17 Burst results for "Judy Collins"
Broken Record
"judy collins" Discussed on Broken Record
"Sing? Songs like and winter sky and rambling boy and all these other great songs, you sing in the same cave, which a lot of performers over the years have to lower it. So what do you do with your voice that allows you to do that? Well, today I sat down and practiced the piano and sang. Did some exercises that I was taught by my teacher and if there is a secret, it is what max margolis taught me, which is that everything is about clarity and phrasing. If you listen to a singer and you understand the words, it goes a long way to proving that they're singing well. If you don't, maybe not so much. And my whole purpose in life is to tell the stories so that they can be understood. I know some people who have, let's say, rugged voices, they're charming, but the real challenge is to keep telling the stories and telling them understandably. You mentioned max margolis. He was your vocal coach? Yes. When did you start with him? I started with him in 1965. You know, it was a pianist, trained pianist. I sang in the choirs in the courses, but when I got stretched out on the road after 61, when I began to make records and have to travel all over the world, I would lose my voice all the time. And so by 1965, it was clear that I had to do something about it. And I didn't know anybody in New York who would do that. I mean, my friends who were the folk music community, nobody was taking singing lessons. That's for sure. So I called Harry Belafonte and has somebody who worked with him and said, oh, Harry says you have to talk to his guitarist, ray bogoslav, and you have to call ray because ray knows about these things. So I called ray bogoslav, and he said, well, there's only one person that would be worthwhile to work with and his name is max margolis. So I wrote his phone number down, and so at the end of the summer, I was in my apartment on the upper west side, and I picked up the piece of paper with the phone number on it, which I had kept. And I called this number. And this man answered, and I said, who I was. And I told him who had recommended him. And we talked for a little bit, and I said, I'd really like to come and see you and see if you can help me out with this problem. And he said, what do you do? And I told him, and he said, oh, I'm not interested. You people are not serious. Folks. I said, oh, trust me, I'm serious. And I begged, and pleaded. And finally, he said, all right, he said, will spend a little time together. You can come and see me. And I said, well, that's wonderful. But where do you live? And he told me, and I walked out my front door on the 8th floor of one 64 west 79. And I turned right and walked past the elevator and rang his bell. He didn't tell. He didn't expect you quite so soon. No. That's how right on these two folks were that I'm obviously it was karmic. And it was meant. And then I studied with him for 32 years until he died. And the last thing he said to me at Roosevelt hospital when he was dying was don't worry. As long as you know that it's clarity and phrasing, you're going to be fine. How do you practice clarity and phrasing? Well, you think about clarity about the words, you know, my husband will say to me, you've got to be clearer on that song. You know, it's a new song and you're not finding your way into it. It's not understandable to me. So that'll do it. Every time. We'll be right back with more from Judy Collins after a quick break. In each season of what had happened was, open Mike eagle highlights a legendary creator in hip hop to discuss their life impact and their legacy. Season three is out now and focuses on legendary hip hop A&R slash producer, Dante Ross. The two unpack his journey in hip hop when the culture started becoming more mainstream in 1980s New York City. Dante goes from being a witness to the explosion to working alongside of some of the genres essential artists, including his friends from the punk scene, the Beastie Boys. Subscribe to what had happened was on your favorite podcast platform today. Hi, I'm Gloria Adam, host of well read black girl. Each week I sit in close conversation with one of my favorite authors of color. And share stories about how they found their voice. Honed their craft and navigated the publishing world in composed some of the most beautiful and meaningful words I've ever read. We journeyed together through the cultural moment where art, culture, and literature collide, and pay homage to the women whose books we grew up reading. And of course, I check in with members of the well read black girl book club. It's the literary kickback you never knew you needed. And you're all invited to join the club. So tell your Friends to tell their friends so we can be friends who love books. Listen to well read black girl wherever you get your podcast. And subscribe to pushkin plus. To receive exclusive bonus episodes. Sign up on the well read black girl show page in Apple podcasts or at pushkin dot FM. We're back with the rest of Bruce's conversation with Judy Collins. One of the things reading your autobiography that I found fascinating, you lived in the upper west side, but you were really part of the Greenwich Village scene. And how quickly you got to know seemingly everybody when you had trouble with your voice, you phoned Harry Belafonte. What was it about the village at that point? I know there were a lot of talented people there, but everybody seemed to intersect so many times. Was it a small community? Was it that everybody was drinking together or what was it that made it so, so connected? You know, when you think of the village, it's a very small area of physical area. It's only a few blocks. You would think of it as this huge place, and yes, we drank together, it was very much a social club, but when I got to the village, it was 1961, and there was a kind of a word of mouth around the whole country. The people ran the clubs would say, to another person who ran a club in Chicago, maybe she sold tickets. And they would hire me. I was there for 6 weeks at a time, or sometimes a month and a half, two months in that way the venues got to know that you were doing business. So they would hire you. And I went to New York for the first time since I was a teenager. I went to Greenwich Village, and I was the opener. I was the headliner at gerty's folk city in April of 19 61. Dylan had been when he was called Robert Zimmerman. He had been in Denver, and he was hanging out there. He was homeless there. He was sleeping on the couches of people who sang at the exodus, which is a club that I sang in, I opened for bob Gibson, who discovered Joan Baez, and then he called Jack holzman and said, I think I found your Joan bias. It was a very tiny community, although we were stretched out very thin all over the country, but that's really the way it was. The night that I opened, as the headliner, at girty's folks, everybody was there that I had ever seen in the record stores and Pete Seeger was there and Peter Paul you were there and Dave red and rock was there and ramblin Jack Elliott was there because my opener was 13 year old named Arlo Guthrie. So they had come to see what woody's kid was going to do. And I've known Arnold for 60 years. I was fascinated that this sort of dominant, slightly fearsome character for you when you went there was Joan Baez, wasn't Bob Dylan, he was still a kid, Joan was the one that everybody kind of gravitated to. And she seemed to be the charismatic one. Oh, and she became a friend very early on in her sister. I was embedded with this group of people, including people like Phil ochs, who one day, he knew that I was recording in the heat of the summer, was wonderful song by him, and so he knew I was going to be recording that month in 64, and so he brought Eric Anderson over. I didn't know Eric at all. So he brought him over and Eric brushed me aside, raced to the bedroom, sat down, finished writing the words to the song and then came back and sang me thirsty boots. And I said, oh, that's great. I'll record that tomorrow too. So things like that were always happening. It's just they seem to happen so rapidly. That's right. Oh, Dennis, husband was my manager for a while. I don't know if you know that. I didn't know that. But you guys played a very particular role, which you don't find in pop music anymore. Before you started writing, you were almost like the curators of what was happening. You sang Dylan songs before Dylan was popular, and he wouldn't have had a career without. John Baez. And Odetta saying everybody's songs. Yeah. You became this interpreter of these songwriters, people hadn't really heard of. And I want to just talk about a few of them. Because the list is so impressive. How did you first meet Ian and Sylvia? Well, they were recording for Electra. And they were charming. They had a place in the village. And you know, electro was a family. And Jack Olson and his wife, Nina. She used to do these big parties when you had a concert somewhere. And we'd meet everybody where I'd go to hear Ian and Sylvia saying somewhere at some club or I'd go hang out at the gaslight and listen to Dave and rock and there would be Phil ochs singing and Peter lafarge. There was always something going on. I listened to the songs and I would pluck out the ones that I knew would work for me. And I went to see Dylan and it must have been 62. It was very early on. It was town hall. And he sang masters of war and I just flipped out and also fare thee well. And I said, I have to record this guy. So then I came back to the east and moved straight into the village as where I knew I had to be. I just had to be there. In a way, everybody found a way to get into that recording studio was electorate and make a record. Sometimes they didn't stay all that long, I did, but I did get to know people because of that because that social life that kind of swirled around Nina and Jack holzman. And how did you meet Leonard Cohen? You may be the only person not to have had an affair with Leonard Cohen. Yes, I'm the only person who didn't. Yes. The only girl in the room left standing. I had a couple of friends. Lily Tomlin and Jane Wagner were friends of mine in those old days in the village. And I had a friend named Linda gottlieb and she and I and Mary Martin would have dinner. The four or 5 of us would have dinner. Mary Martin worked for Warner Brothers, and she was a Canadian, and we would go out to dinner and she would talk about her life in Canada, and she would talk about this guy. Named Leonard, and she would say Leonard's a wonderful poet, and we all love him. We all grew up in the same neighborhood. That's also where Nancy bakal came into my life, too, a little after that. And she said, we're also worried about him because he's a brilliant person. He gets some books published, and we go to his little readings in Montreal, but we don't understand these poems at all. They're so obscure. So this went on for a couple of years. In and out of various spots where we'd have dinner, lunch or whatever. Then in 66 she called me one day and she said, well, you'll be surprised, but he's writing songs. And he wants to come to see you to record his songs. Now, by that time, of course I had had the hand in a number of careers, many, many artists. I suppose it was known that if you could get me on a record on Electra because I was recording every year, it would be a good thing for your career. I said to Leonard, you know, Mary told me that you write songs. And I'd love to hear some. If that's okay with you. He said, okay, I'll come by the next day. So the next day he came by. The apartment, and he said, I can't sing and I can't play the guitar. And I don't know if this is a song. And he's saying these three songs, he's saying he's a stranger song, which I've never recorded yet, but I will someday. And he sang me dress rehearsal rag, which is the story of a rehearsal for a suicide. Which I thought was great, and then he sang me, Suzanne. Now, Michael got it right away with Susan. He said, oh, that's it. And I said, I'm not so sure. So it wasn't until a day or two later that it sunk in. That was when I called Jack, we had been working on in my life, which was my 5th album. And it was a huge departure from everything I'd ever done because I know there were no guitars there was no Dylan. There was no fill oaks. It was songs from the morrow outside sounds from the pirate Jenny. It was a huge departure. And in my life, a Beatles song. We should just back up. This was a famous theater production. By Peter Brooks. And the story of the Marquis de Sade, a fantastic production. And the music was not distinctly song. So I took the whole soundtrack, and I had them put it on a reel to reel for me, and then I edited it with my own razor, to put the thing together so that it would make a complete kind of text as a song. And then we said, let's get Josh to do this. Let's get Josh Ruth going to orchestrate these things. Pirate Jenny, the music for the more in my life, et cetera. And so we've done all this material. We went to England actually to record so we could get the folks who sang for the Marat sod recordings. And we were out there, you know, we were having a very good time. Nobody knew what we were doing. And nobody understood why we were doing what we were doing. And so we were very happy with it, but Jack said to me, it's missing something. And that was when Leonard came along. I called Jack a couple days later and I said, I think I found the missing something. I had Leonard play Suzanne for him, and he said, oh, that's it. But we're done. Wow. It's amazing to me at that point that you had 5 or 6 records by that. Before you did in my life. And they'd done okay, but you didn't have a breakout hit on any of them. You were touring a lot. A musician today would not get 6 kicks at the can. Well, they didn't have Jack holtzman on their side. Do you think that was it? Oh, yeah. He was a believer. You know, he said to me, when bob gives had called him from Denver and said I have found your Joan Baez that was in 59. And bob said, I think you have to come out here to Denver and hear her. And he did. But he didn't introduce himself to me, and two years later he came to see me at gerty's folk city and said, you're ready to make a record. And years later, he said, I didn't know that he had come out to Denver. And then he called, after saw me at gertie, she called bal Gibson and said, I have now found my Judy Collins. And he told me this, maybe 5 years ago, I heard this story from him. He saves these little nuggets for me and tells me, decades later. I was saying he hung onto that one for a long time. I had no idea. I said, why didn't you introduce yourself? He said, because I heard you, and I thought she's very good. But then he sought, I did not know if you were serious, and I said, which could have asked me. As always, very seriously. He said, well, I didn't know that. But you see he had a heart also has integrity and he knows that it takes time to build an artist. I would do an ask about two more songwriters. Could you champion very early, Randy Newman? How did that song come to your channel? Somebody sent me somebody from his camp, sent me that song when I was on the verge of recording the in my life album. He had recorded it, and I heard it. And I said, I'm putting this on the album. That's what made the decision in his mind that he was going to be a songwriter. And not go the route of most of his relatives who wrote music for movies, as you know. That was what did it was that I chose the song and I sang it, and of course it's a great and the song is great. I think it will rain today. I think it's going to rain. It's going to rain today. Just an amazing song. So, but I didn't know him. Somebody brought the song to my producer to Mark abramson and kind of threw it on his desk. And how did you first hear Joni Mitchell? Another one of those miraculous moments. I was in the village. I was hanging out, recording, traveling, and I became friendly with Al Cooper, who started blood sweat and tears, then 67, I was passed out, I'm sure, one night, and it was about three in the morning, and I got this call from Al Cooper, and I said, why are you calling me? What is going on? Is something wrong? And he said, no, no. No, no, no. I followed this girl home, and she was good-looking. And she said she was a songwriter. And so I figured I couldn't lose. So I followed her home. And when she got there, she started singing these songs, and I said to her, hold everything, I have to call, Judy. And so he called me, and I said, why are you calling me in the middle of the night? And then he said, I have a surprise for you. She does write songs. And you are going to love them. And then he put her on the phone, and she's saying me both sides now. She's saying that on the phone. Yeah. Did she play guitar when she was singing? Playing the guitar and singing into the phone with Al Cooper sitting next to her. And you thought what? I thought, oh, my God. I'll be right over. And I took Jack with me the next day. And I said, this is it. And he said, you're right. And that was it. I did Michael for mountains, too, which I don't sing in concerts, but it is a great song. And then you later did a couple of other big songs of hers. I did Chelsea morning. Chelsea morning was a hit for you. And then president Clinton and his wife said they named Chelsea morning after listening to my version of the song. But that's a big song that I do. I love that song a lot. Did you maintain a relationship with her over the years? Not really. We've grown apart and we also live in different parts of the country. And she doesn't travel. So much. I mean, she has had her physical issues. But we have had some very nice times Clive Davis Gus together a couple years ago. She was still in a wheelchair, but she came to the Grammy party that he has before the Grammys. And I sang both sides now with a wonderful band for her. And so that was very special. Okay, well, I'm so happy you could fit us in. Because you may be the busiest person I know. What a treat for me. I've loved every second of it. Thank you so much for coming down. Thanks to Judy Collins for taking a stroll down memory lane with Bruce. You can check out a playlist of all of our favorite Judy Collins songs, and songs inspired by Judy columns. At broken record podcast dot com. Be sure to subscribe to our YouTube channel at YouTube dot com slash broken record podcast. We can find all of our new episodes. You can follow us on Twitter at broken record. Broken record is produced at help from Lee arose, Jason gambel, Ben, Eric Sandler, and Jennifer Sanchez, with engineering help from Nick chafee. Our executive producer is Mia Labelle. Broken record is a production of pushkin industries. If you like this show and others from pushkin, consider subscribing to pushkin plus. Push can plus is a podcast subscription that offers bonus content and uninterrupted ad free listening for 4.99 a month. Look for pushkin plus on Apple podcast subscriptions. And if you like the show, please remember to share rate and review us on your podcast app. But things expect any beats. I'm Justin Richmond..
Broken Record
"judy collins" Discussed on Broken Record
"Sing? Songs like and winter sky and rambling boy and all these other great songs, you sing in the same cave, which a lot of performers over the years have to lower it. So what do you do with your voice that allows you to do that? Well, today I sat down and practiced the piano and sang. Did some exercises that I was taught by my teacher and if there is a secret, it is what max margolis taught me, which is that everything is about clarity and phrasing. If you listen to a singer and you understand the words, it goes a long way to proving that they're singing well. If you don't, maybe not so much. And my whole purpose in life is to tell the stories so that they can be understood. I know some people who have, let's say, rugged voices, they're charming, but the real challenge is to keep telling the stories and telling them understandably. You mentioned max margolis. He was your vocal coach? Yes. When did you start with him? I started with him in 1965. You know, it was a pianist, trained pianist. I sang in the choirs in the courses, but when I got stretched out on the road after 61, when I began to make records and have to travel all over the world, I would lose my voice all the time. And so by 1965, it was clear that I had to do something about it. And I didn't know anybody in New York who would do that. I mean, my friends who were the folk music community, nobody was taking singing lessons. That's for sure. So I called Harry Belafonte and has somebody who worked with him and said, oh, Harry says you have to talk to his guitarist, ray bogoslav, and you have to call ray because ray knows about these things. So I called ray bogoslav, and he said, well, there's only one person that would be worthwhile to work with and his name is max margolis. So I wrote his phone number down, and so at the end of the summer, I was in my apartment on the upper west side, and I picked up the piece of paper with the phone number on it, which I had kept. And I called this number. And this man answered, and I said, who I was. And I told him who had recommended him. And we talked for a little bit, and I said, I'd really like to come and see you and see if you can help me out with this problem. And he said, what do you do? And I told him, and he said, oh, I'm not interested. You people are not serious. Folks. I said, oh, trust me, I'm serious. And I begged, and pleaded. And finally, he said, all right, he said, will spend a little time together. You can come and see me. And I said, well, that's wonderful. But where do you live? And he told me, and I walked out my front door on the 8th floor of one 64 west 79. And I turned right and walked past the elevator and rang his bell. He didn't tell. He didn't expect you quite so soon. No. That's how right on these two folks were that I'm obviously it was karmic. And it was meant. And then I studied with him for 32 years until he died. And the last thing he said to me at Roosevelt hospital when he was dying was don't worry. As long as you know that it's clarity and phrasing, you're going to be fine. How do you practice clarity and phrasing? Well, you think about clarity about the words, you know, my husband will say to me, you've got to be clearer on that song. You know, it's a new song and you're not finding your way into it. It's not understandable to me. So that'll do it. Every time. We'll be right back with more from Judy Collins after a quick break. In each season of what had happened was, open Mike eagle highlights a legendary creator in hip hop to discuss their life impact and their legacy. Season three is out now and focuses on legendary hip hop A&R slash producer, Dante Ross. The two unpack his journey in hip hop when the culture started becoming more mainstream in 1980s New York City. Dante goes from being a witness to the explosion to working alongside of some of the genres essential artists, including his friends from the punk scene, the Beastie Boys. Subscribe to what had happened was on your favorite podcast platform today. Hi, I'm Gloria Adam, host of well read black girl. Each week I sit in close conversation with one of my favorite authors of color. And share stories about how they found their voice. Honed their craft and navigated the publishing world in composed some of the most beautiful and meaningful words I've ever read. We journeyed together through the cultural moment where art, culture, and literature collide, and pay homage to the women whose books we grew up reading. And of course, I check in with members of the well read black girl book club. It's the literary kickback you never knew you needed. And you're all invited to join the club. So tell your Friends to tell their friends so we can be friends who love books. Listen to well read black girl wherever you get your podcast. And subscribe to pushkin plus. To receive exclusive bonus episodes. Sign up on the well read black girl show page in Apple podcasts or at pushkin dot FM. We're back with the rest of Bruce's conversation with Judy Collins. One of the things reading your autobiography that I found fascinating, you lived in the upper west side, but you were really part of the Greenwich Village scene. And how quickly you got to know seemingly everybody when you had trouble with your voice, you phoned Harry Belafonte. What was it about the village at that point? I know there were a lot of talented people there, but everybody seemed to intersect so many times. Was it a small community? Was it that everybody was drinking together or what was it that made it so, so connected? You know, when you think of the village, it's a very small area of physical area. It's only a few blocks. You would think of it as this huge place, and yes, we drank together, it was very much a social club, but when I got to the village, it was 1961, and there was a kind of a word of mouth around the whole country. The people ran the clubs would say, to another person who ran a club in Chicago, maybe she sold tickets. And they would hire me. I was there for 6 weeks at a time, or sometimes a month and a half, two months in that way the venues got to know that you were doing business. So they would hire you. And I went to New York for the first time since I was a teenager. I went to Greenwich Village, and I was the opener. I was the headliner at gerty's folk city in April of 19 61. Dylan had been when he was called Robert Zimmerman. He had been in Denver, and he was hanging out there. He was homeless there. He was sleeping on the couches of people who sang at the exodus, which is a club that I sang in, I opened for bob Gibson, who discovered Joan Baez, and then he called Jack holzman and said, I think I found your Joan bias. It was a very tiny community, although we were stretched out very thin all over the country, but that's really the way it was. The night that I opened, as the headliner, at girty's folks, everybody was there that I had ever seen in the record stores and Pete Seeger was there and Peter Paul you were there and Dave red and rock was there and ramblin Jack Elliott was there because my opener was 13 year old named Arlo Guthrie. So they had come to see what woody's kid was going to do. And I've known Arnold for 60 years. I was fascinated that this sort of dominant, slightly fearsome character for you when you went there was Joan Baez, wasn't Bob Dylan, he was still a kid, Joan was the one that everybody kind of gravitated to. And she seemed to be the charismatic one. Oh, and she became a friend very early on in her sister. I was embedded with this group of people, including people like Phil ochs, who one day, he knew that I was recording in the heat of the summer, was wonderful song by him, and so he knew I was going to be recording that month in 64, and so he brought Eric Anderson over. I didn't know Eric at all. So he brought him over and Eric brushed me aside, raced to the bedroom, sat down, finished writing the words to the song and then came back and sang me thirsty boots. And I said, oh, that's great. I'll record that tomorrow too. So things like that were always happening. It's just they seem to happen so rapidly. That's right. Oh, Dennis, husband was my manager for a while. I don't know if you know that. I didn't know that. But you guys played a very particular role, which you don't find in pop music anymore. Before you started writing, you were almost like the curators of what was happening. You sang Dylan songs before Dylan was popular, and he wouldn't have had a career without. John Baez. And Odetta saying everybody's songs. Yeah. You became this interpreter of these songwriters, people hadn't really heard of. And I want to just talk about a few of them. Because the list is so impressive. How did you first meet Ian and Sylvia? Well, they were recording for Electra. And they were charming. They had a place in the village. And you know, electro was a family. And Jack Olson and his wife, Nina. She used to do these big parties when you had a concert somewhere. And we'd meet everybody where I'd go to hear Ian and Sylvia saying somewhere at some club or I'd go hang out at the gaslight and listen to Dave and rock and there would be Phil ochs singing and Peter lafarge. There was always something going on. I listened to the songs and I would pluck out the ones that I knew would work for me. And I went to see Dylan and it must have been 62. It was very early on. It was town hall. And he sang masters of war and I just flipped out and also fare thee well. And I said, I have to record this guy. So then I came back to the east and moved straight into the village as where I knew I had to be. I just had to be there. In a way, everybody found a way to get into that recording studio was electorate and make a record. Sometimes they didn't stay all that long, I did, but I did get to know people because of that because that social life that kind of swirled around Nina and Jack holzman. And how did you meet Leonard Cohen? You may be the only person not to have had an affair with Leonard Cohen. Yes, I'm the only person who didn't. Yes. The only girl in the room left standing. I had a couple of friends. Lily Tomlin and Jane Wagner were friends of mine in those old days in the village. And I had a friend named Linda gottlieb and she and I and Mary Martin would have dinner. The four or 5 of us would have dinner. Mary Martin worked for Warner Brothers, and she was a Canadian, and we would go out to dinner and she would talk about her life in Canada, and she would talk about this guy. Named Leonard, and she would say Leonard's a wonderful poet, and we all love him. We all grew up in the same neighborhood. That's also where Nancy bakal came into my life, too, a little after that. And she said, we're also worried about him because he's a brilliant person. He gets some books published, and we go to his little readings in Montreal, but we don't understand these poems at all. They're so obscure. So this went on for a couple of years. In and out of various spots where we'd have dinner, lunch or whatever. Then in 66 she called me one day and she said, well, you'll be surprised, but he's writing songs. And he wants to come to see you to record his songs. Now, by that time, of course I had had the hand in a number of careers, many, many artists. I suppose it was known that if you could get me on a record on Electra because I was recording every year, it would be a good thing for your career. I said to Leonard, you know, Mary told me that you write songs. And I'd love to hear some. If that's okay with you. He said, okay, I'll come by the next day. So the next day he came by. The apartment, and he said, I can't sing and I can't play the guitar. And I don't know if this is a song. And he's saying these three songs, he's saying he's a stranger song, which I've never recorded yet, but I will someday. And he sang me dress rehearsal rag, which is the story of a rehearsal for a suicide. Which I thought was great, and then he sang me, Suzanne. Now, Michael got it right away with Susan. He said, oh, that's it. And I said, I'm not so sure. So it wasn't until a day or two later that it sunk in. That was when I called Jack, we had been working on in my life, which was my 5th album. And it was a huge departure from everything I'd ever done because I know there were no guitars there was no Dylan. There was no fill oaks. It was songs from the morrow outside sounds from the pirate Jenny. It was a huge departure. And in my life, a Beatles song. We should just back up. This was a famous theater production. By Peter Brooks. And the story of the Marquis de Sade, a fantastic production. And the music was not distinctly song. So I took the whole soundtrack, and I had them put it on a reel to reel for me, and then I edited it with my own razor, to put the thing together so that it would make a complete kind of text as a song. And then we said, let's get Josh to do this. Let's get Josh Ruth going to orchestrate these things. Pirate Jenny, the music for the more in my life, et cetera. And so we've done all this material. We went to England actually to record so we could get the folks who sang for the Marat sod recordings. And we were out there, you know, we were having a very good time. Nobody knew what we were doing. And nobody understood why we were doing what we were doing. And so we were very happy with it, but Jack said to me, it's missing something. And that was when Leonard came along. I called Jack a couple days later and I said, I think I found the missing something. I had Leonard play Suzanne for him, and he said, oh, that's it. But we're done. Wow. It's amazing to me.
Broken Record
"judy collins" Discussed on Broken Record
"Down to arrange the songs and to sing them. Well, I knew that Dylan songs very well. And I knew The Beatles songs very well. But I also, by the time I recorded this on time, I knew exactly what I wanted to do. And I'd been working on it since probably did in 2016. So it was 15 years later. But I had really absorbed that group of songs that I loved, and that I had to sing, and I had to sing them with an orchestra. And they were the most challenging, these are works which have great depth and great demands to make on The Voice as well as on the heart. Jimmy Webb says to me, you know, you always record the most difficult of my songs. One of which I have struggled with, but I finally think I can sing it. Is his song about Gauguin, which is one of those mountain climbs of a song, but it prepared me actually learning Gauguin and singing it in concerts. And kind of absorbing it. And then it recording. I think prepared me to do this on time album, and it is really satisfying and really exciting material and really brings you up to the point where you have to say, wow, I don't know how I did that. What is it that's challenging about his songs? Is it the leaps? Is it the rhythm? Is there just something about singing them that makes them difficult? They're often some other realm that is not customary in songs from the great American songbook. Most of which have been taken out of Broadway shows. You don't sing along with Sondheim when you walk out of the theater pretty much. You are given an architecture that is unusual, surprising, very moving, intellectually challenging, and at the same time melodic. He holds the papers. He has signed off on something that other people can not really copy. I don't think. Do you think you have a talent for making them accessible to your audience? I hope so. And that's really the point I do think that my ability to clarify and to articulate to be clear and to phrase. And that's what you have to do with those songs. You must phrase them so that they are understandable to the listener, and that you use that melody to carry you through to your audience so that they get it. And that they are as excited about the song when it comes to an end as you are. I'm wondering if some of that for you comes from your early career, but it was very much traditional folk music, Irish, Appalachian, that was really the stuff you learned and the stuff you first recorded. Absolutely. But when you perform it, it doesn't sound old timey or nostalgic. You make them feel very contemporary. Yes. A song of yours that I love and seems almost like a folk song at times is my father. Can you tell me about writing that? It was in April that I wrote it of 19 68, and he died in May. It was just an easy access. It came very easily, you know, that they don't all come so easily. And that's how they get you, though, took me about 40 minutes to write since you've asked. And the same thing was true as my father, but then in between you have these months and months of struggling with a song, but they hook you by getting you to be able to write my father and since you've asked. I knew he was sick. In 1967 at Christmas I had been for the first time I'd been making some money. And so I gave my parents a trip to Hawaii as a present. And when they got there, he got sick, and he got sick there in the hospital, and then he came back and for months, they didn't know what was the matter with him, but I knew he was in the hospital. And so the song came very easily to me. But he never heard it, which is the sad part of it. I called an old friend Tom glazer, and I sang it to Tom on the phone. I would have done that with my father. I'm sure, but it's not something that probably a person who's on his way to dying would want to hear. Necessarily. Because the opening of the song describes your father, promising you that you would live in France. Yeah. Is that something your father actually did? Well, it was in 68. It was that summer. I met Steven four days after my father's death, and I was writing this song in the first line was my father always promised us that we would live in Spain. I couldn't rhyme it with rain. Or pain. So I had to change. My fair lady killed that one for you. Yeah, exactly. Yeah. We'll be right back after a quick break with more from Judy Collins. Geico asks, would you love a chance to save some money on insurance? Of course you would. After all, who doesn't love a great deal, right? And when it comes to great rates on insurance, for all the things in your life, Geico can help. 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This is the biggest boldest vacation on land or at sea. We're back with more from Bruce huddle and Judy Collins. Can you take me back to 64 where you were and how the first town hall concert came about? Because it became a famous album of yours. It did become a famous album and I signed my contract with elector in 1961 on a handshake with Jack holtzman and he became my champion and I had opened for Theo Michel at Carnegie Hall, so had sort of broken into the big stages in New York, but now I had a full tilt solo concert at town hall, and that was after my first three albums, and so Jackson, we got to record this. That was a big deal in those days because there was a big truck outside and a lot of people with a lot of real to real tapes going on. I'd found Phil ochs song in the heat of the summer and a couple of Dylan songs primarily the lonesome death of petty Carol, which I had heard him sing actually on the town hall stage in 1962 and Billy Ed Wheeler song, one of which had two, I have sung consistently from then on. It's the best song about people who've been in a job that doesn't exist anymore that I know. So it was really interesting to go back and do that. We did this album in a virtual environment. So there was nobody in town hall when we recorded it in January. And I didn't actually know they were going to put it on a vinyl and a CD. But they did, which.
Broken Record
"judy collins" Discussed on Broken Record
"Lived the rugged life that peers like Dylan could only sing about. This is broken record. Liner notes for the digital age. I'm Justin Richmond. Here's Bruce huddle with Judy Collins. Since you've turned 80 you've got your first number one and your touring and you've got this great new album, everyone should hear, particularly the diversion of send in the clowns with just a piano. Is so beautiful. Good. Good. So beautiful and such a beautiful ending. To that album. This new album coming out in which I've written all the songs. I do a lot of writing anyway, but I wrote a lot of songs during the pandemic polished up a bunch that had been hanging around waiting to be looked at and taken seriously. And it was challenging, but I have some of those songs in concert now. And we'll see. I'm very happy with it. That's exciting. When you heard songs, how did you know this is a song for me? I can make this work. Well, that's DNA that's history that's what you were like as a child. That's what you heard. That's how you retrained. That's how you learned how to learn all the songs of the great American songbook, which my father made our living with, singing, but your father was a musician we should say. Yes, he was a wonderful singer, and then I was born in 39, and then he went on to have a radio career, which lasted 30 years. And we went from Seattle to LA to Denver. I was always able to see him perform and hear him perform, and watch, and learn how to do this thing, to have a career. And the secret being you show up on time in most cases, and you do your work, no matter how much you drank, you always was happy in the morning and clear and I don't know how he did it, but I learned to do something in my career and not have it be blown apart by my tendency to drink too much, which I really think I learned that from him. You're drinking, which was prodigious. Prodigious, yep. Did it ever interfered with their mornings you couldn't perform or evenings you couldn't perform? Not until the last year, until 77. And then I was canceling right and left. I didn't drink on stage until that year either. And I always would keep the day clear and then I would drink after the show. I knew by the time I was 19 that I have a real problem. But I never tried to quit. I mean, who would, you know? As long as things were going well, you certainly didn't want to quit. He also had a life in Colorado that was quite adventurous. You got married young. You had a child young, but you cooked at a national park. You were always seem to be climbing mountains and doing crazy things. You had the life that Bob Dylan and a lot of the other people in the village pretended to have. They all pretended to be these rough characters who've been riding the rails and cooking at lumber camps. And you're like, no, no, no. I did that. You didn't do any of that. Yeah, I did that. I had started singing for money in March of 1950 9. I sang at a little club called Michael's pub in boulder, and then I sang in the mountains in central city, and then I was hired to sing in Denver, and I started traveling back and forth from boulder, which is where we lived, and my husband was in school. To Boulder boulder Denver turnpike dangerous road in those days, we got two offers. I got an offer of 6 weeks at the gate of horn to open for, at that point it was will holt. And my husband and I got an offer to, because a lot of our friends were park rangers. We knew the long peak ranger whom we'd met in the mountains and 58, and we'd run the lodge, and I cooked on wood stoves, and we'd served the lunches to the hikers, and we got to know a whole community of people, I was traveling back and forth, of course, to sing. And we were offered a firewatch. Meantime, I had broken my leg and had a surgery and was in a cast from my toes to my hip. This was in the spring of 60. They offered us the job, and we went up to genesee park, it's called, so we went up there for lunch one day and our little boy was about a year and a half old, I think. And we had lunch, and we talked about it. What are we going to do? Are we going to move to Chicago? So you can do the get of horn, or are we going to take the risk of your being in this cast and take a fire watch? At twin sisters. Well, I was the breadwinner, so to speak. And I was not going to be very helpful if I could not move if there was a fire. And I couldn't get on a horse. And I couldn't walk in this cast. That's when we decided to go to Chicago. And that was really that moment in my life where I knew that I was not going to live in Colorado and be part of the mountain scene. For my adult life, but that I was going to go on this and do this career. And do this thing that I do. When did you tell your husband that the cast was fake? After I knocked him down the hill. Yeah. What was it like for you when you started writing? The world changed and the sort of curators like Joan by is that went out of fashion and suddenly he was singer songwriters. Did you feel pressure that you had to write to maintain your career? No, no, no, no. I didn't. I mean, my career was finding other people's songs and doing them the way I wanted to. And my writing is completely part of my psyche. In other words, keeping me on the planet is why I write. And ever since I wrote since you've asked, I've never stopped writing songs. And what was since you've asked about? Well, the title since you've asked, you know, Al Cooper, said to me, why are you not writing songs? And then the answer is, since you've asked, I'll show you. So what was it like when you performed all these incredible songs? You had been on stage, and then suddenly you're sitting down saying, well, can I do this? Did you write it a piano? Yeah, I write everything as a piano. And that's where I grew up at the piano. So it was a natural thing. It was always there. The whole question of noodling and finding a melody and a lyric did not occur to me until that moment, and I wrote a bunch of songs that were pretty interesting at that beginning, since you've asked and my father, I wrote that. I wrote albatross in that first, I wrote a song called che about Che Guevara. I wrote quite a number of songs, including eventually, while I took a few months off, a couple of years later, and didn't tour so I could just write songs, and that was where I wrote secret gardens and a couple of others. So, but I always have something. I come up with something that I need to put on a record. So usually one of my songs will show up in a collection of other things, except of course, if I'm doing it so on time album, yes, or an album of Lennon McCartney, which I've done, an album of.
School of Podcasting
"judy collins" Discussed on School of Podcasting
"As a podcast, podcasts are deal with becoming a better podcaster, which are essential listening. With the school of podcasting right at the top of that list, followed closely by ask the podcast coach and the feed. They are much listened to podcasts. But as for the question at hand, what is my favorite podcast and why? Well, my answer has changed several times since you posed the question earlier in the month, but I have settled on one. At least for today, tomorrow could be different. But here and now it is the bob left sets podcast. Allow me to share my reasons. First of all, bob has put out a regular newsletter for many years, mainly about the entertainment industry and America at large. He goes deep into the newsletter. And frankly, it for me got to be just a long wall of words and words that I often didn't have the time to fully read. So about a year ago I discovered that he had a podcast. I was pretty stunned at his guest list, which included Jeff garlin, Grace Slick, Titus, will of her who plays Bosch on television, Jimmy Buffett, Joe bonamassa, Jimmy Kimmel, Judy Collins, Paul Anka, even Donny Osmond and pat Boone. Both of which I could have cared less about, but was stunned by the depth of the interview that bob sits did with these two. He has a way of asking questions that at first seemed intrusive and really over the top personal. Questions like, what did you do with all of your money? And your marriage broke up. Tell me what happened. Was it your fault or her fault? Or his fault or her fault? I was fascinated by the guests honest answers. It was clear that bob lifts had gained their trust very important. He also is an extremely attentive listener. He doesn't have a set list of questions, but rather the questions originate from what the guest is saying. And when there's an uncomfortable pause, he lets it.
MyTalk 107.1
"judy collins" Discussed on MyTalk 107.1
"Feel good movies of the year? Yeah. What do we got? We have this this, uh it was snapped up at Sundance in February for a record $25 million by Apple Plus And it's a remake remake of a French film. It's called Coda, and it starts Marlee Matlin and Koda stands for Children of deaf adults. And it's about this girl Ruby, who's just beginning to understand like how powerful her singing voices and she's the child. It's such a hilarious people. Both of her parents and her brother are death and their fishing family. And, you know she wants to go to this. His music teacher. She joins choir. He's like, I really think you could get into Berkeley, which is Music Academy in Boston, Okay, and but then she would have to Leave her parents and she's the hearing person. So how does that work? How does that work the obligation and she Things and signs a song that's very near and did her. Did you watch this? Yes. Called both sides. Now Judy Collins at Marlene. Maybe you could find a grant. You just look both sides now Amelia Jones, or look at Koda. But it is. I don't know. I really looked like it was gonna be good. You know the boy, innit? Lorries from Duluth. He talked about him last week is he s okay. He is He kind of looks like our nephew Louis we done okay. So he reminded us, um, both Casey and I were like, Oh, yeah. We watched this on on Saturday night, and I was just like We haven't watched like just a feel good movie in a long time. And it was it was so well done. And how like at one point you know, Ruby takes out her. Ear Bud. She's listening to some music and the noise in her house. Her mom is because they can't hear even no idea what the sound is. So it's really like how we did with the sound of metal. You know, just it was very eye opening, but it is, um Really, really, really sweet movie Both sides now Judy Collins. Correct. Yeah, clouds.
Inside the Studio
"judy collins" Discussed on Inside the Studio
"The last eighteen months have definitely been a challenging time for what's been keeping you grounded and i'm feeling good. Oh lots of things We have had a very privileged locked down in the sense that i had never. I had not had a vacation. I had not had time off in so many years. And quite frankly i needed it. I needed a break. And i was always told for years. Why don't you get you know you've got to be able to take a few months off in the summer. I was never able to because you wanna make a living. You have to show up the dates coming in so there was no way to really do that for any length of time. I mean maybe you'd get. I don't know just was not and so when it happened for me. It was an advantage. Because i got the time off and you know. I took a nap every day every day. I mean i did anyway because i'm in my eighties. Now people do that in their eighties. They take naps. And i've taken full advantage of that privilege. But i also continued working and the working and the being able to sit down every day and work at the piano and work on writing and trying to write to poetry and songs and so. It's it's a wonderful thing to be able to do to have to have some Enlightening moments and then of course to be able to unfortunately watch what is going in the world and be devastated by the death. I mean i've lost. I lost a couple of friends that were very close to me and You know that's that's horrible and of course. The devastation of the discount is something that takes your breath away really. And i'll have to say a word for wearing masks and forgetting vaccinated. It's essential not just it's not about you. It's about everybody in your family. It's about the people you interact with. It's about your neighbors and to think to think it's just about yourself is extremely short-sighted. I'm glad you were able to get some time for yourself. I know you're doing one hundred fifty shows a year or something like that. I think i read. It's hundred twenty but almost incredible when you write every day almost like people. some people do yoga everyday. Some people draw. It's a daily practice for you to Oh yeah and i jog. I work on the treadmill take walks. They work on the bicycle friday. Do my stretches. yeah i have to. I mean there's no way to keep up with what's going on physically unless you're exercising and eating right. I don't drink. I don't smoke. I don't scream. You know you have to give up a lot to say on the plan. An interview gave recently. I'm trying to remember who it was with a a read. it might have been with. Aarp and you said something that i will never forget. Somebody was asking you about about retirement. You gave an amazing response. I swear member for the rest of my life you saying that retirement was created in the industrial revolution. I wanted to ask you more about that. That's so fascinating created by management. It was created by by the one percent to keep the rest of us for making money as we grow older you fire per people at a certain level because if they stay longer they're gonna cost you more money. It's we throw people out of anyway. I think retirement was invented. You know if you're a rancher. You never retire. I suppose. That's in my dna in my in my history my farming and some degree ranching farming at but being an artist. You never tire. I mean there's no you wouldn't why would you. How could you retire from doing something that had kept you alive and probably kept you from jumping off a roof being creative and having being poet or writer painter an artist of any kind of communicator. You know you have to keep going because it's part of your dna part of who you are. it's not just. The product is the essential discipline of doing those things on a daily basis. Which makes you capable of not only staying on the planet but also contributing. I feel like that's something that a lot of people forget. These days becomes about the product. Yeah true now thank goodness we have wonderful. People like you judy collins. It has been a true pleasure and an honor. Thank you so much for your time today and.
Inside the Studio
"judy collins" Discussed on Inside the Studio
"And it's it's in part. It's the some songs that i finished and or started and finished in the pandemic. And some that i was finishing up in twenty twenty nine and that i have to work very very very hard at it and i'm not sure that anything is good as oh i know. The blizzard is pretty good. The blizzard i think. And since you've asked you probably my best on the blizzard has to be kept in good shape because a lot of my songwriting friends. Love it and i have to be ready to play it at the drop of a hat and i think actually that the next thing is to get a movie filmed with with the song as a context for the movie. So that's something. I need to pay attention to because it is a great story. It's my equivalent of the gambler. i I have to say i loved your song. Dreamers is an amazing for anyone hasn't heard is absolutely exquisite acapella piece inspired by the immigration crisis as opposed the simplest way to phrase. It can can you tell me a little more about about that. Song is breathtaking here at the kitchen at the dining room table. One day and my husband. And i were watching a conversation on television with the young woman who she said and i quoted her. My name is maria. My daughter is dreamer. She says that she's worried that she will have to leave. And that's the first line of the song. And i went into the studio and i wrote it down and i started playing it immediately. I worked on it for about four years. Twenty sixteen seventeen eighteen. Maybe who maybe night. No no it was. It was two years of anyways playing the piano and playing it and playing it and we were in seattle and i was working at a club called ask alley and my husband was out with me and he said you know you really have to mix up your set. You really need some new songs. Why don't you sing that new song. You're writing and i said well listen. I haven't figured out how to play at the pound. He said don't play bound to sing it. Just sing it acapulco as we say and so i did and i sing it and my name. It is maria. My daughter is a dream. She says that she is worry that she will have to the and when i finished the song there was silence that came over the audience. It was stunning nobody move. Nobody said a word. Nobody clapped nobody this just this absolute and then they all went crazy and they kept doing it every time i saying it because i i'm convinced that when people are in an environment where there's live music going on. They're going through a lot of things in their mind that have to do is kinda shifting their point of view and examining what's going on in their lives and making choices that have nothing to do. It very often have nothing to do with what's really happening but it's something that's transforming because of the live music. I think that's what live music does it gets to the brain in a subtle way and does the kind of work that well. We like to think that teaching always does that but it doesn't always do it but music quite often does it. It's the silence it's people sitting in an auditorium that's hushed where they're not on their devices and we're no is coming up in slapping them on the backs and saying you want drink but they're kind of hostage to the artist on stage to think of it that way. What is it about music that you think makes it. Such a potent medium for transmitting emotion. Enacting change it's probably essential to human survival. I think it was probably well. First of all it's essential to have a voice because you have to be able to scream while running in the forest chasing some pray that you're going to have for dinner or if you get injured by some animal that you're chasing you have to be able to scream so that somebody comes after you so the voice is always important and it carries wisdom. You know the the sharks sharks. The whales have of their songs to contain an and transmit information. That's what i hear from roger payne. Who's the person who played the first recordings of of the singing of the humpback whales many years ago and apparently they have information about what the best place best way to go to the breeding grounds is. And you know who's who's who's who's tanker is nearby that you might not wanna run into on the way to alaska or something so i'm sure it's got all kinds of information. We carry information in our in our dna which we can transmit with songs with words and now we know that people who have you may not know this about this wonderful man. But i traveled and recorded for a wonderful singer named eric weissberg for years and years. He's really part of my orig- origins and we did a lot of traveling. Even went to soviet union with me in one thousand nine hundred sixty five. So i've known him for years and he's a fantastic banjo player who's very famous and towards the end of his life. He really had alzheimer's he was not communicating and so bunch of his buddies. Old pekin buddies. You know went up to where he lived and began to sing and play pick two. He picked up the guitar. He played in saying with them. So it has a magical ability to trends trends. What is the word transform. Try transcend the physical incapacity of the brain. Because it'll wake the brain up with memory and music is the thing that's been said to help. Many many people find their way through are not necessarily back but certainly through the temp or even temporarily to defer to wake up to things that it knew before particularly poetry and song which tell part of our history. Do you wonder where your food comes from. More and more people do america's corn farmers work hard every day to grow a crop that you can be proud to serve your family. And they're doing it with an eye toward sustainability caring for water air soil and resources that fuel healthy families and more sustainable products. 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Inside the Studio
"judy collins" Discussed on Inside the Studio
"Hello everyone this is jordan. The host of iheartradio's inside the studio. I want to tell you about this. Awesome new portable smart speaker just got called the sonos move. You can take anywhere. The move has wi fi and bluetooth capabilities so at home i can use it with google assistant and we don't want to hang outside. I compare it with my phone. But the coolest part is true. Play sonos patented software that automatically resets the speakers settings depending on where you are to ensure that you're always getting the clearest richest sound. i can't recommend it enough. Discover speakers for all around your home and beyond that sonos dot com including the move and the all new rome. The latest portable edition of the sonos system is smart lightweight waterproof and ready for any adventure. So start yours. Now at sonos dot com. Do you know the medical term for someone who experiences herpes cold. Sores chronic uti's yeast infections and b. It's called being human at hella. Wisp dot com. You can get the sexual health care. You need same day. Without stepping foot in a doctor's office privately message dr online and get same-day prescriptions for bv yeast uti sti's herpes cold sores birth control and emergency contraception delivered discretely to your home for free and all fifty states or sent to your local pharmacy to pick up within three hours. Take ten percent off your first order with the code. Healthy only at hella whisk dot com. That's hello w. i. s. p. dot com. These days shopping for car feels more like online dating with lots of swipes and no matches which is why carmax created the love. Your car guarantee so you can get to know your ride with a twenty four hour test drive before you buy and then take a full month in up to fifteen hundred miles to be sure. It's true love or simply return it for a full refund. Falling in love is easy with the love. Your car guarantee from connex learn more at carmax dot com carmax. The wage should hello everyone and welcome to another episode of inside the studio on iheartradio. My name's jordan runtaugh but enough about me. It's hard to know where to start with my guest today. She began her sixty year career as a folksinger honing her craft. And the greenwich village clubs. That fostered the likes of arlo. Guthrie and bob dylan in the early sixties. Since then. she's become one of the most beloved interpreters or popular song elevating early compositions by leonard cohen. Joni mitchell into era defining classics a brilliant songwriter. In her own right. She's used her one of a kind voice to champion social causes and the endurance of the human spirit. Now she's using her voice in a different way as a podcast host this summer. She's launched a new biweekly interview series entitled. Since you've asked the show finds are deep in conversation with an array fascinating. Friends including clive davis actor. Jeff daniels christiane poor and many others. She's like in their chats. Virtual dinner dates which allowed to keep social in the age of cova. The podcast is far from our only pandemic project earlier. this year. She restaged her legendary nineteen sixty four concert. At new york's town hall the show. The helped launch her career this time around. She played nearly the same selection of songs with her voice as strong as ever but one major difference was at the theater empty. The audience tuned in the livestream alive. Album of the performance will be released on august twenty seventh. It'll follow her. Latest musical offering white bird. An anthology of her favourite recordings bolstered with a few revamped re imaginings of classics. And she's also hard at work on a new album of original material as well. Suffice to say she probably significantly busier than you are and as such an extra grateful for her time. I'm so thrilled to welcome. Miss judy collins. Thank you. it's a pleasure to be with. You have so many things. I wanna talk to you about but i wanted to start with your amazing new podcast. Since you've asked it's such a wonderful project to do in the midst of lockdown. I think you've said it's almost like a dinner. Dater dinner party in that really comes across. How did the start for you. Well first of all. I i love the zoom potential and i use it all the time you know in in new york. My husband and i live here and of course the lockdown started and our we have normally. We have a social life. We have dinner with friends few times a month so we just continued that without the dinner. We had podcast with friends and that went on has been going on and still going on because now there are some people who have kind of been out of the city so we do the podcast them or if they've decided to venture out we'll go to dinner with them so that that very much has been my social life is very important to me. I believe in the healing and intellectually stimulating contents of discussions with friends. I think it's it's part of the stuff of life and you if you if you are denied it you can wither on the vine. So that was that was going on. And i think my manager and i were talking one day and she said. Why don't you do that with some people that you can have a longer conversation so we decided to start doing the podcast which i just love it. I think it's it's a privilege to be able to to appear into. Somebody's life in a more for instance. I won't break this open entirely. But i did do. Show a podcast with my old friend. Clive davis and one of the nice things is that i'm not a client. I'm a friend. I've known him for almost sixty years now. And so there's a way to talk to somebody that's different than if you're a client and on the other hand then my own the head of my label jack holtzman whom i've known for sixty years to and he's a very close friend and i am sky was client and i- i- lecture records. You know started my life and and so on so i i know a lot about him and he about me. So it's a different kind of thing in both cases but both satisfying interesting educational and a lot of fun. I was going to ask you about the jack. Holtzman interviews one. I'm really excited to hear. Just because as you said you do go back up such a long way and he has such a big role in your life and your career. Yeah incredible role incredible role. Tell me more some your guests so far on the ones that are out. Now we've heard Jeff daniels and julia cameron. Who who else do we have in there. I think arlo guthrie. I think is one of them are coming along and are low and i of course i met arlo when i i did my first new york show. It was one thousand nine hundred sixty one. And i in on the old days the old days when i started in one thousand nine hundred fifty nine. My first job was in boulder colorado at a place called michael's pub and it was. It was a pizza parlor and kind of glad you know. Upper upper echelon pizza parlor from from takagi and the sink. Which were two of the real place where you just get down and dirty drunk and michael's pub was a step up and he had music. He had barbershop quartets and accordion players. And then i had been asked by my husband. I didn't get a job doing something. I knew how to do because i was doing a very bad job at filing papers at the university of colorado. And so my father got me an interview. An.
Diane Rehm: On My Mind
"judy collins" Discussed on Diane Rehm: On My Mind
"That they might be facing a by the way i knew they would be facing because Their parents marriage was in trouble. So i I always. I always suggested that the cause of death was something other than suicide and i'm not the sort of person who believes in being in the closet about anything so it was an odd way for me to behave and yet still. My children are now Covered by the age. Discrimination act So but i still believe in my heart that they should not be told that someone made that choice someone close to them or they should not have been told. Let me put it that way. Because i i never wanted them to to believe on any level that was an acceptable solution. You anything judy. Well you're not alone in this Way of handling this information. This is characteristic of many many many people faced with susan. In fact there's so many unreported suicides for exactly the reason that you're describing a sense of protecting and and to to keep someone mentally free from this terrible illusion that they they might achieve something by by following the example but i'll tell you the truth they will find out and they will have to deal with it. Judy collins hewison email from leave. Who says i am as suicide survivor of my own suicide. I accept responsibility for my own actions and sought help though. I do not ethics blamed for all this. I must say that. The daily judgmental messages from my family were translated in me as die. Yup so when you say. There is a social stigma for families have suicides. I cannot say that this is totally on. Just oh absolutely. There's there's a sense of outrage and anger that comes up on the part of the would be suicide and the or the completed suicide in the family members family members have a right to be outraged. They have a history of having been been sent to coventry of having been robbed of all their possessions of having their loved ones buried in on hallowed ground of having society pile guilt upon them guilt upon guilt upon guilt. So it's a very confusing issue. It's even hard nowadays to get very few jewish in in a in the cemetery that's Consecrated it's hard to find someone who will perform certain ceremony so we are just on the cusp of understanding. That suicide as cancer was treated thirty years ago. Same deal family condemnation secrecy punishment. We don't want to see it here at talk about it nobel now. We know that we talk about it and we learn about it and the more information can get the better. That's also my answer to the woman who spoke before emily the more information we can get the better and secrets. Don't stay secrets..
Diane Rehm: On My Mind
"judy collins" Discussed on Diane Rehm: On My Mind
"Angel to presen- promised you come to me in dreams again uh way As tiers of and that helped me. That helped me. Judy collins was the song she wrote about her son. It's called wings have angels. We have many many waiting. So let's open the phones at this point and We'll go first to cleveland ohio..
Diane Rehm: On My Mind
"judy collins" Discussed on Diane Rehm: On My Mind
"I feel strongly that that being able to talk all of that through every single bit of it was deeply deeply healing for me. Whatever it was that grabbed hold of me at fourteen. I've never thank. God had to to deal with that question again but then of course my son had to well. Let's talk about your son and his life This struggle when in fact you were divorced from your husband and you did not get custody of your son. I have a feeling that was a fundamental crack in the feeling that a child has of security with the mother do think kids belong with iran's main pretty much it was the common practice certainly not to separate mothers from from children those in those days and even now there's a there's a a proportion of judges who feel strongly that that children should stay with their mom. Why were you not given custody. Well the the the rumor in in rockland county in connecticut was from my lawyer was that that i was in therapy and i lived in new york. I was a very different maverick. I was an eccentric in terms of what was usual in in those times. And i was told by my lord at that was the reason who knows that it's possibly had nothing to do with it. But for the for the record i'll say i'm pretty sure it did and your husband had what was considered then a more stable situation for your son. How old was your son. When you and your husband separated. He was about three and a half four years old and i lost custody when he was five..
Diane Rehm: On My Mind
"judy collins" Discussed on Diane Rehm: On My Mind
"I slugged down one hundred hundred aspirin and waited for the final curtain. But then i started to get sick and it was. That's something i couldn't handle the other part. I could handle not getting sick so my my impulse was to call. My best friend's father was a doctor and He came his his wife said. Put your finger down your throat. Try to throw up and we'll be right. There judy collins her new book is called sanity and grace castle. Out of quick break. Went might come back. The rest of my conversation with judy. Collins would love scott in my way. Somehow i really don't know is are we last gras qila. Here's the rest of my conversation with singers. Hung writer judy collins. She joined diane ream show on october. Second two thousand three to discuss her book titled sanity and grace two counts just before the break..
The Diane Rehm Show
"judy collins" Discussed on The Diane Rehm Show
"Collins her new book is called sanity and grace gel and i.
WNYC 93.9 FM
"judy collins" Discussed on WNYC 93.9 FM
"Not only my mom's instruments, but her incredible record collection that from my memory for memory ranged from Judy Collins and Woody Guthrie. All the way to Rolling Stones. Led Zeppelin Otis Redding. Sam Cooke, Does that all sound right, Mom? Yes, absolutely. And this may be out of turn, But I don't think I've ever seen you as frustrated as we had to. We had to leave our our childhood home. For a while because things got bad we when we came back. The one thing that was missing from our house was my mom's record collection. Mom, I don't think I've seen you that upset. This day. Yes. And the only record that was left on the shelf was blood on the tracks. Bob Dylan. Yes. I think the title was supposed to mean something. It was it was. Yes. I think it was sending a message. Very a long winded way of saying her. I had access to that collection and finally again when I had put the final scratching her one of my mom's covered it albums she got she would she do? She went to Radio Shack and got me a small turntable small speakers and said here. You know, Here's some lunch money, Get yourself start your own collection kind of thing. And here's a few of mind that Since you've already kind of had your way with you can have those ones as well. So the music from my mom music I was hearing in the music store than my mom's personal collection and then my personal evolution. Towards music. The grew through my formative years into hip hop solely hip hop for a good decade. All of that. Ends up being Some part of the sound that I make. Ellen. How'd you feel about hip hop? When Ben started listening to it? Did you feel like you understood it? I don't. I don't know that I understood it. I think it took some time. But again, you know, taking a page from my mother's book that I would never censor what he what he read or what he listened to. The list. But let's also say Mom and W A is a lot Further out. From Bruce Springsteen or Leonard Cohen. Then the birds were from Woody Guthrie. So it it challenged the sense. I mean, that's that's all right. That's that's true, and there was a certain amount of violence or misogyny and Which bothered me at the time. So would you have conversations about that? Gosh, Ben did. I don't think I really really did. Did we? I think religion or what? You wanted to listen. I reflect that back. Conversations I try to have with my teenagers. So if you did, I hope you have better luck with me than I expected. Hey, Uh, I hear that Let's take a short break here and then we'll talk some more. If you're just joining us. I have two guests Ellen Harper and Ben Harper. Ellen is the author of The new memoir, Always a song singers, songwriters, sinners and Saints. My story of the folk music revival. Her son has been Harper. He's a Grammy Award winning singer, songwriter and guitarist, he wrote. The forward to the new memoir will be right back. This is fresh air..
KQED Radio
"judy collins" Discussed on KQED Radio
"On both sides. This'll was later called a police riot. But first a year later, leaders of that protest including Hoffman, Jerry Rubin, Tom Hayden, Were put on trial for conspiracy and crossing state lines with intent to start a riot from the start. The judge Julius Hoffman, seemed determined to convict and control a trial that included Judy Collins and country Joe McDonald as witnesses and defendants who dress up in costumes and blow kisses to the jury. The story is dramatized in the new Netflix film, The Trial of the Chicago Seven Franklin Jealous stars as Judge Hoffman and joins us now. Franklin Jello. Welcome. Thank you. You were unique among cast members like Sasha Baron Cohen, who plays Hoffman. Because you were alive and 68. What do you remember about that time? Well, I just I remember I was 30 and I wasn't a very good citizen when I was a young Man. I was ambitious for my work and my life. I paid very little attention to politics of the day. So this movie is for you almost away to go back and learn more about a time that you lived through. But let's give listeners a sense. Of the character you play Judge Julius Hoffman in this scene. One of the defendants and this is Black Panther Bobby Seale, who saw a whole separate story line. He did not belong in this trial at all, but he makes a motion to represent himself. And this is supported by another defense attorney. Let's listen to how your character Judge Hoffman responds. Are you now speaking on behalf of Mr Suit? No, Your Honor. I'm speaking on behalf of the other defendant. You're standing right next to him. Why don't you just represent him? Because I'm not his lawyer. So if I understand Mr Seal this last month and a half, and I believe I have he is not represented by counsel overruled and being denied Westerfield cancer, too. She will be quiet for their you representing where you've been quiet. This was difficult to watch. Hoffman would eventually order Bobby Seale. The man tickled, gagged while sitting in the courtroom without representation as you're playing this man kind of reprehensible in that moment. What forces are you gathering to do that? Well, he's reprehensible throughout. He doesn't have a single redeeming quality is one of the government not very bright, and I felt with errands wonderful guidance. I felt free to make him as much of a monster as he reportedly wasps. Well, you mentioned Aaron Sorkin, who adapted this screenplay from all to life events and In case anyone thinking that you're a little over the top here Slate Road as unbelievable as it seems Judge Hoffman, who was born in 18 95. Really did act with the malice shown in the film, dismissing objections from the defense before they were made arbitrarily excluding evidence. Witnesses even sure is not the first who some considered negatively that you've played Richard Nixon. In Frost Nixon. You played the handler of the spies in the Americans. Where does this character fit and In your head. Is there ever like a roller Dex? Of you know, people you've inhabited? No, they come and they go. I don't no comparison at all to Nixon. If there's anyone I compare him to It's Skeletor or in masters of the universe, which I did for my son when he was four years old. It was enjoy to play a man who had no conscience and knew from the moment he walked in that he was going to convict them to people who say to you and maybe they do. Maybe they don't. But we've had a lot of people trying to compare what's happening recently with 1968 is there comparison? Well, well, of course there is. Look, government is always corrupt, Always all the way back to the teapot down all the way back in island country in another country's power corrupts It's a cliche, but it's true. My hope is that President Biden will start us on a Seigner pack, but it it doesn't mean all corruption is wiped out. It just It's not the way it works. That's Franklin Gela. He stars in the trial of the Chicago seven as Judge Julius Hoffman. The film is available on Netflix now. Franklin Gela. Thanks so much for speaking with us. My pleasure. Thank you, Robin. So it's.
WORT 89.9 FM
"judy collins" Discussed on WORT 89.9 FM
"You're just right How blind I've been. I've had seen it. Thus his true that taxes you must pay without a word off us. You are subject to the laws man made And yet no word or note. Can you sing out where it will count? I'll help you win the vote. Yes, I will. Thank you, Joe. Well together soon people orders he will If you're yes. Up. Next. Elizabeth Knight, and I don't have any notes on who the male singer is on that, but that's called winning the vote. From songs of the suffragettes. Smithsonian Folkways released 1958 before that request. Hard times Come again No more. The Stephen Foster song. Versions by the Red Clay Ramblers. Judy Collins and Jonas Field When morning comes to America that's live from winter stories live from the Oslo Opera House came out this year as well. Sean Watkins and met Chamberland. Be lonesome Election blues. Herself title released they released earlier this year as well. And then the vote about buggy from 2012, Gerry S. Paxton. And Jim Lusk. And more songs coming up here on the green Morning radios. Special Election Day special got a big set coming up to sort of Take a lot of time up in this last hour and going to start off with The youth on sample of Atlanta, a song called Get Out and Vote. Another single It came out this year. And then the people United can never be defeated. Perry Winkle. After that, another request trio with their version of after the gold rush. Can long quest is going to stand and fight. And then we're going to hear a song about the president's From that election Songs album that we started our show off with Oscar brand. Followed by this man by Robert Crave, played that song a bunch now and then vote anyway by Stuart starts. And then if there's time we'll see what else we can fit in. But for now, let's just start this nice, long set off with a wonderful message Tune here. Called Get out and vote by the youth on Sambal of Atlanta..