June 2, 2025 • 29 mins
An archival release featuring an in depth interview with Graham Nash.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hi, This is Colely Bryce Forthemusic dot Com. It is
my honor and privilege to be here today with an
extremely prolific and enduring artist and activist, mister Graham Nash.
We all celebrate him as one third of Crosby, Stills
and Nash, a former member of the Hollies, but Graham
is also a gifted photographer and a pioneer in the
fine art of digital media. Graham, thank you for your
(00:21):
valuable time, and welcome to the heart of Hollywood.
Speaker 2 (00:23):
You welcome, Coley. How are you doing.
Speaker 1 (00:24):
I'm doing okay. Crazy things going on in the world today.
Speaker 2 (00:28):
It is It is wild, isn't it.
Speaker 1 (00:30):
Yeah. I don't even watch TV. Actually, I check CNN
dot com once a day for the latest tragedy, just
to know if I should do something, come out of
my hole or not.
Speaker 2 (00:39):
It's very damaging to watch television lately, you know. Normally
I'm a news junkie, you know, and I appreciate hearing
the news from around the world, but of late it's
been just solely concentrating on this terrorist activity and it's
been most depressing.
Speaker 1 (00:56):
Indeed. And I know throughout your career you've been involved
at times with an at war protests. You've been a
peace activist, and it seems like a lot of problems
that that I would have thought that you had hoped
would have been resolved by now are still very much prevalent.
Does How do you maintain your optimism or are.
Speaker 2 (01:16):
You I am? I am maintaining my optimism, and the
very simple reason is because of my children. I have
to be optimistic. I have to hope that the world
gets better. I do recognize that the human condition is
one of violence and to a large degree, and to
a large degree, I think the human kind is not
(01:37):
a very nice animal. I do try and concentrate on
the positive things that are happening, on the positive technology
that's taking place, on the optimistic side of everything, but
it's getting more difficult as these days go on.
Speaker 1 (01:52):
Would you agree that there's a need for our I
guess our sociological progress as humanity is being outpaced by
technological innovation, and we are, in effect kind of like
the species in an adolescent evolutionary stage without a commensurate
level of development.
Speaker 2 (02:10):
Morally, I think your point is well taken as it
regards America. America is a very young country. It's only
you know, just over a couple of hundred years old.
Most of the people that we are at war against
right now have civilizations that are thousands of years old.
I think we are an adolescent child when it comes
(02:31):
to the development of cultures. Yes, we have taken in
every culture from around the world, and that's what makes
America a great place, is that cross diversification of different
kinds of people, and it does make us strong. But
I've been doing a lot of interviews lately, and one
of the main things that I want to bring up
to people is is that we need to really find
(02:53):
out why it is that America is so hatred. What
has our foreign policy done in the last you know,
fifty one hundred years to bring us to this point
where people would attack us so vehemently and so violently.
Speaker 1 (03:04):
Do you find it disturbing that there seems to be
little tolerance among the public for even suggesting things of
that nature. I know that, you know, I've tried to
suggest things as well in conversation. I mean, I've I know,
vegan hippies that were ready to join the Marines when
this happened. And I think it's disturbing that there's even
the lack of tolerance for any type of alternative viewpoint
(03:25):
or expanded consciousness about taking a deeper look at it.
Speaker 2 (03:28):
Well, what happens is that you want to unify the
country and make them all feel on the same side.
But the way that you do that is by patriotism
and the flag and the gung ho attitude of a
lot of people.
Speaker 1 (03:46):
My country right or wrong.
Speaker 2 (03:48):
Yeah, But unfortunately it's my country right or wrong, and
there's a lot of right with this country. That's why
I chose to become an American citizen. I'm very proud
of being an American citizen. I've been here for you know,
thirty odd years now. But at the same time, I
recognize that the foreign policy that the majority of people
out there have no idea what is being done in
(04:11):
their names, and they have no idea of the issues
that have been created by our defense of the oil
fields and the power centers of the world, and our
defense of countries that have treated the Muslim people and
(04:33):
the Middle Eastern people not very well over the last
fifty years. And believe you me, it's not all America's fault.
You know, the British were just as bad. You know,
in the turn of the century. So I understand why
they would want to retaliate this way, and I completely,
of course sympathize with what's going on and don't agree
(04:56):
with their methods, but I understand to a certain degree
why they have been moved to move to act this way.
Speaker 1 (05:02):
What do you attribute that ignorance to and how do
you think we can overcome it.
Speaker 2 (05:06):
Nobody wants to tell you what's going on. You know,
the powers that be and the corporations that run this
country have no interest in letting the public know exactly
what's going on. You know, they have no interest in
telling the people what happened in Nicaragua in the eighties,
where we supported and financed groups that killed thirty thousand people.
(05:28):
We have no interest in telling them what happened in
Vietnam with Operation Phoenix, where thousands and thousands and thousands
of people were assassinated by government run people. They have
no interest in letting you know who killed the DM brothers,
or who in fact killed Kennedy, or who killed Allende,
or who killed Lamomba. Just to mention a few the
(05:50):
foreign policy of this country that's been mainly dominated by
power hungry, money hungry corporations is pathetic.
Speaker 1 (05:59):
So it's you or belief that these quote unquote powers
would be have a vested interest in maintaining this ignorance.
Speaker 2 (06:05):
Yeah, they love us to be sheep. They don't want
people that are educated. They don't want people to stand
up and say wait a second. But they don't want
to give them the truth. They don't want to give
them the information because if you do, then you can't
get away with what they've been getting away with. And please,
I'm not condoning what happened any way, shape or form.
(06:26):
It's been a terrible, terrible thing and a tragedy. But
at the same time, we must understand what brought us
to this point.
Speaker 1 (06:33):
It's a root of opportunity as well to look at ourselves,
within ourselves as well as our society as a whole.
Speaker 2 (06:39):
I think we have to do that, and I think
we also have to be more inquisitive as to what's
going on in the world and what's going on in
our name.
Speaker 1 (06:52):
Good points. I'm going to lighten things up just to
hair Actually yeah, let's but thank you very much. It
was a very remarkable.
Speaker 2 (07:00):
Well it's just just the way I feel, you know.
Speaker 1 (07:03):
The music dot Com has a marketing slogan that has
come out of the herd and be heard. It's kind of.
Speaker 2 (07:09):
That's great, that's great.
Speaker 1 (07:12):
October fifteenth, Classic Records, a small audio file label in Hollywood,
released Songs for Beginners on vinyl. How does it feel
to be putting out a good old fashioned record in
the year two thousand and one.
Speaker 2 (07:25):
It was very interesting revisiting the master tapes. First of all,
the master tapes, I've been storing them in good conditions
for the last thirty odd years, as I do with
all CSN stuff, So the condition of the tapes was great.
I was never very happy with the mix and the
(07:46):
technical aspects of the mix from nineteen seventy, which is
when I did Songs for Beginners. The master two track
was distorted slightly and there were things in the mix
that had I You know, one can always in hindsight
change everything, and you always want to go back and
fix it, and I had a chance to do that.
(08:08):
So when I was working with the Nathaniel Kuncle and
going back to the original masters and finding them in
good condition and having the opportunity to revisit them and
remix them both in stereo and in five to one
was great fun for both Nathaniel and for me.
Speaker 1 (08:28):
What was it like taking that repertoire from so many
years ago and mixing it in five point one for
you know, new applications with surround sound.
Speaker 2 (08:36):
Well, one thing I did discover is that stereo sucks.
Oh really, Oh yeah. It was very difficult for me.
Both Nathanion and I discovered that we could not do
the five to one mix of say Chicago and then
try and go back to the stereo mix. It didn't
work that way. My body wasn't just rejected all of it.
(08:59):
So what we had to do we had to do
the stereo mixes first and then open it up to
the surround sound of five to one. I think that
five to one enables you to experience the music as
close as possible to when it was actually recorded, when
if you were standing in the middle of the control
(09:19):
of the of the playing room in a studio when
that music was going on, and we're I'm only talking
about that music because that's what we're talking about. In
five to one, you could almost recreate what it was
like to stand in the middle of the studio while
it was being recorded. In stereo, you have to compensate
and crush things in and you know, make sure that
(09:42):
certain things are heard even though you're crushing them into
a two sound sources, the left and the right speaker.
Speaker 1 (09:50):
So to some degree, for the first time, your fans
and listeners were actually there's the technology offers a capacity
for them to almost experience your perception of being in
the studio and tracking a vocal.
Speaker 2 (10:02):
And sitting or standing in the middle of the band. Yeah,
and that was thrilling to me to be able to
do that. And since I've been working on a new
record that I'm working on in five to one, I
want to do the first Crosby Stills a Nash record
in five one.
Speaker 1 (10:16):
I would imagine it'd be a lot of public support
for that endeavor.
Speaker 2 (10:19):
Well, I'll just get off myself, that's for sure.
Speaker 1 (10:22):
That's what's the most important thing, is I guess?
Speaker 2 (10:26):
Yeah? I mean, what else am I doing here except
to live my life the best way I can have.
Speaker 1 (10:32):
You led your career that way.
Speaker 2 (10:33):
I've lived my entire life that way. I have no
interest in You got to understand, I'm an extremely lucky man.
I left home at eighteen, I went to London and
by twenty i'd been what was cutting hit records and
I never looked back since, and I've since then never
had a job, although I work you as hard, if
(10:55):
not harder, than most people. But it's at something that
I love to do, and what I love to do
is create, And whether that creation takes the form of
music or recording, or photographing or collecting or sculpting, it
makes no difference to me. So I'm lucky enough to
be able to live my life the way I want
to live it without anybody ever telling me what to do.
Speaker 1 (11:16):
That's an enviable position.
Speaker 2 (11:17):
Tell me about it, and I thank God for it
every single day.
Speaker 1 (11:21):
Tell me a large percentage of the people visiting the
music dot com are aspiring artists themselves. I was wondering
what your thoughts were. What you know, if you've ever
considered the perspective and aspiring artists in this day and
age of the mischievous MP three file and distribution of
audio content via the web and things.
Speaker 2 (11:42):
Of that nature, I think technology it just makes it
more makes music more available to more people on more levels.
I really don't care about any of that in a way.
I'm only trying to write songs that speak to what
it is that I want want to write about. And
I only write for myself. I don't write for you.
(12:03):
I write for me, and I think that if I
can interest me or make myself think about situations differently,
then I stand a chance of doing the same for you.
But primarily, I'm a very selfish person in many ways,
you know, and thank god I have a wife and
a family. Don't understand my madness really and support me.
(12:27):
I don't you know. I couldn't exist in an environment
where I wasn't able to do what it is that
I do. I don't even know how I exists in
the normal world.
Speaker 1 (12:39):
So you're compelled to create.
Speaker 2 (12:41):
Yeah, I have no choice. And that's the great thing
about this. I don't sit down and at nine o'clock
in the morning and say, okay, I have to write.
I just wake up and I take my first breath
and I thank the powers that be that I'm still alive,
and I get on with my life, and I get affected.
Speaker 1 (12:56):
By the divine, not the corporate ones.
Speaker 2 (13:00):
No, you know, I understand people need to make money,
and I understand I need to make money. I mean,
we have an insanity to help keep afloat. But it's
certainly not my primary goal. My primary goal is to
be able to sleep at night.
Speaker 1 (13:15):
Right, Graham, You've worked and played with many of the
most prolific artists of the past four decades. What musical
memory comes most readily to mind.
Speaker 2 (13:24):
The night in nineteen ninety when Crosby Stills in Nash
were in Toledo, Ohio, and we were in the hotel,
and we were there on Friday, and our show wasn't
until Saturday, and the phone rang and it was Phil
Everly on the phone, and I, you know, having gotten
over the shock of it being Phil, although we've known
each other for a number of years, not well, but
(13:45):
certainly I've met him a lot, asking you know, why
are you calling me in Toledo, Ohio. He said, well,
our show's here tonight. We're in the same hotel. Do
you want to come to the show? So, of course, yeah, sure,
Everly Brothers show. That's how I learned to sing, and
Phil knows that. So I go on that bus and
we go down to the to the gig and we're
(14:07):
eating rubber chicken at five o'clock like every other rock
and roll band you know, and done loads at me
across the table and goes, Okay, what are you going
to sing? I'm dying. It's been my one of my
dreams to sing three part with the Everly Brothers, and
now here's done. Everly sitting across the table asking me
if I want to sing and what do I want
to sing? So, I you know, I you know, I'm
(14:29):
trying to keep it together inside even though I'm you know,
I'm on fire. And I say, I know, how about
So Sad, one of my favorite Everly Brother's tunes, And
so he calls for a guitar and he just runs
down the chorus and I said, yeah, I got it,
you know. And Phil said, well, you know, I'll go
underneath down you take my part. I said, why would
(14:50):
you do that? He said, because you know my part's high,
you know. I said, I know, but I learned how
to sing, you know, because you sang high. And then
Don had the melody and I sang on helping you.
I said, don't move, just do what you do. I'll
see what we can do. And I have a board
tape of me singing So Sad three pop with the
Evely Brothers that it's one of the musical highlights of
(15:13):
my life.
Speaker 1 (15:14):
I'm sure it's all over Napster too, I don't think so. No, no,
it never got out.
Speaker 2 (15:19):
Oh no, no, no, no, it's just a just a
board tape.
Speaker 1 (15:21):
When under keep an one under your hat for now.
Speaker 2 (15:24):
Huh oh no, it just you know, no one's ever
asked me about it, and it's just a private thing
I have. But it does. It does sound remarkable considering
that we didn't even rehearse.
Speaker 1 (15:33):
Well well, I know our listeners would love to hear
that sometime. You've also, unfortunately endured the pain of watching
many brilliant artists self distruct. How do you cope with
those losses and as well as manage health and balance
in your own life.
Speaker 2 (15:48):
Because it's not me. I can only deal with myself.
I think before you can help anyone, you have to
try and help yourself as much as possible. And then
there's love, specifically I of Crosby. You know, he's been
one of my best friends for you know, almost thirty
five forty years now, and we have a great deal
(16:10):
of love and respect for each other. And when he
was in trouble, I was there to try and help him,
and I tried everything. I tried, taking more drugs, I
tried taking more drugs than him. I tried everything with David.
I tried taking the music away by not wanting to
work with him. I tried everything, and I in the
end realized that the only thing you can really do
is allow them to want to help themselves. And it
(16:34):
was not until David turned himself into the FBI that
he really made a statement that was I need help.
You know, You've got to help me here. And even
though he's in tournament and imprisonment, what was was very,
very sad. I think David would be the first one
(16:54):
to admit that it saved his life. So, yeah, I've
watched a lot of people self destructed. I've never really
been an addict, you know. I I've taken my share
of drugs, for sure, but I've been able to stop
whenever and wherever i wanted to.
Speaker 1 (17:08):
I'm gonna sidetrack here for a second. Classic Records has
also released the CSN debut David solo album, Now your
solo album. What has the reaction of your fans been
to seeing all the stuff out on vinyl again?
Speaker 2 (17:25):
The people that are intervinyl that that, as I believe,
you know, vinyl sounds better than digital to me every time.
Maybe it's because that's what I've been used to all
my life, whatever reasons, it just sounds better to me.
And the people that are that are Intervinyl have been
thrilled with classic records or releases of the of the
of the Uh. They just did the first Crosby Nash record.
(17:49):
It sounds unbelievable, access bold of as loved by Jimmy Hendrix,
sounds you know in its mono original mono release, sounds
completely amazing.
Speaker 1 (18:02):
When I first met you at Bernie Grumman's mastering studio,
you were kind enough to recollect the story of the
origins of a song entitled black Notes. Ah. Yes, would
you kindly share that memory with our listeners?
Speaker 2 (18:14):
Sure? Black Notes was a song written out of pure panic.
And what happened was in nineteen sixty nine or seventy,
I believe David and I were playing at Carnegie Hall
on a Crosby and nashow and we got to a
certain point in the show and I turned and look
(18:36):
in the wings and I see Stephen standing there. So me,
being you know, Showby's animal, I say to Crosby, you know, hey,
you go get Stephen, bring him back on stage. Don't
say a word. I'll bullshit with the folks here. And
when he was son delko bananas, I know. So he
says good. So David leaves and I start talking to
the audience, Hey, how about those Lakers? You know whatever
(18:58):
it was, I was, you know, inane talking about no
Crosby and no stills. Okay, so I talk about something else. Yeah,
I'm just I'm just talking, you know, filling in time
for David and Stephen to come on stage at Carnegie Hall.
At Carnegie Hall, still no Crosby and no still. So
now I'm panicking. So I go, well, you know, hey,
(19:20):
let's go over to the piano. So I go over
to the piano and I just stop banging around on
the black notes and I start to out of panic,
fill in time and wrote this song instantly on stage
at Carnegie Hall, waiting for David and Stephen, who announced
as in the dressing room getting high.
Speaker 1 (19:40):
Uh.
Speaker 2 (19:41):
And when they came.
Speaker 1 (19:41):
Back, they had a totally different perception of time.
Speaker 2 (19:44):
Oh you got that right.
Speaker 1 (19:46):
They weren't linear at that particular.
Speaker 2 (19:48):
No, no, no, no no. Uh. So they actually did,
in fact come back, and we went on with the
show and we were recording that night, and when I
go back and listen to this, incredibly what I felt
to be an insanely awkward moment for me and actually
turned out pretty good because I had this funny little
song called black Notes that was just played on the
(20:09):
black keys and just about me sitting there and if
I can do this, then anybody out there can do
the same thing, and we can all write and it's
no big deal.
Speaker 1 (20:18):
Well, you know, it's funny. I actually I went to
my home studio after that day and I did fool
around on a keyboard with the black I felt quite accomplished. Actually, yeah,
you can't play you just stick to the black ones.
You know, it's jazz. You're also very, very heavily involved
in another endeavor that not as many people know about you.
(20:39):
You're a photographer.
Speaker 2 (20:41):
I've been making images longer than I've been making music.
I got a camera off my dad when I was eleven.
Speaker 1 (20:49):
I'm afraid I have to trouble you for one more recollection.
You had mentioned also at Bernie's a time that you
were in the studio, Crosby Still's, Nash, The Grateful Dead,
and jeff An Airplane all at once. Yes, I can't
even imagine what the hell was going on there.
Speaker 2 (21:05):
A lot of smoking, a lot of people getting high.
This was at Wally Hiders in San Francisco in the
late sixty nine early seventies, when we were doing both
the Deja Vu record and the first Crosby Nash record,
and Davy was doing If I Could Only Remember my Name,
and I was doing songs for beginners, a lot of music,
(21:26):
a lot of interaction. We had three different studios in
the same building, and we'd finish the track and go
down and watch what they were doing, and then they'd come,
you know, watch what we were doing. And I think
it's it's well known that that the Grateful Dead learned
a lot from watching us sing around one microphone and
(21:48):
getting advice from us about how to sing. They were
very nervous about singing. They you know, we'd been singing
all our lives. I mean, I'd been making hit records
for you know, six or seven years by that's all
that stuff.
Speaker 1 (21:59):
Was trying on one vocal, those harmonies.
Speaker 2 (22:01):
A lot of them were, yeah, we just get an
air blend around. You see. It sounds different when no
pro tools back then, no pro tools back then at
all you.
Speaker 1 (22:10):
Had to earn your stripes.
Speaker 2 (22:11):
Yeah, well you still do. You know you can't. Let
I mean, no amount of pro tools will make a
bad song good. No amount of pro tools will make
a horrible sounding record sound good. It just won't. It
can certainly help, and it's a very interesting tool, but
you've got to get it right from the beginning.
Speaker 1 (22:28):
Yeah, all the same. I would be interested to see
some contemporary artists do their harmonies live on one microphone.
Speaker 2 (22:35):
Well that's what happened with the last Crosby Stools Nashing
Young record. You see, we had David and Stephen and
I had gotten into bad habits because we work at
different speeds. So it was boring for me forever. I'm
the fastest one of us, and I think both David
and Stephen will admit that I'm the fastest one to
get my part and to do it, you know, so
I'd get a little an say, I get a little bored,
(22:57):
you know, waiting. So what we got into the habit
of doing was putting them down, then me going in
and putting my top harmony on, and then Davey putting
his bottom harmony on. If it was Stephen singing the
melody or whatever combination of stuff that we were doing.
But it doesn't sound as good as if you get
an air blend with three voices in the air and
then stick a microphone in the middle of it. It
doesn't sound as good. And Neil was very correct in
(23:20):
pointing that out to us when we started the last
you know, the last Cosbytis National Young Record. He got
us back to doing what it was that we'd forgotten
that we do best.
Speaker 1 (23:33):
Incidentally, what did you think of Neil's performance of Imagine
on the telethon a few weeks back?
Speaker 2 (23:39):
I talked to Neil three nights ago about this very subject,
and I was particularly moved. I thought that he succeeded
brilliantly in evoking the spirit of John Lennon. I thought
he performed it well. I thought the mix was fabulous.
I thought the band was fabulous. I thought he's adelib On,
you know, Imagine no Possessions. I wonder if I can
(24:01):
instead of if you can. I found the whole thing
to be by far the most moving performance on that
entire special, and there were some good moving performances.
Speaker 1 (24:10):
I would agree. It wasn't just the vocal performance that
was haunting. Even the piano was just startling.
Speaker 2 (24:18):
Neil told me that he studied the record for three
days of Imagine before he did it. And you know,
for Neil Young to spend three days on anyone else's
music is a huge compliment, you know, because he's so
driven himself with his own music. So when I found
out that he's actually studied it, you know, for three days,
I realized why it was so brilliant.
Speaker 1 (24:40):
I have to ask you one more question, because I
drive a nineteen seventy two VW bus with Grateful Dead
stickers on it. What recollections do you have of Jerry Garcia?
Speaker 2 (24:48):
One recollection I have of Garcia was then I asked
him to play pedal steel. I'd heard from Phil from
Phil Lesh that he was fooling around with the pedal steel.
Speaker 1 (25:01):
And he debuts those abilities. I think, yeah, he did.
Speaker 2 (25:04):
He he said, well, you know, I'm not I can't
really play it, but you know I do. I said, well,
you know, do me a favor, why don't you bring
it into the studio and play on this track? And
he played. He played two tracks. I was leaving the
next morning for London to mix the record at the
Olympic with the Glenn John's and so I was kind
of running out of time, but that that wasn't the
(25:26):
reason why I. I only had him do two tracks.
He to me he'd already he'd already cut, he'd already
didn't done his part. He overdubbed his part brilliantly. I
think he heard a couple of mistakes in there that
didn't bother me at all. So I went with the
original track with a couple of lines from the second
track that he did. And it was the very first
(25:48):
time that Garcia ever played pedal steel on anything. And uh,
there's quite a moment for me.
Speaker 1 (25:53):
Nets on songs for beginners.
Speaker 2 (25:55):
No, that was on dejehvu, Teacher children was on dejevu.
Speaker 1 (26:00):
Yes that's right. Well, Grandma, I know you're a busy man,
so we're gonna let you go. Thank you very much
for this time and this opportunity to take a little
peer into your life.
Speaker 2 (26:10):
Man, you welcome Colin.
Speaker 1 (26:11):
I'm sure we could spend many afternoons and fill many
volumes of just so.
Speaker 2 (26:16):
Yeah, maybe we could talk about you next time.
Speaker 1 (26:18):
Well, I'm a happy man. I found out that I'm
gonna have a very healthy newborn son in a couple
of months.
Speaker 2 (26:23):
Fantastic boy, your life is about to change big time.
Speaker 1 (26:27):
Well, I do have one daughter already, so it will
be augmented. Yeah.
Speaker 2 (26:31):
But you know, a different the child of a different sex,
is completely different. You think, well, it's just a child,
you know, and the basics are all the same. But
the difference between my boys and my daughter is enormous. Really,
my emotional response to both of them. You know, when
the boys fell down, you know, it's, hey, come on,
come on, get up, You'll be fine. My girlfalls down. Hey,
stop this world a second.
Speaker 1 (26:51):
Yeah, you know, I feel a little bit of that already.
Speaker 2 (26:52):
It's funny.
Speaker 1 (26:53):
Yeah, I feel myself posturing and all these machismo.
Speaker 2 (26:58):
It's very interesting.
Speaker 1 (26:59):
What do I do? Yeah?
Speaker 2 (27:00):
And you know, the wonderful thing is there is no
book that you can't turn to page forty three and
read the instructions of what you have to do next.
You know, you're doing it purely from your heart and
from your instincts, and you'll do a fabulous job.
Speaker 1 (27:13):
I hope. So thank you for your well wishes. In
closing where the world is headed right now, what is
your advice for finding peace and harmony within ourselves.
Speaker 2 (27:25):
It's a difficult question right now. I obviously believe that
the people that killed, you know, roughly, and then even
that's weird, roughly five thousand people. We should have an
exact number, because every single one of them is the
soul that needs to be revered. But you know who
can get an exact number now, So let's just say,
(27:45):
for you know, that five thousand people were killed in
New York on septembery eleven. I think the people that
did it should be punished, obviously. I'm not so sure
that the targets that we are targeting in Afghanistan now
are the correct targets. I think that a lot of them,
the terrorists are over here and in different parts of
the world Germany, Indonesia, Libya, Syria, Iraq, Iran. How do
(28:13):
we undo this? I think that we have to understand
that there are people that believe differently than we do.
This country is built on different beliefs, but we don't
seem to be able to allow other people, especially Middle
Eastern countries, believe what they want to believe. Our culture
is offensive to them. The tits and ass that go
on in our television show, in our movies is offensive
(28:35):
to them. The fact that we have armaments on what
they consider to be holy soil is offensive to them.
And I think we have to start understanding all that
and dealing with the very root causes of what provokes
people to attack us this way. And I think it
will be a long drawn out process, and I'm not
(28:56):
so sure how one goes forward doing not, but I
think that's what we have to do.
Speaker 1 (29:01):
Grahm, thank you. I think that is a very useful
insight at this time.
Speaker 2 (29:05):
I appreciate it.
Speaker 1 (29:06):
Thank you. It's been an hour privilege to have you
here in the heart of Hollywood. On the music dot
Com
Hi, This is Colely Bryce Forthemusic dot Com. It is
my honor and privilege to be here today with an
extremely prolific and enduring artist and activist, mister Graham Nash.
We all celebrate him as one third of Crosby, Stills
and Nash, a former member of the Hollies, but Graham
is also a gifted photographer and a pioneer in the
fine art of digital media. Graham, thank you for your
(00:21):
valuable time, and welcome to the heart of Hollywood.
Speaker 2 (00:23):
You welcome, Coley. How are you doing.
Speaker 1 (00:24):
I'm doing okay. Crazy things going on in the world today.
Speaker 2 (00:28):
It is It is wild, isn't it.
Speaker 1 (00:30):
Yeah. I don't even watch TV. Actually, I check CNN
dot com once a day for the latest tragedy, just
to know if I should do something, come out of
my hole or not.
Speaker 2 (00:39):
It's very damaging to watch television lately, you know. Normally
I'm a news junkie, you know, and I appreciate hearing
the news from around the world, but of late it's
been just solely concentrating on this terrorist activity and it's
been most depressing.
Speaker 1 (00:56):
Indeed. And I know throughout your career you've been involved
at times with an at war protests. You've been a
peace activist, and it seems like a lot of problems
that that I would have thought that you had hoped
would have been resolved by now are still very much prevalent.
Does How do you maintain your optimism or are.
Speaker 2 (01:16):
You I am? I am maintaining my optimism, and the
very simple reason is because of my children. I have
to be optimistic. I have to hope that the world
gets better. I do recognize that the human condition is
one of violence and to a large degree, and to
a large degree, I think the human kind is not
(01:37):
a very nice animal. I do try and concentrate on
the positive things that are happening, on the positive technology
that's taking place, on the optimistic side of everything, but
it's getting more difficult as these days go on.
Speaker 1 (01:52):
Would you agree that there's a need for our I
guess our sociological progress as humanity is being outpaced by
technological innovation, and we are, in effect kind of like
the species in an adolescent evolutionary stage without a commensurate
level of development.
Speaker 2 (02:10):
Morally, I think your point is well taken as it
regards America. America is a very young country. It's only
you know, just over a couple of hundred years old.
Most of the people that we are at war against
right now have civilizations that are thousands of years old.
I think we are an adolescent child when it comes
(02:31):
to the development of cultures. Yes, we have taken in
every culture from around the world, and that's what makes
America a great place, is that cross diversification of different
kinds of people, and it does make us strong. But
I've been doing a lot of interviews lately, and one
of the main things that I want to bring up
to people is is that we need to really find
(02:53):
out why it is that America is so hatred. What
has our foreign policy done in the last you know,
fifty one hundred years to bring us to this point
where people would attack us so vehemently and so violently.
Speaker 1 (03:04):
Do you find it disturbing that there seems to be
little tolerance among the public for even suggesting things of
that nature. I know that, you know, I've tried to
suggest things as well in conversation. I mean, I've I know,
vegan hippies that were ready to join the Marines when
this happened. And I think it's disturbing that there's even
the lack of tolerance for any type of alternative viewpoint
(03:25):
or expanded consciousness about taking a deeper look at it.
Speaker 2 (03:28):
Well, what happens is that you want to unify the
country and make them all feel on the same side.
But the way that you do that is by patriotism
and the flag and the gung ho attitude of a
lot of people.
Speaker 1 (03:46):
My country right or wrong.
Speaker 2 (03:48):
Yeah, But unfortunately it's my country right or wrong, and
there's a lot of right with this country. That's why
I chose to become an American citizen. I'm very proud
of being an American citizen. I've been here for you know,
thirty odd years now. But at the same time, I
recognize that the foreign policy that the majority of people
out there have no idea what is being done in
(04:11):
their names, and they have no idea of the issues
that have been created by our defense of the oil
fields and the power centers of the world, and our
defense of countries that have treated the Muslim people and
(04:33):
the Middle Eastern people not very well over the last
fifty years. And believe you me, it's not all America's fault.
You know, the British were just as bad. You know,
in the turn of the century. So I understand why
they would want to retaliate this way, and I completely,
of course sympathize with what's going on and don't agree
(04:56):
with their methods, but I understand to a certain degree
why they have been moved to move to act this way.
Speaker 1 (05:02):
What do you attribute that ignorance to and how do
you think we can overcome it.
Speaker 2 (05:06):
Nobody wants to tell you what's going on. You know,
the powers that be and the corporations that run this
country have no interest in letting the public know exactly
what's going on. You know, they have no interest in
telling the people what happened in Nicaragua in the eighties,
where we supported and financed groups that killed thirty thousand people.
(05:28):
We have no interest in telling them what happened in
Vietnam with Operation Phoenix, where thousands and thousands and thousands
of people were assassinated by government run people. They have
no interest in letting you know who killed the DM brothers,
or who in fact killed Kennedy, or who killed Allende,
or who killed Lamomba. Just to mention a few the
(05:50):
foreign policy of this country that's been mainly dominated by
power hungry, money hungry corporations is pathetic.
Speaker 1 (05:59):
So it's you or belief that these quote unquote powers
would be have a vested interest in maintaining this ignorance.
Speaker 2 (06:05):
Yeah, they love us to be sheep. They don't want
people that are educated. They don't want people to stand
up and say wait a second. But they don't want
to give them the truth. They don't want to give
them the information because if you do, then you can't
get away with what they've been getting away with. And please,
I'm not condoning what happened any way, shape or form.
(06:26):
It's been a terrible, terrible thing and a tragedy. But
at the same time, we must understand what brought us
to this point.
Speaker 1 (06:33):
It's a root of opportunity as well to look at ourselves,
within ourselves as well as our society as a whole.
Speaker 2 (06:39):
I think we have to do that, and I think
we also have to be more inquisitive as to what's
going on in the world and what's going on in
our name.
Speaker 1 (06:52):
Good points. I'm going to lighten things up just to
hair Actually yeah, let's but thank you very much. It
was a very remarkable.
Speaker 2 (07:00):
Well it's just just the way I feel, you know.
Speaker 1 (07:03):
The music dot Com has a marketing slogan that has
come out of the herd and be heard. It's kind of.
Speaker 2 (07:09):
That's great, that's great.
Speaker 1 (07:12):
October fifteenth, Classic Records, a small audio file label in Hollywood,
released Songs for Beginners on vinyl. How does it feel
to be putting out a good old fashioned record in
the year two thousand and one.
Speaker 2 (07:25):
It was very interesting revisiting the master tapes. First of all,
the master tapes, I've been storing them in good conditions
for the last thirty odd years, as I do with
all CSN stuff, So the condition of the tapes was great.
I was never very happy with the mix and the
(07:46):
technical aspects of the mix from nineteen seventy, which is
when I did Songs for Beginners. The master two track
was distorted slightly and there were things in the mix
that had I You know, one can always in hindsight
change everything, and you always want to go back and
fix it, and I had a chance to do that.
(08:08):
So when I was working with the Nathaniel Kuncle and
going back to the original masters and finding them in
good condition and having the opportunity to revisit them and
remix them both in stereo and in five to one
was great fun for both Nathaniel and for me.
Speaker 1 (08:28):
What was it like taking that repertoire from so many
years ago and mixing it in five point one for
you know, new applications with surround sound.
Speaker 2 (08:36):
Well, one thing I did discover is that stereo sucks.
Oh really, Oh yeah. It was very difficult for me.
Both Nathanion and I discovered that we could not do
the five to one mix of say Chicago and then
try and go back to the stereo mix. It didn't
work that way. My body wasn't just rejected all of it.
(08:59):
So what we had to do we had to do
the stereo mixes first and then open it up to
the surround sound of five to one. I think that
five to one enables you to experience the music as
close as possible to when it was actually recorded, when
if you were standing in the middle of the control
(09:19):
of the of the playing room in a studio when
that music was going on, and we're I'm only talking
about that music because that's what we're talking about. In
five to one, you could almost recreate what it was
like to stand in the middle of the studio while
it was being recorded. In stereo, you have to compensate
and crush things in and you know, make sure that
(09:42):
certain things are heard even though you're crushing them into
a two sound sources, the left and the right speaker.
Speaker 1 (09:50):
So to some degree, for the first time, your fans
and listeners were actually there's the technology offers a capacity
for them to almost experience your perception of being in
the studio and tracking a vocal.
Speaker 2 (10:02):
And sitting or standing in the middle of the band. Yeah,
and that was thrilling to me to be able to
do that. And since I've been working on a new
record that I'm working on in five to one, I
want to do the first Crosby Stills a Nash record
in five one.
Speaker 1 (10:16):
I would imagine it'd be a lot of public support
for that endeavor.
Speaker 2 (10:19):
Well, I'll just get off myself, that's for sure.
Speaker 1 (10:22):
That's what's the most important thing, is I guess?
Speaker 2 (10:26):
Yeah? I mean, what else am I doing here except
to live my life the best way I can have.
Speaker 1 (10:32):
You led your career that way.
Speaker 2 (10:33):
I've lived my entire life that way. I have no
interest in You got to understand, I'm an extremely lucky man.
I left home at eighteen, I went to London and
by twenty i'd been what was cutting hit records and
I never looked back since, and I've since then never
had a job, although I work you as hard, if
(10:55):
not harder, than most people. But it's at something that
I love to do, and what I love to do
is create, And whether that creation takes the form of
music or recording, or photographing or collecting or sculpting, it
makes no difference to me. So I'm lucky enough to
be able to live my life the way I want
to live it without anybody ever telling me what to do.
Speaker 1 (11:16):
That's an enviable position.
Speaker 2 (11:17):
Tell me about it, and I thank God for it
every single day.
Speaker 1 (11:21):
Tell me a large percentage of the people visiting the
music dot com are aspiring artists themselves. I was wondering
what your thoughts were. What you know, if you've ever
considered the perspective and aspiring artists in this day and
age of the mischievous MP three file and distribution of
audio content via the web and things.
Speaker 2 (11:42):
Of that nature, I think technology it just makes it
more makes music more available to more people on more levels.
I really don't care about any of that in a way.
I'm only trying to write songs that speak to what
it is that I want want to write about. And
I only write for myself. I don't write for you.
(12:03):
I write for me, and I think that if I
can interest me or make myself think about situations differently,
then I stand a chance of doing the same for you.
But primarily, I'm a very selfish person in many ways,
you know, and thank god I have a wife and
a family. Don't understand my madness really and support me.
(12:27):
I don't you know. I couldn't exist in an environment
where I wasn't able to do what it is that
I do. I don't even know how I exists in
the normal world.
Speaker 1 (12:39):
So you're compelled to create.
Speaker 2 (12:41):
Yeah, I have no choice. And that's the great thing
about this. I don't sit down and at nine o'clock
in the morning and say, okay, I have to write.
I just wake up and I take my first breath
and I thank the powers that be that I'm still alive,
and I get on with my life, and I get affected.
Speaker 1 (12:56):
By the divine, not the corporate ones.
Speaker 2 (13:00):
No, you know, I understand people need to make money,
and I understand I need to make money. I mean,
we have an insanity to help keep afloat. But it's
certainly not my primary goal. My primary goal is to
be able to sleep at night.
Speaker 1 (13:15):
Right, Graham, You've worked and played with many of the
most prolific artists of the past four decades. What musical
memory comes most readily to mind.
Speaker 2 (13:24):
The night in nineteen ninety when Crosby Stills in Nash
were in Toledo, Ohio, and we were in the hotel,
and we were there on Friday, and our show wasn't
until Saturday, and the phone rang and it was Phil
Everly on the phone, and I, you know, having gotten
over the shock of it being Phil, although we've known
each other for a number of years, not well, but
(13:45):
certainly I've met him a lot, asking you know, why
are you calling me in Toledo, Ohio. He said, well,
our show's here tonight. We're in the same hotel. Do
you want to come to the show? So, of course, yeah, sure,
Everly Brothers show. That's how I learned to sing, and
Phil knows that. So I go on that bus and
we go down to the to the gig and we're
(14:07):
eating rubber chicken at five o'clock like every other rock
and roll band you know, and done loads at me
across the table and goes, Okay, what are you going
to sing? I'm dying. It's been my one of my
dreams to sing three part with the Everly Brothers, and
now here's done. Everly sitting across the table asking me
if I want to sing and what do I want
to sing? So, I you know, I you know, I'm
(14:29):
trying to keep it together inside even though I'm you know,
I'm on fire. And I say, I know, how about
So Sad, one of my favorite Everly Brother's tunes, And
so he calls for a guitar and he just runs
down the chorus and I said, yeah, I got it,
you know. And Phil said, well, you know, I'll go
underneath down you take my part. I said, why would
(14:50):
you do that? He said, because you know my part's high,
you know. I said, I know, but I learned how
to sing, you know, because you sang high. And then
Don had the melody and I sang on helping you.
I said, don't move, just do what you do. I'll
see what we can do. And I have a board
tape of me singing So Sad three pop with the
Evely Brothers that it's one of the musical highlights of
(15:13):
my life.
Speaker 1 (15:14):
I'm sure it's all over Napster too, I don't think so. No, no,
it never got out.
Speaker 2 (15:19):
Oh no, no, no, no, it's just a just a
board tape.
Speaker 1 (15:21):
When under keep an one under your hat for now.
Speaker 2 (15:24):
Huh oh no, it just you know, no one's ever
asked me about it, and it's just a private thing
I have. But it does. It does sound remarkable considering
that we didn't even rehearse.
Speaker 1 (15:33):
Well well, I know our listeners would love to hear
that sometime. You've also, unfortunately endured the pain of watching
many brilliant artists self distruct. How do you cope with
those losses and as well as manage health and balance
in your own life.
Speaker 2 (15:48):
Because it's not me. I can only deal with myself.
I think before you can help anyone, you have to
try and help yourself as much as possible. And then
there's love, specifically I of Crosby. You know, he's been
one of my best friends for you know, almost thirty
five forty years now, and we have a great deal
(16:10):
of love and respect for each other. And when he
was in trouble, I was there to try and help him,
and I tried everything. I tried, taking more drugs, I
tried taking more drugs than him. I tried everything with David.
I tried taking the music away by not wanting to
work with him. I tried everything, and I in the
end realized that the only thing you can really do
is allow them to want to help themselves. And it
(16:34):
was not until David turned himself into the FBI that
he really made a statement that was I need help.
You know, You've got to help me here. And even
though he's in tournament and imprisonment, what was was very,
very sad. I think David would be the first one
(16:54):
to admit that it saved his life. So, yeah, I've
watched a lot of people self destructed. I've never really
been an addict, you know. I I've taken my share
of drugs, for sure, but I've been able to stop
whenever and wherever i wanted to.
Speaker 1 (17:08):
I'm gonna sidetrack here for a second. Classic Records has
also released the CSN debut David solo album, Now your
solo album. What has the reaction of your fans been
to seeing all the stuff out on vinyl again?
Speaker 2 (17:25):
The people that are intervinyl that that, as I believe,
you know, vinyl sounds better than digital to me every time.
Maybe it's because that's what I've been used to all
my life, whatever reasons, it just sounds better to me.
And the people that are that are Intervinyl have been
thrilled with classic records or releases of the of the
of the Uh. They just did the first Crosby Nash record.
(17:49):
It sounds unbelievable, access bold of as loved by Jimmy Hendrix,
sounds you know in its mono original mono release, sounds
completely amazing.
Speaker 1 (18:02):
When I first met you at Bernie Grumman's mastering studio,
you were kind enough to recollect the story of the
origins of a song entitled black Notes. Ah. Yes, would
you kindly share that memory with our listeners?
Speaker 2 (18:14):
Sure? Black Notes was a song written out of pure panic.
And what happened was in nineteen sixty nine or seventy,
I believe David and I were playing at Carnegie Hall
on a Crosby and nashow and we got to a
certain point in the show and I turned and look
(18:36):
in the wings and I see Stephen standing there. So me,
being you know, Showby's animal, I say to Crosby, you know, hey,
you go get Stephen, bring him back on stage. Don't
say a word. I'll bullshit with the folks here. And
when he was son delko bananas, I know. So he
says good. So David leaves and I start talking to
the audience, Hey, how about those Lakers? You know whatever
(18:58):
it was, I was, you know, inane talking about no
Crosby and no stills. Okay, so I talk about something else. Yeah,
I'm just I'm just talking, you know, filling in time
for David and Stephen to come on stage at Carnegie Hall.
At Carnegie Hall, still no Crosby and no still. So
now I'm panicking. So I go, well, you know, hey,
(19:20):
let's go over to the piano. So I go over
to the piano and I just stop banging around on
the black notes and I start to out of panic,
fill in time and wrote this song instantly on stage
at Carnegie Hall, waiting for David and Stephen, who announced
as in the dressing room getting high.
Speaker 1 (19:40):
Uh.
Speaker 2 (19:41):
And when they came.
Speaker 1 (19:41):
Back, they had a totally different perception of time.
Speaker 2 (19:44):
Oh you got that right.
Speaker 1 (19:46):
They weren't linear at that particular.
Speaker 2 (19:48):
No, no, no, no no. Uh. So they actually did,
in fact come back, and we went on with the
show and we were recording that night, and when I
go back and listen to this, incredibly what I felt
to be an insanely awkward moment for me and actually
turned out pretty good because I had this funny little
song called black Notes that was just played on the
(20:09):
black keys and just about me sitting there and if
I can do this, then anybody out there can do
the same thing, and we can all write and it's
no big deal.
Speaker 1 (20:18):
Well, you know, it's funny. I actually I went to
my home studio after that day and I did fool
around on a keyboard with the black I felt quite accomplished. Actually, yeah,
you can't play you just stick to the black ones.
You know, it's jazz. You're also very, very heavily involved
in another endeavor that not as many people know about you.
(20:39):
You're a photographer.
Speaker 2 (20:41):
I've been making images longer than I've been making music.
I got a camera off my dad when I was eleven.
Speaker 1 (20:49):
I'm afraid I have to trouble you for one more recollection.
You had mentioned also at Bernie's a time that you
were in the studio, Crosby Still's, Nash, The Grateful Dead,
and jeff An Airplane all at once. Yes, I can't
even imagine what the hell was going on there.
Speaker 2 (21:05):
A lot of smoking, a lot of people getting high.
This was at Wally Hiders in San Francisco in the
late sixty nine early seventies, when we were doing both
the Deja Vu record and the first Crosby Nash record,
and Davy was doing If I Could Only Remember my Name,
and I was doing songs for beginners, a lot of music,
(21:26):
a lot of interaction. We had three different studios in
the same building, and we'd finish the track and go
down and watch what they were doing, and then they'd come,
you know, watch what we were doing. And I think
it's it's well known that that the Grateful Dead learned
a lot from watching us sing around one microphone and
(21:48):
getting advice from us about how to sing. They were
very nervous about singing. They you know, we'd been singing
all our lives. I mean, I'd been making hit records
for you know, six or seven years by that's all
that stuff.
Speaker 1 (21:59):
Was trying on one vocal, those harmonies.
Speaker 2 (22:01):
A lot of them were, yeah, we just get an
air blend around. You see. It sounds different when no
pro tools back then, no pro tools back then at
all you.
Speaker 1 (22:10):
Had to earn your stripes.
Speaker 2 (22:11):
Yeah, well you still do. You know you can't. Let
I mean, no amount of pro tools will make a
bad song good. No amount of pro tools will make
a horrible sounding record sound good. It just won't. It
can certainly help, and it's a very interesting tool, but
you've got to get it right from the beginning.
Speaker 1 (22:28):
Yeah, all the same. I would be interested to see
some contemporary artists do their harmonies live on one microphone.
Speaker 2 (22:35):
Well that's what happened with the last Crosby Stools Nashing
Young record. You see, we had David and Stephen and
I had gotten into bad habits because we work at
different speeds. So it was boring for me forever. I'm
the fastest one of us, and I think both David
and Stephen will admit that I'm the fastest one to
get my part and to do it, you know, so
I'd get a little an say, I get a little bored,
(22:57):
you know, waiting. So what we got into the habit
of doing was putting them down, then me going in
and putting my top harmony on, and then Davey putting
his bottom harmony on. If it was Stephen singing the
melody or whatever combination of stuff that we were doing.
But it doesn't sound as good as if you get
an air blend with three voices in the air and
then stick a microphone in the middle of it. It
doesn't sound as good. And Neil was very correct in
(23:20):
pointing that out to us when we started the last
you know, the last Cosbytis National Young Record. He got
us back to doing what it was that we'd forgotten
that we do best.
Speaker 1 (23:33):
Incidentally, what did you think of Neil's performance of Imagine
on the telethon a few weeks back?
Speaker 2 (23:39):
I talked to Neil three nights ago about this very subject,
and I was particularly moved. I thought that he succeeded
brilliantly in evoking the spirit of John Lennon. I thought
he performed it well. I thought the mix was fabulous.
I thought the band was fabulous. I thought he's adelib On,
you know, Imagine no Possessions. I wonder if I can
(24:01):
instead of if you can. I found the whole thing
to be by far the most moving performance on that
entire special, and there were some good moving performances.
Speaker 1 (24:10):
I would agree. It wasn't just the vocal performance that
was haunting. Even the piano was just startling.
Speaker 2 (24:18):
Neil told me that he studied the record for three
days of Imagine before he did it. And you know,
for Neil Young to spend three days on anyone else's
music is a huge compliment, you know, because he's so
driven himself with his own music. So when I found
out that he's actually studied it, you know, for three days,
I realized why it was so brilliant.
Speaker 1 (24:40):
I have to ask you one more question, because I
drive a nineteen seventy two VW bus with Grateful Dead
stickers on it. What recollections do you have of Jerry Garcia?
Speaker 2 (24:48):
One recollection I have of Garcia was then I asked
him to play pedal steel. I'd heard from Phil from
Phil Lesh that he was fooling around with the pedal steel.
Speaker 1 (25:01):
And he debuts those abilities. I think, yeah, he did.
Speaker 2 (25:04):
He he said, well, you know, I'm not I can't
really play it, but you know I do. I said, well,
you know, do me a favor, why don't you bring
it into the studio and play on this track? And
he played. He played two tracks. I was leaving the
next morning for London to mix the record at the
Olympic with the Glenn John's and so I was kind
of running out of time, but that that wasn't the
(25:26):
reason why I. I only had him do two tracks.
He to me he'd already he'd already cut, he'd already
didn't done his part. He overdubbed his part brilliantly. I
think he heard a couple of mistakes in there that
didn't bother me at all. So I went with the
original track with a couple of lines from the second
track that he did. And it was the very first
(25:48):
time that Garcia ever played pedal steel on anything. And uh,
there's quite a moment for me.
Speaker 1 (25:53):
Nets on songs for beginners.
Speaker 2 (25:55):
No, that was on dejehvu, Teacher children was on dejevu.
Speaker 1 (26:00):
Yes that's right. Well, Grandma, I know you're a busy man,
so we're gonna let you go. Thank you very much
for this time and this opportunity to take a little
peer into your life.
Speaker 2 (26:10):
Man, you welcome Colin.
Speaker 1 (26:11):
I'm sure we could spend many afternoons and fill many
volumes of just so.
Speaker 2 (26:16):
Yeah, maybe we could talk about you next time.
Speaker 1 (26:18):
Well, I'm a happy man. I found out that I'm
gonna have a very healthy newborn son in a couple
of months.
Speaker 2 (26:23):
Fantastic boy, your life is about to change big time.
Speaker 1 (26:27):
Well, I do have one daughter already, so it will
be augmented. Yeah.
Speaker 2 (26:31):
But you know, a different the child of a different sex,
is completely different. You think, well, it's just a child,
you know, and the basics are all the same. But
the difference between my boys and my daughter is enormous. Really,
my emotional response to both of them. You know, when
the boys fell down, you know, it's, hey, come on,
come on, get up, You'll be fine. My girlfalls down. Hey,
stop this world a second.
Speaker 1 (26:51):
Yeah, you know, I feel a little bit of that already.
Speaker 2 (26:52):
It's funny.
Speaker 1 (26:53):
Yeah, I feel myself posturing and all these machismo.
Speaker 2 (26:58):
It's very interesting.
Speaker 1 (26:59):
What do I do? Yeah?
Speaker 2 (27:00):
And you know, the wonderful thing is there is no
book that you can't turn to page forty three and
read the instructions of what you have to do next.
You know, you're doing it purely from your heart and
from your instincts, and you'll do a fabulous job.
Speaker 1 (27:13):
I hope. So thank you for your well wishes. In
closing where the world is headed right now, what is
your advice for finding peace and harmony within ourselves.
Speaker 2 (27:25):
It's a difficult question right now. I obviously believe that
the people that killed, you know, roughly, and then even
that's weird, roughly five thousand people. We should have an
exact number, because every single one of them is the
soul that needs to be revered. But you know who
can get an exact number now, So let's just say,
(27:45):
for you know, that five thousand people were killed in
New York on septembery eleven. I think the people that
did it should be punished, obviously. I'm not so sure
that the targets that we are targeting in Afghanistan now
are the correct targets. I think that a lot of them,
the terrorists are over here and in different parts of
the world Germany, Indonesia, Libya, Syria, Iraq, Iran. How do
(28:13):
we undo this? I think that we have to understand
that there are people that believe differently than we do.
This country is built on different beliefs, but we don't
seem to be able to allow other people, especially Middle
Eastern countries, believe what they want to believe. Our culture
is offensive to them. The tits and ass that go
on in our television show, in our movies is offensive
(28:35):
to them. The fact that we have armaments on what
they consider to be holy soil is offensive to them.
And I think we have to start understanding all that
and dealing with the very root causes of what provokes
people to attack us this way. And I think it
will be a long drawn out process, and I'm not
(28:56):
so sure how one goes forward doing not, but I
think that's what we have to do.
Speaker 1 (29:01):
Grahm, thank you. I think that is a very useful
insight at this time.
Speaker 2 (29:05):
I appreciate it.
Speaker 1 (29:06):
Thank you. It's been an hour privilege to have you
here in the heart of Hollywood. On the music dot
Com
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