By Chas Balun
Publication by means of Balun, Chas
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Free . . activity. I think there should be a national carnival much the same as Mardi Gras in Rio. There should be a week of national hilarity . . a cessation of all work, all business, all discrimination, all authority. A week of total freedom. That’d be a start. Of course, the power structure wouldn’t really alter. But someone off the streets—I don’t know how they’d pick him, at random perhaps—would become president. Someone else would become vice president. Others would become senators, congressmen, on the Supreme Court, policemen.
And this was after I talked with her for a while, saying it could mean a lot of things, kind of a maze or a puzzle to think about, everybody should relate it to their own situation. I didn’t realize people took songs so seriously and it made me wonder whether I ought to consider the consequences. That’s kind of ridiculous, because I do it myself; you don’t think of the consequences and you can’t. Getting back to your film, then, there’s some of the most incredible footage I’ve ever seen of an audience rushing a performer.
I banged it and I let it feed back and scraped it and rubbed it up against the microphone, did anything; it wasn’t part of my act, even. It didn’t deserve any credit or any respect. I used to bang it and hit it against walls and throw it on the floor at the end of the act. And one day it broke. It just wasn’t part of my thing, and ever since then I’ve never really regarded myself as a guitarist. ” I say, “I know who my favorite guitarist is, but asking me, as a guitarist, forget it because I don’t make guitar-type comments.