January 25, 2024 • 61 mins
Season 3: Episode III
- Streamed Live in front of an International audience on Monday, March 26th, 2018 Featuring Norman Sylvester Also with Scott Peterson as Scotty Scotterino Special appearance by Rex Tillerson and Sir Richard Branson. The Peasant Revolution Band Variety Hour with Host Jeff Dodge will bring some of the world’s greatest musical talent, local writers & artists, producers & programmers and just plain old regular folk to our planet Earth’s attention. Also with topical sketches, stand-up comedy and live music.
- 00:00 WELCOME BACK, DODGER
- 02:22 "Welcome Back" (written by John Sebastian 1976)
- 08:58 Rex Tillerson calls in
- 13:59 Featured Guest, Norman Sylvester! Norman Sylvester “The Boogie Cat” was Inducted into the Oregon Music Hall Of Fame on October 8, 2011
- You can purchase his music here: https://music.apple.com/us/artist/the-norman-sylvester-band/269136830 #iTunes
- 29:08 "What'd I Say" (written by Ray Charles - 1959)
- 36:57 Tales Of Old Portland:https://youtu.be/VUWLBIhM8aA?si=OhRll7l0XX4cNe1_
- 44:00 7th Annual Inner City Blues Festival https://www.facebook.com/healingthehealthcareblues/?ref=br_rs
- 53:20 "Voodoo Child (Slight Return)" (Written by Jimi Hendrix 1970)
- Website:http://www.trenchdigger.us
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Ah, honey, I just had the wildest dream.
(00:07):
Honey actually kind of looks like...
Oh yeah?
Yeah, I was back at the Sabin Skills Center and teaching and I was back with the sweat
pigs.
The sweat pigs?
The sweat pigs, those rascally high schoolers I used to teach.
What's that sound?
Did you hear something?
(00:28):
No, I didn't hear anything.
Hey, hey, who is that?
I'm going to check this out.
Where's my trusty wand?
Hey Mr. Dodger.
What?
Up your nose with some vinyl tubing.
Holy cow!
(00:49):
It's...
Why, why it's Scotty Scotterino!
Hey Mr. Dodger.
Are you doing the show tonight?
What are we doing here?
Well, I was very confused.
Oh my goodness, it's Boom Boom Sibylla and Richard Porchak.
What?
You're all here!
(01:09):
The sweat pigs!
I bet that was 20 years ago!
What's happened to y'all?
Well, you know, a lot of things have happened in this lifetime Mr. D.
Yeah, nice hairstyle.
Thanks for noticing.
So I heard Scotty Scotterino that you're back into Scientology again.
Well, absolutely.
L. Ron Hubbard knows a lot of things about how we connect to the universe.
(01:33):
Fascinating.
I'm glad you learned everything from my school teachings.
And I also heard that you've been out in France for a while.
Did you try some of their food?
I know you got a bad smoking habit.
Didn't get a chance to get any of the cheeseburgers in France.
What do they serve in France for burgers?
(01:56):
Uh, I'm not sure.
Well welcome back Mr. Dodger!
Oh my goodness, why is Mr. Norman even here?
Mr. Sir Boogie Cat is in the house.
Sir Boogie Cat?
Why thank you, this just makes me so happy I gotta play something.
What do you think you wanna play?
(02:18):
Well it's a little tune that goes something like this.
Welcome back to the things where you're ticking out.
(02:49):
Welcome back to the things where you're playing.
(03:10):
Welcome back to the things where you're playing.
(03:30):
I want my sweet girl
And I know I'll see you there
Cause the sun will make you come back again
Forever and ever we'll meet y'all
Forever and ever we'll meet y'all
I give you a future
Yeah, we'll tease and we'll lie
(03:52):
Cause we got them on the spot
Welcome back
Welcome back, welcome back, welcome back
Welcome back, welcome back
(04:18):
I know I'll see you there
Cause the sun will make you come back again
Forever and ever we'll meet y'all
Forever and ever we'll meet y'all
Forever and ever we'll meet y'all
I give you a future
(04:40):
Yeah, we'll tease and we'll lie
Cause we got them on the spot
Welcome back
Welcome back, welcome back, welcome back
Welcome back, welcome back, welcome back
(05:06):
Welcome back, welcome back
Welcome back, welcome back, welcome back
Welcome back.
Welcome back.
Welcome back.
Welcome, Pets and Revolution
Man variety hour. I'm your host,
Jeff Dodge. We got a good one for you tonight.
The Bunkin' Cat is in the house.
(05:27):
Woo!
We are 27
years away
from the planet
blowing us away.
If you really don't
want to stay
look who's
out off in the Milky Way.
(05:49):
It's Pets and
Revolution Man
where we try to
really understand
that the truth
of our mission is to
heal our good visions.
Join our Pets and Revolution
Man
Join our Pets and Revolution
Man
(06:11):
Join our Pets and Revolution
Man
Join our Pets and Revolution
Man
Well, besides this world just
can't stay
It's gotta go get the
hell away
Well, I tried to get me some
(06:33):
peace today
But the future seems so
far away
We're Pets and Revolution
Man
We must try to
really understand
that the truth of our
mission is to heal our
good visions.
Join our Pets and Revolution Man
(06:55):
Join our Pets and Revolution
Man
Join our Pets and Revolution
Man
Join our Pets and Revolution
Man
Join our Pets and Revolution
Man
Join our Pets and Revolution
Man
Join our Pets and Revolution
(07:17):
Man
We're live and we're back.
We're back. Yes, we are.
Woohoo!
Are we back?
Everybody's back.
I'm so happy
you can join us.
I'm
Jeff Dodge and this is
the Pets and Revolution Band Variety
(07:39):
Hour. We have our
musical director Rich Reese
on the drums. How are you today, Rich?
I'm having a great day. Jeff, how are you doing?
Welcome back. Thank you.
It's good to be back. I was
20 years. Is it 20 years
or is it 40 years?
Alright, you got me. It's actually 40
years. I'm 73.
I was just thinking, yeah, it was 20 years ago that
(08:01):
Lauren Hill ripped that song off.
Oh, I didn't know she did it.
Really? Yeah, I'm not saying that.
A Fuji's version?
No, it was her solo album, 1998's
Miseducation.
Wow. Well, I thought of it
as actually
Sebastian, John Sebastian's
song. Oh my goodness. I
think we just...
(08:23):
Something happened here on the telephone.
Holy cow.
I think someone's trying to reach us.
Let me see what that's all
about. Oh my goodness. And it's creating
all sorts of havoc.
Uh, okay.
It's...
Hello? Hello?
Hello. Hello.
(08:45):
Is this... Who is this?
Hello.
Hi. Is it...
Is this live?
We are live. Is this... Is this
Rex Tillerson?
Hi. This is Rex Tillerson.
Rex! My goodness.
We've been so worried about you. We haven't
seen much of you lately.
(09:07):
I'm on a submarine.
You're on a submarine? Really?
Yes. I'm on a submarine.
With Richard Branson.
We heard recently... With Richard Branson, the billionaire?
Yes. With Richard
Branson. I don't believe you.
Prove it. I don't believe
Richard Branson. I'll put him on.
Really? Oh my goodness. We're going to talk to Richard
Branson. Do you believe that?
(09:29):
Hello. This is Richard Branson.
Richard Branson?
What are you doing with Rex Tillerson
in a submarine? We're looking
for oil.
Oil?
You know, he talked to us about that on
a few shows back.
It sort of seems like a fool's errand.
Now, everyone's trying to get into solar
and energy efficient.
(09:51):
Well, yes.
But, uh, we have a submarine
now. I thought you would be ahead
of the curve on that, but you're still looking for oil
with all your wealth and submarines.
Well, yes.
Let me put
Rex on to explain things.
Okay. Well, thank you, Richard Branson.
Rex?
You there?
(10:13):
Oh. Um, yes.
Rex Tillerson
here. Okay, Rex.
I'm on board a submarine. Yeah. If you
have been drinking again, Rex?
Well,
there's a...
I consume fresh seawater now.
Oh, interesting.
I heard there's funguses and algaes.
Um, did a...
(10:35):
It's better than, um,
yeah, it's better than the alcohol
that my doctor used
to prescribe. You were prescribed
it. Okay. Okay.
Exactly. Very interesting.
Um, I had one question
for you, Rex, uh, before we
get going, because we got a very, very
busy show here. Um, but
you said
(10:57):
there was something about your old boss,
uh, the president said something
about a... He said something about a storm.
It's called, uh, permanent
vacation. Well, yes.
Permanent vacation. That was an Aerosmith
album, if I remember right. Uh,
but the president,
it said something about a storm that's
coming. Are you aware of this
storm and what it's about?
(11:19):
A storm, huh?
Yeah. Well, I don't know
if perhaps it's the... The storm that's coming.
The deep state he keeps on mentioning.
The deep...
Are you part of the deep state or...
Well, I'm
underwater, so I guess that's pretty
deep. That's pretty deep. Well, Rex,
it has been a real kicker. Um,
I hope you, uh, we've had a great time
(11:41):
getting to know you. I hope you don't
mind that we're gonna probably start taking calls
from Richard Branson instead of you
now, cause you are on a permanent vacation.
But, uh, tell Richard
we look forward to hearing from again
and, uh, you enjoy your
vacation there, okay?
Oh, yes, of course.
Remember to look under the polar ice caps.
Polar ice caps, got it.
(12:03):
You may find something
worth writing
about. Okay.
That's wonderful. And you take it easy with
that seaweed there, okay?
Alright. Alright. Goodbye, Rex.
It's great talking to you. Take care.
Wow.
Rex Tillerson. There you go. There you
go. Well, we're gonna have
(12:25):
our, our guest in just a second
here. I wanna cut to a quick commercial.
And we'll be right back
with Norman Sylvester,
the legend, here in the
Trench Digger Studios.
Did you ever
wonder
what life would be like
(12:49):
without advertising?
Pretty scary, huh?
Advertising?
Keeps life
interesting.
Advertising?
(13:13):
Helps views find bargains.
Advertising?
Makes life worth living.
Advertise on the Peasant
Revolution Band Variety Hour.
And see your business improve.
We'd love to talk about how we can help make your business successful.
(13:43):
So, you know, if we have Rex Tillerson
coming in here anymore, I get, oh, we're back.
We're live.
We're live. Um, ladies and gentlemen,
I'm so happy.
This is a very powerful
moment for the show.
We have, from the Oregon
Music Hall of Fame,
the legend, the one and only
Boogie Cat, Norman Sylvester!
(14:05):
What's up?
Yes.
Thank you so much.
I'm so glad to see you, my friend. How are you doing?
I'm good, I'm good. How are you?
Mr. Dodger, I'm doing wonderful. Thank you for asking.
Wonderful. Let me put a mic in your hand
and I'll talk over here
and let's make sure
Director of Photography, David,
is happy with his shots.
(14:27):
Is he happy? Are you
happy, David? Oh, I could,
oh, I'm thinking we could do, oh, yeah,
let's do a little, okay,
and then I'll stay on this shot.
Okay, is that working?
Yeah, something like that.
Okay.
Look at that.
It's so backwards. You're watching
live theater.
(14:49):
Live theater. It slipped down more.
I should just,
I know what I can do. I'll do this little
thing here and, okay, now I can
see what we're doing. That I like.
That's much better. Yes.
Norman Sylvester. So,
did you ever watch
Welcome Back, Cotter? I did watch the show
actually. Were you a fan
of it or? You know, I just watched it. You know,
(15:11):
I was working trucking during that time.
I didn't have a lot of TV time on my hands.
Oh, and
yeah,
gosh, goodness,
keep slipping. There we are.
It just wants to do that.
I'll keep an eye on it. It brought back good memories.
Good, yeah. Yes.
So, the early
70s you were doing trucking.
(15:33):
Yes. You know, I had some questions
about that if you don't mind.
What
was this
all about here?
I should
go back. That's
yeah, there
the first shot,
there was a wonderful shot there
of
(15:55):
I believe your 70s career.
Well, I guess we're going to flash
forward because that's what the photos are doing.
This is more the 80s, isn't it?
This actually started in 1992.
92?
The Candlelight Cafe.
The Candlelight Cafe. Yeah, that first photo
with the candlelight that was started.
I did the Boogie Cat Jam session there
for 11 years on Thursday nights.
(16:17):
Wow, wow.
Okay, and how about
this photo here? The one that you just
showed was myself with Isaac Scott,
my mentor
at Key Largo,
1990.
So,
that was Isaac Scott and you
at Key Largo. Key Largo.
The wonderful Isaac Scott. You've told
(16:39):
me so much about him. So,
he was from Seattle, correct? Actually,
he was originally from
down south, but he was here
for high school. We went to high school together.
And then he moved to Seattle and became the
king of Seattle blues. Right.
Okay. Yes.
So, in what era was that?
He left
Portland. I started a family
(17:01):
in 65. He left
in 66. Went
up there to be a barber. Ended
up playing with the Five Blind Boys and
touring with them for a while.
So, he just took over Seattle with
the blues. And would you go up there
and sit in with him? I would. Yeah.
Likewise, he'd come to Portland
and we would call this show
Blues Brothers Together Again.
(17:23):
Dominating the Northwest. Killing
it, man. Yeah. That's wonderful.
Okay. Well, let's, this
is another trip down memory lane.
1950.
I don't think. I was
seven years old. Seven years old in this
photo. Okay. And is that your
sister there? That's my sister and my mom
and dad. In Louisiana.
In Louisiana. Yeah.
(17:45):
That's where I was born in Benita, but
that was the rural part
of the area. A country
part. And Bastrop was the city where
there was a big paper mill. Oh, really?
My dad worked at the paper mill. So, how
big was Bastrop compared to Benita?
Well, you know, it's a
municipality or so. It was a good
sized town.
Do you ever
(18:07):
get back to Louisiana much? I've been back
in years, man. All my major
grandparents and uncles all
passed away. I just got first cousins down
there. Trying to work to where I can
play down in Arkansas somewhere
where I can visit everybody. Oh, sure.
So I'm working on a gig down there like King
Biscuit or something like that. Oh, right, right.
Yeah, just to get on the road.
Now, have you played the South much
(18:29):
in your various line-ups? I have
not. I have not. Once I moved
out to the Northwest, see, when I came
out here, I was just
a little singer, you know, I sang in the choir
in Louisiana. I didn't start playing guitar
until I was a sophomore in high
school. Wow, wow.
Okay,
we're going to continue on
down. This is your wife, Norman
(18:51):
Sylvester. This is your wife,
Paula. Wonderful. We married in 1994.
Ninety-four.
Is that from the wedding or
around that era?
Melody ballroom.
We put a little
mini blues festival together. We had
dancers and
a band and solo acts
and everything. It was a really nice
(19:13):
affair. I'm very familiar
with the Melody ballroom
stairs and lifting stuff up there.
You know that drill. That's a tough
load in. That photo there
is 1976. Now, this
is the one I originally started
my welcome back Cotter
question. Is this
about the time era when the show
would have been on? It's about my gangster days right there.
(19:35):
Is this also part of that?
That's 69 right there. Oh, that's 69?
That's the band, my first
solo band, Rated X.
Whoa, okay. That's what we're going to talk about.
Now, Rated X.
How old...69's when it started?
Yeah, about 69, man. That little lady
that's in the...the little cute
lady there, her name is Penny Fontenot.
She was a baby in the band. She was like
(19:57):
16 years old.
We were trying to get a name for
the band. And she looked
around at all the fellas and said,
hmm, all you
fellas is Rated X.
So, that's how we got the name.
How long did Rated X
go for? It lasted until
1972
actually. We recorded live
(20:19):
at Van Cole Records
over...we did a 45
this. And what
happened was the trucking company intervened.
I had a family.
I had to go to Graveyard Shift.
And I ended that band.
Oh, wow. I could go to Graveyard Shift for five
years. Wow. And
was that the end of your music for
that period or? For a minute,
(20:41):
yeah. But I kept playing music on the side while
I worked in the trucking company. But
that 45 disc that was
recorded in 69,
in
2000, I got an email
from a guy in England and said,
I'm looking for
a Norman Sylvester that recorded a
45 at Van Cole
Records back in 1969. We're doing
(21:03):
a study on Northwest Blues and R&B.
Wow. And he said, do you have
any of those discs?
And I said, as a matter of fact, I got three
cases still left.
And so he purchased a whole case of them.
Oh, I would love to. So you
still have two cases left? I still have
about a case and a half.
We need to. I'd love to
hear that music. Yeah, yeah.
(21:25):
I said, I'm an original fella by the name of Clance
Rogers and he was a keyboard player.
He wrote one side, I did the other
side. Oh, wow. Oh, that's so
neat. And was it Blues
and R&B or did you get
into the psychedelic at that phase?
Mostly R&B, straight R&B. Okay.
Well, and then I had a question
about that one younger picture
of you. Is that Shanico?
(21:47):
The western town that you're in?
I don't know. Which one was it, man?
Well, I think it's a few down.
I have to... With my parents,
you mean? No, it was
the...
Young man on the porch there.
Oh, no. What that was is the porch
that I was on was an old country store
at a crossroads. You heard
of the Robert Johnson Crossroads? Yes.
(22:09):
In Louisiana, every once in a while you come up
to a crossroad. There's a store over here,
a store over there. They just got
snacks and
all that. But that's actually in Louisiana?
That was in Benita, Louisiana
and my cousin, Sam Bailey.
That was Sam Bailey's store.
Okay. Now, the names
down there are real funny because
Sam had
(22:31):
a son, his
nickname was Nook. So Nook Bailey
and Sam's wife was
Snooty. Snooty Bailey.
They called her Snooty because she walked around
with him.
So they gave it a nickname,
Snooty Bailey, yes indeed.
Wow. That's... Yeah.
Did you know many of
the Louisiana people in Portland
(22:53):
when you got here or was there kind of a
connection? We came out here
looking for work. When I said earlier
he worked at the paper mill in Bastrop,
they started laying off.
But he had been here to
Vanport. Okay.
My uncle came out to Vanport as well.
When my uncle stayed,
Dad came back to Louisiana.
So my uncle got a job at
(23:15):
St. Vincent's Hospital. So when the paper mill
went down in Bastrop, he told
my dad to come out here to get him on at St. Vincent's.
My dad came out here and
started working at St. Vincent's Hospital.
Okay. Okay. Wow.
And is that the old one up in
the southwest or northwest hills?
It was the one up on
27th
of a Lovejoy. And then they moved it
(23:37):
out to Barnes Road. Okay.
I was born
in one of them, I can't remember, but it doesn't exist.
The St. Vincent's
in 1970 where I was born.
My dad was up there in North West Portland.
Yeah. Okay.
And Isaac Scott,
I'll tell you something, you know most guitar
players fall in love with guitarists,
Isaac never fell in love with a guitar.
(23:59):
Every time I saw him,
he was playing a different guitar.
Just when I thought he had
the most killing sound that you could ever have.
And I said,
man, I'd kill to get that sound.
I'd go there, he'd have another setup.
And would it have a totally different sound?
Same sound. Same sound, but
different rig, different...
It just was him, man. It just was his natural
(24:21):
ability to play. He'd go to
the music store on a Friday evening and say
to the music guy,
a good friend of his in Seattle, say,
give me that guitar right there
and can I have that amp for
the weekend? And he'd walk out with
that. You know, so
he was one of those natural musicians
that could play a two by four with strings on it,
man, to make a sound. Yeah, right, right, right.
(24:43):
That's...takes a talent.
I'm pretty much the opposite of that.
Father Red Dead, he was a gospel
singer. He was singing a quartet, so
that's how it was exposed to gospel music.
He sang a traveling quartet
out of the
Southern Baptist Church. He traveled around
the South singing. And that was
this deep baritone?
He sang tenor, actually.
(25:05):
Oh, really? They had a
baritone and a tenor, you know, and
of course a bass that boom, boom, boom, boom, boom.
Would you all sing
together? We all would sing
around the house, yes indeed.
So that's where my grandmother volunteered
me to sing in the choir. That's how I got
into the choir. She didn't tell...
she didn't ask me. She told me I was
singing in the choir. It's
(25:27):
hard for me to imagine you with
a voice other than
this deep lower register, but
I guess you went through puberty
like everyone else and must have had a higher
range. When I was in the poorland, I stuttered and I
had a Southern drawl.
The kids would ask me to talk just to laugh
at me, you know. So it made me
self-conscious a little bit. So once
I got to playing the guitar
(25:49):
and had that guitar between me
and the people,
it gave me confidence. I used to practice
in front of a mirror just to
see how I'd look to me.
And you know, that made
me have confidence to go out
and play, you know,
and look at the people. So you know, it was
a journey. Yes, yes.
I know exactly in the 80s,
(26:11):
I had one of the
most horrible freshman years.
I wanted to join
the Wolverines from Red Dawn
and work camouflage. It was
very uncomfortable at Central
Catholic High School. And
then I got contact lenses
and I put a guitar in my hand
and everything changed. My mom was a
beautician, see, so she actually
(26:33):
gave me different hairstyles in
high school every month or so.
She braided, you know,
cornrow braids back in the day.
She'd press and curl it sometimes, you know,
she'd blow out the afro.
So she was constantly changing my hair.
What cornrows going on during
the early 60s? Yeah, cornrows had been
going on for years. Yeah, yeah. Okay.
Where did they come from?
(26:54):
The Dodger?
Why are they
called cornrows?
From the cornfield. Okay,
okay. So the row in
the cornfield, cornrows,
they go in a,
they come in a line. It's interesting because
the, well, I guess it's just
one of those style things, but when you get into
the late 40s to early
(27:16):
60s, it seems like
all styles were kind of getting homogenized
around. I have on my,
we go to my family's home for
gatherings on holidays and stuff.
I could take you with me over there and we could be
sitting around and eating some turkey
and some dressing and some sweet potato pie.
And one of my nieces
would come up to you and they could have
your hair braided in about
(27:38):
an hour. Oh, that'd be wonderful.
I'm in. Let's do it.
All the way down to the end, man.
You'd be running around looking like Bodare.
Well, on that note, I think we should go to an advertisement.
So we will be right back with Norman Sylvester
from the Peasant Revolution Band for
right. Well,
yeah, I thought maybe I was
(28:00):
going to get this show off,
you know, take a little bit of break.
But
the fans were asking, the fans
were asking about it. Fans want
to see me. Fans
want to hear me talk more
about Zafford Brothers
Downtown Blend, Taste
the City Coffee. And
you know what? I'm not going
(28:22):
to disappoint the fans. I
tell you what, show business, it's
strange. Nobody should ask for this life.
You think you want the riches
and you think you want the fame.
And then if you ever get any
of that stuff, you don't know what to do
with it. You have no idea.
But I tell you what, what
always calms me down,
whatever, what always centers
(28:44):
me is a cup of Zafford Brothers
Downtown Blend,
Taste the City Coffee.
It's good.
Damn good.
Yum.
Music
Music
Music
Music
(29:06):
Music
Music
Ready and go.
When you see me in misery, come on baby, see me out of your way.
(29:40):
It's alright, it's alright.
Oh yeah, it's alright, it's alright.
Tell your mama, tell your pa, I'm gonna take you back to Arkansas now baby.
You won't want to ride.
(30:03):
Hey, hey.
Oh, you won't want to ride.
When you see me in misery, come on baby, and see about me now baby.
It's alright, it's alright.
Hey, hey.
(30:26):
It's alright, it's alright.
Tell me what I'm gonna say.
Tell me what I said.
Tell me what I say.
Tell me what I say.
Tell me what I said.
Tell me what I said.
Tell me what I said.
Tell me what I said.
Tell me what I said.
Baby, what'd I say?
(30:49):
Baby, I wanna know.
Baby, I wanna know.
Baby, I wanna know.
Baby, I wanna know.
Baby, I wanna know.
Baby, I wanna know.
Oh, baby, I wanna know
Yeah, yeah
(31:12):
Oh, oh
Hey, hey, oh, oh
Hey, hey, oh, hey
I feel so good
Baby, I feel good
Baby, I feel so good
Oh, I feel so good
Baby, I feel so good
Well, I feel so good
Baby, I feel so good
(31:34):
Oh, oh
Baby, you do good
Oh, oh
Hey, hey
Hey, oh
Oh, oh
Hey, hey
Oh, oh
Hey, hey
Hey, hey
Baby, it's alright
(31:56):
Baby, it's alright
Baby, it's alright
(33:30):
Yeah, Red's Garage.
We fix.
Broken hose.
Smashed windshield.
We fix.
No problem.
(33:50):
Be back Tuesday.
Fix that.
No, no job too small.
We fix.
Our car.
Our car.
We take care.
No problem.
No problem.
We fix.
Broken headlight.
(34:14):
Broken trunk.
Carburetor.
We fix.
No problem.
No problem.
Ready Tuesday.
Ready Tuesday.
You come back.
No problem.
Red's Garage.
349 Bolga Avenue.
Yeah.
All right.
(34:35):
Okay.
And we're back.
We're back.
Wow.
That was exciting.
The Ray Charles, What I Say.
What I Say.
How long have you been playing that song for?
We did, Patrick Lamb did a tribute, Northwest Tribute to Ray Charles.
I remember that.
And I sang on that.
That was what?
2012?
(35:00):
And Patrick's one of your young players, correct?
Yeah.
Patrick started with me when he was 19.
Wow.
Yeah.
At the River City Saloon up on 12th and Jefferson back in the day.
And he played with the Camden Light Cafe with me.
He's on that live at the Camden Light CD that we recorded in 1994.
Okay.
(35:21):
Okay.
Stu Dodge, my father, sent me some footage recently of him playing with, I think it was
called Little Gregory or something like that.
But Patrick's with him.
And he's like 17.
I just realized that he might be younger than me.
But yeah, I think it was one of the trumpet players from the big Thomas Lauderdale's Pink
(35:47):
Martini.
Okay.
Yeah.
Patrick has toured with Gino Vannelli.
Yes.
Bobby Caldwell.
Right.
And just recently he's recording a new instrumental CD at Jeff Lord, the studio.
Okay.
In LA.
So he's doing great stuff, man.
Yeah, yeah.
Powerful young man doing wonderful things.
But a lot of them started with me.
I remember the first time I was in LA, I was in LA with the Ronda.
(36:09):
Yes.
It was with me, Gretchen Mitchell, you know, you name it.
I remember Lisa Mann when she first came to Portland.
Uh huh.
She was a physical bodybuilder kind of little lady.
Oh, really?
The bass player, right?
Yeah, yeah.
Personal, you know, training, fitness, fitness.
Okay.
Posing.
Right.
Yeah.
She still, you know,
(36:30):
Were aerobics in the 80s.
Yeah, aerobics.
That's what it was, aerobics.
Well, I wanted to take a little look.
I don't, I, I'm not sure if we're going to just jump in the middle of something here,
but you and I have been working together over the past year and we're going to finally see
some daylight on this.
I have a feeling this month, but we'll take a little look at what's queued up here and
(36:54):
I'll edit something sensible.
Now won't you listen, honey, while I say, how could you tell me that you're gonna wait?
(37:25):
Don't say that we must part.
Don't break my aching heart.
You know I loved you truly for many years.
I loved you night and day.
How can you leave me?
Can't you see my tears?
Listen while I say, after you've gone and left me crying.
(37:52):
After you've gone, there's no denying.
I think there's always been people moving in the foreground.
Always, always.
Yeah.
Because what we've seen, Sher and I, we've seen families that come here, talk to families
in the south and Arkansas and all the places, and say it's nice out here.
(38:13):
You can get a job and you can do this.
And a lot of the big jobs were laying off and people would move, migrate this way to
be with their families that have been out here a long time.
The grass is greener, come on out here, you know, so they came out to the northwest, which
is a good commitment because you can come in 2,700 miles, 3,000 miles long.
(38:37):
Right, we moved from Gowes Lake to North Gatting Vine.
Okay.
Yes, North Gatting Vine in about the year of 51.
I was born in Arkansas.
I joined the United States Air Force, went to San Antonio, Texas, then they sent me to
(38:58):
the Fairchild Air Force Base in Spokane.
I was born in Los Angeles, but I was only there a few months.
I came here from Texas, San Antonio, Texas.
Anything to get out of Arkansas would be better, you know, because it was rough down there,
no jobs for anyone, so I joined the United States Air Force just to get away.
(39:21):
They had to end the vine property because my father, on my father's side, my God, I think
almost everybody on this side came up from Mississippi, different parts, you know.
Yeah, and they loved it.
It's like, hey, once they came up here, you know, they didn't want to go back.
We lived in the country.
Uh-huh, well, we did, too.
Yeah, and the rural people kind of healed themselves until it really got serious.
(39:46):
My grandmother was midwife.
One of the things about the South, too, now, education-wise, my sister came up at 12 years
old from Mississippi.
We went down, actually, and picked her up, my parents, and she was a great head of...
When I came here...
We're back, we're back.
(40:08):
Yes, that was Tales of Old Portland.
Yes.
Norman Sylvester, executive producer.
We are doing a series.
We're hoping to broaden out and get a lot of the neighborhoods, but right now we're
focusing on the Northeast North Portland experience, primarily the African-American
(40:29):
experience in that time from moving to Portland in the Vanport era to the early 90s and
everything in between there.
What's special about this, the personal memories, you know, just let them talk about
their memories, and it's just really a wonderful thing to see their faces light up as they
recall as they're being interviewed.
(40:51):
It's a wonderful feeling to watch and be a part of that.
Oh, I'm just in awe of being witness to it all.
Yes.
We had a beautiful day yesterday.
What a day of interviews.
Yeah, I'm still kind of trying to get my head together.
It was so overwhelming, really, really powerful.
And the series is, I'm very, well, I don't care what you think of the series.
(41:14):
I think that we've done, I'm very happy with what we've done.
Well, bravo to you for letting me be your brainchild, and I appreciate you bringing
me in on it.
Yeah, absolutely.
I'm going to be a part of it.
Well, I think that kind of touches back on to when I first remember meeting you, which
I remember it, I was 25, 1995, working as a sound guy, and it was probably my first
(41:38):
time running a stage for the first time at the Good in the Hood in the Holy Redeemer
backyard.
And you came and gave me an envelope of money for the bands.
You're Stu's son, I can trust you, right?
I can trust you.
And it was kind of the beginning of our friendship as well as my first gig for Dad.
(42:00):
I'm local to money, I trust you.
But I think it sort of touches back on this because I was mixing the multicultural stage,
which was something that you always seem to, the Good in the Hood still does that, and
even without you being as involved and active as you used to be, I think that's a wonderful
(42:23):
aspect that you put to that festival that helped make it very big and round with a lot
of a tapestry of a...
We wanted to embrace the whole community, each person in the community.
So I tapped into the Regional Arts and Culture Council to multicultural acts that had received
(42:44):
community outreach grants.
And if they hadn't used their grants I would beg them to play my festival and I would sign
their pink slip when they would play the festival.
And they'd help me bring in didgeridoo players and Brazilian dancers and just everything.
Mexican Folklorica, do you remember them?
(43:06):
Yeah, Ballet Folklorica.
Manching, Cambodian Dancer.
Well I remember the older guy that he kind of looked like Robert Duvall, remember that
guy?
And he would always come with the Mexican Folklorica and they'd have all the outfits.
His name was Bill Miley.
Oh really?
M-I-L-E-Y.
And cassette tapes, that was back when the kids used cassette tapes for their...
(43:27):
Yes indeed.
And Ballet Folklorica was very traditionally dressed.
They always looked so beautiful.
And our kids in the inner city never get to see that.
Right.
And it was just wonderful to bring that to them, you know.
Right.
That was the mission of Good and the Hood to just...
It was Good and the Hood.
And it still continues on today.
It does today.
Which will probably be one of our concluding episodes of Tales of Old Portland.
(43:53):
We'll probably wrap up on the Good and the Hood and how that left the community and then
everyone started moving here after that.
So I'm working on that inner city festival, you know, healing the healthcare blues thing
now.
Yes.
Now tell us about the inner city blues festival.
When did that start and what was your role in it?
It's the seventh annual.
(44:14):
Seventh.
Seventh annual from...we took a little hiatus from the inner city for about five or six
years.
And Bob Gross and Ken Crocker went to...
The Blazer Bob Gross?
Another Bob Gross.
Another Bob Gross.
A Labor Bob Gross.
Went to a healthcare for all Oregon meeting.
(44:35):
And they got tied up in universal healthcare.
Got passionate.
So they said let's get the band back together and bring this festival back.
But we're bringing it back as a benefit for healthcare for all Oregon.
So the mission is to get the universal healthcare on the 2020 ballot.
Wow.
Everybody in and nobody out.
So especially this year, in the seventh year, that is a focus for universal healthcare.
(45:02):
It's important.
Healthcare is not everything.
Now didn't we originally though, this was more trying to get blues musicians healthcare
originally, right?
Before it was just a variety of different benefits the inner city was.
It started out jammed for Jesse when Jesse Jackson ran for president.
Oh, right.
And it started out as that.
And once that didn't happen, we kept it going as the inner city blues festival.
(45:27):
Okay.
And it lasted for years that way.
And now it's the seventh annual Hill in the Healthcare Blues Festival.
It's on April 21st at the North Portland Equals Line.
21st or 22nd?
21st.
April 21st at the Eagles Log.
Ticket to the Eagles.
Get your tickets now.
We're going to put links up when this broadcast gets syndicated.
(45:50):
And we will also have the new Facebook page for Tales of Old Portland.
I'll include that in the links too.
So all sorts of exciting stuff.
Unfortunately with our new Russian financing system, we have more ads to run.
So let's see what they're up to.
Yeah, well, yeah, if you haven't noticed, we've got this new slogan.
(46:14):
I don't know what genius came up with this, you know.
Pardon my cynicism, but we are talking Safford Brothers, downtown blend,
taste the city coffee, and it is good.
I will agree.
I will always agree.
It's good.
And that's the new slogan.
I think it's perfect.
I mean, it says it all.
(46:35):
It's simple.
It was a genius who just said two words, sums up the product.
It's good.
And Safford Brothers, downtown blend, taste the city coffee is something you should be enjoying.
I know Jeff Dodge is enjoying it all the time.
I don't know why he's not doing these commercials, but you know, hey, I love a good payday.
(46:57):
And I love Safford Brothers, downtown blend, taste the city coffee.
And I love the new slogan.
It's good.
It's damn good.
Yum.
And then we're going to go into the song.
We're back with Norman Sylvester, our star guest.
(47:20):
Very happy to have him here.
Rich Reese is here.
If you want to maybe pull that microphone closer.
Oh, right.
I got to go out of the way so I can have all the latitude for what I say.
I want to be able to put my hands around my hands.
Yes.
And now, you know, Rush has been telling me to kind of limit how often I share the spotlight
with my fellow band members.
(47:42):
No, that's OK.
You know, actually, Norman, I got a message, and this is serious, this is not part of our
shtick, from my uncle, who's a sax player.
And he saw that you were on the show tonight and asked me to say that he enjoyed sitting
in with you in the 90s.
His name was Randy Reese.
Oh, yeah, man.
Yeah.
All right.
All right.
So, I'm going to pass that along.
(48:03):
Yes.
Uncle Ranzo.
Yeah.
Yeah, he's back in St. Louis now.
Is he still playing?
Yeah, he plays almost every night.
He's in a couple of Zydeco bands.
He's a bad man.
Yeah, he's been clean for 20 years, too.
Oh, God bless him for that.
Yes, indeed.
He's playing real well, but wanted me to pass that along.
Yeah, Pullman was, and still is, just a melting pot of great musicians.
(48:26):
In the blues in particular, it seems.
Yes.
This is a blues town, the way I would call it.
I'm really curious about this X-rated band, actually.
Rated X?
Yeah, rated X, yeah.
That was a ten-piece soul band.
Okay.
And we played around all the Northeast Portland clubs.
(48:50):
We played stuff on Mount Hood, you know, like ski parties and stuff like that.
What was a ski party like in 69?
Wow, it was kind of like beer drinking...
In the snow, in the Timberline Lodge?
Up in the lodge area, yeah.
We rocked it out at that minute.
Wow.
You know, I don't do well with snow, because I don't ski.
(49:14):
But it was a fun time.
We got a set list from the back of Jet magazine, whatever the top ten songs for the month.
When Shaft came out, we was on top of it.
When Curtis Mayfield came out with Superfly, he was right on it, you know, all those...
And I had the wah-wah, right?
I played Shaft so much in one night, I'd get $20 bills to play it again.
(49:40):
Play it again.
The next day, my leg would be just sore from that wah-wah, man.
Yeah, yeah.
Well, you brought your wah-wah tonight, didn't you?
I'm so excited.
I'd never leave home without it.
Yes, yes, it is wonderful to hear you on that.
Scotty Scotterino, I heard you might have a question out there.
(50:01):
The rush is trying to expand.
Why don't you come on in here and...
Excuse me?
I'm good, I'm good.
I have no questions tonight, Mr. Dodge.
Scotty Scotterino and I have a love affair with G&L Guitars.
Oh, yeah?
Yeah, see, we share that love affair, see?
That's what we talk about all the time.
(50:22):
The G&L.
If you see us whispering, we're whispering about that G&L. F-100.
The F-100, is that what we're rocking tonight?
Yes, I brought it.
I brought it for Scotty.
It's not a tone knob.
I can't hear you, come in here.
It's a parametric EQ.
Parametric EQ, instead of a tone.
Yeah, yeah.
(50:43):
I almost understand that. I just play them, I don't understand that.
Parametric.
Well, on that note, I think we're going to take another ad break here.
A lot of ads to pay here, so we're going to do that.
And here we go.
Comis is your market of choice for all Russians' things.
Here you find Moscow candle cages, golden clocks from our famous gold regions.
(51:13):
We sell funny keychains and gemstones from the Siberian hinterlands, along with black seashells.
We have finest capers from Kiev, delicious Russian fish, and Matryoshka dolls to make you smile.
(51:38):
Comis has toys for children and handmade ships from St. Petersburg.
We bring you back to the old country with memories of motherland.
At Comis Russian in Portmageddon, all are welcome.
(52:03):
We put the Nick in a Nikonak.
And then...
Will you come in here?
Okay, we're back.
Put it on the ladder if you can.
We're back, and I just wanted to get...
Norman has been a wonderful having you here, a wonderful guest, a wonderful friend,
(52:26):
and we're very excited about this new series we're going to be bringing.
But as I typically like to do, I'd like to give my best regards to the city.
Mayor Ted Wheeler is actually doing a pretty good job, I have to say so far.
But this Mayor Frank Ivancy comes to mind.
(52:48):
Now Mayor Frank Ivancy, let me tell you, that guy was a rascal.
Oh, Ed, it's my lovely wife, Jamila.
She was with us at the beginning of this show.
How are you, honey?
I am doing well.
Has anything changed since the beginning?
No, it's just coming closer to the end.
(53:09):
Oh, are you saying it's time?
Say goodnight.
Goodnight, Jeff.
(54:14):
Good night.
(54:41):
Good night.
Good night.
(55:12):
Good night.
(55:42):
Good night.
Good night.
(56:03):
Good night.
(56:33):
Good night.
Good night.
(57:23):
Good night.
Good night.
(58:03):
Good night.
Good night.
Good night.
(58:53):
Good night.
Good night.
Good night.
(59:43):
Good night.
Good night.
Good night.
(01:00:33):
Good night.
Good night.
Good night.
(01:01:23):
Good night.
Ah, honey, I just had the wildest dream.
(00:07):
Honey actually kind of looks like...
Oh yeah?
Yeah, I was back at the Sabin Skills Center and teaching and I was back with the sweat
pigs.
The sweat pigs?
The sweat pigs, those rascally high schoolers I used to teach.
What's that sound?
Did you hear something?
(00:28):
No, I didn't hear anything.
Hey, hey, who is that?
I'm going to check this out.
Where's my trusty wand?
Hey Mr. Dodger.
What?
Up your nose with some vinyl tubing.
Holy cow!
(00:49):
It's...
Why, why it's Scotty Scotterino!
Hey Mr. Dodger.
Are you doing the show tonight?
What are we doing here?
Well, I was very confused.
Oh my goodness, it's Boom Boom Sibylla and Richard Porchak.
What?
You're all here!
(01:09):
The sweat pigs!
I bet that was 20 years ago!
What's happened to y'all?
Well, you know, a lot of things have happened in this lifetime Mr. D.
Yeah, nice hairstyle.
Thanks for noticing.
So I heard Scotty Scotterino that you're back into Scientology again.
Well, absolutely.
L. Ron Hubbard knows a lot of things about how we connect to the universe.
(01:33):
Fascinating.
I'm glad you learned everything from my school teachings.
And I also heard that you've been out in France for a while.
Did you try some of their food?
I know you got a bad smoking habit.
Didn't get a chance to get any of the cheeseburgers in France.
What do they serve in France for burgers?
(01:56):
Uh, I'm not sure.
Well welcome back Mr. Dodger!
Oh my goodness, why is Mr. Norman even here?
Mr. Sir Boogie Cat is in the house.
Sir Boogie Cat?
Why thank you, this just makes me so happy I gotta play something.
What do you think you wanna play?
(02:18):
Well it's a little tune that goes something like this.
Welcome back to the things where you're ticking out.
(02:49):
Welcome back to the things where you're playing.
(03:10):
Welcome back to the things where you're playing.
(03:30):
I want my sweet girl
And I know I'll see you there
Cause the sun will make you come back again
Forever and ever we'll meet y'all
Forever and ever we'll meet y'all
I give you a future
Yeah, we'll tease and we'll lie
(03:52):
Cause we got them on the spot
Welcome back
Welcome back, welcome back, welcome back
Welcome back, welcome back
(04:18):
I know I'll see you there
Cause the sun will make you come back again
Forever and ever we'll meet y'all
Forever and ever we'll meet y'all
Forever and ever we'll meet y'all
I give you a future
(04:40):
Yeah, we'll tease and we'll lie
Cause we got them on the spot
Welcome back
Welcome back, welcome back, welcome back
Welcome back, welcome back, welcome back
(05:06):
Welcome back, welcome back
Welcome back, welcome back, welcome back
Welcome back.
Welcome back.
Welcome back.
Welcome, Pets and Revolution
Man variety hour. I'm your host,
Jeff Dodge. We got a good one for you tonight.
The Bunkin' Cat is in the house.
(05:27):
Woo!
We are 27
years away
from the planet
blowing us away.
If you really don't
want to stay
look who's
out off in the Milky Way.
(05:49):
It's Pets and
Revolution Man
where we try to
really understand
that the truth
of our mission is to
heal our good visions.
Join our Pets and Revolution
Man
Join our Pets and Revolution
Man
(06:11):
Join our Pets and Revolution
Man
Join our Pets and Revolution
Man
Well, besides this world just
can't stay
It's gotta go get the
hell away
Well, I tried to get me some
(06:33):
peace today
But the future seems so
far away
We're Pets and Revolution
Man
We must try to
really understand
that the truth of our
mission is to heal our
good visions.
Join our Pets and Revolution Man
(06:55):
Join our Pets and Revolution
Man
Join our Pets and Revolution
Man
Join our Pets and Revolution
Man
Join our Pets and Revolution
Man
Join our Pets and Revolution
Man
Join our Pets and Revolution
(07:17):
Man
We're live and we're back.
We're back. Yes, we are.
Woohoo!
Are we back?
Everybody's back.
I'm so happy
you can join us.
I'm
Jeff Dodge and this is
the Pets and Revolution Band Variety
(07:39):
Hour. We have our
musical director Rich Reese
on the drums. How are you today, Rich?
I'm having a great day. Jeff, how are you doing?
Welcome back. Thank you.
It's good to be back. I was
20 years. Is it 20 years
or is it 40 years?
Alright, you got me. It's actually 40
years. I'm 73.
I was just thinking, yeah, it was 20 years ago that
(08:01):
Lauren Hill ripped that song off.
Oh, I didn't know she did it.
Really? Yeah, I'm not saying that.
A Fuji's version?
No, it was her solo album, 1998's
Miseducation.
Wow. Well, I thought of it
as actually
Sebastian, John Sebastian's
song. Oh my goodness. I
think we just...
(08:23):
Something happened here on the telephone.
Holy cow.
I think someone's trying to reach us.
Let me see what that's all
about. Oh my goodness. And it's creating
all sorts of havoc.
Uh, okay.
It's...
Hello? Hello?
Hello. Hello.
(08:45):
Is this... Who is this?
Hello.
Hi. Is it...
Is this live?
We are live. Is this... Is this
Rex Tillerson?
Hi. This is Rex Tillerson.
Rex! My goodness.
We've been so worried about you. We haven't
seen much of you lately.
(09:07):
I'm on a submarine.
You're on a submarine? Really?
Yes. I'm on a submarine.
With Richard Branson.
We heard recently... With Richard Branson, the billionaire?
Yes. With Richard
Branson. I don't believe you.
Prove it. I don't believe
Richard Branson. I'll put him on.
Really? Oh my goodness. We're going to talk to Richard
Branson. Do you believe that?
(09:29):
Hello. This is Richard Branson.
Richard Branson?
What are you doing with Rex Tillerson
in a submarine? We're looking
for oil.
Oil?
You know, he talked to us about that on
a few shows back.
It sort of seems like a fool's errand.
Now, everyone's trying to get into solar
and energy efficient.
(09:51):
Well, yes.
But, uh, we have a submarine
now. I thought you would be ahead
of the curve on that, but you're still looking for oil
with all your wealth and submarines.
Well, yes.
Let me put
Rex on to explain things.
Okay. Well, thank you, Richard Branson.
Rex?
You there?
(10:13):
Oh. Um, yes.
Rex Tillerson
here. Okay, Rex.
I'm on board a submarine. Yeah. If you
have been drinking again, Rex?
Well,
there's a...
I consume fresh seawater now.
Oh, interesting.
I heard there's funguses and algaes.
Um, did a...
(10:35):
It's better than, um,
yeah, it's better than the alcohol
that my doctor used
to prescribe. You were prescribed
it. Okay. Okay.
Exactly. Very interesting.
Um, I had one question
for you, Rex, uh, before we
get going, because we got a very, very
busy show here. Um, but
you said
(10:57):
there was something about your old boss,
uh, the president said something
about a... He said something about a storm.
It's called, uh, permanent
vacation. Well, yes.
Permanent vacation. That was an Aerosmith
album, if I remember right. Uh,
but the president,
it said something about a storm that's
coming. Are you aware of this
storm and what it's about?
(11:19):
A storm, huh?
Yeah. Well, I don't know
if perhaps it's the... The storm that's coming.
The deep state he keeps on mentioning.
The deep...
Are you part of the deep state or...
Well, I'm
underwater, so I guess that's pretty
deep. That's pretty deep. Well, Rex,
it has been a real kicker. Um,
I hope you, uh, we've had a great time
(11:41):
getting to know you. I hope you don't
mind that we're gonna probably start taking calls
from Richard Branson instead of you
now, cause you are on a permanent vacation.
But, uh, tell Richard
we look forward to hearing from again
and, uh, you enjoy your
vacation there, okay?
Oh, yes, of course.
Remember to look under the polar ice caps.
Polar ice caps, got it.
(12:03):
You may find something
worth writing
about. Okay.
That's wonderful. And you take it easy with
that seaweed there, okay?
Alright. Alright. Goodbye, Rex.
It's great talking to you. Take care.
Wow.
Rex Tillerson. There you go. There you
go. Well, we're gonna have
(12:25):
our, our guest in just a second
here. I wanna cut to a quick commercial.
And we'll be right back
with Norman Sylvester,
the legend, here in the
Trench Digger Studios.
Did you ever
wonder
what life would be like
(12:49):
without advertising?
Pretty scary, huh?
Advertising?
Keeps life
interesting.
Advertising?
(13:13):
Helps views find bargains.
Advertising?
Makes life worth living.
Advertise on the Peasant
Revolution Band Variety Hour.
And see your business improve.
We'd love to talk about how we can help make your business successful.
(13:43):
So, you know, if we have Rex Tillerson
coming in here anymore, I get, oh, we're back.
We're live.
We're live. Um, ladies and gentlemen,
I'm so happy.
This is a very powerful
moment for the show.
We have, from the Oregon
Music Hall of Fame,
the legend, the one and only
Boogie Cat, Norman Sylvester!
(14:05):
What's up?
Yes.
Thank you so much.
I'm so glad to see you, my friend. How are you doing?
I'm good, I'm good. How are you?
Mr. Dodger, I'm doing wonderful. Thank you for asking.
Wonderful. Let me put a mic in your hand
and I'll talk over here
and let's make sure
Director of Photography, David,
is happy with his shots.
(14:27):
Is he happy? Are you
happy, David? Oh, I could,
oh, I'm thinking we could do, oh, yeah,
let's do a little, okay,
and then I'll stay on this shot.
Okay, is that working?
Yeah, something like that.
Okay.
Look at that.
It's so backwards. You're watching
live theater.
(14:49):
Live theater. It slipped down more.
I should just,
I know what I can do. I'll do this little
thing here and, okay, now I can
see what we're doing. That I like.
That's much better. Yes.
Norman Sylvester. So,
did you ever watch
Welcome Back, Cotter? I did watch the show
actually. Were you a fan
of it or? You know, I just watched it. You know,
(15:11):
I was working trucking during that time.
I didn't have a lot of TV time on my hands.
Oh, and
yeah,
gosh, goodness,
keep slipping. There we are.
It just wants to do that.
I'll keep an eye on it. It brought back good memories.
Good, yeah. Yes.
So, the early
70s you were doing trucking.
(15:33):
Yes. You know, I had some questions
about that if you don't mind.
What
was this
all about here?
I should
go back. That's
yeah, there
the first shot,
there was a wonderful shot there
of
(15:55):
I believe your 70s career.
Well, I guess we're going to flash
forward because that's what the photos are doing.
This is more the 80s, isn't it?
This actually started in 1992.
92?
The Candlelight Cafe.
The Candlelight Cafe. Yeah, that first photo
with the candlelight that was started.
I did the Boogie Cat Jam session there
for 11 years on Thursday nights.
(16:17):
Wow, wow.
Okay, and how about
this photo here? The one that you just
showed was myself with Isaac Scott,
my mentor
at Key Largo,
1990.
So,
that was Isaac Scott and you
at Key Largo. Key Largo.
The wonderful Isaac Scott. You've told
(16:39):
me so much about him. So,
he was from Seattle, correct? Actually,
he was originally from
down south, but he was here
for high school. We went to high school together.
And then he moved to Seattle and became the
king of Seattle blues. Right.
Okay. Yes.
So, in what era was that?
He left
Portland. I started a family
(17:01):
in 65. He left
in 66. Went
up there to be a barber. Ended
up playing with the Five Blind Boys and
touring with them for a while.
So, he just took over Seattle with
the blues. And would you go up there
and sit in with him? I would. Yeah.
Likewise, he'd come to Portland
and we would call this show
Blues Brothers Together Again.
(17:23):
Dominating the Northwest. Killing
it, man. Yeah. That's wonderful.
Okay. Well, let's, this
is another trip down memory lane.
1950.
I don't think. I was
seven years old. Seven years old in this
photo. Okay. And is that your
sister there? That's my sister and my mom
and dad. In Louisiana.
In Louisiana. Yeah.
(17:45):
That's where I was born in Benita, but
that was the rural part
of the area. A country
part. And Bastrop was the city where
there was a big paper mill. Oh, really?
My dad worked at the paper mill. So, how
big was Bastrop compared to Benita?
Well, you know, it's a
municipality or so. It was a good
sized town.
Do you ever
(18:07):
get back to Louisiana much? I've been back
in years, man. All my major
grandparents and uncles all
passed away. I just got first cousins down
there. Trying to work to where I can
play down in Arkansas somewhere
where I can visit everybody. Oh, sure.
So I'm working on a gig down there like King
Biscuit or something like that. Oh, right, right.
Yeah, just to get on the road.
Now, have you played the South much
(18:29):
in your various line-ups? I have
not. I have not. Once I moved
out to the Northwest, see, when I came
out here, I was just
a little singer, you know, I sang in the choir
in Louisiana. I didn't start playing guitar
until I was a sophomore in high
school. Wow, wow.
Okay,
we're going to continue on
down. This is your wife, Norman
(18:51):
Sylvester. This is your wife,
Paula. Wonderful. We married in 1994.
Ninety-four.
Is that from the wedding or
around that era?
Melody ballroom.
We put a little
mini blues festival together. We had
dancers and
a band and solo acts
and everything. It was a really nice
(19:13):
affair. I'm very familiar
with the Melody ballroom
stairs and lifting stuff up there.
You know that drill. That's a tough
load in. That photo there
is 1976. Now, this
is the one I originally started
my welcome back Cotter
question. Is this
about the time era when the show
would have been on? It's about my gangster days right there.
(19:35):
Is this also part of that?
That's 69 right there. Oh, that's 69?
That's the band, my first
solo band, Rated X.
Whoa, okay. That's what we're going to talk about.
Now, Rated X.
How old...69's when it started?
Yeah, about 69, man. That little lady
that's in the...the little cute
lady there, her name is Penny Fontenot.
She was a baby in the band. She was like
(19:57):
16 years old.
We were trying to get a name for
the band. And she looked
around at all the fellas and said,
hmm, all you
fellas is Rated X.
So, that's how we got the name.
How long did Rated X
go for? It lasted until
1972
actually. We recorded live
(20:19):
at Van Cole Records
over...we did a 45
this. And what
happened was the trucking company intervened.
I had a family.
I had to go to Graveyard Shift.
And I ended that band.
Oh, wow. I could go to Graveyard Shift for five
years. Wow. And
was that the end of your music for
that period or? For a minute,
(20:41):
yeah. But I kept playing music on the side while
I worked in the trucking company. But
that 45 disc that was
recorded in 69,
in
2000, I got an email
from a guy in England and said,
I'm looking for
a Norman Sylvester that recorded a
45 at Van Cole
Records back in 1969. We're doing
(21:03):
a study on Northwest Blues and R&B.
Wow. And he said, do you have
any of those discs?
And I said, as a matter of fact, I got three
cases still left.
And so he purchased a whole case of them.
Oh, I would love to. So you
still have two cases left? I still have
about a case and a half.
We need to. I'd love to
hear that music. Yeah, yeah.
(21:25):
I said, I'm an original fella by the name of Clance
Rogers and he was a keyboard player.
He wrote one side, I did the other
side. Oh, wow. Oh, that's so
neat. And was it Blues
and R&B or did you get
into the psychedelic at that phase?
Mostly R&B, straight R&B. Okay.
Well, and then I had a question
about that one younger picture
of you. Is that Shanico?
(21:47):
The western town that you're in?
I don't know. Which one was it, man?
Well, I think it's a few down.
I have to... With my parents,
you mean? No, it was
the...
Young man on the porch there.
Oh, no. What that was is the porch
that I was on was an old country store
at a crossroads. You heard
of the Robert Johnson Crossroads? Yes.
(22:09):
In Louisiana, every once in a while you come up
to a crossroad. There's a store over here,
a store over there. They just got
snacks and
all that. But that's actually in Louisiana?
That was in Benita, Louisiana
and my cousin, Sam Bailey.
That was Sam Bailey's store.
Okay. Now, the names
down there are real funny because
Sam had
(22:31):
a son, his
nickname was Nook. So Nook Bailey
and Sam's wife was
Snooty. Snooty Bailey.
They called her Snooty because she walked around
with him.
So they gave it a nickname,
Snooty Bailey, yes indeed.
Wow. That's... Yeah.
Did you know many of
the Louisiana people in Portland
(22:53):
when you got here or was there kind of a
connection? We came out here
looking for work. When I said earlier
he worked at the paper mill in Bastrop,
they started laying off.
But he had been here to
Vanport. Okay.
My uncle came out to Vanport as well.
When my uncle stayed,
Dad came back to Louisiana.
So my uncle got a job at
(23:15):
St. Vincent's Hospital. So when the paper mill
went down in Bastrop, he told
my dad to come out here to get him on at St. Vincent's.
My dad came out here and
started working at St. Vincent's Hospital.
Okay. Okay. Wow.
And is that the old one up in
the southwest or northwest hills?
It was the one up on
27th
of a Lovejoy. And then they moved it
(23:37):
out to Barnes Road. Okay.
I was born
in one of them, I can't remember, but it doesn't exist.
The St. Vincent's
in 1970 where I was born.
My dad was up there in North West Portland.
Yeah. Okay.
And Isaac Scott,
I'll tell you something, you know most guitar
players fall in love with guitarists,
Isaac never fell in love with a guitar.
(23:59):
Every time I saw him,
he was playing a different guitar.
Just when I thought he had
the most killing sound that you could ever have.
And I said,
man, I'd kill to get that sound.
I'd go there, he'd have another setup.
And would it have a totally different sound?
Same sound. Same sound, but
different rig, different...
It just was him, man. It just was his natural
(24:21):
ability to play. He'd go to
the music store on a Friday evening and say
to the music guy,
a good friend of his in Seattle, say,
give me that guitar right there
and can I have that amp for
the weekend? And he'd walk out with
that. You know, so
he was one of those natural musicians
that could play a two by four with strings on it,
man, to make a sound. Yeah, right, right, right.
(24:43):
That's...takes a talent.
I'm pretty much the opposite of that.
Father Red Dead, he was a gospel
singer. He was singing a quartet, so
that's how it was exposed to gospel music.
He sang a traveling quartet
out of the
Southern Baptist Church. He traveled around
the South singing. And that was
this deep baritone?
He sang tenor, actually.
(25:05):
Oh, really? They had a
baritone and a tenor, you know, and
of course a bass that boom, boom, boom, boom, boom.
Would you all sing
together? We all would sing
around the house, yes indeed.
So that's where my grandmother volunteered
me to sing in the choir. That's how I got
into the choir. She didn't tell...
she didn't ask me. She told me I was
singing in the choir. It's
(25:27):
hard for me to imagine you with
a voice other than
this deep lower register, but
I guess you went through puberty
like everyone else and must have had a higher
range. When I was in the poorland, I stuttered and I
had a Southern drawl.
The kids would ask me to talk just to laugh
at me, you know. So it made me
self-conscious a little bit. So once
I got to playing the guitar
(25:49):
and had that guitar between me
and the people,
it gave me confidence. I used to practice
in front of a mirror just to
see how I'd look to me.
And you know, that made
me have confidence to go out
and play, you know,
and look at the people. So you know, it was
a journey. Yes, yes.
I know exactly in the 80s,
(26:11):
I had one of the
most horrible freshman years.
I wanted to join
the Wolverines from Red Dawn
and work camouflage. It was
very uncomfortable at Central
Catholic High School. And
then I got contact lenses
and I put a guitar in my hand
and everything changed. My mom was a
beautician, see, so she actually
(26:33):
gave me different hairstyles in
high school every month or so.
She braided, you know,
cornrow braids back in the day.
She'd press and curl it sometimes, you know,
she'd blow out the afro.
So she was constantly changing my hair.
What cornrows going on during
the early 60s? Yeah, cornrows had been
going on for years. Yeah, yeah. Okay.
Where did they come from?
(26:54):
The Dodger?
Why are they
called cornrows?
From the cornfield. Okay,
okay. So the row in
the cornfield, cornrows,
they go in a,
they come in a line. It's interesting because
the, well, I guess it's just
one of those style things, but when you get into
the late 40s to early
(27:16):
60s, it seems like
all styles were kind of getting homogenized
around. I have on my,
we go to my family's home for
gatherings on holidays and stuff.
I could take you with me over there and we could be
sitting around and eating some turkey
and some dressing and some sweet potato pie.
And one of my nieces
would come up to you and they could have
your hair braided in about
(27:38):
an hour. Oh, that'd be wonderful.
I'm in. Let's do it.
All the way down to the end, man.
You'd be running around looking like Bodare.
Well, on that note, I think we should go to an advertisement.
So we will be right back with Norman Sylvester
from the Peasant Revolution Band for
right. Well,
yeah, I thought maybe I was
(28:00):
going to get this show off,
you know, take a little bit of break.
But
the fans were asking, the fans
were asking about it. Fans want
to see me. Fans
want to hear me talk more
about Zafford Brothers
Downtown Blend, Taste
the City Coffee. And
you know what? I'm not going
(28:22):
to disappoint the fans. I
tell you what, show business, it's
strange. Nobody should ask for this life.
You think you want the riches
and you think you want the fame.
And then if you ever get any
of that stuff, you don't know what to do
with it. You have no idea.
But I tell you what, what
always calms me down,
whatever, what always centers
(28:44):
me is a cup of Zafford Brothers
Downtown Blend,
Taste the City Coffee.
It's good.
Damn good.
Yum.
Music
Music
Music
Music
(29:06):
Music
Music
Ready and go.
When you see me in misery, come on baby, see me out of your way.
(29:40):
It's alright, it's alright.
Oh yeah, it's alright, it's alright.
Tell your mama, tell your pa, I'm gonna take you back to Arkansas now baby.
You won't want to ride.
(30:03):
Hey, hey.
Oh, you won't want to ride.
When you see me in misery, come on baby, and see about me now baby.
It's alright, it's alright.
Hey, hey.
(30:26):
It's alright, it's alright.
Tell me what I'm gonna say.
Tell me what I said.
Tell me what I say.
Tell me what I say.
Tell me what I said.
Tell me what I said.
Tell me what I said.
Tell me what I said.
Tell me what I said.
Baby, what'd I say?
(30:49):
Baby, I wanna know.
Baby, I wanna know.
Baby, I wanna know.
Baby, I wanna know.
Baby, I wanna know.
Baby, I wanna know.
Oh, baby, I wanna know
Yeah, yeah
(31:12):
Oh, oh
Hey, hey, oh, oh
Hey, hey, oh, hey
I feel so good
Baby, I feel good
Baby, I feel so good
Oh, I feel so good
Baby, I feel so good
Well, I feel so good
Baby, I feel so good
(31:34):
Oh, oh
Baby, you do good
Oh, oh
Hey, hey
Hey, oh
Oh, oh
Hey, hey
Oh, oh
Hey, hey
Hey, hey
Baby, it's alright
(31:56):
Baby, it's alright
Baby, it's alright
(33:30):
Yeah, Red's Garage.
We fix.
Broken hose.
Smashed windshield.
We fix.
No problem.
(33:50):
Be back Tuesday.
Fix that.
No, no job too small.
We fix.
Our car.
Our car.
We take care.
No problem.
No problem.
We fix.
Broken headlight.
(34:14):
Broken trunk.
Carburetor.
We fix.
No problem.
No problem.
Ready Tuesday.
Ready Tuesday.
You come back.
No problem.
Red's Garage.
349 Bolga Avenue.
Yeah.
All right.
(34:35):
Okay.
And we're back.
We're back.
Wow.
That was exciting.
The Ray Charles, What I Say.
What I Say.
How long have you been playing that song for?
We did, Patrick Lamb did a tribute, Northwest Tribute to Ray Charles.
I remember that.
And I sang on that.
That was what?
2012?
(35:00):
And Patrick's one of your young players, correct?
Yeah.
Patrick started with me when he was 19.
Wow.
Yeah.
At the River City Saloon up on 12th and Jefferson back in the day.
And he played with the Camden Light Cafe with me.
He's on that live at the Camden Light CD that we recorded in 1994.
Okay.
(35:21):
Okay.
Stu Dodge, my father, sent me some footage recently of him playing with, I think it was
called Little Gregory or something like that.
But Patrick's with him.
And he's like 17.
I just realized that he might be younger than me.
But yeah, I think it was one of the trumpet players from the big Thomas Lauderdale's Pink
(35:47):
Martini.
Okay.
Yeah.
Patrick has toured with Gino Vannelli.
Yes.
Bobby Caldwell.
Right.
And just recently he's recording a new instrumental CD at Jeff Lord, the studio.
Okay.
In LA.
So he's doing great stuff, man.
Yeah, yeah.
Powerful young man doing wonderful things.
But a lot of them started with me.
I remember the first time I was in LA, I was in LA with the Ronda.
(36:09):
Yes.
It was with me, Gretchen Mitchell, you know, you name it.
I remember Lisa Mann when she first came to Portland.
Uh huh.
She was a physical bodybuilder kind of little lady.
Oh, really?
The bass player, right?
Yeah, yeah.
Personal, you know, training, fitness, fitness.
Okay.
Posing.
Right.
Yeah.
She still, you know,
(36:30):
Were aerobics in the 80s.
Yeah, aerobics.
That's what it was, aerobics.
Well, I wanted to take a little look.
I don't, I, I'm not sure if we're going to just jump in the middle of something here,
but you and I have been working together over the past year and we're going to finally see
some daylight on this.
I have a feeling this month, but we'll take a little look at what's queued up here and
(36:54):
I'll edit something sensible.
Now won't you listen, honey, while I say, how could you tell me that you're gonna wait?
(37:25):
Don't say that we must part.
Don't break my aching heart.
You know I loved you truly for many years.
I loved you night and day.
How can you leave me?
Can't you see my tears?
Listen while I say, after you've gone and left me crying.
(37:52):
After you've gone, there's no denying.
I think there's always been people moving in the foreground.
Always, always.
Yeah.
Because what we've seen, Sher and I, we've seen families that come here, talk to families
in the south and Arkansas and all the places, and say it's nice out here.
(38:13):
You can get a job and you can do this.
And a lot of the big jobs were laying off and people would move, migrate this way to
be with their families that have been out here a long time.
The grass is greener, come on out here, you know, so they came out to the northwest, which
is a good commitment because you can come in 2,700 miles, 3,000 miles long.
(38:37):
Right, we moved from Gowes Lake to North Gatting Vine.
Okay.
Yes, North Gatting Vine in about the year of 51.
I was born in Arkansas.
I joined the United States Air Force, went to San Antonio, Texas, then they sent me to
(38:58):
the Fairchild Air Force Base in Spokane.
I was born in Los Angeles, but I was only there a few months.
I came here from Texas, San Antonio, Texas.
Anything to get out of Arkansas would be better, you know, because it was rough down there,
no jobs for anyone, so I joined the United States Air Force just to get away.
(39:21):
They had to end the vine property because my father, on my father's side, my God, I think
almost everybody on this side came up from Mississippi, different parts, you know.
Yeah, and they loved it.
It's like, hey, once they came up here, you know, they didn't want to go back.
We lived in the country.
Uh-huh, well, we did, too.
Yeah, and the rural people kind of healed themselves until it really got serious.
(39:46):
My grandmother was midwife.
One of the things about the South, too, now, education-wise, my sister came up at 12 years
old from Mississippi.
We went down, actually, and picked her up, my parents, and she was a great head of...
When I came here...
We're back, we're back.
(40:08):
Yes, that was Tales of Old Portland.
Yes.
Norman Sylvester, executive producer.
We are doing a series.
We're hoping to broaden out and get a lot of the neighborhoods, but right now we're
focusing on the Northeast North Portland experience, primarily the African-American
(40:29):
experience in that time from moving to Portland in the Vanport era to the early 90s and
everything in between there.
What's special about this, the personal memories, you know, just let them talk about
their memories, and it's just really a wonderful thing to see their faces light up as they
recall as they're being interviewed.
(40:51):
It's a wonderful feeling to watch and be a part of that.
Oh, I'm just in awe of being witness to it all.
Yes.
We had a beautiful day yesterday.
What a day of interviews.
Yeah, I'm still kind of trying to get my head together.
It was so overwhelming, really, really powerful.
And the series is, I'm very, well, I don't care what you think of the series.
(41:14):
I think that we've done, I'm very happy with what we've done.
Well, bravo to you for letting me be your brainchild, and I appreciate you bringing
me in on it.
Yeah, absolutely.
I'm going to be a part of it.
Well, I think that kind of touches back on to when I first remember meeting you, which
I remember it, I was 25, 1995, working as a sound guy, and it was probably my first
(41:38):
time running a stage for the first time at the Good in the Hood in the Holy Redeemer
backyard.
And you came and gave me an envelope of money for the bands.
You're Stu's son, I can trust you, right?
I can trust you.
And it was kind of the beginning of our friendship as well as my first gig for Dad.
(42:00):
I'm local to money, I trust you.
But I think it sort of touches back on this because I was mixing the multicultural stage,
which was something that you always seem to, the Good in the Hood still does that, and
even without you being as involved and active as you used to be, I think that's a wonderful
(42:23):
aspect that you put to that festival that helped make it very big and round with a lot
of a tapestry of a...
We wanted to embrace the whole community, each person in the community.
So I tapped into the Regional Arts and Culture Council to multicultural acts that had received
(42:44):
community outreach grants.
And if they hadn't used their grants I would beg them to play my festival and I would sign
their pink slip when they would play the festival.
And they'd help me bring in didgeridoo players and Brazilian dancers and just everything.
Mexican Folklorica, do you remember them?
(43:06):
Yeah, Ballet Folklorica.
Manching, Cambodian Dancer.
Well I remember the older guy that he kind of looked like Robert Duvall, remember that
guy?
And he would always come with the Mexican Folklorica and they'd have all the outfits.
His name was Bill Miley.
Oh really?
M-I-L-E-Y.
And cassette tapes, that was back when the kids used cassette tapes for their...
(43:27):
Yes indeed.
And Ballet Folklorica was very traditionally dressed.
They always looked so beautiful.
And our kids in the inner city never get to see that.
Right.
And it was just wonderful to bring that to them, you know.
Right.
That was the mission of Good and the Hood to just...
It was Good and the Hood.
And it still continues on today.
It does today.
Which will probably be one of our concluding episodes of Tales of Old Portland.
(43:53):
We'll probably wrap up on the Good and the Hood and how that left the community and then
everyone started moving here after that.
So I'm working on that inner city festival, you know, healing the healthcare blues thing
now.
Yes.
Now tell us about the inner city blues festival.
When did that start and what was your role in it?
It's the seventh annual.
(44:14):
Seventh.
Seventh annual from...we took a little hiatus from the inner city for about five or six
years.
And Bob Gross and Ken Crocker went to...
The Blazer Bob Gross?
Another Bob Gross.
Another Bob Gross.
A Labor Bob Gross.
Went to a healthcare for all Oregon meeting.
(44:35):
And they got tied up in universal healthcare.
Got passionate.
So they said let's get the band back together and bring this festival back.
But we're bringing it back as a benefit for healthcare for all Oregon.
So the mission is to get the universal healthcare on the 2020 ballot.
Wow.
Everybody in and nobody out.
So especially this year, in the seventh year, that is a focus for universal healthcare.
(45:02):
It's important.
Healthcare is not everything.
Now didn't we originally though, this was more trying to get blues musicians healthcare
originally, right?
Before it was just a variety of different benefits the inner city was.
It started out jammed for Jesse when Jesse Jackson ran for president.
Oh, right.
And it started out as that.
And once that didn't happen, we kept it going as the inner city blues festival.
(45:27):
Okay.
And it lasted for years that way.
And now it's the seventh annual Hill in the Healthcare Blues Festival.
It's on April 21st at the North Portland Equals Line.
21st or 22nd?
21st.
April 21st at the Eagles Log.
Ticket to the Eagles.
Get your tickets now.
We're going to put links up when this broadcast gets syndicated.
(45:50):
And we will also have the new Facebook page for Tales of Old Portland.
I'll include that in the links too.
So all sorts of exciting stuff.
Unfortunately with our new Russian financing system, we have more ads to run.
So let's see what they're up to.
Yeah, well, yeah, if you haven't noticed, we've got this new slogan.
(46:14):
I don't know what genius came up with this, you know.
Pardon my cynicism, but we are talking Safford Brothers, downtown blend,
taste the city coffee, and it is good.
I will agree.
I will always agree.
It's good.
And that's the new slogan.
I think it's perfect.
I mean, it says it all.
(46:35):
It's simple.
It was a genius who just said two words, sums up the product.
It's good.
And Safford Brothers, downtown blend, taste the city coffee is something you should be enjoying.
I know Jeff Dodge is enjoying it all the time.
I don't know why he's not doing these commercials, but you know, hey, I love a good payday.
(46:57):
And I love Safford Brothers, downtown blend, taste the city coffee.
And I love the new slogan.
It's good.
It's damn good.
Yum.
And then we're going to go into the song.
We're back with Norman Sylvester, our star guest.
(47:20):
Very happy to have him here.
Rich Reese is here.
If you want to maybe pull that microphone closer.
Oh, right.
I got to go out of the way so I can have all the latitude for what I say.
I want to be able to put my hands around my hands.
Yes.
And now, you know, Rush has been telling me to kind of limit how often I share the spotlight
with my fellow band members.
(47:42):
No, that's OK.
You know, actually, Norman, I got a message, and this is serious, this is not part of our
shtick, from my uncle, who's a sax player.
And he saw that you were on the show tonight and asked me to say that he enjoyed sitting
in with you in the 90s.
His name was Randy Reese.
Oh, yeah, man.
Yeah.
All right.
All right.
So, I'm going to pass that along.
(48:03):
Yes.
Uncle Ranzo.
Yeah.
Yeah, he's back in St. Louis now.
Is he still playing?
Yeah, he plays almost every night.
He's in a couple of Zydeco bands.
He's a bad man.
Yeah, he's been clean for 20 years, too.
Oh, God bless him for that.
Yes, indeed.
He's playing real well, but wanted me to pass that along.
Yeah, Pullman was, and still is, just a melting pot of great musicians.
(48:26):
In the blues in particular, it seems.
Yes.
This is a blues town, the way I would call it.
I'm really curious about this X-rated band, actually.
Rated X?
Yeah, rated X, yeah.
That was a ten-piece soul band.
Okay.
And we played around all the Northeast Portland clubs.
(48:50):
We played stuff on Mount Hood, you know, like ski parties and stuff like that.
What was a ski party like in 69?
Wow, it was kind of like beer drinking...
In the snow, in the Timberline Lodge?
Up in the lodge area, yeah.
We rocked it out at that minute.
Wow.
You know, I don't do well with snow, because I don't ski.
(49:14):
But it was a fun time.
We got a set list from the back of Jet magazine, whatever the top ten songs for the month.
When Shaft came out, we was on top of it.
When Curtis Mayfield came out with Superfly, he was right on it, you know, all those...
And I had the wah-wah, right?
I played Shaft so much in one night, I'd get $20 bills to play it again.
(49:40):
Play it again.
The next day, my leg would be just sore from that wah-wah, man.
Yeah, yeah.
Well, you brought your wah-wah tonight, didn't you?
I'm so excited.
I'd never leave home without it.
Yes, yes, it is wonderful to hear you on that.
Scotty Scotterino, I heard you might have a question out there.
(50:01):
The rush is trying to expand.
Why don't you come on in here and...
Excuse me?
I'm good, I'm good.
I have no questions tonight, Mr. Dodge.
Scotty Scotterino and I have a love affair with G&L Guitars.
Oh, yeah?
Yeah, see, we share that love affair, see?
That's what we talk about all the time.
(50:22):
The G&L.
If you see us whispering, we're whispering about that G&L. F-100.
The F-100, is that what we're rocking tonight?
Yes, I brought it.
I brought it for Scotty.
It's not a tone knob.
I can't hear you, come in here.
It's a parametric EQ.
Parametric EQ, instead of a tone.
Yeah, yeah.
(50:43):
I almost understand that. I just play them, I don't understand that.
Parametric.
Well, on that note, I think we're going to take another ad break here.
A lot of ads to pay here, so we're going to do that.
And here we go.
Comis is your market of choice for all Russians' things.
Here you find Moscow candle cages, golden clocks from our famous gold regions.
(51:13):
We sell funny keychains and gemstones from the Siberian hinterlands, along with black seashells.
We have finest capers from Kiev, delicious Russian fish, and Matryoshka dolls to make you smile.
(51:38):
Comis has toys for children and handmade ships from St. Petersburg.
We bring you back to the old country with memories of motherland.
At Comis Russian in Portmageddon, all are welcome.
(52:03):
We put the Nick in a Nikonak.
And then...
Will you come in here?
Okay, we're back.
Put it on the ladder if you can.
We're back, and I just wanted to get...
Norman has been a wonderful having you here, a wonderful guest, a wonderful friend,
(52:26):
and we're very excited about this new series we're going to be bringing.
But as I typically like to do, I'd like to give my best regards to the city.
Mayor Ted Wheeler is actually doing a pretty good job, I have to say so far.
But this Mayor Frank Ivancy comes to mind.
(52:48):
Now Mayor Frank Ivancy, let me tell you, that guy was a rascal.
Oh, Ed, it's my lovely wife, Jamila.
She was with us at the beginning of this show.
How are you, honey?
I am doing well.
Has anything changed since the beginning?
No, it's just coming closer to the end.
(53:09):
Oh, are you saying it's time?
Say goodnight.
Goodnight, Jeff.
(54:14):
Good night.
(54:41):
Good night.
Good night.
(55:12):
Good night.
(55:42):
Good night.
Good night.
(56:03):
Good night.
(56:33):
Good night.
Good night.
(57:23):
Good night.
Good night.
(58:03):
Good night.
Good night.
Good night.
(58:53):
Good night.
Good night.
Good night.
(59:43):
Good night.
Good night.
Good night.
(01:00:33):
Good night.
Good night.
Good night.
(01:01:23):
Good night.
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