{"id":67163,"date":"2026-06-23T13:37:33","date_gmt":"2026-06-23T13:37:33","guid":{"rendered":"https:\/\/musicianvoice.com\/index.php\/2026\/06\/23\/peter-paul-and-marys-noel-paul-stookey-on-dylan-the-village-scene\/"},"modified":"2026-06-23T13:37:33","modified_gmt":"2026-06-23T13:37:33","slug":"peter-paul-and-marys-noel-paul-stookey-on-dylan-the-village-scene","status":"publish","type":"post","link":"https:\/\/musicianvoice.com\/index.php\/2026\/06\/23\/peter-paul-and-marys-noel-paul-stookey-on-dylan-the-village-scene\/","title":{"rendered":"Peter, Paul and Mary&#8217;s Noel Paul Stookey on Dylan, the Village Scene"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tRolling Stone<em>\u2018s interview series<a href=\"https:\/\/www.rollingstone.com\/t\/last-man-standing\/\"> Last Man Standing<\/a> features long-form conversations between senior writer Andy Greene and musicians who are the last remaining members of iconic bands. In some cases, they are the only classic-era member in the current touring lineup. In others, they are the only ones still alive. In either case, the task of keeping the torch lit has fallen onto their shoulders, whether they wanted that responsibility or not.<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tNoel Stookey agreed to take Paul as his middle name in 1961 because \u201cPeter, Noel and Mary\u201d just didn\u2019t have much of a ring to it. There was also the biblical overtone to <a href=\"https:\/\/www.rollingstone.com\/t\/peter-paul-and-mary\/\" id=\"auto-tag_peter-paul-and-mary\" data-tag=\"peter-paul-and-mary\">Peter, Paul and Mary<\/a>. But at the time,  the folk trio was little more than a fun side project to Stookey, something to do when he wasn\u2019t playing solo shows or serving as the emcee at the Gaslight. He had no idea that Peter, Paul and Mary would become one of the most successful acts of the folk era or that people would still be calling him \u201cPaul\u201d 65 years later.<\/p>\n<p>\u201cThe name is kind of a radar for me,\u201d Stookey tells <em>Rolling Stone<\/em> via Zoom from his home in Maine. \u201cI know if people know me personally or know a friend of mine personally, if they say, \u2018Hey, Noel.\u2019 But if they say, \u2018Hey, Paul,\u2019 I know where they\u2019re coming from.\u201d<\/p>\n<p>The \u201cHey, Paul\u201d people are likely thinking of Peter, Paul and Mary hits like \u201cPuff the Magic Dragon,\u201d \u201cLeaving on a Jet Plane,\u201d and \u201cWhere Have All the Flowers Gone,\u201d their performance in front of 250,000 people at the 1963 March on Washington, the pivotal role they played in popularizing Bob Dylan\u2019s songs, and the countless concerts they played until Mary Travers died in 2009.<\/p>\n<p>Their success gave Stookey a literal front row seat to history. He was right behind Martin Luther King Jr. during the \u201cI Have a Dream\u201d speech at the Lincoln Memorial, and he sang \u201cBlowin\u2019 in the Wind\u201d with Dylan at the 1963 Newport Folk Festival, with one arm around Joan Baez and the other around Travers. A couple years earlier, Stookey allowed a completely unknown Dylan to take the Gaslight stage, night after night, providing him with the platform that slowly launched his career.<\/p>\n<p>All of this took place well over 60 years ago. And even though Stookey is just two years shy of his 90th birthday, he remains remarkably sharp, able to recall names, places, and events in vivid detail without even a second\u2019s hesitation. This recall became even more valuable to history after Peter Yarrow died, leaving Stookey as the last living member of Peter, Paul and Mary. (Yarrow, who was convicted of molesting a 14-year-old girl and later received a presidential pardon, <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/peter-yarrow-paul-mary-folk-singer-dead-1235193134\/\">died at 86<\/a> in 2025 from cancer.)<\/p>\n<p>We spoke to Stookey about his history in the Village, the rise of Peter, Paul and Mary, the pain of losing Travers and Yarrow, his upcoming memoir, his recent solo work, and what he wants to still accomplish.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Peter, Paul and Mary - Blowing in the Wind\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/Ld6fAO4idaI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>What\u2019s your first memory of being a kid and hearing music that you really connected to?<\/strong><br \/>My dad was very relaxed around music. And he was also a traveling salesman, so the whole family would go on these trips to visit places where the Gates Rubber Company was involved. In the car, we\u2019d sing songs like \u201cShe\u2019ll Be Coming \u2018Round the Mountain.\u201d<\/p>\n<p>Then one day, while we were group singing, he went to harmony, and the buzz in my head went off. I said, \u201cWow, what is that?\u201d That started my fascination with music. In fact, my dad had a four-string guitar, a tenor guitar that he tuned like a ukulele, and he made that available. And then when I got my own guitar in high school, I started a rhythm and blues band.<\/p>\n<p><strong>What drew you to New York City?<\/strong><br \/>Oh, romance and mystique. I mean, I\u2019m living in Pennsylvania, 90 miles northeast of the city, and I\u2019m thinking, \u201cWhat would it be like to be in the city?\u201d At first, I started visiting, went down to get a job, lucked out, got a great job with a great company on 14th Street, Cormac Chemical.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tI played chess in the office, and one day, one of the guys took me down to Greenwich Village. We went in and our table was abandoned. They had put up a stage, and remembering my rock &amp; roll roots, I just kind of cheekily turned to the owner of the club and said, \u201cWell, what do you have to do to be a performer here?\u201d And he said, \u201cCome in and audition.\u201d<\/p>\n<p>So in my three-piece Brooks Brothers suit, not of the times at all, I came in and I did a couple of original tunes. I don\u2019t know why, it is a mystery to me as an only child, but I felt so comfortable being a master of ceremonies because that\u2019s what I ended up doing. That was my calling card in Greenwich Village.<\/p>\n<p>Performers, as a rule, safeguard their repertoire, and therefore the moment that they have onstage to share their material with an audience is just for them, just for this material, and just for this audience. I didn\u2019t have any such restrictions. I could tell jokes. I\u2019d be in the moment. I guess that\u2019s where I learned transparency.<\/p>\n<p><strong>Tell me about the moment you first walked into the Gaslight.<\/strong><br \/>Actually, it was kind of a comedown because the first coffee house I was in was the Commons, which coincidentally was owned by [Gaslight owner] John Mitchell\u2019s brother. And then from the Commons, I went across the alleyway to the Cafe Wha. So I was very comfortable in coffee houses. To go down into the basement of the Gaslight, if it weren\u2019t arguably the most renowned coffee house, I don\u2019t think I would\u2019ve felt anything. But as it was, it turned out to be a great home for me, and I met a lot of folks, a lot of musical folks<\/p>\n<p><strong>How did you wind up the emcee?<\/strong><br \/>I think it was the reluctance of other artists to introduce other artists. They were like, \u201cHey, man. I\u2019m a singer.\u201d \u201cHey, man. I\u2019m a juggler.\u201d \u201cHey, man. I\u2019m a pantomimist,\u201d and I had no such restrictions. It was cool. It was fun. I never introduced myself, I guess, but I would do a shtick. It might be musical, it might be comedy, it might be sound effects. My big sound effects, as Dylan pointed out in an album release that he wrote for the trio later, was doing a standup imitation of a toilet.<\/p>\n<p><strong>Which comedians got the biggest laughs at the Gaslight? Who would crush it?<\/strong><br \/>Adam Keefe, Murray Roman came by, but I wouldn\u2019t say that they crushed it. I don\u2019t think comedy was\u2026 I mean, it was okay for me to do comedy because it was kind of in passing to get to some other aspect of the evening\u2019s entertainment, but I don\u2019t ever recall a comedian coming in and crushing it. But at the Cafe Wha, Murray Roman was very big.<\/p>\n<p><strong>How about Bill Cosby, Joan Rivers, and Woody Allen?<\/strong><br \/>That would\u2019ve been later at the Bitter End. Although Cosby, I think, did the Cafe Wha once.<\/p>\n<p><strong>When they recreate the Gaslight in various movies and TV shows like <em>The Marvelous Mrs. Maisel<\/em> or <em>Inside Llewyn Davis<\/em>, it\u2019s always really large. But in reality it was a tiny room, right?<\/strong><br \/>Yeah. It was a tiny room, and you walked past the checkout counter to get to the main room, and tables were discreetly placed. It was tiny and long.<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tRelated Content<\/p>\n<\/h2>\n<\/section>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Hal Waters  - Poor Ann\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/pJ6GI-lC4VY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Was Dave Van Ronk a regular?<\/strong><br \/>Yeah, and Hal Waters. That\u2019s a name I would love to look up. He had a beautiful voice, a silken voice\u2026 played beautiful nylon guitar, and just kind of disappeared after the Gaslight.<\/p>\n<section class=\"brands-most-popular \/\/ editors-pick-module lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Rare Footage of the Gaslight Cafe in 1962 (Paul Stookey Commentary)\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/Ph03iTtxCwE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>In a video of you hosting there on YouTube, you tell the crowd to snap their fingers instead of clap so the police don\u2019t close the place down.<\/strong><br \/>The upstairs neighbors would like to go to sleep somewhere between 9 at night and midnight, and so applause was frowned upon at the Gaslight.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Bob Dylan - John Brown (Live at the Gaslight, 1962)\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/sbJUoz83WjI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>What\u2019s your first memory of seeing Dylan in there?<\/strong><br \/>Actually, it\u2019s very clear. It\u2019s curious to me that it should be so clear. The first time he came in, he had that nasal set to his vocal cords, and he did basically Woody Guthrie tunes. It was nothing really great, and he asked if he could do a guest set, and I said, \u201cSure,\u201d because part of being an emcee was also kind of arranging the talent so that two singers didn\u2019t go in a row.<\/p>\n<p>So I worked Bob in. And then he was gone for two weeks, maybe three weeks. He was moderately well received, but not \u2014 certainly \u2014 how shall I say, no more excitedly received than Ramblin\u2019 Jack Elliott, who basically was doing the same kind of material, or Van Ronk, who touched on the blues, or Len Chandler. These were all names of pretty regular guys that worked at the Gaslight.<\/p>\n<p>But Dylan came back in three weeks and asked if he could do a guest set again. I said, \u201cSure, I\u2019ll work you in.\u201d This was the change in Bob Dylan that I saw. He got up on stage and he started to play a song that anybody who had been in the Gaslight or was aware of folk music would know was a kind of version of [Woody Guthrie\u2019s] \u201cThe Buffalo Skinners.\u201d<\/p>\n<p>It\u2019s a song about a guy that goes out west, gets a job as a buffalo skinner, and at the end of his stay, the owner pays him in buffalo skins instead of money, and the guy says, \u201cWhat am I supposed to do with this?\u201d The owner says, \u201cOh, you just go to the general store, treat it like money.\u201d<\/p>\n<p>So Dylan\u2019s doing this song about a folk singer who goes to a folk club in New Jersey, gets a job, and it\u2019s a chess club in New Jersey that he\u2019s singing at. And at the end of his gig, the owner gives him chess pieces, and in my mind I go, \u201cWait a minute, I\u2019ve heard this concept before,\u201d and he says to the owner of the chess club, \u201cWhat am I supposed to do with these?\u201d The owner says, \u201cJust take it to the bar. You treat it like money.\u201d He said, \u201cI ordered a beer. I gave the bartender a king, and got two rooks and a knight as change.\u201d<\/p>\n<p>That was to me the beginning of the appreciation of how rich Dylan\u2019s writing was, is, and could be. Because of that, I was already starting to work with Peter and Mary, and I knew Albert Grossman because he had put the trio together, and I said to Albert, \u201cYou\u2019ve got to come down and hear this guy. He\u2019s pretty remarkable,\u201d and that was the beginning of Dylan\u2019s relationship with Grossman.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Buffalo Skinners - Woody Guthrie\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/xZdGnAJGvrY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>How did you meet Grossman?<\/strong><br \/>Albert frequented the coffee houses. The first meeting with Albert Grossman was when he asked me what did I think about being in a group, to which I responded cavalierly, \u201cNah, I don\u2019t think so. I\u2019ve got some stuff I want to do by myself.\u201d I was doing solo gigs. I went up to Club 47 [in Boston] where Joan Baez was working and became kind of a weekly singer up there. Of course, it didn\u2019t hurt that I had a girlfriend that I later married. I still am married, actually.<\/p>\n<p>But Grossman came to the Gaslight to check me out, obviously, because I think he had in mind, according to the story that I\u2019ve heard, a suggestion from Peter Yarrow, who he managed at the time, that there was this comic at the Gaslight that he thought would make a good partner to have in a trio. So I think it was essentially Peter\u2019s idea, but Albert did the asking, and I said, \u201cNah, I\u2019ve got too much going on in my solo plate.\u201d<\/p>\n<p><strong>What changed your mind?<\/strong><br \/>A confrontation with a beautiful blonde that lived across the street from the Gaslight for whom I had worked out a solo arrangement of [the Carter Family\u2019s] \u201cSingle Girl.\u201d I was in my apartment on the Lower East Side, and she called me and said, \u201cThere\u2019s this guy here with a guitar. Is it okay if we come over and sing?\u201d \u201cWell, duh. Okay.\u201d<\/p>\n<p>So Mary Travers comes over with Peter. We could not agree on the chords or the words to any of the songs that were common in the folk repertoire, because folk music allows you to have your own version and our own versions were so discreetly different that the only song we could agree on singing was \u201cMary Had a Little Lamb,\u201d but we did that in three-part harmony, and it was something special.<\/p>\n<p>So then, Peter rolled out the idea and, hey, everybody\u2019s got a project in Greenwich Village in the Sixties. I went to some rehearsals and it sounded pretty good. So we did a show and tell with Albert about three or four months later, and his associate, John Court, said, \u201cHey, if nothing happens, you\u2019re going to happen.\u201d And, boy, was he right.<\/p>\n<p><strong>What was the first concert like? Did it work from the very beginning?<\/strong><br \/>I think we maybe were a little too nervous to actually do any honest assessment. Our first reveal was at the Gaslight. I think we did two or three tunes there. The bigger reveal was at the Cafe Wha because we were hired, and we had about seven songs maybe in our repertoire. But we were hired to do the whole night. Peter would open with folk songs. Then he\u2019d introduce me. I would come up and do a solo with maybe a song or two, but mostly comedy and sound effects. And then I would introduce Peter, Paul and Mary. So that way, we were able to do a 60 to 90-minute presentation twice, or sometimes three times a night, at the Cafe Wha.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Early in the Morning\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/idLqlAi9zEQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Tell me about making the first record.<\/strong><br \/>It was the beginning of our repertoire. I think the identifiable thing about that recording was who put up the money for it. This was a Warner Bros. record. Warner Bros. was not into recording. Warner Bros. Records was operating out of a Quonset hut on the movie lot run by Mike Maitland. And Albert Grossman was such a persuasive kind of guy. If he really believed in something, he got us full control and no contractual limit. He told Warners, \u201cYou\u2019re going to pay for the album. We\u2019re going to deliver it. And if you like it and the world likes it, we\u2019ll go on from there, but that\u2019s it. You\u2019ve got one record.\u201d<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"If I Had a Hammer - Peter, Paul &amp; Mary (1962)\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/lGMOB2K78iM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>You must have been stunned when \u201cIf I Had a Hammer\u201d became this enormous hit right out of the gate.<\/strong><br \/>Well, I mean, we were delighted, but again we didn\u2019t have the perspective to assess our career that way. But in 1963, we had three albums in the top 10.<\/p>\n<p><strong>Many people don\u2019t realize Mary was a single mother during this whole time period.<\/strong><br \/>Yes. Matter of fact, I\u2019ve reevaluated the comment that Albert made to Peter when Peter saw her picture at Izzy Young\u2019s guitar store up on the wall and said, \u201cWhat about her to sing with?\u201d And Albert said, \u201cOh, she\u2019d be good if you could get her to work.\u201d We thought maybe that was because she didn\u2019t have a mind that would focus. But \u201cif you could get her to work,\u201d I think, in retrospect, probably meant if she has time away from her child.<\/p>\n<p><strong>How did she balance all that once the group took off?<\/strong><br \/>We chipped in and we paid for a governess to travel with us, for a nanny.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Don&amp;apos;t Think Twice, It&amp;apos;s All Right\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/zXbQn_LluSA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Do you recall first hearing \u201cBlowin\u2019 in the Wind?\u201d<\/strong><br \/>Yeah. They came together, \u201cBlowin\u2019 in the Wind\u201d and \u201cDon\u2019t Think Twice.\u201d They were on an acetate that Albert brought. By that time, Albert was handling Bobby. We finished an evening at the Gate of Horn in Chicago, and Albert had the acetate, played it. We fell in love with the tunes and learned them both.<\/p>\n<p><strong>Tell me about Albert. He\u2019s often portrayed as somewhat of a villain in the Dylan story since they eventually had a bad falling-out. I feel like most people don\u2019t have a full idea of what he was like.<\/strong><br \/>There was an aura of mystery to Albert. He was a production partner and I think he owned a piece of the Gate of Horn, actually. He had a production office that he shared with maybe Harold Leventhal of the Weavers. He was quietly spoken, had some very endearing habits. He was like a great uncle to me, incredibly well connected. Manny Greenhill perhaps was the only other manager \u2014 as well as Harold Leventhal, of course, with the Weavers \u2014 that could generate the kind of deals or have the kind of contacts that Albert had.<\/p>\n<p>I never saw a bad side of Albert at all. I mean, I\u2019m sure he was firm in terms of negotiating, and I don\u2019t know about the falling out with Bobby. That happened probably late Sixties.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Peter, Paul &amp; Mary - If I Had A Hammer\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/AKgm9ARmOMM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>What was it like to walk out onstage at the March on Washington and see 250,000 people?<\/strong><br \/>We\u2019d had a preview because the march to Lincoln Memorial took place from the lawn in front of the Washington Monument where we had a rehearsal. There were maybe 200,000 people at the rehearsal and everybody did their thing. Everybody sang. Even Dr. King spoke there. <\/p>\n<p>So we had a sense of what the purpose was so that when we marched from there to the Lincoln Memorial, we knew why we were there. We were dedicated. We hoped it would make a difference. The fact that \u201cBlowin\u2019 in the Wind\u201d and \u201cIf I Had a Hammer\u201d had already been taught, if you will, to an audience made it that much more of a family event. Because 250,000 people singing the same song \u2014 it\u2019s quite an event.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"I Have a Dream speech by Martin Luther King .Jr HD (subtitled)\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/vP4iY1TtS3s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>How close were you to Dr. King when he gave the \u201cI Have a Dream\u201d speech?<\/strong><br \/>We were standing behind him, beside him.<\/p>\n<p><strong>What was it like to be that close to history?<\/strong><br \/>Involving. I mean, our music, some of which we had inherited, some of which we were creating, was part of the movement. So whether it was in Selma, whether it was Southern states, which began to ignore our records because to sell them at a store meant that they were in a sense in accord with the civil rights movement, which they didn\u2019t want to be perceived \u2014 it\u2019s funny how that\u2019s repeating itself again, isn\u2019t it?<\/p>\n<p>We were part of the movement. We sang one night in the middle of a field for marchers standing on coffins because that was the only physical structure that could be erected quickly to raise as a stage. It was solidarity. It was a sense that we were participating in something that was righteous.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"I Dig Rock And Roll Music \ud83d\udcc0 Peter, Paul &amp; Mary {Stereo} Summer Of Love 1967\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/KvEG6VC-vRE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>How did you feel about the Beatles and the other British Invasion bands once that started in 1964?<\/strong><br \/>I was hoping you would ask me that question because I have a regret.<\/p>\n<p><strong>Please. Go ahead.<\/strong><br \/>When you write songs, you sometimes get overwhelmed by the desire to rhyme something rather than to say what it is you mean. I was young and impatient when I wrote \u201cI Dig Rock and Roll Music,\u201d and the verse that says, \u201cAnd when the Beatles tell you they got a word \u2018love\u2019 to sell you, they mean exactly what they say\u201d \u2014 I never meant to demean their motives.<\/p>\n<p>I loved the Beatles. As you could probably tell if you\u2019ve played Peter, Paul and Mary music at all, I\u2019m the wild one in terms of the trio and in terms of relating musically to the folk idiom in a jazzy or unpredictable kind of way. I\u2019ve always felt that there should be a certain freedom. It does remind me of a time, though, when Peter and I were standing backstage and I played a major seventh in \u201cThis Land Is Your Land,\u201d and Peter said, \u201cYou don\u2019t play jazz chords in a Woody Guthrie tune.\u201d<\/p>\n<p><strong>Many artists from the folk era were threatened by the Beatles.<\/strong><br \/>Not as long as it stayed true to the subject and material. I thought McCartney and Lennon, Harrison, Starr \u2014 they were digging deep into personal relationships, and there was a truth there. There still is. I mean, in pop music today, it\u2019s very hard to summon \u2014 how shall I say \u2014 the substantiation of wanting to do the twist to \u201cThis Land Is Your Land\u201d or to boogie or to dance to \u201cBlowin\u2019 in the Wind.\u201d<\/p>\n<p>There are songs that have a lot of informational import, but there are songs that are happy stuff. I thought the Beatles did an amazing job of bringing first-person angst into the public arena \u2014 \u201cShe Loves You\u201d \u2014 I mean, even their early tunes. As they got later and later in their careers, I don\u2019t think they lost a thing, and their musicality was off the charts. It was just some brilliant writing.<\/p>\n<p>I think that when there\u2019s someone like you and a folk singer talking 50 years from now, they\u2019re going to be talking about the immense library of work that still is performed that was created by Paul McCartney and John Lennon.<\/p>\n<p><strong>Their harmonies were pretty killer too.<\/strong><br \/>Well, hey now, I\u2019ll take a little offense at being ignored. Our harmonies were pretty out there as well!<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>I\u2019m not putting down your harmonies. They were all great.<\/strong><br \/>Much of the credit needs to be given to the chord changes that the Beatles invoked in their songs. But at our arrangement sessions that we would have either with Milt Okun or Robert De Cormier towards the end of our career, we took some real chances in terms of singing against the chords, passing tones, and that was unusual for the time. Three-part harmony was like country and western.<\/p>\n<p>Everybody moved together in the same way and it was very pretty. But often, in order to underline what the lyric was talking about, particularly if the lyric was indicating some kind of tension, we would insert notes. We would just intuitively feel notes that underlined that tension. I don\u2019t know if the Beatles ever sat down and talked about it like that.<\/p>\n<p><strong>In 1965, when folk rock is taking off with songs like the Byrds\u2019 arrangement of \u201cMr. Tambourine Man,\u201d did you feel any pressure to add drums to your records and make them more folk rock-sounding?<\/strong><br \/>Pressure would be the wrong word. Curiosity. Certainly, from the third or fourth album out, we were playing with Skip Prokop from a Canadian group [the Paupers]. I think our attitude was pretty much one of conviviality. I mean, if you look at the lyric of \u201cI Dig Rock and Roll Music,\u201d with the one exception of Noel making that \u2014 not meaning the inference that the Beatles were doing it just for the money \u2014 most of the other lyrics were pretty cute.<\/p>\n<p>In terms of our relationships, Mama Cass and Mary were really good friends. Donovan, I kept running into on Seventh Avenue and he became a reasonably good friend. But no, I don\u2019t think there was a lot of pressure. I just think we kind of gravitated that way. Certainly, <em>Album 1700<\/em> was a stretched-out album for us. That had \u201cThe House Song.\u201d<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"The House Song\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/8WjrBG1Su38?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong><em>Late Again<\/em> is often the album where people talk about a Beatles influence.<\/strong><br \/>Did that have \u201cApologize\u201d on it?<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Apologize\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/MAp6rkj5paE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Yeah. It\u2019s the first song.<\/strong><br \/>I was probably the one that was the most attracted to what the Beatles did. It has a very Lennon attitude.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Peter, Paul &amp; Mary - Leaving On A Jet Plane\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/814zSbzxpAY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Tell me about recording \u201cLeaving on a Jet Plane.\u201d<\/strong><br \/>Well, Milt Okun was also John Denver\u2019s musical director, so the access to the material, once again, came almost as easily as our access to Dylan\u2019s material, and Mary just knocked it out of the park. Matter of fact, when Mary passed, prior to Peter\u2019s passing, when Peter and I would do concerts, the audience would sing Mary\u2019s part, and then we\u2019d do harmonies.<\/p>\n<p><strong>That song shot to Number One. It was your biggest hit ever, but you broke up a year later. What happened?<\/strong><br \/>Fame had gotten ahold of me and I was uncontrolled, really making stupid decisions, almost lost my marriage, and fortunately had a salvation moment asking Jesus to come into my heart, and it just turned my life around. I recognized what I had been missing, kind of clarity of purpose, a desire to reestablish my relationship with my family, caused me to move to the country. It clarified a lot of things, but I couldn\u2019t get clear and still stay out on the road and still be in Peter, Paul and Mary.<\/p>\n<p>So I began to make more use of my first name. I happened to put out an album that sort of, shall I say, gave me more of a platform than I had thought. The song that I had prayed for for Peter\u2019s wedding became really popular. It still is quite popular. It\u2019s interesting \u2014 when you were asking about what the feeling was like being part of the civil rights movement \u2014 because movements or benefits that the trio did and that Peter and Mary and I did separately tend to pull us back together again. So the first show that we did was to try to get the Diablo Canyon nuclear plant offline.<\/p>\n<p><strong>To rewind a little bit, it was your idea to break up the trio? How did they feel about it? Did they push back?<\/strong><br \/>No, I think they could see from the last six months, maybe the last nine months of 1969, that I was a wildcard really yearning to be free. We were on our way to Tokyo. It\u2019s funny you should ask me this because I\u2019m in the process of writing an autobiography. There\u2019s this scene that I just recalled where I\u2019m on an airplane with Peter and I tell him that this is going to be the last concert \u2014 we\u2019re flying to Tokyo \u2014 and he said, \u201cWell, don\u2019t tell Mary that on the plane. Wait till the last concert,\u201d and so I did, and that\u2019s when I made the announcement. When we came back from the Japan trip, there were no concerts set up.<\/p>\n<p>I think we had tried to do fewer and fewer as the years went by. We were doing easily 200 concerts a year in the early Sixties, and they were not easy concerts to get to. They were in small towns, small colleges. You would fly to an airport, get a car, drive to the small town, do the concert, come back to the airport, stay overnight, get on a plane, fly to another big town, rent a car. I mean, it was tough. I\u2019m amazed that my marriage sustained. I got married in \u201963 just a few days after the March on Washington. That\u2019s 63 years ago.<\/p>\n<p><strong>Most groups, no matter how close they are at first, grow to really resent each other. Did that happen to the three of you?<\/strong><br \/>I don\u2019t think so, and maybe part of it was because we were so different. Certainly, we did not live in each other\u2019s back pockets either, and we had, I think, a respect and a sense of what we each were bringing to the group. It was so totally different in every respect that it was valuable to recognize and respect that.<\/p>\n<p><strong>It\u2019s somewhat absurd to compare Peter, Paul and Mary to a group like No Doubt or Blondie. But there have been many groups in music history where the woman becomes the face of the group and the guys get resentful. It\u2019s happened over and over. It didn\u2019t happen here, though.<\/strong><br \/>I think Mary was more modest, perhaps, and distrustful of quick acclaim. She was a very unusual and politically savvy young woman. Her parents were both newspaper folks, and she had marched with them against the Rosenberg executions. I mean, that\u2019s how far back she went.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Wedding Song (There Is Love)\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/DE-CCRz-_CM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>You put out \u201cWedding Song\u201d in 1971 and it becomes this big hit. Why didn\u2019t you do more solo work after that?<\/strong><br \/>Because I had just left the stage, as it were, to save my family. I got asked to come on <em>The Tonight Show<\/em> and sing the song. I remember saying, \u201cIf I do that, it\u2019s just going to open up a door and I\u2019m going to be out the door again. I\u2019m going to be on the road again. This is not why I\u2019ve come back to my family,\u201d and it\u2019s been great. I am probably the quietest member of any successful group.<\/p>\n<p><strong>You made a rare choice. Most people in your position would have gone on Johnny Carson, pushed it as far as possible, and put their families a distant second. There are so many famous musicians who gained the world but lost their families.<\/strong><br \/>Yeah, I consider myself really blessed. I look at the material that I\u2019ve done. I think people will discover it eventually because it has a kind of personal value. I wrote a song called \u201cVirtual Party\u201d that\u2019s probably as timely today as it was 10 years ago when I wrote it, but very few people know about it.<\/p>\n<p><strong>How often did you see Peter and Mary in the Seventies?<\/strong><br \/>Less often than in the Sixties. Obviously, in 200 shows a year, we were really in each other\u2019s hair a lot. In the Seventies, we sort of established boundaries right away when we discovered that, \u201cHey, we really could be back together again if we modified the amount of time we were away from our respective families.\u201d By that time, Peter had a family. We were family-centric. We did maybe 40 shows a year. That was very doable.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Peter, Paul and Mary - Greenwood (25th Anniversary Concert)\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/ukI_FSy4uYk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>In the Eighties and Nineties, you guys toured a lot, and so many musical trends came and went \u2014 new wave and hair metal and grunge \u2014 but you were always there.<\/strong><br \/>People, I think, came because they kind of knew what they could expect. I was writing songs about El Salvador, Peter was still writing music about contemporary concerns, so they knew that they would get something new, challenging. They knew they\u2019d get something funny. They knew they\u2019d get something glamorous. They knew that they\u2019d get something familiar like \u201cPuff\u201d or \u201cBlowin\u2019 in the Wind.\u201d So what\u2019s not to like about that two-hour experience?<\/p>\n<p><strong>It must have been really tough when Mary got sick. Just watching as a fan from a distance, I was impressed by her bravery. She\u2019d use oxygen tubes onstage.<\/strong><br \/>There\u2019s a strength that comes from being honest, and Mary was honest, plus she had fun with it too. I mean, she would hold her nose tubes and call them her modern jewelry. And she had her haircut \u2014 that was her hallmark with the bangs and flowing blonde hair. She got a short haircut. That\u2019s how we did our Christmas shows. Also, that\u2019s another thing that factored into it: in the absence of radio, the emergence of PBS as a means of reaching an audience with, granted, less presence than an actual concert would be, but with that same breadth of presentation.<\/p>\n<p><strong>It must have been emotionally taxing to see Mary struggle with her health in those years.<\/strong><br \/>There was that ever-present sense of hope combined with her dedication to being there, to being in the moment, that obviated an overabundance of sympathy. It just wasn\u2019t called for. She didn\u2019t want it. Betty and I were headed for Europe when we got the call that Mary had gone into the hospital and this was going to be it.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Peter Yarrow &amp; Noel Paul Stookey &quot;Where Have All The Flowers Gone&quot;\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/7oJ3MH2eVw4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>What were the shows like that you did with Peter as a duo?<\/strong><br \/>I\u2019ve always been kind of curious whether the name Peter, Paul and Mary didn\u2019t in fact allow us to remain ourselves in much the same way that the Kingston Trio or the Brothers Four or the Mamas &amp; the Papas did not. So because we had that solo aspect, we just took it to the stage. During the Sixties, the trio would come out, do a piece, we\u2019d take an intermission, then Peter would come out, do a solo, introduce me, I would do a solo, I\u2019d introduce Mary, and then the trio would get back together again at the end.<\/p>\n<p>That kind of spilled over when Mary left us. Peter and I would come out, do a show, and at the beginning of the second half, Peter would come out and do a solo, I would come out, do a solo, and then I\u2019d call Peter back out, and we would finish out. That routine felt the most comfortable, and I think to our audience as well.<\/p>\n<p><strong>I\u2019m sure losing Peter was just as hard as losing Mary.<\/strong><br \/>It\u2019s still in the present tense, honestly. I\u2019ve never sat shiva before, and I\u2019m such a goy, which is the Yiddish expression for somebody out of the faith. I think anybody who\u2019s ever had a spiritual moment recognizes that it\u2019s not wasted no matter where it\u2019s spent, and so just to sit quietly on the first floor with Peter\u2019s body on the second floor and reflect on all of the gifts that I inherited and was given by him.<\/p>\n<p>I am delighted by coincidences of life. Earlier today, somebody sent the opening of the Peter Yarrow memorial service that was held at the Ethical Culture school. It was good to, in a sense, relive that moment as well.<\/p>\n<p><strong>How are you processing being the last one left?<\/strong><br \/>Well, no small part of it, I think, is because of the peace that I\u2019m offered by my spiritual center, by my family. I do not disavow my Christian heritage. But for many people that are hard-right Christians, I don\u2019t use the buzzwords as much as they probably think I should. And yet, quite honestly, my whole growth as a spiritual creature has been recognizing that metaphor \u2014 the capacity to place thoughts into a room that can be more easily understood, because there are not so many definitions connected with the terms, and yet you get the essence of what it is.<\/p>\n<p>I just find that that\u2019s such an important part of my peace of mind, my peace of heart, my demeanor. So I\u2019m most thankful for this wonderful thing that happened to me in the late Sixties, early Seventies, that yielded \u201cThe Wedding Song\u201d and that yielded a family life that I\u2019ve sustained for 63 years. I\u2019m just so thankful for that. And maybe the secret to a long and happy life is to be thankful.<\/p>\n<p><strong>What\u2019s the secret to a long marriage?<\/strong><br \/>I think we have to have a sense of humor with each other. You also need to surprise each other. That\u2019s bringing home the flowers not on a birthday, just because you saw them and thought of the person. That\u2019s making rhubarb crumble because you know your husband likes it, not because you like it. That\u2019s the kiss before going to sleep at night. That\u2019s the hug in the middle of the day. It\u2019s embracing the unexpected.<\/p>\n<p><strong>How long ago did you meet her?<\/strong><br \/>We went to high school together. She was a junior in 1955 and I was a senior when I graduated. But coincidentally, on the streets of New York in 1959, I\u2019m coming back from doing a carpenter\u2019s job for some friends that I knew in Pennsylvania, and up out of the subway comes this woman that I remembered because I always thought she was attractive. I said, \u201cBetty Bannard,\u201d she said, \u201cNoel Stookey,\u201d and that was the beginning of it again.<\/p>\n<p><strong>I feel like the legend of Bob Dylan has become so massive that even historical giants like Woody Guthrie, Pete Seeger, and Joan Baez often get reduced to the roles they played in Dylan\u2019s life. And the entire Greenwich Village music scene is always just discussed in terms of Dylan\u2019s connection to it. Does that ever frustrate you?<\/strong><br \/>No, and I don\u2019t think Bob ever intended it to be that way, either. We can fault the media, and actually this whole social media capacity to tear things apart, to fragment things. Probably, it\u2019s the manner in which Dylan\u2019s overview will be removed because there\u2019s just too much out there to lay the credit at the feet of one person.<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules trending-in-article lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"A COMPLETE UNKNOWN | Final Trailer | Searchlight Pictures\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/NO9hXSD5K4A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Did you see the Dylan biopic?<\/strong><br \/>I did. And I did not think it was all that accurate. I didn\u2019t think Yarrow was treated rightly, and also there\u2019s still that whole mystery about Newport. I was at Newport in the afternoon when Dylan went on with the Paul Butterfield Blues Band. They loved it in the afternoon. He did \u201cMaggie\u2019s Farm\u201d and they thought it was a knockout, got big applause. But he left the stage after three songs. So what are you going to do if you came in the afternoon to see Bob Dylan and he does three tunes and leaves? But it was nothing like what was going to happen in the evening, which I guess people just \u2014 they couldn\u2019t make the connection between the blues done electrically and the blues done acoustically.<\/p>\n<p><strong>When is the last time you spoke to Dylan?<\/strong><br \/>It was backstage at some television event [in 1986]. This was after Sara, his first marriage. He was either courting or going to marry one of the women in his backup group. We did \u201cBlowin\u2019 in the Wind\u201d together with Stevie Wonder. That\u2019s part of what I meant about Dylan not doing this overview on purpose. I mean, of all the people who could demonstrate a discomfort while he\u2019s performing, it would be Bob Dylan.<\/p>\n<p><strong>He\u2019s 85 and does nearly 100 shows a year. Are you stunned by that?<\/strong><br \/>I\u2019m saddened by it.<\/p>\n<p><strong>Why is that?<\/strong><br \/>Because that\u2019s all he\u2019s got. I mean, that\u2019s all he\u2019s got. He hides behind a piano when he plays. I saw him recently in Boston. It must be really, really difficult for him to have a real relationship with somebody. I mean, unless he\u2019s got a separate little place that he runs to, in which case, God bless you, Bob Dylan.<\/p>\n<p><strong>Did you enjoy the show in Boston?<\/strong><br \/>No.<\/p>\n<p><strong>Why?<\/strong><br \/>No, because he wasn\u2019t there. I mean, his body was there, but he didn\u2019t reach out to me. I didn\u2019t feel \u2014 he was just doing \u2014 it\u2019s like he was doing a show in spite of the fact that we were there rather than because we were there.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Bob Dylan - Love Sick (Mansfield, Sep 7 2025, Outlaw Music Festival)\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/9slOc4w497Q?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>He makes very little effort to connect with the audience or please them.<\/strong><br \/>Yeah, and there\u2019s a difference between connecting and pleasing. I think an audience would be pleased if he tried to connect, and perhaps that\u2019s because he\u2019s a genius. And we have to admit that his choice of words, his choice of subject material, and his capacity to put them together in a poetic form that defies prediction, but in essence always hits us in the heart \u2014 his capacity to do that does remove him in a sense from a normal relationship with people. Maybe that\u2019s the price of his own genius.<\/p>\n<p><strong>Is it strange to think that this little 20-year-old nobody you put onstage at the Gaslight has become one of the most important artists of the century?<\/strong><br \/>No, not anymore than any artist who surfaces. There\u2019s a reason for Bob\u2019s success. Not a lot of people could duplicate that success, and it must be very lonely for him to walk that road.<\/p>\n<p><strong>How is your memoir going?<\/strong><br \/>I\u2019ve got about three chapters to go. It\u2019s an odd book insofar as I\u2019ve tried to keep it real. First of all, the book is called <em>There Is Love<\/em>, which is maybe a little overreach, but I wanted to remind people that it\u2019s pretty much at the center of my life now, and I want to give it full credit. But the last three or four chapters are really tough because they only happened five years ago, 10 years ago. Really, how contemporary do you really want to make it? I will take it up through Peter\u2019s passing.<\/p>\n<p>The beginning of each chapter is like this little first-person \u201cHey, I\u2026\u201d \u2014 it\u2019d be me telling you this story, \u201cI was standing there and the guy walks up to me.\u201d In other words, it has that first-person feel to it. Then it goes into the body of the text. And then each of the chapters is aligned with one of the songs. And then the last part of the book is an actual printout of the lyric of the song.<\/p>\n<p><strong>Last question: What do you hope to still accomplish?<\/strong><br \/>Aren\u2019t you nice to ask that. Well, I\u2019d like to finish the book, number one. I think I still have an album left in me. I\u2019d like to live through this atrocious period of time called the Trump presidency and see an improvement in everyone\u2019s spirits, including mine. Life has its ups and downs, and somehow, in that fabric, in that weave of enjoyment and despair, we somehow have always had the capacity to turn to outside sources for a glimmer of hope.<\/p>\n<p>Honestly, the outside sources seem to dwell so much \u2014 and perhaps because they must \u2014 on the atrocities that are being perpetuated by this administration, that I go from despair to total defeat, and then when I wake up in the morning\u2026 But I still feel like I\u2019ve got to read the news. I\u2019m just trying to find a way to stay hopeful and positive.<\/p>\n<p>I wrote a song called \u201cRevolution.\u201d It says, \u201cI\u2019m going to start a revolution. I\u2019m going to take it to the street. I\u2019m going to smile at every solitary person that I meet. I\u2019m going to wave at total strangers no matter where they\u2019re from. I\u2019m going to start a revolution. I\u2019m going to win it one by one.\u201d And I think that\u2019s it. We\u2019re left to our own recognizance. You\u2019ve got to win the revolution on your own.<\/p>\n<\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.rollingstone.com\/music\/music-features\/peter-paul-and-mary-last-original-member-noel-stookey-1235579952\/\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Rolling Stone\u2018s interview series Last Man Standing features long-form conversations between senior writer Andy Greene and musicians who are the last remaining members of&#8230;<\/p>\n","protected":false},"author":5,"featured_media":67164,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-67163","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop","article","has-excerpt","has-avatar","has-author","has-date","has-comment-count","has-category-meta","has-read-more","thumbnail-"],"_links":{"self":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/67163","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/comments?post=67163"}],"version-history":[{"count":0,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/67163\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media\/67164"}],"wp:attachment":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media?parent=67163"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/categories?post=67163"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/tags?post=67163"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}