
• 1:22:43
  Speaker 1: even though he will be eighty six if he serves
• 1:22:45
  Speaker 1: the second term. What would you advise the DNC and
• 1:22:49
  Speaker 1: Democratic Party?
• 1:22:55
  Speaker 2: Tell her the truth, stick to your guns, don't be
• 1:22:59
  Speaker 2: intimidated by these assholes embraced byen. He's great, That's what
• 1:23:05
  Speaker 2: I would say. Are you troubled at all by his age? Well,
• 1:23:09
  Speaker 2: of course everybody's troubled by the fact he's old. But
• 1:23:12
  Speaker 2: I'm not troubled by he is. I think he's the
• 1:23:16
  Speaker 2: most common person out there to run the country. He's
• 1:23:19
  Speaker 2: certainly better than any other Republican being discussed or in
• 1:23:22
  Speaker 2: the process. Now, I wouldn't trust one of those people
• 1:23:24
  Speaker 2: for throating the country, you know, but I trust Biden.
• 1:23:28
  Speaker 2: He's got the experience and the wisdom and knowledge. Look
• 1:23:30
  Speaker 2: what a great job he's doing right now. Look at
• 1:23:32
  Speaker 2: the legislation he's gotten past, which was stuck there all
• 1:23:36
  Speaker 2: these years. He's fighting both China and Russia at once,
• 1:23:42
  Speaker 2: you know, doing a hell of a job of that.
• 1:23:44
  Speaker 2: This looks to me like a fully confident, prepared, knowledgeable,
• 1:23:47
  Speaker 2: strategic present And he doesn't get roughed his feathers u
• 1:23:50
  Speaker 2: gruffled by the latest criticism or whatever. If you get
• 1:23:53
  Speaker 2: into the news cycle responding the criticism all the time,
• 1:23:56
  Speaker 2: then you're a dead duck. Then you're playing the other
• 1:23:59
  Speaker 2: person's game. I think Fox is definitely a new part
• 1:24:03
  Speaker 2: of the equation these years, and it's just been It's
• 1:24:09
  Speaker 2: just poison. It's like a fear factory, you know. It
• 1:24:15
  Speaker 2: goes out and creates fear wherever and drives this people along.
• 1:24:20
  Speaker 2: But you know, I like Biden. I like what the
• 1:24:24
  Speaker 2: Demorats are doing.
• 1:24:32
  Speaker 1: Okay, it used to be Rolling Stone spoke to a generation.
• 1:24:39
  Speaker 1: In the last handful of years, exacerbated by the COVID era,
• 1:24:44
  Speaker 1: all these magazines are going out of business. I'm always
• 1:24:47
  Speaker 1: weary of subscribing to a magazine. It will go out
• 1:24:49
  Speaker 1: of business. Used to happen in the past, like the
• 1:24:52
  Speaker 1: Manhattaniak Clay Felk or whatever. But now Entertainment Tonight doesn't
• 1:24:57
  Speaker 1: publish Entertainment Weekly. Excuse me, what is the future of
• 1:25:02
  Speaker 1: the magazine business. You're an expert as much as anybody.
• 1:25:06
  Speaker 2: Well. The fact that the magazines are doing so poorly
• 1:25:10
  Speaker 2: is that there's no economic model left for them. The
• 1:25:14
  Speaker 2: Internet has taken away all the advertising without compensation. It
• 1:25:20
  Speaker 2: stole all the material there was the magazines and newspapers
• 1:25:23
  Speaker 2: assembled paid all this money for it. They took it free,
• 1:25:26
  Speaker 2: put it on their websites and sold advertising on it,
• 1:25:29
  Speaker 2: and took away the advertisers that the magazines needed to
• 1:25:32
  Speaker 2: survive on the newspapers and the news business what I
• 1:25:36
  Speaker 2: could call, by the way, the free press, which is
• 1:25:39
  Speaker 2: vital to this country, and they've replaced it with this,
• 1:25:42
  Speaker 2: you know, the Internet group of quick hits and no restraints,
• 1:25:46
  Speaker 2: no laws governing it, no laws requiring it to be
• 1:25:50
  Speaker 2: not libels or that be truthful and accurate. They somehow
• 1:25:53
  Speaker 2: immunized themselves from all those rules, you know. But they're
• 1:25:57
  Speaker 2: the most powerful press in the country. But this question
• 1:26:00
  Speaker 2: about there's no economical of there's no advertising left, so
• 1:26:06
  Speaker 2: you know, it's a more powerful medium more better meetum
• 1:26:10
  Speaker 2: for advertisers because you can target. Not only can you
• 1:26:14
  Speaker 2: target down to the person, you can also send them
• 1:26:17
  Speaker 2: add TV advertising on the internet on your phone, you know,
• 1:26:22
  Speaker 2: visual advertising. So those the magazines and the newspapers pre
• 1:26:26
  Speaker 2: newspaper prepress was supported by advertisers. That's gone. And so
• 1:26:31
  Speaker 2: there's there's going to be room for specially magazines and
• 1:26:35
  Speaker 2: trade journals. And there'll be room for some magazines that
• 1:26:37
  Speaker 2: are really highly visual, the highly art trated. But I
• 1:26:41
  Speaker 2: don't think you're gonna have mass magazines anymore. You're not
• 1:26:43
  Speaker 2: gonna have general interest magazines like Rolling Stone anymore.
• 1:26:47
  Speaker 1: Okay, you have Margaret Sullivan, who was the ombudsman for
• 1:26:50
  Speaker 1: the New York Times then went to Washington Post now
• 1:26:53
  Speaker 1: at the Guardian, wrote a whole book how to save
• 1:26:56
  Speaker 1: the news industry. In my observation, whenever you try to
• 1:27:00
  Speaker 1: save something, you can't. It's only you have to progress
• 1:27:04
  Speaker 1: to the new thing in the future. Do you believe
• 1:27:07
  Speaker 1: newspapers need to be propped up or do you have
• 1:27:10
  Speaker 1: to let the economic system work itself out and go
• 1:27:13
  Speaker 1: into the future.
• 1:27:15
  Speaker 2: I think they can be and should be propped up.
• 1:27:19
  Speaker 2: First off, what is the Internet, which is his main commination.
• 1:27:22
  Speaker 2: But a government subsidized thing. And great part they've been
• 1:27:27
  Speaker 2: exempt from taxes for the longest period of time. They're
• 1:27:30
  Speaker 2: exempt from regulation that I was just speaking of of
• 1:27:34
  Speaker 2: content regulation by under the rules of the free press.
• 1:27:38
  Speaker 2: They were financed and support initially by the government, which
• 1:27:41
  Speaker 2: paid for the beginning of the Internet and invented the Internet,
• 1:27:45
  Speaker 2: and still subsidizes it with all kinds of tax breaks
• 1:27:48
  Speaker 2: and all kinds of contracts from the Defense Department, Higher Education,
• 1:27:53
  Speaker 2: you know, paying these companies enormous months of money. So
• 1:27:57
  Speaker 2: if you want to talk about a subsidized industry, you know,
• 1:28:00
  Speaker 2: it's the Internet. Now they've got billions and billions and
• 1:28:03
  Speaker 2: hundreds of millions I was sitting in their bank accounts,
• 1:28:05
  Speaker 2: which ought to be repurposed. That's tax money they should
• 1:28:09
  Speaker 2: have paid into the system. I'll repurpose. And you could
• 1:28:12
  Speaker 2: do things that that you call it artificially propping up.
• 1:28:16
  Speaker 2: And I agree with you about how you can't save
• 1:28:18
  Speaker 2: a dying dog, but you could give the magazine newspapers
• 1:28:23
  Speaker 2: and mail them free. If we're going to give the
• 1:28:26
  Speaker 2: internet freedom of the public airwaves and the public utilities,
• 1:28:31
  Speaker 2: and they don't pay for that, then the newspapers and
• 1:28:33
  Speaker 2: magazines maybe should get some of the same. So if
• 1:28:36
  Speaker 2: you take away the calls of postage for them, you know,
• 1:28:40
  Speaker 2: and subsides by the government, that's a start, you know.
• 1:28:44
  Speaker 2: And I can think of a bunch of other ways,
• 1:28:46
  Speaker 2: you know, and which share subsidies, which would be good.
• 1:28:50
  Speaker 2: I mean, I'm not talking about I'm talking about subsidizing
• 1:28:54
  Speaker 2: something here that like the British subsidies of BBC. I mean,
• 1:28:59
  Speaker 2: we have MPR, could go further than that and such.
• 1:29:02
  Speaker 2: But this medium, the press, the free press, was deemed
• 1:29:06
  Speaker 2: by the founding fathers to be absolutely vital to the
• 1:29:10
  Speaker 2: function of democracy, that a well informed public was necessary
• 1:29:16
  Speaker 2: to make to elect the politicians that we wanted, and
• 1:29:19
  Speaker 2: to make the decisions and policy decisions that we wanted.
• 1:29:22
  Speaker 2: And I think that judgment they made was absolutely correct
• 1:29:24
  Speaker 2: in the first place, that when the public turns on
• 1:29:27
  Speaker 2: something and they properly formed public opinions, absolutely paradis to
• 1:29:31
  Speaker 2: public policy. And we're not getting that now. It was
• 1:29:35
  Speaker 2: so important that they made it the first Amendment to
• 1:29:37
  Speaker 2: the United States that you could not inhibit the practice
• 1:29:42
  Speaker 2: of the free press. We need that and we need
• 1:29:44
  Speaker 2: to restore that.
• 1:29:47
  Speaker 1: Okay, Lena Kahan, who is our antitrust point person, is
• 1:29:54
  Speaker 1: being more aggressive. Do you have a viewpoint on antitrust.
• 1:30:00
  Speaker 2: I think we all enforced the laws. I think every
• 1:30:03
  Speaker 2: time you've seen UH this kind of like anti competitive
• 1:30:09
  Speaker 2: uh combination of elements of manufacturing or initial elements, whether
• 1:30:14
  Speaker 2: it was the three collar makers or the three UH
• 1:30:18
  Speaker 2: broadcaster network broadcasters, or the telephone company or you name it.
• 1:30:23
  Speaker 2: You know Microsoft yourself, you raise prices and you stultified
• 1:30:27
  Speaker 2: innovation and competition. Since we broke up the telephone companies.
• 1:30:31
  Speaker 2: Look what's happened as the baby bills in the competition
• 1:30:34
  Speaker 2: and started financing cellular service, same with Microsoft. That could
• 1:30:38
  Speaker 2: happen a thousand internet companies bloomed and all this you
• 1:30:42
  Speaker 2: know other stuff. The three networks are terrible enough to all,
• 1:30:44
  Speaker 2: you know they but they'll get back to one good
• 1:30:47
  Speaker 2: thing they did. But in terms of they're programming the
• 1:30:51
  Speaker 2: liberality of it. You know. Also now you've got and
• 1:30:55
  Speaker 2: the three carding manufacturers because of their stifling of competition,
• 1:30:59
  Speaker 2: you know, because they were such a monoplist didn't have
• 1:31:01
  Speaker 2: to be. That led the open the market to Japanese Germans.
• 1:31:05
  Speaker 2: All the people denovated and did better cars, far better cars.
• 1:31:10
  Speaker 2: The problem wasn't how clever the Japanese were. It was
• 1:31:13
  Speaker 2: the fact that we were so retarded. We made clunky cars.
• 1:31:16
  Speaker 2: The doors didn't fit properly into the you know, into
• 1:31:19
  Speaker 2: the doorframe. No, they just didn't do good cars, and
• 1:31:24
  Speaker 2: somebody else came along. So I think if we had
• 1:31:25
  Speaker 2: some the history of competition is good for us. But
• 1:31:30
  Speaker 2: I say this about it. Regulated competition capitalism cannot be unregulated.
• 1:31:36
  Speaker 2: There has to be supervision, has to be managed properly
• 1:31:40
  Speaker 2: because unready to competition where greed conguers all ain't gonna
• 1:31:45
  Speaker 2: ain't good for us, and that's what happens. So we
• 1:31:47
  Speaker 2: need regulated capitalism. What the networks did when there were
• 1:31:51
  Speaker 2: three of them and there wasn't all this kind of
• 1:31:53
  Speaker 2: crazy Internet stuff, is we were able to unify society,
• 1:31:59
  Speaker 2: you know, with standards of everybody agreed upon. We could
• 1:32:03
  Speaker 2: agree upon standards of truth, of fact and all this
• 1:32:08
  Speaker 2: Internet crap that goes on, the unregular, unregulated crap. If
• 1:32:12
  Speaker 2: we're really regulating that networks even more of that by
• 1:32:15
  Speaker 2: the FCC about objectivity, you know, fairness, truth, we would
• 1:32:20
  Speaker 2: have more results like we just had in the Fox
• 1:32:23
  Speaker 2: versus dominion case that they've been so unsupervised. Did they
• 1:32:29
  Speaker 2: emit damaging society? So I want to we need managed
• 1:32:35
  Speaker 2: cap We cannot cannot have monopoly capitalism, that'll ruin us.
• 1:32:39
  Speaker 2: We need managed combolists.
• 1:32:41
  Speaker 1: Okay, you have a new book coming out. Fifty years ago,
• 1:32:45
  Speaker 1: you had your own publishing company, Straight Arrow Lennon remembers
• 1:32:49
  Speaker 1: came out on that Bill Owen Suburbia. What you learn
• 1:32:52
  Speaker 1: in that venture.
• 1:32:55
  Speaker 2: The book publishing has its own very special business that
• 1:32:58
  Speaker 2: requires its own intuitive touch and it's own time frame
• 1:33:02
  Speaker 2: and rhythm. And that wasn't my business. My business magazines
• 1:33:06
  Speaker 2: and news.
• 1:33:08
  Speaker 1: Okay, switching to you, you ultimately got involved with US.
• 1:33:12
  Speaker 1: You purchase US. Is gossip a fundamental element of society?
• 1:33:20
  Speaker 1: Is it more powerful? Now less powerful? There's certainly much
• 1:33:23
  Speaker 1: more information online. By the same token, It's not like
• 1:33:29
  Speaker 1: the old days where you went to the supermarket and
• 1:33:31
  Speaker 1: you saw it just a couple of magazines. So I
• 1:33:33
  Speaker 1: headline and everybody knew those.
• 1:33:37
  Speaker 2: I'm sorry, I was thinking I missed the very question.
• 1:33:40
  Speaker 2: The first part of that, the premisey.
• 1:33:41
  Speaker 1: The bottom line with US magazine is gossip something that's
• 1:33:46
  Speaker 1: institutional that just transcends time. Or are we in a
• 1:33:51
  Speaker 1: waning era? And it's ironic because we have much more information,
• 1:33:56
  Speaker 1: yet nothing has the penetration of the way it used to.
• 1:34:00
  Speaker 2: Is eternal. You know. Uh, it's been with us since
• 1:34:07
  Speaker 2: the beginning of time. I mean, what's the world's oldest profession, right,
• 1:34:10
  Speaker 2: we say that's prostitution. What's the world's second oldest protests?
• 1:34:15
  Speaker 2: Professionals talking about who's doing it? Right? So, I mean,
• 1:34:19
  Speaker 2: you're gonna have gossip forget, don't don't you know, it's
• 1:34:24
  Speaker 2: too much fun. Everybody likes it. We're told not to,
• 1:34:26
  Speaker 2: you know, that shall not whatever. But the nature of
• 1:34:31
  Speaker 2: it has changed so much, the the that there's it's
• 1:34:39
  Speaker 2: first of it's sound the internet, it's everywhere, you know,
• 1:34:41
  Speaker 2: so you don't have any filters on it anymore. And
• 1:34:43
  Speaker 2: you've got different sets of people, and frankly, more people
• 1:34:46
  Speaker 2: are more interestedout gossip in among their these people in
• 1:34:53
  Speaker 2: the real world or these in celebrities, or these influencers
• 1:34:57
  Speaker 2: or people you know, they're not mostly they're not made
• 1:35:03
  Speaker 2: by movie studios or or even you know anymore. I mean,
• 1:35:08
  Speaker 2: what movie starts with television? Do you care about their
• 1:35:10
  Speaker 2: lives that muchmore? I don't know because I'm your age
• 1:35:13
  Speaker 2: and we I don't know who they are, but they're
• 1:35:17
  Speaker 2: not the great unifying people. These are. There's thousands of them,
• 1:35:20
  Speaker 2: you know. And it's the result of reality TV. It's
• 1:35:23
  Speaker 2: the result of as Andy Warhol said, everybody will be
• 1:35:26
  Speaker 2: famous for fifteen minutes, you know. So everybody is famous
• 1:35:29
  Speaker 2: for fifteen minutes, and we now have the technology that
• 1:35:32
  Speaker 2: enables it.
• 1:35:34
  Speaker 1: So do you read the new J. Penske controlled Rolling Stone?
• 1:35:40
  Speaker 2: Yeah, of course I see it. Yeah. Do I read everything? No,
• 1:35:43
  Speaker 2: but of course it's Yeah. What am I supposed to say?
• 1:35:46
  Speaker 2: It's not in my era anymore?
• 1:35:51
  Speaker 1: Okay, but if you see it, if you could snap.
• 1:35:55
  Speaker 1: Conventional wisdom is that Rolling Stone missed the Internet. It
• 1:35:59
  Speaker 1: was one of many companies that was accused of that.
• 1:36:03
  Speaker 1: If you look at Rolling Stone today and you snap
• 1:36:07
  Speaker 1: my fingers and you're in charge, what would you do differently?
• 1:36:13
  Speaker 2: Well, I think that the first question. I think every
• 1:36:15
  Speaker 2: publishing company missed the Internet, except for The New York Times,
• 1:36:19
  Speaker 2: which seems to have really did finally figure it out.
• 1:36:22
  Speaker 2: I mean, God, bless uh, nobody, none of the no Hurst,
• 1:36:27
  Speaker 2: no Disney, Condie, Nasty Murdoch. Remember my my Space for
• 1:36:33
  Speaker 2: a half a billion notes. Nobody figured out and nobody
• 1:36:36
  Speaker 2: you know, so you can't turn around a big old
• 1:36:38
  Speaker 2: you know, you're running a big old battleship. Nobody you
• 1:36:40
  Speaker 2: can't the new thing. It's hard to figure that out.
• 1:36:46
  Speaker 2: So but I must say I'm the only We're the
• 1:36:48
  Speaker 2: only company didn't lose millions and millions of dollars on
• 1:36:51
  Speaker 2: it by saying we're not going to jump into this prematurely. Uh.
• 1:36:55
  Speaker 2: And if I could snap my fingers, I would put
• 1:36:59
  Speaker 2: myself back in No. I would say, well, if you were,
• 1:37:03
  Speaker 2: if you were back in charge, what would you do.
• 1:37:06
  Speaker 2: I don't. I don't think I should be back in charge.
• 1:37:09
  Speaker 2: I think it's time for new group of people to
• 1:37:10
  Speaker 2: do it. And they're doing it, and they're doing for
• 1:37:12
  Speaker 2: that kind of a newer audience and in a newer way.
• 1:37:15
  Speaker 2: It's very Internet oriented now, more than magazine oriented. And
• 1:37:19
  Speaker 2: I wouldn't have made those I would. I'm a magazine
• 1:37:21
  Speaker 2: person on the Internet person. So you know I'm the
• 1:37:24
  Speaker 2: wrong person.
• 1:37:26
  Speaker 1: Okay, but if you look at MTV, MTV.
• 1:37:28
  Speaker 2: I wouldn't. I wouldn't. I wouldn't say out there, I
• 1:37:30
  Speaker 2: wouldn't accept the job.
• 1:37:32
  Speaker 1: Okay. MTV famously decided they were going to stick with
• 1:37:37
  Speaker 1: a demo as supposed to stick with their audience. They
• 1:37:41
  Speaker 1: fired the original vj's Rolling Stone certainly evolved. Was that
• 1:37:46
  Speaker 1: something where you sat down and say we have to
• 1:37:49
  Speaker 1: change or was it something happened unconsciously? What was going
• 1:37:53
  Speaker 1: on for those fifty years? Well, oh my fifty years
• 1:37:58
  Speaker 1: were fifty years talking about you.
• 1:38:02
  Speaker 2: We we basically followed the news. What was in the
• 1:38:04
  Speaker 2: news was most people with the movies or was it
• 1:38:07
  Speaker 2: music stars or there's politics or whatever it is. We
• 1:38:11
  Speaker 2: you know, both in terms of what we put on
• 1:38:13
  Speaker 2: the cover and the stories we covered inside of an election,
• 1:38:17
  Speaker 2: So we were always with what the most people were
• 1:38:20
  Speaker 2: interested in. You know, it was a new music star
• 1:38:24
  Speaker 2: like Taylor Swift who was causing us, we put her
• 1:38:26
  Speaker 2: on the cover. You know, it was you know old
• 1:38:29
  Speaker 2: Coot running for office, Hillary Clinton, we put her on
• 1:38:32
  Speaker 2: the cover. If it was you know, a movie star.
• 1:38:35
  Speaker 2: You know, so we we did all kinds of things,
• 1:38:38
  Speaker 2: but basically, what were people who in our culture We
• 1:38:43
  Speaker 2: wanted to influence our generation and leaders of our jertion
• 1:38:47
  Speaker 2: and the people what were the most interested in and
• 1:38:51
  Speaker 2: seeing through the primise prism of culture, you know, using
• 1:38:55
  Speaker 2: culture as a filter for it. So whether it's the
• 1:38:58
  Speaker 2: actual culture or the value of that culture, what that
• 1:39:02
  Speaker 2: culture stood for, what I thought the value should be
• 1:39:04
  Speaker 2: that we should stand for. And we probably covered everything.
• 1:39:10
  Speaker 2: I mean, we we've covered all Team Pop, whether it
• 1:39:13
  Speaker 2: was you know, Brittany and Justin back in the day
• 1:39:15
  Speaker 2: up to Taylor Swift under when I was there, we
• 1:39:17
  Speaker 2: did we had done at least three Taylor Swift covers.
• 1:39:20
  Speaker 2: You know rap we had. We had every raps are
• 1:39:23
  Speaker 2: worth imagining, you know, worth worth it on the cover.
• 1:39:26
  Speaker 2: We never gave us up an inch in our coverage
• 1:39:29
  Speaker 2: of that. And I had the best coverage of any
• 1:39:31
  Speaker 2: magazine of the country on rap, including Vibe and and
• 1:39:35
  Speaker 2: UH almost besides Vibe the source UH and UH and
• 1:39:47
  Speaker 2: politics absolute vital perforce in politics and national politics. We
• 1:39:51
  Speaker 2: had a role of voice in that so and I
• 1:39:58
  Speaker 2: like that. But obviously, you know, things are different now.
• 1:40:02
  Speaker 2: I mean, I think without that unique mix and all that,
• 1:40:06
  Speaker 2: the centrality of a magazine was diminished. And then because
• 1:40:14
  Speaker 2: the impact of the importance of the Internet was so
• 1:40:16
  Speaker 2: much greater, and it kind of diminished the voice. But
• 1:40:20
  Speaker 2: you know, we were unusual, highly unusual.
• 1:40:24
  Speaker 1: You know, Tom will famously disparage The New Yorker. What's
• 1:40:28
  Speaker 1: your take on the New Yorker?
• 1:40:30
  Speaker 2: But I mean his thing was funny at the time.
• 1:40:34
  Speaker 2: I mean The New Yorker was one of my favorite magazines.
• 1:40:40
  Speaker 1: Okay, do you miss scheme?
• 1:40:43
  Speaker 2: I shouldn't. I do, yes, but I'm reconciling the fact
• 1:40:47
  Speaker 2: that I can't. But I loved it. I put years
• 1:40:50
  Speaker 2: of my life into it. Just great joy and pleasure.
• 1:40:54
  Speaker 1: So rumor was that if you heard it was good,
• 1:40:56
  Speaker 1: you would fly out the sun Valley for the weekend
• 1:40:58
  Speaker 1: ski the powder. Was that true?
• 1:41:00
  Speaker 2: Yes?
• 1:41:02
  Speaker 1: So how many days did you get in a year?
• 1:41:04
  Speaker 2: I would do an average of about sixty to seventy
• 1:41:07
  Speaker 2: if you season for about twenty seasons.
• 1:41:12
  Speaker 1: Oh, very much.
• 1:41:13
  Speaker 2: So that's why you'd asked that question last year.
• 1:41:16
  Speaker 1: Last year I got fifties. Well, I went to college
• 1:41:20
  Speaker 1: in Vermont at Middlebury. College had its own ski area.
• 1:41:23
  Speaker 2: Yeah.
• 1:41:23
  Speaker 1: I was a starving freestyle skier in Utah at Snowbird
• 1:41:27
  Speaker 1: for two years. Oh but my girl, those those were
• 1:41:32
  Speaker 1: seventy five and seventy six.
• 1:41:36
  Speaker 2: Interesting. Yeah, I was, yeah going to stay because.
• 1:41:39
  Speaker 1: Seventy seven, just to be clear, since we're going was
• 1:41:42
  Speaker 1: the bad year there wasn't another bad year after that
• 1:41:45
  Speaker 1: till twenty twelve. That was when you know, the skiers
• 1:41:48
  Speaker 1: tell your rye closed for a while. But my girlfriend's
• 1:41:51
  Speaker 1: families had a place in the lodge a Veil since
• 1:41:54
  Speaker 1: the seventies. So although the skiing is not that difficult,
• 1:41:59
  Speaker 1: it veil, that's where I spend most of my time,
• 1:42:01
  Speaker 1: not all of my time. I had Aspen before that,
• 1:42:04
  Speaker 1: I hit Little Cottonwood, Candy a little bit, Sun Valley,
• 1:42:08
  Speaker 1: phenomenal mountain. Just they don't get that much snow, but.
• 1:42:12
  Speaker 2: They got your best nomaking now absolutely absolutely. And the
• 1:42:19
  Speaker 2: season last year, yeah, I yeah, so good. Well, god,
• 1:42:23
  Speaker 2: let's fifty eight days, a lot of skiing, as you
• 1:42:26
  Speaker 2: know what that's like. And I'm sure I could have
• 1:42:31
  Speaker 2: been more of an empire builder and made more money
• 1:42:34
  Speaker 2: and you know, on and on if i'd paid me,
• 1:42:36
  Speaker 2: But I you know, what's life about. You know, it's
• 1:42:40
  Speaker 2: enough money and I had so much fun and my
• 1:42:42
  Speaker 2: kids are all great skiers now, you know, still family time.
• 1:42:46
  Speaker 1: And was it primarily sun Valley?
• 1:42:49
  Speaker 2: Yeah, once you end up in a plate, I mean
• 1:42:51
  Speaker 2: it was. It was Aspen at first was my favorite. Well,
• 1:42:54
  Speaker 2: I grew up in San Francisco. So I ski Squaw Valley,
• 1:42:56
  Speaker 2: in Hemley Valley and the Sugar Bowl, and so as
• 1:42:59
  Speaker 2: a kid, my met on a ski trip. So I
• 1:43:02
  Speaker 2: was really tell me that story. In the forties, they
• 1:43:05
  Speaker 2: were both in your early forties, and my one of
• 1:43:10
  Speaker 2: them put up a note as ski start saying, looking
• 1:43:12
  Speaker 2: for rides this weekend to Hunter a mountain or whatever.
• 1:43:15
  Speaker 2: And that's how they hooked up as skiers, you know,
• 1:43:18
  Speaker 2: and that's how they met. So we as kids who
• 1:43:22
  Speaker 2: were living in San Francisco at the time, naturally we're
• 1:43:25
  Speaker 2: taking up skiing. Every vacation, we went skiing, you know,
• 1:43:28
  Speaker 2: every Christmas, everything, all the time. We went to Squad
• 1:43:31
  Speaker 2: and they were just about to build a house there
• 1:43:33
  Speaker 2: when they decided to divorce instead. So it just it
• 1:43:38
  Speaker 2: just got in the blood, you know, just all of
• 1:43:40
  Speaker 2: this was a family thing. And I picked up again
• 1:43:43
  Speaker 2: as an adult, you know, I skilled till about college,
• 1:43:47
  Speaker 2: and I stopped and started again as an adult. Coinciding
• 1:43:50
  Speaker 2: with starting with Hunter, who lived in Aspen, and he
• 1:43:54
  Speaker 2: was no great help for schime. Terrible terrible, terrible influence.
• 1:43:58
  Speaker 2: If you can't if you stay at two o'clock in
• 1:44:00
  Speaker 2: the morning, you're not going to ski. I mean, that's
• 1:44:02
  Speaker 2: not but started skiing and Aspen and finally when I
• 1:44:06
  Speaker 2: decided I'm going to do this for a good long
• 1:44:08
  Speaker 2: time and now it's time to buy a house, checked
• 1:44:11
  Speaker 2: out the various other ski yeers. Now I've been skiing Aspen,
• 1:44:14
  Speaker 2: Jackson Hole and Snowbirds as a trio. But I'd never
• 1:44:19
  Speaker 2: been to some valley. But I went and looked around
• 1:44:21
  Speaker 2: it tell your ride and Big Sky and Sun Valley
• 1:44:25
  Speaker 2: in some valley was the place that had the best mountain,
• 1:44:28
  Speaker 2: the kind of skiing I like to do, the nicest environment.
• 1:44:31
  Speaker 2: I wanted to get away from Asspen on the drug
• 1:44:32
  Speaker 2: trade and from the living in a big high society culture,
• 1:44:36
  Speaker 2: like the kids were going to grow up anyway, and
• 1:44:39
  Speaker 2: it was just a family place, you know, world class
• 1:44:41
  Speaker 2: skiing with family values and great places.
• 1:44:45
  Speaker 1: So if you skied sixty or seventy days a year,
• 1:44:49
  Speaker 1: would you park your ass in ketch them or would
• 1:44:52
  Speaker 1: we just go out? You get in your plane whenever
• 1:44:55
  Speaker 1: the conditions were good.
• 1:44:57
  Speaker 2: Well, at first I would first few days, first first
• 1:45:01
  Speaker 2: few years, I just parked my ass and you know,
• 1:45:04
  Speaker 2: just get a condo and catch them and all that stuff.
• 1:45:06
  Speaker 2: And as I realized I was doing this more and more.
• 1:45:09
  Speaker 2: I said, we just have to buy a house. We
• 1:45:11
  Speaker 2: bought a house in Hailey, Okay. And it started, and
• 1:45:17
  Speaker 2: I realized that the thing was to spend two Actually,
• 1:45:20
  Speaker 2: if I started scheduling in advance my appointments in stuff
• 1:45:25
  Speaker 2: I do in New York and made it inviolable, then
• 1:45:28
  Speaker 2: I could actually spend hanks of time in Sun Valley
• 1:45:31
  Speaker 2: rather than going out on the spur of the moment.
• 1:45:33
  Speaker 2: So I just converted my thinking too, you know what
• 1:45:35
  Speaker 2: I'm gonna live, I'll think of it as living there
• 1:45:38
  Speaker 2: and coming back to New York the occasional break. I
• 1:45:40
  Speaker 2: started doing that successfully, and after that then I gave
• 1:45:43
  Speaker 2: up the plane because I wasn't commuting back and forth. Yeah,
• 1:45:47
  Speaker 2: I mean I didn't get up right away, but I
• 1:45:49
  Speaker 2: was going out there to live for the season, coming
• 1:45:51
  Speaker 2: back for two or three periods that First they'd be
• 1:45:54
  Speaker 2: two weeks at a time, then it'd be a week
• 1:45:56
  Speaker 2: at a time, and then finally I came back just
• 1:45:58
  Speaker 2: one week, you know, and so and I was, well,
• 1:46:03
  Speaker 2: what are you the kind of guys with coincid? Anybody
• 1:46:06
  Speaker 2: with technological progress like the Internet really helped, you know,
• 1:46:10
  Speaker 2: rather than having things fedexed out overnight and having any
• 1:46:13
  Speaker 2: approved layouts like that.
• 1:46:15
  Speaker 1: Okay, so what would your schedule be? Would you take
• 1:46:18
  Speaker 1: the calls from Europe before you went out there, you know,
• 1:46:21
  Speaker 1: with a high speed list the run two and a
• 1:46:23
  Speaker 1: half times faster. Nobody skis from Bell to Bell. What
• 1:46:26
  Speaker 1: was your schedule?
• 1:46:28
  Speaker 2: I was skiing from Bell de Bell and I was
• 1:46:30
  Speaker 2: exhausted at the end of it and couldn't do the
• 1:46:32
  Speaker 2: work really because I was the only one going up
• 1:46:34
  Speaker 2: after lunch and I haven't got idiot, you know, but
• 1:46:38
  Speaker 2: I as a much warmer. Yeah. And then also I
• 1:46:42
  Speaker 2: was getting into smoking pot skiing and if you do that,
• 1:46:45
  Speaker 2: and I can't smoke it. So I had cookies and
• 1:46:48
  Speaker 2: then they just stay in you all day and then
• 1:46:50
  Speaker 2: you're so tired when you get home. Somehow, I as
• 1:46:54
  Speaker 2: I got older, I just said it wasn't I couldn't
• 1:46:56
  Speaker 2: ski Bell de Bell anymore. That was for young people.
• 1:46:59
  Speaker 2: I stop. I had to finally stop taking cookies because
• 1:47:03
  Speaker 2: I couldn't concentrate. But I got in the morning. First thing,
• 1:47:06
  Speaker 2: I visa to the lifts, and then when I might
• 1:47:08
  Speaker 2: put my young here's what we have, here's what you
• 1:47:10
  Speaker 2: look at in the last over the last ten fifteen years.
• 1:47:16
  Speaker 2: I put my younger kids into school there and not
• 1:47:19
  Speaker 2: in New York City. So in the winters we go
• 1:47:21
  Speaker 2: to community school and ketch them. So I get up early,
• 1:47:24
  Speaker 2: about seven o'clock in the morning and take them out
• 1:47:25
  Speaker 2: to community school and catch them from where we lived
• 1:47:27
  Speaker 2: a half an hour away, drop off school, go over.
• 1:47:30
  Speaker 2: I had a condo at the base of the mountain,
• 1:47:32
  Speaker 2: at the base of Baldy, where I would do some
• 1:47:34
  Speaker 2: phone calls, do my half an hour Internet stuff and
• 1:47:37
  Speaker 2: then go meet be on the first leve at eight
• 1:47:40
  Speaker 2: thirty or nine.
• 1:47:42
  Speaker 1: Was your condo? Worm Springs?
• 1:47:44
  Speaker 2: Yeah, right, the totally at the base of Warms right right.
• 1:47:47
  Speaker 1: We're allowed to do And where where do you like
• 1:47:49
  Speaker 1: to ski? At Sun Valley?
• 1:47:51
  Speaker 2: Those my favorite? Well, skipping the powder days, you know
• 1:47:56
  Speaker 2: when you always want to go to the bowls or
• 1:47:58
  Speaker 2: do some things. I mean skiing. Worm Springs itself is
• 1:48:01
  Speaker 2: just great straight shot down Warm Springs, which you could
• 1:48:03
  Speaker 2: do most of the time. You can do a NonStop
• 1:48:06
  Speaker 2: if you're in shape. Nobody's there except in the holidays.
• 1:48:08
  Speaker 2: I loved that. I liked, you know, squirrel, I think
• 1:48:12
  Speaker 2: was cool great, you know, I mean orange Springs was
• 1:48:19
  Speaker 2: the thing for me, you know, and then I love
• 1:48:21
  Speaker 2: Midriv and uh, what's the next midriv? What's that call?
• 1:48:28
  Speaker 2: I think of it in the second of My memory
• 1:48:29
  Speaker 2: is so shot these days. Uh, and those those are
• 1:48:37
  Speaker 2: the great Those are the great runs. I mean mid
• 1:48:41
  Speaker 2: Rive and worm Strings. You can just haul fucking ass
• 1:48:43
  Speaker 2: so fast, unbelievable. And skin of bumps in the bowl
• 1:48:47
  Speaker 2: is also great. Yeah, it's just that's so fun when
• 1:48:50
  Speaker 2: the conditions are good. Well.
• 1:48:52
  Speaker 1: The great thing about Sun Valley, unlike any other place,
• 1:48:55
  Speaker 1: is the slope starts at a certain pitch and that
• 1:48:58
  Speaker 1: doesn't flatten out until you get to the lift there.
• 1:49:03
  Speaker 2: Yeah, that is the magic. No other is. There's no
• 1:49:06
  Speaker 2: other mountain you can think of like that.
• 1:49:08
  Speaker 1: None.
• 1:49:09
  Speaker 2: And if you're combine that the fact that nobody's there,
• 1:49:12
  Speaker 2: and if patrol doesn't stop you, if nobody's around, you
• 1:49:16
  Speaker 2: can do whatever you want. I mean, the days you
• 1:49:19
  Speaker 2: go up there and warms is just empty for like
• 1:49:21
  Speaker 2: nearly all day. It's just your mountain, your mountain.
• 1:49:25
  Speaker 1: Did you go to other places? Did you go to
• 1:49:27
  Speaker 1: South America? Did you go to Europe?
• 1:49:29
  Speaker 2: We went to you. No, I never went to South America,
• 1:49:31
  Speaker 2: but we went to Europe several times, and that was
• 1:49:33
  Speaker 2: a lot of fun. But it's in the end it's
• 1:49:36
  Speaker 2: not as good as Hunt Valley.
• 1:49:37
  Speaker 1: No it's not.
• 1:49:39
  Speaker 2: I mean the food is better, but even then, and then,
• 1:49:43
  Speaker 2: you know, we went over to Jackson a couple of times,
• 1:49:45
  Speaker 2: and I went back to Aspen a couple times, sealed
• 1:49:47
  Speaker 2: friends and ski a little bit, by and large. Once
• 1:49:50
  Speaker 2: you're settled in, you know, you get to go to
• 1:49:51
  Speaker 2: your own home. You know, as you get older, it's
• 1:49:54
  Speaker 2: more about the comforts than you know, the adventure of
• 1:49:57
  Speaker 2: finding a new spot and you know, are you going
• 1:49:59
  Speaker 2: to finally take culberts which I never did? And uh,
• 1:50:04
  Speaker 2: it's just easier staying home.
• 1:50:07
  Speaker 1: And to what degree did your health problems fuck you
• 1:50:11
  Speaker 1: up mentally?
• 1:50:13
  Speaker 2: I don't think they They make you sit back and
• 1:50:16
  Speaker 2: really think about your life like they always do. And
• 1:50:19
  Speaker 2: I thought that was good. That was helpful for me. Yeah,
• 1:50:23
  Speaker 2: that didn't fuck me up at all. It made me
• 1:50:25
  Speaker 2: think twice, which is great.
• 1:50:29
  Speaker 1: Well, moving forward, to what degree are you impact your
• 1:50:32
  Speaker 1: every day in life impacted by your health issues?
• 1:50:36
  Speaker 2: Well, I'm not, you know, physically active at all. You know,
• 1:50:39
  Speaker 2: I don't going out as a you know, pain any
• 1:50:42
  Speaker 2: ass because they've got bad leg and use a cane.
• 1:50:46
  Speaker 2: But you know, mentally, I'm having totally tons of fun
• 1:50:50
  Speaker 2: and enjoying it, I think, much more than I ever
• 1:50:52
  Speaker 2: have in a way. You know. I've got the kids around,
• 1:50:54
  Speaker 2: which are wonderful to have that life and that engagement around.
• 1:50:58
  Speaker 2: And I'm going to write another book. I'm going to
• 1:51:02
  Speaker 2: try and write another book as soon as I got
• 1:51:04
  Speaker 2: this one out, and mm hmm, just have me a
• 1:51:08
  Speaker 2: great time to love listening to music and learning and
• 1:51:12
  Speaker 2: listening to classical music a lot these days and really
• 1:51:14
  Speaker 2: enjoying that enormously. Uh the new you know, I'll look
• 1:51:18
  Speaker 2: forward to the new Rolling Stones record. Bottom way know
• 1:51:21
  Speaker 2: is cooking one up, and Bob and all my favorites
• 1:51:24
  Speaker 2: are got records going on. Bruce has got one in
• 1:51:27
  Speaker 2: a can two he's working on right now. And uh
• 1:51:31
  Speaker 2: so I'm fulfilled, you know, great marriage, and you know,
• 1:51:36
  Speaker 2: watch my kids throve. It's wonderful. I've me a great time.
• 1:51:39
  Speaker 1: How much do you listen to music?
• 1:51:42
  Speaker 2: A lot a lot, But I don't listen togainst temporary music.
• 1:51:47
  Speaker 2: You know, I listen to my old things. I love
• 1:51:49
  Speaker 2: and the love for a long time, you know, I'll
• 1:51:51
  Speaker 2: go on a kick and I'll listen to Mark Now
• 1:51:53
  Speaker 2: for for three months, you know, and then I'll switch
• 1:51:56
  Speaker 2: and say, oh, it's kind to go back to the
• 1:51:57
  Speaker 2: early Rolling Stones, and it goes around around. This is
• 1:52:00
  Speaker 2: Sergeant Peppers this weekend, and I mean, I forgot. It's huge.
• 1:52:07
  Speaker 2: It's amazing record.
• 1:52:09
  Speaker 1: You know, people have forgotten that talking about Abbey Rude,
• 1:52:11
  Speaker 1: which I don't think is as good that the White Album,
• 1:52:14
  Speaker 1: which is great and uneven. Sergeant Pepper was such a
• 1:52:17
  Speaker 1: breakthrough in those songs, it's unreal.
• 1:52:21
  Speaker 2: I mean, but go it. Yeah, listen to it, go
• 1:52:24
  Speaker 2: back and listen to it carefully, and then you realize
• 1:52:27
  Speaker 2: what was going on before this. Nothing like that was
• 1:52:31
  Speaker 2: going on before. Those are other good songs and good players,
• 1:52:34
  Speaker 2: but nobody had composed this whole thoughtful thing good morning,
• 1:52:39
  Speaker 2: good morning bad and you know it was genius.
• 1:52:42
  Speaker 1: One forgets and also it was in retrospect such a
• 1:52:47
  Speaker 1: short period of time. Yeah, So what do you use
• 1:52:51
  Speaker 1: to listen to? You listening to vinyl, You listen to files,
• 1:52:54
  Speaker 1: listen headphone speakers.
• 1:52:55
  Speaker 2: Anything goes to the yearbuds. They're the easiest, most convene thing.
• 1:53:00
  Speaker 2: I haven't used a pair of really high quality headphones
• 1:53:03
  Speaker 2: in a long time. I just you know, can lay
• 1:53:06
  Speaker 2: down and listen to music, you know what, I and
• 1:53:09
  Speaker 2: anywhere and anyway. It's the quality is good enough for
• 1:53:12
  Speaker 2: me because headphone quality is just in of itself. I
• 1:53:16
  Speaker 2: this is what my latest happens. I go to sleep
• 1:53:18
  Speaker 2: every night, but in Heaven's Melissa Roberson. I made it
• 1:53:22
  Speaker 2: the next tape of roverson I Loves Unbelievable.
• 1:53:28
  Speaker 1: You know, I think that's also being a little bit older. Crying.
• 1:53:31
  Speaker 1: I was too young for crying. Pretty woman is really
• 1:53:34
  Speaker 1: when I came in. And so tell me about your
• 1:53:38
  Speaker 1: two top pinch me moments meeting people.
• 1:53:43
  Speaker 2: Wait a minute, Roy Everson, first of he had two
• 1:53:45
  Speaker 2: records of the modern era, Mystery Girl and Mystery Girl
• 1:53:51
  Speaker 2: and what was the othering? What they call it? Not
• 1:53:57
  Speaker 2: California Blue. Anyway, this last two records. Got to get
• 1:54:01
  Speaker 2: those two records. Okay, they're produced in the modern way,
• 1:54:06
  Speaker 2: and so all the modern and instrumentation is more modern.
• 1:54:08
  Speaker 2: And get a guitar players my mother. So their beautiful
• 1:54:11
  Speaker 2: records have some great great songs on it, and if
• 1:54:13
  Speaker 2: you like them on Traveling Little Berries, it's kind of
• 1:54:16
  Speaker 2: like that, Okay, I urge you to get those records.
• 1:54:21
  Speaker 1: Oh okay, just while you're on this top anything else.
• 1:54:25
  Speaker 1: Personal favorites that are overlooked by me or other people.
• 1:54:28
  Speaker 2: Oh, I can't. That's too long. That's way too long.
• 1:54:32
  Speaker 2: And I have to know what you overlooked, because I'm
• 1:54:36
  Speaker 2: most of my personal favorites are popular stuff anyway, because
• 1:54:39
  Speaker 2: that the best stuff usually gets to be the most popular.
• 1:54:42
  Speaker 2: But Roy, and then if you go back and listen
• 1:54:44
  Speaker 2: to the classic Roy the late fifties and sixty seventies,
• 1:54:49
  Speaker 2: his singing is unbelievable. He's good, his voice is matchless, peerless.
• 1:54:54
  Speaker 2: But the arranging is so wonderfully classic and old fashioned
• 1:54:58
  Speaker 2: and detailed, you know, in the amount of stuff that's
• 1:55:00
  Speaker 2: in the track, and the way they use the strings,
• 1:55:03
  Speaker 2: you know, and how soaring strings and the vocals it's
• 1:55:06
  Speaker 2: just some fonic you mean, other beautiful Go listen carefully
• 1:55:12
  Speaker 2: and then the whole thing. I find it very soft
• 1:55:14
  Speaker 2: and in a way that it's smooth. That's soothing, as
• 1:55:18
  Speaker 2: was what I find. You know, rock is jangling music.
• 1:55:22
  Speaker 2: It's a hard music, things like the who you Know
• 1:55:25
  Speaker 2: and stuff like that. I mean, I'm more into the
• 1:55:28
  Speaker 2: ballady thing. That's why I love Mark Knolfler and our
• 1:55:30
  Speaker 2: straits for that, and Bob does. It's a balancing anyway.
• 1:55:37
  Speaker 2: But two tingling moments, I mean they're all tingling. You know.
• 1:55:46
  Speaker 2: Bob gives me tingles, Mick gives me, I mean all,
• 1:55:49
  Speaker 2: I mean, I don't you know they're tingling moments.
• 1:55:51
  Speaker 1: How about a non musician, It's.
• 1:55:53
  Speaker 2: Hard to say. I mean, I got so accustomed to
• 1:55:56
  Speaker 2: meaning presidents that I don't get tingles out of that,
• 1:56:00
  Speaker 2: you know, seeking the most of meeting people, I mean, god,
• 1:56:03
  Speaker 2: you know, Bob, John Lennon, Mick.
• 1:56:07
  Speaker 1: Okay, so do you have the same access, do you
• 1:56:10
  Speaker 1: miss access? Do you care about access?
• 1:56:14
  Speaker 2: I do. I have the same access. But those people,
• 1:56:18
  Speaker 2: as I've always had, they are friends and colleagues. I mean,
• 1:56:27
  Speaker 2: you know they you know, with Bono with their family,
• 1:56:34
  Speaker 2: his family, and with the Springsteens, a very family relationship
• 1:56:38
  Speaker 2: with those people. You know, they're you know, our families
• 1:56:41
  Speaker 2: are involved with each other. We're involved with our kids
• 1:56:43
  Speaker 2: and our vacations. You know, our social lives are entwined.
• 1:56:48
  Speaker 2: You know, really they're younger, but they're like I don't know,
• 1:56:54
  Speaker 2: for years, you know, up until recently, Uh, you know,
• 1:56:58
  Speaker 2: we're deeply involved with Yoko and Sean. I'm Sean's godfather,
• 1:57:05
  Speaker 2: Sean Yoga's godfather, and one of my kids, Shawn has
• 1:57:08
  Speaker 2: got other to one of my younger kids. And Mick
• 1:57:13
  Speaker 2: I just had lunch with me a couple of weeks ago. Month,
• 1:57:16
  Speaker 2: a couple of weeks ago. So I mean I'm in
• 1:57:18
  Speaker 2: regular contact with everybody. I mean, Bob's not a social
• 1:57:22
  Speaker 2: be and Pete is I don't Pete, I don't see.
• 1:57:26
  Speaker 2: But the rest of the do Are you regularly a
• 1:57:30
  Speaker 2: social being?
• 1:57:31
  Speaker 1: An extrovert or moore of an introvert? Want to be
• 1:57:33
  Speaker 1: home reading both?
• 1:57:37
  Speaker 2: I love them both?
• 1:57:39
  Speaker 1: And to what you wrote an autobiography. Now you have
• 1:57:43
  Speaker 1: this interview book you're talking about another book. To what
• 1:57:46
  Speaker 1: degree are you concerned about legacy?
• 1:57:50
  Speaker 2: I don't pay attention to it that much. Yeah, it's
• 1:57:53
  Speaker 2: not and it's not my issue. My issue is raising
• 1:57:58
  Speaker 2: the kids and by myself. Now you know, let me
• 1:58:02
  Speaker 2: a good, fruitful, productive life now, doing what I can
• 1:58:06
  Speaker 2: to help people, trying to stay healthy and get bring
• 1:58:11
  Speaker 2: happy is my life and others.
• 1:58:15
  Speaker 1: Okay, Yoan, I want to thank you. As far as
• 1:58:17
  Speaker 1: the book, the only interview I hadn't read was the
• 1:58:20
  Speaker 1: first with Townsend, and it's really very interesting to see
• 1:58:26
  Speaker 1: the insight and the intelligence of the different people. I mean,
• 1:58:30
  Speaker 1: Dylan certainly comes across as intelligent. They all have different
• 1:58:34
  Speaker 1: personalities and whatever the reason behind making the book, it's
• 1:58:40
  Speaker 1: no hype that when you sit there, it really brings
• 1:58:43
  Speaker 1: back the era. You know, sets the constellation right. I
• 1:58:47
  Speaker 1: was surprised, not that because I thought it'd be negative,
• 1:58:49
  Speaker 1: but everyone's publishing a book, but it really brought the
• 1:58:53
  Speaker 1: era and the people were part of the era alive.
• 1:58:59
  Speaker 2: It's it's a way, it's a real history as well
• 1:59:02
  Speaker 2: just an anthology collection. When I did it and read off,
• 1:59:06
  Speaker 2: it was just shocked by how much good stuff is,
• 1:59:09
  Speaker 2: how much people really spoke their mind. I mean, it
• 1:59:11
  Speaker 2: had been years since I've read these things, and what
• 1:59:14
  Speaker 2: was really there, I mean it was you don't get
• 1:59:17
  Speaker 2: this at all today, And added all up, I felt
• 1:59:20
  Speaker 2: that I'd taken a trip to my life until next time.
• 1:59:23
  Speaker 1: This is Bob left Stets