: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.
1:00:02
I take him up to Maynard Solomon,
at Vanguard Records.
1:00:07
And they say no.
1:00:10
And many years later I said,
"Why did you say no to him?"
1:00:13
And he said, "Well, Izzy, we don't
record freaks at Vanguard Records".
1:00:17
I said, "I see. Joan Baez, not a freak.
1:00:19
"The other people not...
Nobody's a freak, just Bob Dylan".
1:00:22
I was standing in the audience
with Maynard Solomon.
1:00:24
Maynard says, "What do you think of him?"
I said, "That's good!"
1:00:28
I said, "What do you think of him?"
He says, "It's too visceral".