A Quote by Dave Van Ronk
In the early 1970s. 1971, '72. The rooms were closing down, record labels weren't signing acoustic acts any more. Although they had been pretty much been getting out of that for some time before that.
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Getting recognized and doing shoots and signing on partnerships and signing on deals, that's all great, and I'm so appreciative of that, but it's more the reward that's the most satisfying. I know the importance of working hard, and I appreciate pretty much everything that has come my way; I don't take any of it for granted.
Back in the day, I don't think record labels were looking at Las Vegas too much for new acts, until the Killers came out.
I do not have time to sit down and regret anything although sometimes I wish I had been able to see more of my parents while they were alive and have done more for them.
I was in Mongolia, pretty extreme situations. We were sick with dysentery, we were sick with bronchitis. I had been bitten by a dog for the first time in my life and my whole hand was black, and there was no way to even think of getting a rabies shot without driving for five days, and then you wouldn't have wanted that needle in your skin anyway. And I had my period. Everything was wrong at one time. Like, I couldn't have been more uncomfortable. And I stayed up - it was too cold to sleep.
When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.
Mia and I had been together for more than two years, and yes, it was a high school romance, but it was still the kind of romance where I thought we were trying to find a way to make it forever, the kind that, had we met five years later and had she not been some cello prodigy and had I not been in a band on the rise - or had our lives not been ripped apart by all this -I was pretty sure it would've been.
When the first record came out, I'd go down to radio stations pretty much every day to get the record played, and I would walk in and they'd tell us how much they loved the record, but they weren't sure how much they could play it because they were already playing a girl.
I remember talking with Arcade Fire after their first record, when they were getting all kinds of offers from major labels, and I don't think I gave them any advice. They survived that whole onslaught pretty well anyway without me.
Blasts from the past were like the rooms one entered and re-entered in dreams: they would not stay nailed down. When you returned to them, they had changed - they suddenly had more space or a tilt or a door that had not been there before. New people were milling around, the floors undulated, and the sun shone newly, strangely in the windows, or through the now blasted-open ceiling, or else it shone not at all, as if having fled the sky.
I do remember, one time, a man came to me after the students began to work in Mississippi and he said the white people were getting tired and they were getting tense and anything might happen. Well, I asked him "how long he thinks we had been getting tired"? I have been tired for 46 years and my parents was tired before me and their parents were tired, and I have always wanted to do something that would help some of the things I would see going on among Negroes that I didn't like and I don't like now.
The early 1970s was a time when illegal acts were in style. Everybody was going nuts with causes, most of them against the law.
They fought on with a devotion which would puzzle the generation of the 1980s. More surprising, in many instances it would have baffled the men they themselves were before Pearl Harbor. Among MacArthur's ardent infantrymen were cooks, mechanics, pilots whose planes had been shot down, seamen whose ships had been sunk, and some civilian volunteers.
Early American music and early folk music, before the record became popular and before there were pop stars and before there were venues made to present music where people bought tickets, people played music in the community, and it was much more part of a fabric of everyday life. I call that music 'root music.'
I've always been an acoustic guitar player, and I've pretty much continued to play acoustic guitar throughout all of the Sonic Youth periods. My material for Sonic Youth often started on acoustic guitar.
Some record labels want to package you in a certain way and we didn't want that. Once the record company saw we had some substance and were not a one hit wonder. They got 100% behind us.
When our video of 'Smooth Criminal' came out, suddenly we started getting all kinds of offers. We were getting calls from TV shows like 'Ellen DeGeneres' and from record labels.
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