:58:04
That was the sound of the day.
:58:05
People would want to hear
a beautiful voice sing a melodic song.
:58:09
- John, are you gonna do one, or was I?
- You will.
:58:11
Okay. I'll do Man of Constant Sorrow
then with the autoharp.
:58:27
We recorded for Folkways.
:58:29
We lived in the clear, pure light
of non-commercial...
:58:32
long-playing, short-selling records
for Folkways.
:58:35
I learned it from a record that was made
down in the Southern mountains...
:58:38
in the late 1920s.
:58:40
We also seemed to represent
some idea about, excuse the expression...
:58:43
integrity, or standing for something
authentic or real in music.
:58:54
We were always pointing
to other people's music...
:58:57
pointing to old singers,
Appalachian singers, blues singers.
:59:00
I think we were set up as a...
:59:05
pillar of virtue.
:59:18
The folksinging scene
was either commercial folksinging...
:59:20
for like a college kind of crowd:
Harry Belafonte, Brothers Four...
:59:24
that commercial... They had records
that were on the pop charts.
:59:29
And then there was the other side,
which was intellectual.
:59:32
People would just sit there,
you know, I think...
:59:36
And playing in the environment
that I was playing in...
:59:40
was neither of those.
:59:42
I took him up to Folkways Records and
that's written about in my notebook here...
:59:45
where they treated him like shit.
They wouldn't talk to him.
:59:48
And he writes, "God,
I thought I came into the wrong place".
:59:50
Sing Out on the door,
"Folkways" on the door...
:59:53
Moe Asch, Irwin Silber, rejects him,
throw him out on the street.
:59:56
And he really felt bad about it
and I felt bad about it...
:59:58
'cause I don't push people every day.
I've only pushed two people in my life.