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[cheers and applause]
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-[man] You fellas
better get on out of here.
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We're having a big celebration.
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You just get on
back over yonder.
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-[man] Get on out of town.
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-[man] We're not
gonna drop our guns.
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[gun fire]
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[cheers and applause]
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-Ladies and gentlemen,
[inaudible] welcome you to
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00:01:09,319 --> 00:01:11,238
the Caravan of Dreams.
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[cheers and applause]
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-I wanted to read this
proclamation for you,
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00:01:18,412 --> 00:01:19,037
Ornette.
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And then I've got a
little gift for you.
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00:01:20,789 --> 00:01:21,456
-OK.
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00:01:21,456 --> 00:01:23,750
-Whereas Ornette Coleman, born
and reared in the city of Fort
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00:01:23,750 --> 00:01:26,920
Worth, has enriched the lives
of individuals of every race,
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00:01:26,920 --> 00:01:30,757
color and creed as a composer,
performer and renowned jazz
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00:01:30,757 --> 00:01:31,967
musician,
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00:01:31,967 --> 00:01:34,761
and whereas Ornette Coleman, a
widely acclaimed figure in the
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00:01:34,761 --> 00:01:37,931
jazz world, has traveled
throughout the United States,
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00:01:37,931 --> 00:01:40,058
Europe, Japan and Africa,
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00:01:40,058 --> 00:01:43,186
and fashioned for himself an
unchallenged right to historical
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00:01:43,186 --> 00:01:44,438
prominence,
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00:01:44,438 --> 00:01:48,066
and whereas Ornette Coleman
has demonstrated that individual
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00:01:48,066 --> 00:01:51,028
initiative and the free
enterprise system continue to be
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00:01:51,028 --> 00:01:52,904
the American way of life,
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and that success is possible for
all who take advantage of the
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00:01:55,991 --> 00:01:58,744
opportunities in our country,
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00:01:58,744 --> 00:02:01,330
now, therefore, I, Bob Buller,
Mayor of the City of Fort Worth,
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00:02:01,330 --> 00:02:04,416
Texas, do hereby
proclaim September the 29th,
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00:02:04,416 --> 00:02:08,754
1983 as Ornette Coleman Day
in the City of Fort Worth.
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00:02:08,754 --> 00:02:10,088
Congratulations, Ornette.
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00:02:10,088 --> 00:02:10,922
-Thank you very much.
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00:02:10,922 --> 00:02:15,093
[cheers and applause]
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00:02:15,093 --> 00:02:18,221
-I want to give one
other little momento that,
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00:02:18,221 --> 00:02:20,390
although you're a
citizen of Fort Worth,
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00:02:20,390 --> 00:02:24,144
we want you to have a key
to the city of Fort Worth.
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00:02:24,144 --> 00:02:25,270
This a tie clip.
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00:02:25,270 --> 00:02:26,313
You haven't got a tie on today.
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00:02:26,313 --> 00:02:27,898
You will later.
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00:02:27,898 --> 00:02:31,109
But the original of this was
taken to the moon by Allen Bean,
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another Fort Worth native.
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-[man] Yeah, that's
the key to the city.
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00:02:35,405 --> 00:02:36,531
-Where's the moon?
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00:02:36,531 --> 00:02:38,658
-[man] It's
the key to the city.
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00:02:38,658 --> 00:02:39,451
I was with the
mayor this afternoon--
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00:02:39,451 --> 00:02:41,244
-[inaudible] of
the moon, I heard.
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00:02:41,244 --> 00:02:42,829
-[man] Yeah, he
said it went to the moon.
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00:02:42,829 --> 00:02:43,914
-The key went to the moon?
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-[man] Yeah.
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00:02:45,165 --> 00:02:46,458
-Why did this
key go to the moon?
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-[man] I don't know, man.
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00:02:47,501 --> 00:02:49,503
The mayor recited, like, the
whole document before he gave it
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00:02:49,503 --> 00:02:50,587
to him, right?
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00:02:50,587 --> 00:02:52,756
And then he accepted the key.
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00:02:52,756 --> 00:02:53,340
It was really nice.
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00:02:53,340 --> 00:02:54,883
There was a crowd around--
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-[man] Did you cry?
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-No I didn't cry, man.
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00:02:56,635 --> 00:02:58,178
It wasn't that sentimental.
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00:02:58,178 --> 00:02:59,721
But it was nice
receiving the key to the city,
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00:02:59,721 --> 00:03:00,138
man.
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00:03:00,138 --> 00:03:01,556
You know, it's not every
day that something like that
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00:03:01,556 --> 00:03:03,809
happens.
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It says "Fort Worth."
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00:03:05,018 --> 00:03:07,437
-[man] I know, but
that's not the key, is it?
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00:03:07,437 --> 00:03:08,480
-[man] Yeah, it
looks like a key.
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00:03:08,480 --> 00:03:09,231
Don't you see it?
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-[man] Man, the key
went to the moon.
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00:03:11,316 --> 00:03:12,943
You known, it's like when they
take objects to the moon and
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00:03:12,943 --> 00:03:13,527
stuff like that.
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00:03:13,527 --> 00:03:14,361
-[man] Well, why would
they take that to the moon?
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00:03:14,361 --> 00:03:16,238
-[man] Just for-- you know,
just for the experience.
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00:03:16,238 --> 00:03:17,322
It's like "This has
been to the moon."
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00:03:17,322 --> 00:03:21,660
Like, somebody give you a
shirt and it's from Paris.
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00:03:21,660 --> 00:03:26,665
-You see a trumpet
case over there?
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-[man] Looks good.
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00:03:38,927 --> 00:03:40,053
Yes.
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Cow town, USA.
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00:03:49,771 --> 00:03:51,731
-[Ornette] [inaudible]
don't remember.
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00:03:51,731 --> 00:03:56,736
I'm gonna let out all the dogs.
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00:04:24,473 --> 00:04:29,478
[applause]
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00:12:42,345 --> 00:12:46,224
-What is it that you do that is
different from other drummers in
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00:12:46,224 --> 00:12:51,229
relationship to playing without
having to have something to go
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00:12:51,604 --> 00:12:52,438
by?
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00:12:52,438 --> 00:12:54,691
It's obvious you don't have
anything to go by but yet you're
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00:12:54,691 --> 00:12:56,484
playing as if you did.
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00:12:56,484 --> 00:12:59,988
And that is-- that is a
very modern way of playing.
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00:12:59,988 --> 00:13:03,783
I'm just trying to find out
what method do you use to-- to,
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00:13:03,783 --> 00:13:07,078
uh, be correct,
uh, or be right.
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00:13:07,078 --> 00:13:10,957
I mean, you're more right
than you are wrong, you know.
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00:13:10,957 --> 00:13:12,750
-I don't-- I don't know.
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00:13:12,750 --> 00:13:15,378
I don't have any
particular method or anything.
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00:13:15,378 --> 00:13:18,006
-All right, so when you
do do it, it's-- it's just a
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00:13:18,006 --> 00:13:20,508
spontaneous thing that's
happening in-- in how you're
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00:13:20,508 --> 00:13:22,927
hearing the music
when you do do it?
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00:13:22,927 --> 00:13:23,928
-Yes.
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00:13:23,928 --> 00:13:24,345
-I see.
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00:13:24,345 --> 00:13:27,140
Well, are you playing the
[inaudible] drum in your-- as
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00:13:27,140 --> 00:13:29,475
far as growing up to be a man?
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00:13:29,475 --> 00:13:31,769
What they call being
an artist, you know.
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00:13:31,769 --> 00:13:34,731
Are you-- does that
ever occur to you?
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00:13:34,731 --> 00:13:35,773
-[Denardo] Yeah, I guess.
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00:13:35,773 --> 00:13:36,733
I'm not sure.
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00:13:36,733 --> 00:13:38,192
-Let's-- let's try again.
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00:13:38,192 --> 00:13:39,986
On the rim.
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00:13:39,986 --> 00:13:44,991
And Charlie you play
the [inaudible], all right?
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00:14:24,739 --> 00:14:27,867
Yeah, that was--
that was really there.
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00:14:27,867 --> 00:14:29,368
That was really there that time.
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00:14:29,368 --> 00:14:34,373
I mean, the idea of
the whole piece.
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00:15:03,277 --> 00:15:05,488
That house was standing like
that when I was a little kid.
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00:15:05,488 --> 00:15:08,574
I remember playing in
the streets here one day.
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00:15:08,574 --> 00:15:10,952
And my mother told me, she said,
"Don't you leave this yard."
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00:15:10,952 --> 00:15:12,036
I said, "Yes, ma'am."
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00:15:12,036 --> 00:15:15,998
And as soon as she went to town,
I ran downstairs and started
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00:15:15,998 --> 00:15:16,833
playing football.
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00:15:16,833 --> 00:15:19,919
And I looked up and saw
her and my sister coming.
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00:15:19,919 --> 00:15:22,630
I peed in my pants and I
was running back down here.
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00:15:22,630 --> 00:15:25,299
Because she told me, "If you
leave this-- leave this yard,
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00:15:25,299 --> 00:15:27,426
I'm gonna, you know, spank you."
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00:15:27,426 --> 00:15:29,637
And I said, "Oh, my
mother's going to beat me.
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00:15:29,637 --> 00:15:31,055
I better run."
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00:15:31,055 --> 00:15:31,806
But she caught me.
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00:15:31,806 --> 00:15:32,682
-[man] She caught you?
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00:15:32,682 --> 00:15:34,392
-She did, she beat me to death.
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00:15:34,392 --> 00:15:35,977
-[man] [laughs] I
guess you remember that.
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00:15:35,977 --> 00:15:38,604
-[Ornette] Yes, I
remember it very well.
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00:15:38,604 --> 00:15:42,859
But you know, I-- I was
listening to a tape the other
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00:15:42,859 --> 00:15:47,864
night and the thing that really
am-- am-- amazed me,
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00:15:48,030 --> 00:15:50,158
what really makes me
want to play music,
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00:15:50,158 --> 00:15:55,163
it's when I really hear
an individual, um...
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00:15:55,329 --> 00:16:00,209
thought pattern placed in an
environment to make something
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00:16:00,209 --> 00:16:04,505
actually come about that is not
an obvious thing that everyone
137
00:16:04,505 --> 00:16:05,756
is doing.
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00:16:05,756 --> 00:16:10,761
And um-- uh, uh, actually,
it comes-- you do more--
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00:16:11,637 --> 00:16:15,308
to tell you the truth, I think
you do it much better than I do.
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00:16:15,308 --> 00:16:20,062
That's what I'm saying, because
I remember having a, um, el--
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00:16:20,062 --> 00:16:23,608
elder musician telling me,
"Oh you're a kid, [inaudible]."
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00:16:23,608 --> 00:16:28,613
I remember being in, um,
California when I read a review
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00:16:29,030 --> 00:16:30,823
of a drummer saying
that, "Oh, you know,
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00:16:30,823 --> 00:16:33,993
I said, I guess I'm not that
kind of drummer because I should
145
00:16:33,993 --> 00:16:35,369
have you [inaudible]."
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00:16:35,369 --> 00:16:36,454
Because we were related.
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00:16:36,454 --> 00:16:38,956
But really, it was just-- now
that I look back at it,
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00:16:38,956 --> 00:16:41,459
it was really
insecurity and jealousy.
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00:16:41,459 --> 00:16:42,919
-[man] [inaudible]?
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00:16:42,919 --> 00:16:43,961
-[Ornette] Huh?
151
00:16:43,961 --> 00:16:46,631
Yeah, that train likes to
wake me up every morning.
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00:16:46,631 --> 00:16:51,636
Yeah, I was living really close
to the-- to the track there.
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00:17:46,065 --> 00:17:47,775
-Hey, boy.
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00:17:47,775 --> 00:17:49,902
You make your mother
to answer that door...
155
00:17:49,902 --> 00:17:54,907
or I'll lock you up.
156
00:17:57,410 --> 00:18:02,415
-Junior!
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00:18:12,466 --> 00:18:14,885
Junior, where you going?
158
00:18:14,885 --> 00:18:15,553
-[Inaudible].
159
00:18:15,553 --> 00:18:16,095
-No, you're not.
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00:18:16,095 --> 00:18:21,100
You're staying here!
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00:21:35,085 --> 00:21:40,090
[cheers and applause]
162
00:24:22,878 --> 00:24:27,883
[cheers and applause]
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00:24:36,850 --> 00:24:41,855
-[foreign language].
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00:27:52,170 --> 00:27:55,924
-[woman] Ryan was saying this is
almost the exact day, ten years
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later, as we were
together in Jajouka.
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00:27:58,886 --> 00:28:01,096
-I want to find that
video I have of-- of,
167
00:28:01,096 --> 00:28:04,433
uh, uh, the girls and
you and I in the tent.
168
00:28:04,433 --> 00:28:06,268
-Yeah, really.
169
00:28:06,268 --> 00:28:09,605
A weird event that occurred
in the mountains of Morocco.
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00:28:09,605 --> 00:28:13,275
We don't have any of the music
from Jajouka on the-- to go on
171
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the soundtrack, do you?
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00:28:15,527 --> 00:28:16,236
-[woman] Oh, yeah.
173
00:28:16,236 --> 00:28:17,321
Oh, yeah.
174
00:28:17,321 --> 00:28:20,490
How did you guys get
together at that point in time?
175
00:28:20,490 --> 00:28:22,743
-Well, Bob Palmer had a
good deal to do with it,
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00:28:22,743 --> 00:28:24,703
because he played and had
been up there several times and
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00:28:24,703 --> 00:28:25,412
[inaudible].
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00:28:25,412 --> 00:28:27,331
-You know, one thing that
I've always wondered about.
179
00:28:27,331 --> 00:28:30,792
Remember when I came back
when-- when Guyson took me up to
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Jajouka and I played with
the musicians up there
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00:28:33,378 --> 00:28:36,590
and I brought back those
tapes, and you listened to them
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and to my incredible
surprise, you said,
183
00:28:40,135 --> 00:28:41,553
"Let's put-- let's go!
184
00:28:41,553 --> 00:28:43,805
Let's get an organization
together and go up and make a
185
00:28:43,805 --> 00:28:44,848
record with those guys."
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00:28:44,848 --> 00:28:46,433
And we went and did it.
187
00:28:46,433 --> 00:28:50,145
What did you hear in those tapes
that made you want to do that?
188
00:28:50,145 --> 00:28:51,647
Because, you know, [inaudible].
189
00:28:51,647 --> 00:28:54,066
-I was telling someone the other
day when I was in New Orleans.
190
00:28:54,066 --> 00:28:56,151
I was playing in
this sanctified church.
191
00:28:56,151 --> 00:28:59,529
And you know, in-- in-- in most
churches, the pianos are so out
192
00:28:59,529 --> 00:29:02,199
of tune that they'd be
playing the key of Z,
193
00:29:02,199 --> 00:29:04,785
K, P, T.
194
00:29:04,785 --> 00:29:05,953
I mean, H.
195
00:29:05,953 --> 00:29:08,997
And I took my horn in this
sanctified church and I played
196
00:29:08,997 --> 00:29:10,540
the same way I'm playing now.
197
00:29:10,540 --> 00:29:14,962
And when I heard those tapes, I
heard that same quality only on
198
00:29:14,962 --> 00:29:17,631
a much more high
level than religion.
199
00:29:17,631 --> 00:29:19,925
It was more on a creative level.
200
00:29:19,925 --> 00:29:22,219
Because most of religion
is on an emotional level.
201
00:29:22,219 --> 00:29:23,261
This was on a creative level.
202
00:29:23,261 --> 00:29:25,097
And that's what really
turned me on and I said,
203
00:29:25,097 --> 00:29:26,974
"I gotta go and
play with these guys."
204
00:29:26,974 --> 00:29:30,852
Because I could see that for
once, I would be able to play
205
00:29:30,852 --> 00:29:34,648
whatever passed through my heart
and head without ever having to
206
00:29:34,648 --> 00:29:37,275
worry about whether
it's right or wrong.
207
00:29:37,275 --> 00:29:38,026
-[man] Yeah.
208
00:29:38,026 --> 00:29:42,072
-[man] We had something like
15 double-reed horns and 15
209
00:29:42,072 --> 00:29:43,532
drummers.
210
00:29:43,532 --> 00:29:48,537
And Ornette and me and-- and
hundreds of hill tribesmen all
211
00:29:48,870 --> 00:29:51,790
camped out in tents in this
little-- around this little
212
00:29:51,790 --> 00:29:54,042
village on the top
of this mountain.
213
00:29:54,042 --> 00:29:56,420
And the place was just shaking.
214
00:29:56,420 --> 00:29:59,006
-Bob was playing and I
[inaudible] telling him I have
215
00:29:59,006 --> 00:30:02,050
this tape [inaudible] that he
started playing and all of the
216
00:30:02,050 --> 00:30:06,096
sudden, he, for some instinct,
the whole sound of everything
217
00:30:06,096 --> 00:30:09,641
that was going on passed through
his horn like it was like,
218
00:30:09,641 --> 00:30:11,351
uh, like an intense flame.
219
00:30:11,351 --> 00:30:13,812
I mean it's-- the -- the-- the--
his clarinet sounded like it was
220
00:30:13,812 --> 00:30:17,357
just some kind of
boat of-- of, uh,
221
00:30:17,357 --> 00:30:17,983
fire.
222
00:30:17,983 --> 00:30:21,570
I mean, it was-- it was the most
incredible sound I ever heard
223
00:30:21,570 --> 00:30:24,990
any musician play,
including myself.
224
00:30:24,990 --> 00:30:28,243
-Pertinent question.
225
00:30:28,243 --> 00:30:30,203
-[man] An impertinent question.
226
00:30:30,203 --> 00:30:32,873
-[man] An impertinent question
works even better sometimes,
227
00:30:32,873 --> 00:30:33,832
yeah.
228
00:30:33,832 --> 00:30:35,876
Recording of an
impertinent question.
229
00:30:35,876 --> 00:30:40,464
-Pertinent or impertinent.
230
00:30:40,464 --> 00:30:42,758
-Immortality to the people.
231
00:30:42,758 --> 00:30:45,927
Every man a god.
232
00:30:45,927 --> 00:30:49,556
How do you get to be a god?
233
00:30:49,556 --> 00:30:53,101
Well, to put it apple
pie country simple,
234
00:30:53,101 --> 00:30:56,897
by doing your job
and doing it well.
235
00:30:56,897 --> 00:31:01,902
So you may become a god
of jugglers and acrobats.
236
00:31:01,943 --> 00:31:04,488
A god of the long chance.
237
00:31:04,488 --> 00:31:07,783
The horse that comes from
last to win in the stretch.
238
00:31:07,783 --> 00:31:11,495
The punch drunk fighter who
comes up from the floor to win
239
00:31:11,495 --> 00:31:14,623
by a knockout.
240
00:31:14,623 --> 00:31:19,002
A god of future space travelers
who are ready to leave the whole
241
00:31:19,002 --> 00:31:24,007
human context behind and
take a step into the unknown.
242
00:31:25,425 --> 00:31:30,263
Well, every man a god
if you can qualify.
243
00:31:30,263 --> 00:31:33,683
But you can't be a god of
anything unless you can do it,
244
00:31:33,683 --> 00:31:36,561
for Christ sakes.
245
00:31:36,561 --> 00:31:40,816
Happiness is a by product of
function and those who seek
246
00:31:40,816 --> 00:31:45,487
happiness for itself
seek victory without war.
247
00:31:45,487 --> 00:31:49,825
And that is a flaw in all
utopias and of course a paradise
248
00:31:49,825 --> 00:31:53,161
is really a terminal utopia.
249
00:31:53,161 --> 00:31:56,248
-One thing that's always
mystified me that I feel that
250
00:31:56,248 --> 00:32:01,253
was magic about your band with
Don Cherry and Blackwell and
251
00:32:01,628 --> 00:32:06,633
Charlie, and that is, uh-- and I
think a lot of other people too,
252
00:32:07,425 --> 00:32:10,137
you never-- you never
counted off your pieces.
253
00:32:10,137 --> 00:32:10,929
-[man] Mm-hm.
254
00:32:10,929 --> 00:32:15,934
-I mean, just everybody would
instinctively or intuitively
255
00:32:16,893 --> 00:32:21,898
come in with the-- with the
instruments at the same time.
256
00:32:22,190 --> 00:32:24,651
And you didn't-- you
didn't nod you head.
257
00:32:24,651 --> 00:32:26,570
-[Ornette] I didn't say "We're
gonna start, we're gonna stop--"
258
00:32:26,570 --> 00:32:27,571
-How did that work?
259
00:32:27,571 --> 00:32:28,530
I mean...
260
00:32:28,530 --> 00:32:31,783
-Same instinctive,
uh, um, insight.
261
00:32:31,783 --> 00:32:34,995
-Well, see that's one reason I
think that the West-- the West
262
00:32:34,995 --> 00:32:38,540
doesn't really
understand about music.
263
00:32:38,540 --> 00:32:41,877
Because the West thinks
of music as entertainment,
264
00:32:41,877 --> 00:32:42,752
you know?
265
00:32:42,752 --> 00:32:47,674
And in the same way, it sort
of-- this feeling about-- that
266
00:32:47,674 --> 00:32:51,803
persisted in jazz
for years that...
267
00:32:51,803 --> 00:32:56,141
well, black musicians came
along and were kind of geniuses.
268
00:32:56,141 --> 00:32:59,728
But they don't understand as
it-- the heart is probably the
269
00:32:59,728 --> 00:33:02,022
highest kind of intelligence.
270
00:33:02,022 --> 00:33:05,192
This intuitive
intelligence that we have
271
00:33:05,192 --> 00:33:09,196
in the third world countries is
really third world technology.
272
00:33:09,196 --> 00:33:13,825
So, I mean, the
answer lies in music.
273
00:33:13,825 --> 00:33:16,119
I asked
Buckminster Fuller, I said,
274
00:33:16,119 --> 00:33:19,539
"Don't you think it's the
scientists' responsibility to
275
00:33:19,539 --> 00:33:22,375
relate his discipline,
not only to that science,
276
00:33:22,375 --> 00:33:24,502
but to everything?"
277
00:33:24,502 --> 00:33:26,338
His answer was,
"Well, you have a dome.
278
00:33:26,338 --> 00:33:27,881
Why don't you use it?"
279
00:33:27,881 --> 00:33:31,927
-OK, um...well...
280
00:33:31,927 --> 00:33:36,932
actually, I met, uh,
Buckminster Fuller in 19...
281
00:33:37,474 --> 00:33:39,392
50...
282
00:33:39,392 --> 00:33:41,645
about 54.
283
00:33:41,645 --> 00:33:44,940
At the Hollywood High
in, um, Hollywood,
284
00:33:44,940 --> 00:33:45,899
California.
285
00:33:45,899 --> 00:33:49,611
And, um, I-- I
listened to his lecture.
286
00:33:49,611 --> 00:33:53,073
And, um, I was just inspired.
287
00:33:53,073 --> 00:33:57,494
In fact, I-- I-- I once studied
architect-- I thought I was
288
00:33:57,494 --> 00:33:58,828
going to be an architect.
289
00:33:58,828 --> 00:34:00,997
Then I thought I was going
to be a brain specialist.
290
00:34:00,997 --> 00:34:04,668
Then I thought I was going to--
I wanted to be so many things.
291
00:34:04,668 --> 00:34:07,087
So I finally realized I didn't
have enough money to support any
292
00:34:07,087 --> 00:34:08,713
of these ideas.
293
00:34:08,713 --> 00:34:13,718
So I started-- I would pursue
my career imitating music.
294
00:34:14,177 --> 00:34:17,555
So I got a horn and I started
playing whatever I heard on the
295
00:34:17,555 --> 00:34:18,598
radio.
296
00:34:18,598 --> 00:34:22,560
And the one thing that really
just blew me away, it was his
297
00:34:22,560 --> 00:34:24,980
demonstration of his own domes.
298
00:34:24,980 --> 00:34:28,441
And when he demonstrated the way
his domes were put together and
299
00:34:28,441 --> 00:34:32,279
how geometric they were done,
300
00:34:32,279 --> 00:34:34,072
it just blew me
away because I said,
301
00:34:34,072 --> 00:34:36,241
"This is how I've
been writing music.
302
00:34:36,241 --> 00:34:38,034
This is the way I write music."
303
00:34:38,034 --> 00:34:40,203
Um, I had-- I was in Rome.
304
00:34:40,203 --> 00:34:43,164
And I was on my way to Florence
to play a concert and I'd heard
305
00:34:43,164 --> 00:34:44,749
that he had passed.
306
00:34:44,749 --> 00:34:47,085
And so I dedicated
my program to him.
307
00:34:47,085 --> 00:34:52,090
To me, um, he surpassed all of
the [inaudible] that has to do
308
00:34:52,132 --> 00:34:56,970
with surviving because of--
of-- of abilities or skills.
309
00:34:56,970 --> 00:35:00,765
And to me, that-- he became one
of my-- he's probably my best
310
00:35:00,765 --> 00:35:05,770
hero.
311
00:39:40,044 --> 00:39:42,046
-[Buckminster] The short
time that I'll have with you,
312
00:39:42,046 --> 00:39:46,092
I'll spontaneously select out of
it I think most relevant to all
313
00:39:46,092 --> 00:39:50,263
things we can talk about
about humans and the universe,
314
00:39:50,263 --> 00:39:53,600
which is only something
I'm going to care about,
315
00:39:53,600 --> 00:39:58,605
and about what I assess to
be opposition in evolutionary
316
00:39:59,397 --> 00:40:01,649
history right now.
317
00:40:01,649 --> 00:40:04,152
When I was born, reality was
everything you could see,
318
00:40:04,152 --> 00:40:05,945
smell, touch and hear.
319
00:40:05,945 --> 00:40:09,574
Very important to remind
you and everybody else
320
00:40:09,574 --> 00:40:13,119
that no human being's ever
seen outside of themself.
321
00:40:13,119 --> 00:40:16,956
You see entirely in a
television set inside the brain.
322
00:40:16,956 --> 00:40:18,917
We have this thing
called image-a-nation.
323
00:40:18,917 --> 00:40:20,793
Imagination.
324
00:40:20,793 --> 00:40:23,671
-As [inaudible] say, "You
can't see outside of yourself,
325
00:40:23,671 --> 00:40:26,174
but we do have imagination."
326
00:40:26,174 --> 00:40:28,301
The expression of all
individuals' imagination is what
327
00:40:28,301 --> 00:40:30,762
I call "high melodics."
328
00:40:30,762 --> 00:40:34,057
And each being's
imagination is their own unison.
329
00:40:34,057 --> 00:40:39,062
And there are as many unisons
as there are stars in the sky.
330
00:42:46,647 --> 00:42:48,024
-[man] Them was the days, man.
331
00:42:48,024 --> 00:42:48,733
-[Ornette] That's right.
332
00:42:48,733 --> 00:42:50,485
-[man] When all the
kids went to one school.
333
00:42:50,485 --> 00:42:52,111
All the coloreds--
334
00:42:52,111 --> 00:42:52,695
-[Ornette] That's right.
335
00:42:52,695 --> 00:42:54,989
[inaudible].
336
00:42:54,989 --> 00:42:56,783
There could only be-- if you
wasn't black, you couldn't go
337
00:42:56,783 --> 00:42:57,408
to that school.
338
00:42:57,408 --> 00:42:58,409
-[man] No, you
couldn't go there.
339
00:42:58,409 --> 00:43:00,787
[inaudible].
340
00:43:00,787 --> 00:43:03,247
-Bussing is
outdated compared to this.
341
00:43:03,247 --> 00:43:04,248
-Oh yeah, we used to walk.
342
00:43:04,248 --> 00:43:05,750
-[Ornette] Bussing, there was
bussing-- that was all there was
343
00:43:05,750 --> 00:43:06,959
was bussing then.
344
00:43:06,959 --> 00:43:09,879
-[man] I remember when you used
play up upstairs over here.
345
00:43:09,879 --> 00:43:11,214
And we wasn't old
enough to go up there.
346
00:43:11,214 --> 00:43:11,672
-That's right.
347
00:43:11,672 --> 00:43:13,466
-We used to sneak up the steps.
348
00:43:13,466 --> 00:43:15,635
And William RIchardson's
daddy was the doorman
349
00:43:15,635 --> 00:43:18,054
and we would all have
bricks in our pocket,
350
00:43:18,054 --> 00:43:21,015
just in case something broke out
up there we had to get out in a
351
00:43:21,015 --> 00:43:22,183
hurry.
352
00:43:22,183 --> 00:43:24,685
I remember when we used
to-- Charlie Roger used to get
353
00:43:24,685 --> 00:43:27,438
all of us, let's
go over upstairs.
354
00:43:27,438 --> 00:43:32,443
Bucket of blood, that's
what we used to call it.
355
00:46:38,004 --> 00:46:39,547
-And, uh, you know what?
356
00:46:39,547 --> 00:46:42,133
When I got to New York City,
King Curtis was driving a Rolls
357
00:46:42,133 --> 00:46:42,842
Royce.
358
00:46:42,842 --> 00:46:43,801
-Yeah.
359
00:46:43,801 --> 00:46:47,221
-King Curtis was one-- he was
probably the most successful
360
00:46:47,221 --> 00:46:51,225
musician that [inaudible] that
I-- he made-- he had his own,
361
00:46:51,225 --> 00:46:55,479
um, ah, ah, ah car-- train car.
362
00:46:55,479 --> 00:46:58,858
He opened-- he was-- he was--
he was opening for The Beatles.
363
00:46:58,858 --> 00:46:59,191
-[man] Well, I'll be darned.
364
00:46:59,191 --> 00:46:59,984
-King Curtis.
365
00:46:59,984 --> 00:47:00,234
-[man] Well, I be darned.
366
00:47:00,234 --> 00:47:02,069
-King Curtis made heavy money.
367
00:47:02,069 --> 00:47:02,820
-I know that.
368
00:47:02,820 --> 00:47:05,531
-[Ornette] King Curtis, when I--
when I got to New York City,
369
00:47:05,531 --> 00:47:09,201
he came and picked me up in
his Rolls Royce and he was--
370
00:47:09,201 --> 00:47:12,455
you know, I was-- I was making
peanuts compared to what he was
371
00:47:12,455 --> 00:47:13,080
making.
372
00:47:13,080 --> 00:47:13,414
-[man] Well, I be darned.
373
00:47:13,414 --> 00:47:15,750
-He was making big
money, you know?
374
00:47:15,750 --> 00:47:17,168
And playing really beautiful.
375
00:47:17,168 --> 00:47:18,335
-Yeah, I know.
376
00:47:18,335 --> 00:47:20,212
Charlie sent me the clip.
377
00:47:20,212 --> 00:47:21,172
-Mm-hm.
378
00:47:21,172 --> 00:47:22,381
-Uh-huh.
379
00:47:22,381 --> 00:47:24,258
-[Ornette] There's a building in
New York City that looks just
380
00:47:24,258 --> 00:47:25,259
exactly like this building.
381
00:47:25,259 --> 00:47:27,803
The Flatiron
Building in New York.
382
00:47:27,803 --> 00:47:31,640
Uh, General Worth, the guy
that Fort Worth is named after,
383
00:47:31,640 --> 00:47:34,810
is buried there on 23rd and 5th
Avenue across the street from
384
00:47:34,810 --> 00:47:35,853
the Flatiron Building.
385
00:47:35,853 --> 00:47:39,315
[applause]
386
00:47:39,315 --> 00:47:41,484
-[man] Thank you all so
very much once again.
387
00:47:41,484 --> 00:47:43,235
A great hand for the ladies and
gentlemen in the band who work
388
00:47:43,235 --> 00:47:44,612
so very hard.
389
00:47:44,612 --> 00:47:47,948
I'd like to thank our sound crew
from the Port Authority World
390
00:47:47,948 --> 00:47:50,201
Trade Center, who
sponsored these [inaudible]
391
00:47:50,201 --> 00:47:51,202
recording industries.
392
00:47:51,202 --> 00:47:53,913
Most of all, I'd like to thank
you for coming on your lunch.
393
00:47:53,913 --> 00:47:55,372
I hope you enjoyed it.
394
00:47:55,372 --> 00:48:00,377
[applause]
395
00:49:41,270 --> 00:49:43,314
-That's all the way down
in the World Trade Center?
396
00:49:43,314 --> 00:49:44,523
-[woman] Yeah.
397
00:49:44,523 --> 00:49:46,400
-It's synchronized
with up here, right?
398
00:49:46,400 --> 00:49:47,902
-[woman] Yeah.
399
00:49:47,902 --> 00:49:49,945
Did you ever see
anything like this before?
400
00:49:49,945 --> 00:49:51,197
-No.
401
00:49:51,197 --> 00:49:52,489
No, I haven't.
402
00:49:52,489 --> 00:49:53,324
-[woman] No?
403
00:49:53,324 --> 00:49:55,284
Is it pretty weird?
404
00:49:55,284 --> 00:49:57,912
-Oh, I think it's great.
405
00:49:57,912 --> 00:50:01,749
When musicians can get together
without being together...
406
00:50:01,749 --> 00:50:05,544
and playing together,
I think it's fantastic.
407
00:50:05,544 --> 00:50:07,379
-[woman] So what do
you think about this?
408
00:50:07,379 --> 00:50:10,174
This television music stuff?
409
00:50:10,174 --> 00:50:11,467
-All right.
410
00:50:11,467 --> 00:50:12,384
-[woman] It's all right?
411
00:50:12,384 --> 00:50:13,844
-Yes.
412
00:50:13,844 --> 00:50:15,304
-You still play the drums.
413
00:50:15,304 --> 00:50:17,181
And now you're the manager.
414
00:50:17,181 --> 00:50:19,725
How do you feel about
that responsibility?
415
00:50:19,725 --> 00:50:23,312
-Well, I think it works out
pretty nice because...
416
00:50:23,312 --> 00:50:26,607
what-- what we're doing
and what he's kind of,
417
00:50:26,607 --> 00:50:30,819
um-- business-wise, things that
have happened have been kind of
418
00:50:30,819 --> 00:50:34,323
unusual as the music
is kind of unusual.
419
00:50:34,323 --> 00:50:37,868
It's a different situation that
somebody who's managing and
420
00:50:37,868 --> 00:50:40,537
doing the business has to
be aware and sensitive to.
421
00:50:40,537 --> 00:50:43,707
And since I've seen so many
people come and go that play
422
00:50:43,707 --> 00:50:47,336
that role that didn't know
quite how to work it out--
423
00:50:47,336 --> 00:50:50,506
-One place called the California
Club in the late 50's and,
424
00:50:50,506 --> 00:50:54,218
um, and I think
his music was so,
425
00:50:54,218 --> 00:50:58,973
uh, powerful at that time
that they were very puzzled,
426
00:50:58,973 --> 00:51:02,101
uh, confused and embarrassed.
427
00:51:02,101 --> 00:51:06,563
And, of course, them being next
to him sort of it made their
428
00:51:06,563 --> 00:51:09,650
music a little off-balance
or a little weaker and their
429
00:51:09,650 --> 00:51:12,027
attitudes were really a drag.
430
00:51:12,027 --> 00:51:15,197
I mean, they looked at him
like, "What is this guy doing?"
431
00:51:15,197 --> 00:51:16,573
And they would look
at the audience like,
432
00:51:16,573 --> 00:51:18,409
"God, isn't this a drag?"
433
00:51:18,409 --> 00:51:20,452
And, of course, they
put him off the stand.
434
00:51:20,452 --> 00:51:23,038
-Oh, well, the so-called, uh...
435
00:51:23,038 --> 00:51:25,624
"Ornette mystique"
is like, uh...
436
00:51:25,624 --> 00:51:29,378
uh, when he first started
playing, like, uh, um...
437
00:51:29,378 --> 00:51:32,756
people would break his
instrument and [laughs]
438
00:51:32,756 --> 00:51:35,259
uh, people-- well, like when I
first met him in Los Angeles,
439
00:51:35,259 --> 00:51:36,802
uh...
440
00:51:36,802 --> 00:51:40,723
uh, I walked into a place
one Wednesday night...
441
00:51:40,723 --> 00:51:43,934
and the entire rhythm section,
uh, they just got up and left
442
00:51:43,934 --> 00:51:45,853
the stand, you know?
443
00:51:45,853 --> 00:51:50,024
And uh, left his saxophone
player up there playing so I
444
00:51:50,024 --> 00:51:51,900
came to a quick conclusion,
"This has got to be Ornette
445
00:51:51,900 --> 00:51:53,402
Coleman," you know?
446
00:51:53,402 --> 00:51:56,113
And, uh, true, it was.
447
00:51:56,113 --> 00:51:58,991
-Ornette has
always been different.
448
00:51:58,991 --> 00:52:02,119
He has always been
different from anybody else.
449
00:52:02,119 --> 00:52:04,538
He wanted to invent
things for himself.
450
00:52:04,538 --> 00:52:05,622
He'd invent them.
451
00:52:05,622 --> 00:52:07,499
He wasn't accepted at all.
452
00:52:07,499 --> 00:52:10,711
He said every time he
walked on the bandstand,
453
00:52:10,711 --> 00:52:12,963
musicians walk off.
454
00:52:12,963 --> 00:52:16,383
And he had come back
home on several occasions.
455
00:52:16,383 --> 00:52:18,218
He went to New York.
456
00:52:18,218 --> 00:52:21,180
And [inaudible].
457
00:52:21,180 --> 00:52:24,725
And he had the same band...
458
00:52:24,725 --> 00:52:29,063
that had been with Ornette
about ten or 15 years.
459
00:52:29,063 --> 00:52:31,398
And when he got to
New York, he hit it.
460
00:52:31,398 --> 00:52:34,818
-And suddenly, Ornette Coleman,
up on the bandstand in the Five
461
00:52:34,818 --> 00:52:39,823
Spot, during a blizzard, started
to play the blues like Charlie
462
00:52:39,823 --> 00:52:41,533
Parker.
463
00:52:41,533 --> 00:52:44,244
And I have never
heard anyone else,
464
00:52:44,244 --> 00:52:47,915
other than Charlie
Parker, do that that way.
465
00:52:47,915 --> 00:52:51,043
And Charlie Parker has had many
followers and he has also had
466
00:52:51,043 --> 00:52:54,421
many imitators, and
there's a big difference.
467
00:52:54,421 --> 00:52:56,298
None of them has come near this.
468
00:52:56,298 --> 00:52:59,551
Ornette had the
attack on the reed right.
469
00:52:59,551 --> 00:53:02,012
He was doing it
like late Parker too.
470
00:53:02,012 --> 00:53:05,891
The more virtuoso period
of Parker's short career.
471
00:53:05,891 --> 00:53:10,896
He was absolutely uncanny and
he went on and on doing it.
472
00:53:11,021 --> 00:53:14,900
And I said, "Man, why
don't you do this more often?
473
00:53:14,900 --> 00:53:17,820
Why don't you do this on a
record to show people that you
474
00:53:17,820 --> 00:53:19,696
really do know
what you're doing?
475
00:53:19,696 --> 00:53:23,200
Those that won't listen to
you and learn it that way."
476
00:53:23,200 --> 00:53:24,618
And Ornette said
something like, "Oh,
477
00:53:24,618 --> 00:53:26,745
I like to do that every
now and then for fun."
478
00:53:26,745 --> 00:53:27,663
Or something like that.
479
00:53:27,663 --> 00:53:30,249
And dismissed it that way.
480
00:53:30,249 --> 00:53:33,752
-A symphony orchestra musician
is trained to be extremely
481
00:53:33,752 --> 00:53:36,922
precise to meld with
everyone else in the orchestra,
482
00:53:36,922 --> 00:53:39,591
where Ornette's...
483
00:53:39,591 --> 00:53:41,802
whole philosophy is
totally contrary to that.
484
00:53:41,802 --> 00:53:45,139
He wants the freedom
of expression between--
485
00:53:45,139 --> 00:53:46,473
among all of the musicians
in the orchestra.
486
00:53:46,473 --> 00:53:47,891
He wants people
to feel free to express
487
00:53:47,891 --> 00:53:51,395
themselves at any time
within the confines of-- of
488
00:53:51,395 --> 00:53:53,814
the structure that
he has designated.
489
00:53:53,814 --> 00:53:57,151
I see the connection between the
jazz and the symphony orchestra,
490
00:53:57,151 --> 00:53:59,027
uh, in a very interesting way.
491
00:53:59,027 --> 00:54:03,031
To me, uh, it's like two
different forces juxtaposed
492
00:54:03,031 --> 00:54:04,533
against one another.
493
00:54:04,533 --> 00:54:07,453
And it's almost, to
me, it's almost like,
494
00:54:07,453 --> 00:54:09,913
uh, two sources of language.
495
00:54:09,913 --> 00:54:14,334
And in Ornette's playing
and in the entire group,
496
00:54:14,334 --> 00:54:17,713
Primetime Group, I hear
elements of very early jazz,
497
00:54:17,713 --> 00:54:19,965
even dating back to Dixieland.
498
00:54:19,965 --> 00:54:22,468
-I think there was
a feeling of, uh,
499
00:54:22,468 --> 00:54:26,763
me for, to be absolutely
honest, a feeling of
500
00:54:26,763 --> 00:54:30,684
apprehension, uh, uh, a
feeling of being, uh...
501
00:54:30,684 --> 00:54:35,189
threatened by this...
502
00:54:35,189 --> 00:54:37,816
mind of yours.
503
00:54:37,816 --> 00:54:42,779
And uh, I probably-- probably
was, along with just about
504
00:54:42,779 --> 00:54:44,364
everybody else.
505
00:54:44,364 --> 00:54:46,617
We had an inkling
of what would come.
506
00:54:46,617 --> 00:54:50,120
So when I finally
met you in 1959,
507
00:54:50,120 --> 00:54:54,374
at the School of Jazz in Lennox,
it was, uh-- the worst dreams
508
00:54:54,374 --> 00:54:55,459
came true.
509
00:54:55,459 --> 00:54:57,753
I heard your
music and knew that,
510
00:54:57,753 --> 00:55:01,882
uh, here was a
music that was, uh,
511
00:55:01,882 --> 00:55:04,343
frightening in its implications.
512
00:55:04,343 --> 00:55:06,970
That they would have to
learn new-- new disciplines.
513
00:55:06,970 --> 00:55:10,182
And I think, in that
sense, you influenced,
514
00:55:10,182 --> 00:55:14,686
uh, everybody, you know?
515
00:55:14,686 --> 00:55:18,690
-Obviously, the initial
impact of free jazz was kind of
516
00:55:18,690 --> 00:55:19,316
chaotic.
517
00:55:19,316 --> 00:55:22,236
Everybody was running off in the
early 60s and doing everything
518
00:55:22,236 --> 00:55:25,155
they could think of doing and
whereas it made sense in a kind
519
00:55:25,155 --> 00:55:26,740
of instinctual way
for Ornette to do it,
520
00:55:26,740 --> 00:55:30,494
it didn't always make sense for
some of his imitators to do it.
521
00:55:30,494 --> 00:55:32,621
But Ornette was always one step
ahead of them because he was
522
00:55:32,621 --> 00:55:35,415
moving onto something else
while they were still imitating
523
00:55:35,415 --> 00:55:38,001
his earlier phases.
524
00:55:38,001 --> 00:55:39,336
His current
phase, it seems to me,
525
00:55:39,336 --> 00:55:42,923
really got going in the early
70s when he went to Morocco
526
00:55:42,923 --> 00:55:44,675
and when he started picking
up, in a a lot of ways,
527
00:55:44,675 --> 00:55:46,677
on different kinds
of third world music.
528
00:55:46,677 --> 00:55:49,972
Any kind of music encounters
resistance from mainstream
529
00:55:49,972 --> 00:55:54,560
audiences if it's particularly
dissonant or particularly jagged
530
00:55:54,560 --> 00:55:57,354
rhythmically, uh, or off-putting
in that kind of way.
531
00:55:57,354 --> 00:56:00,065
And this is a problem that's
been faced by everything from
532
00:56:00,065 --> 00:56:03,569
modernist classical music
to free jazz to punk rock.
533
00:56:03,569 --> 00:56:08,115
Uh, Ornette, to his
credit, has not sold out,
534
00:56:08,115 --> 00:56:09,616
if you want to put it
in the basic terms.
535
00:56:09,616 --> 00:56:11,952
He has pursued
what he wants to do.
536
00:56:11,952 --> 00:56:14,663
Uh, this got him branded as an
eccentric when he was young.
537
00:56:14,663 --> 00:56:17,499
It gets him branded as
a genius when he's old.
538
00:56:17,499 --> 00:56:22,045
-Well, I've been working on this
dream for about 20 years now and
539
00:56:22,045 --> 00:56:25,924
it seemed as if it's getting
closer and closer to a reality.
540
00:56:25,924 --> 00:56:30,429
And what I intend to do with
this space here on Rivington is
541
00:56:30,429 --> 00:56:33,849
to make a multiple
expression center,
542
00:56:33,849 --> 00:56:38,854
which involves space,
artists, dramatics and science.
543
00:56:39,563 --> 00:56:43,984
I had to migrate to California,
then to Europe, then to New York
544
00:56:43,984 --> 00:56:46,695
and to go through lots of things
just to get to this normal state
545
00:56:46,695 --> 00:56:48,989
that I'm trying to achieve now.
546
00:56:48,989 --> 00:56:53,994
So, um, um, I do believe
that uh-- that the-- the belief
547
00:56:55,621 --> 00:57:00,334
system, the, uh, the concept
of what is called the emotional
548
00:57:00,334 --> 00:57:04,254
state of human beings and their
desire to do things in their own
549
00:57:04,254 --> 00:57:08,342
time, is an endless cycle
in-- in what is called the human
550
00:57:08,342 --> 00:57:13,221
cycle and I would like to,
um, in my cycle, making a
551
00:57:13,221 --> 00:57:15,557
contribution to that cycle.
552
00:57:15,557 --> 00:57:17,934
-[man] There were two very bad
incidents that happened in this
553
00:57:17,934 --> 00:57:19,061
building.
554
00:57:19,061 --> 00:57:22,147
The first was in September 1982.
555
00:57:22,147 --> 00:57:24,399
I got a call at about 7AM...
556
00:57:24,399 --> 00:57:27,653
while I was sleeping from my
father who said he had just been
557
00:57:27,653 --> 00:57:30,530
tied up and beaten...
558
00:57:30,530 --> 00:57:34,451
uh, by six teenagers
that came in to rob him.
559
00:57:34,451 --> 00:57:36,453
So I immediately called the
police and called other people
560
00:57:36,453 --> 00:57:38,830
here in the building and
told them what happened.
561
00:57:38,830 --> 00:57:42,000
And I ran down from where I was,
which was about 12 blocks away.
562
00:57:42,000 --> 00:57:44,336
By the time I got here, the
police were here and people were
563
00:57:44,336 --> 00:57:45,712
already up here.
564
00:57:45,712 --> 00:57:47,964
And he had been tied up and
hit in the head with a hammer,
565
00:57:47,964 --> 00:57:50,884
actually, by-- by these kids,
which they didn't have to do,
566
00:57:50,884 --> 00:57:52,177
but they were scared.
567
00:57:52,177 --> 00:57:53,845
And-- and they were
trying to take his equipment,
568
00:57:53,845 --> 00:57:55,097
take his money.
569
00:57:55,097 --> 00:57:58,308
Someone saw them on the way out
and they had to drop everything.
570
00:57:58,308 --> 00:57:59,601
But they got away.
571
00:57:59,601 --> 00:58:00,936
He crawled across
the floor, actually,
572
00:58:00,936 --> 00:58:03,980
to call me while he
was still tied up.
573
00:58:03,980 --> 00:58:07,609
And, you know, it was amazing
that not more happened to him.
574
00:58:07,609 --> 00:58:09,528
He just got a concussion.
575
00:58:09,528 --> 00:58:10,070
But it was bad.
576
00:58:10,070 --> 00:58:12,280
He had to stay in the
hospital a few days.
577
00:58:12,280 --> 00:58:13,990
But then, about
six months later,
578
00:58:13,990 --> 00:58:15,909
still at this building...
579
00:58:15,909 --> 00:58:20,914
we were walking up the steps
and, in the dark, two guys
580
00:58:21,289 --> 00:58:22,457
attacked us.
581
00:58:22,457 --> 00:58:25,252
They hit him with a crowbar
and I grabbed one guy and was
582
00:58:25,252 --> 00:58:27,379
hitting him with a
board that I picked up.
583
00:58:27,379 --> 00:58:30,716
We took him to the hospital and
they released him that evening.
584
00:58:30,716 --> 00:58:34,720
But during the next day, he
had a lot of trouble breathing.
585
00:58:34,720 --> 00:58:35,470
And we knew something was wrong.
586
00:58:35,470 --> 00:58:37,389
So we took the ambulance and
came back to the hospital.
587
00:58:37,389 --> 00:58:39,307
And that's where we found
out he had a punctured lung.
588
00:58:39,307 --> 00:58:40,308
But all that
happened, let's say,
589
00:58:40,308 --> 00:58:43,687
within-- within a six
or seven-month period
590
00:58:43,687 --> 00:58:46,314
and all because he was just
trying to do his work here in
591
00:58:46,314 --> 00:58:49,526
this building
where he could be, uh,
592
00:58:49,526 --> 00:58:51,445
peaceful, people wouldn't
have to bother him,
593
00:58:51,445 --> 00:58:53,613
and he wouldn't have
to bother other people,
594
00:58:53,613 --> 00:58:55,198
and he would have enough space
to take care of things that he
595
00:58:55,198 --> 00:58:56,658
wanted to take care of.
596
00:58:56,658 --> 00:58:58,243
It's a dangerous area.
597
00:58:58,243 --> 00:59:00,996
At one point, it was known as
the most heavily drug-trafficked
598
00:59:00,996 --> 00:59:02,038
area.
599
00:59:02,038 --> 00:59:03,331
You know, it's
the Lower Eat Side.
600
00:59:03,331 --> 00:59:06,251
And, um, you always have people
who are going to mug you or rob
601
00:59:06,251 --> 00:59:07,127
you or take your money.
602
00:59:07,127 --> 00:59:07,627
Anything.
603
00:59:07,627 --> 00:59:10,130
You know, a lot of junkies,
a lot of, uh, uh, poor people
604
00:59:10,130 --> 00:59:10,714
also.
605
00:59:10,714 --> 00:59:14,176
I mean, that's the conditions
that are in this neighborhood.
606
00:59:14,176 --> 00:59:17,262
But this building he got
through a public auction.
607
00:59:17,262 --> 00:59:20,015
It used to be a New York City
school building that has a
608
00:59:20,015 --> 00:59:23,101
tremendous amount of space
and potential to do a lot here.
609
00:59:23,101 --> 00:59:24,728
You know, he's going
to develop it and have,
610
00:59:24,728 --> 00:59:28,940
um, maybe a music school or
galleries and performances and a
611
00:59:28,940 --> 00:59:31,860
lot of things
happening once it's developed.
612
00:59:31,860 --> 00:59:34,404
But until that point or until
things get a little better,
613
00:59:34,404 --> 00:59:36,531
it's always going
to be dangerous.
614
00:59:36,531 --> 00:59:37,783
You know?
615
00:59:37,783 --> 00:59:39,159
And, uh, I worry
about him a lot.
616
00:59:39,159 --> 00:59:41,244
He's not
necessarily gonna stay here,
617
00:59:41,244 --> 00:59:42,871
live here.
618
00:59:42,871 --> 00:59:46,875
But just being in
this area, you know,
619
00:59:46,875 --> 00:59:49,336
will be dangerous.
620
00:59:49,336 --> 00:59:52,714
-[Ornette] I'd like to
go out in space tonight.
621
00:59:52,714 --> 00:59:56,676
And one reasons
why is because, um,
622
00:59:56,676 --> 01:00:00,430
all the things such
as religion, science,
623
01:00:00,430 --> 01:00:05,435
astrology, death,
survival and all those things,
624
01:00:06,478 --> 01:00:09,356
they leave you without
any answers other than
625
01:00:09,356 --> 01:00:12,984
"What's going to happen
to me when I'm gone?"
626
01:00:12,984 --> 01:00:15,904
So why not think about what's
gonna happen to you while you're
627
01:00:15,904 --> 01:00:20,909
here?
628
01:00:27,916 --> 01:00:32,921
About four months ago, I got a
questionnaire from NASA asking
629
01:00:33,839 --> 01:00:38,385
me about my interest in
working in space as an artist.
630
01:00:38,385 --> 01:00:41,263
And in this category, they
asked if you wanted to come to
631
01:00:41,263 --> 01:00:43,515
NASA, did you want
to work in the shuttle,
632
01:00:43,515 --> 01:00:46,351
or did you want to work on
just different projects?
633
01:00:46,351 --> 01:00:51,231
So I, um, I went-- I took their
documents to a lawyer friend
634
01:00:51,231 --> 01:00:52,899
of mine and we filled them out.
635
01:00:52,899 --> 01:00:57,195
And I put several of my friends
down that I thought I'd like to
636
01:00:57,195 --> 01:01:02,200
have there with me.
637
01:01:21,636 --> 01:01:25,265
Well, I-- I-- I-- I think that
whatever out in space I have
638
01:01:25,265 --> 01:01:28,268
met, and whatever is not
out in space I have met.
639
01:01:28,268 --> 01:01:31,104
I mean, in other words,
that space is only space
640
01:01:31,104 --> 01:01:36,109
to communicate to us if there
is a being or a [inaudible].
641
01:01:36,568 --> 01:01:40,405
So therefore, the Earth
is [inaudible] than space.
642
01:01:40,405 --> 01:01:42,365
So we're already out in space.
643
01:01:42,365 --> 01:01:45,869
It's just the difference between
looking up and looking down.
644
01:01:45,869 --> 01:01:48,371
And so that's why I'm,
uh-- Buckminster Fuller,
645
01:01:48,371 --> 01:01:52,709
he said in his last lecture that
I attended that there's no such
646
01:01:52,709 --> 01:01:55,629
thing as up and
down, it's only out.
647
01:01:55,629 --> 01:01:59,341
So in that sense, uh, I don't
expect to find anything that I
648
01:01:59,341 --> 01:02:04,346
haven't already experienced out.
649
01:02:56,523 --> 01:03:00,777
They say a million
years from today, um,
650
01:03:00,777 --> 01:03:05,532
the image of what we know
as human beings might become
651
01:03:05,532 --> 01:03:08,576
altered or might
become extinct.
652
01:03:08,576 --> 01:03:13,581
I don't believe that the human
form will ever cease to exist.
653
01:03:27,137 --> 01:03:30,724
So if it's not on what
if called this Earth,
654
01:03:30,724 --> 01:03:34,519
then I guess the next place
would be what is called Heaven.
655
01:03:34,519 --> 01:03:38,398
And since Heaven
is a form of space,
656
01:03:38,398 --> 01:03:43,403
it could be considered
as a place in space.
657
01:03:44,195 --> 01:03:49,200
And for some reason, if the
Earth is not here or if it's
658
01:03:49,451 --> 01:03:52,620
destroyed, humanity is
not going to go with it.
659
01:03:52,620 --> 01:03:55,957
That's why I would like to
go out in space because I'm not
660
01:03:55,957 --> 01:03:58,626
interested in questioning what's
going to happen to me after I
661
01:03:58,626 --> 01:04:00,628
pass.
662
01:04:00,628 --> 01:04:05,633
I'm more interested in what can
I experience while I'm alive.
663
01:05:28,174 --> 01:05:31,136
This beautiful woman was
coming down the street.
664
01:05:31,136 --> 01:05:33,763
And the moment we got
close to each other,
665
01:05:33,763 --> 01:05:35,223
she starts smiling.
666
01:05:35,223 --> 01:05:37,183
Finally, when I got really close
to her, she grabbed me and
667
01:05:37,183 --> 01:05:38,977
kissed me real passionate.
668
01:05:38,977 --> 01:05:40,812
And then, in my
broken English, I said,
669
01:05:40,812 --> 01:05:42,063
"What is your name?"
670
01:05:42,063 --> 01:05:44,274
And she started
screaming, you know.
671
01:05:44,274 --> 01:05:47,152
And she didn't have no idea
who I was [inaudible],
672
01:05:47,152 --> 01:05:47,986
you know?
673
01:05:47,986 --> 01:05:49,946
And I said, "Oh my goodness,
maybe if I hadn't opened my
674
01:05:49,946 --> 01:05:51,531
voice, we would have
had a good time."
675
01:05:51,531 --> 01:05:55,952
[laughs]
676
01:05:55,952 --> 01:05:58,413
-[woman] Tell us
the castration story.
677
01:05:58,413 --> 01:06:03,418
-No, [inaudible] but I'll
tell you a story about it.
678
01:06:03,793 --> 01:06:08,798
Um...
679
01:06:09,215 --> 01:06:12,385
[inaudible].
680
01:06:12,385 --> 01:06:15,471
When I was...
681
01:06:15,471 --> 01:06:18,975
I guess I was
turning to be a teenager,
682
01:06:18,975 --> 01:06:23,188
and I remember,
uh, having to, uh,
683
01:06:23,188 --> 01:06:28,193
walk home with
girls from high school.
684
01:06:29,986 --> 01:06:33,114
I got involved in, you
know, trying to court
685
01:06:33,114 --> 01:06:34,866
around high school.
686
01:06:34,866 --> 01:06:37,452
My little high school
playmates and things.
687
01:06:37,452 --> 01:06:42,457
And, um, during that time I
started playing music as well.
688
01:06:44,584 --> 01:06:49,255
Also, when I played music, I
always got a different kind of,
689
01:06:49,255 --> 01:06:54,260
uh, relationship to, uh, girls.
690
01:06:54,844 --> 01:06:58,514
And then I started wondering,
"I wonder if this-- if playing
691
01:06:58,514 --> 01:07:02,769
music has anything to do with
these girls liking me, and if I
692
01:07:02,769 --> 01:07:06,064
wasn't playing music, how
would they respond to me?"
693
01:07:06,064 --> 01:07:08,233
[inaudible] really become
very serious until I
694
01:07:08,233 --> 01:07:10,235
started traveling.
695
01:07:10,235 --> 01:07:14,614
And while I was traveling, I
always found that I could,
696
01:07:14,614 --> 01:07:19,619
you know, pick up a girl because
I told her I was playing music.
697
01:07:20,036 --> 01:07:25,041
I never got over the feeling
of knowing whether, um...
698
01:07:26,626 --> 01:07:30,380
some girl would like me
because of me just being a
699
01:07:30,380 --> 01:07:35,385
a person and not
just a performer.
700
01:07:36,010 --> 01:07:40,431
And so, after having been
married and having a kid,
701
01:07:40,431 --> 01:07:44,686
I was thinking about eliminating
any sexual feeling I could have
702
01:07:44,686 --> 01:07:48,106
in my body.
703
01:07:48,106 --> 01:07:51,359
So I was told that
was called castration.
704
01:07:51,359 --> 01:07:55,488
So I went to the doctor and I
told him that's what I thought I
705
01:07:55,488 --> 01:07:58,074
was interested in him doing.
706
01:07:58,074 --> 01:08:01,327
So he looked at me very strange
because I'm-- I think I'm about
707
01:08:01,327 --> 01:08:03,621
30...
708
01:08:03,621 --> 01:08:04,497
32...
709
01:08:04,497 --> 01:08:08,042
I'm in my early 30s.
710
01:08:08,042 --> 01:08:11,629
So he, you know, he looked at me
very strangely and kept saying,
711
01:08:11,629 --> 01:08:14,716
"Well, are you sure you-- is
that what you really want?"
712
01:08:14,716 --> 01:08:18,803
I said, "Yeah,
that's what I want."
713
01:08:18,803 --> 01:08:20,471
And so he said,
"Well, I'll tell you what.
714
01:08:20,471 --> 01:08:25,101
Before you try that, why don't
you try circumcision first?"
715
01:08:25,101 --> 01:08:26,769
And I said, "I--
I'd never done--"
716
01:08:26,769 --> 01:08:29,564
I didn't have any idea what
he was talking about because,
717
01:08:29,564 --> 01:08:32,775
you know, it was just something
I hadn't thought about.
718
01:08:32,775 --> 01:08:35,987
And I said, "Uh, is that a
kind of form of castrating?"
719
01:08:35,987 --> 01:08:40,533
He said, "Well, not
exactly but it's symbolic."
720
01:08:40,533 --> 01:08:41,826
-I'm going to have a baby.
721
01:08:41,826 --> 01:08:42,869
-Can I have your baby?
722
01:08:42,869 --> 01:08:45,663
-[Ornette] So, I had the
operation of, uh, being,
723
01:08:45,663 --> 01:08:47,165
uh, circumcised.
724
01:08:47,165 --> 01:08:52,170
And, uh, finally after I, um,
got well I-- I still didn't feel
725
01:08:53,546 --> 01:08:55,048
any change.
726
01:08:55,048 --> 01:08:58,593
I mean it didn't improve-- I
didn't-- I didn't solve that
727
01:08:58,593 --> 01:09:02,597
problem by having that
particular operation.
728
01:09:02,597 --> 01:09:07,602
But one thing that I did solve
was the fact that I realized
729
01:09:08,269 --> 01:09:13,274
that, uh, being physical or
sexual has nothing to do with
730
01:09:14,067 --> 01:09:17,528
what you think or believe, it
has more to do with who you
731
01:09:17,528 --> 01:09:21,115
think you're affecting and
what you think you're affecting.
732
01:09:21,115 --> 01:09:25,078
And so from then-- from
that day to this day,
733
01:09:25,078 --> 01:09:30,083
I have decided there's-- there's
two kinds of human beings:
734
01:09:31,751 --> 01:09:36,756
one female and one male and
one man and one woman.
735
01:09:37,215 --> 01:09:40,843
So I decided to
join what I thought,
736
01:09:40,843 --> 01:09:42,261
uh, the categories would be.
737
01:09:42,261 --> 01:09:45,640
I would rather be
a man than a male.
738
01:09:45,640 --> 01:09:48,309
So that was the conclusion of
all the things that I'd done.
739
01:09:48,309 --> 01:09:53,314
That's the result
of what I came to.
740
01:10:36,315 --> 01:10:41,320
[cheers and applause]
741
01:11:22,236 --> 01:11:24,113
-I'm fine, how are you doing?
742
01:11:24,113 --> 01:11:25,198
-Pleasure to meet you.
743
01:11:25,198 --> 01:11:26,073
-[Ornette] Same here.
744
01:11:26,073 --> 01:11:29,410
-And I tell you,
Jean has lived, talked,
745
01:11:29,410 --> 01:11:33,039
dreamed where to find out more
and more about Ornette Coleman.
746
01:11:33,039 --> 01:11:34,749
-[Ornette] Oh my goodness.
747
01:11:34,749 --> 01:11:37,502
How's that going, huh?
748
01:11:37,502 --> 01:11:38,002
-Good.
749
01:11:38,002 --> 01:11:39,420
-Yeah, you should
have had your horn out.
750
01:11:39,420 --> 01:11:43,466
You could've come up
and played with us, man.
751
01:11:43,466 --> 01:11:44,634
-Very, very nice.
752
01:11:44,634 --> 01:11:46,052
Aren't you from Fort Worth?
753
01:11:46,052 --> 01:11:47,261
-Yeah.
754
01:11:47,261 --> 01:11:48,721
-I write for the
Dallas Morning News.
755
01:11:48,721 --> 01:11:52,475
I'd very much like
to meet with you.
756
01:11:52,475 --> 01:11:54,602
-I'm at the Americano.
757
01:11:54,602 --> 01:11:55,728
-How long are you
going to be there?
758
01:11:55,728 --> 01:12:00,733
-Until about the 6th
or 7th of October.
759
01:12:00,816 --> 01:12:01,692
-Of October?
760
01:12:01,692 --> 01:12:02,235
-Yes.
761
01:12:02,235 --> 01:12:03,152
-May I call you?
762
01:12:03,152 --> 01:12:03,653
-Yes.
763
01:12:03,653 --> 01:12:04,237
-For an interview?
764
01:12:04,237 --> 01:12:04,862
-Yeah, sure.
765
01:12:04,862 --> 01:12:06,739
-My-- my name is
Lee Anne Howe,
766
01:12:06,739 --> 01:12:07,657
H-O-W-E.
767
01:12:07,657 --> 01:12:09,325
And I write for the
Dallas Morning News.
768
01:12:09,325 --> 01:12:09,909
-OK.
769
01:12:09,909 --> 01:12:11,410
-I'd very much like to meet you.
770
01:12:11,410 --> 01:12:12,411
I enjoyed it very much.
771
01:12:12,411 --> 01:12:13,120
-Thank you.
772
01:12:13,120 --> 01:12:18,125
-Thank you very much.
773
01:12:18,417 --> 01:12:19,794
-Marvelous!
774
01:12:19,794 --> 01:12:21,754
Fantastic!
775
01:12:21,754 --> 01:12:25,383
-All I can say is I have a
friend that I'm going to send to
776
01:12:25,383 --> 01:12:27,468
see you at the club.
777
01:12:27,468 --> 01:12:29,053
-Were they taking a
recording tonight?
778
01:12:29,053 --> 01:12:29,971
-Yeah, they were.
779
01:12:29,971 --> 01:12:31,597
-Good.
780
01:12:31,597 --> 01:12:32,807
-That was great.
781
01:12:32,807 --> 01:12:33,432
-Oh, thank you.
782
01:12:33,432 --> 01:12:34,600
-I'm going to see my friend.
783
01:12:34,600 --> 01:12:35,309
-OK.
784
01:12:35,309 --> 01:12:36,727
-It was a wonderful concert.
785
01:12:36,727 --> 01:12:37,812
Just beautiful.
786
01:12:37,812 --> 01:12:41,440
Thank you, thank you very much.
787
01:12:41,440 --> 01:12:42,775
-[woman] Ornette?
788
01:12:42,775 --> 01:12:47,196
Can I have you
autograph, please?
789
01:12:47,196 --> 01:12:49,657
-How will I find your
room at the Americano?
790
01:12:49,657 --> 01:12:51,325
-I'm in room 1104.
791
01:12:51,325 --> 01:12:52,326
-1104.
792
01:12:52,326 --> 01:12:54,954
Well, a lot of times when
celebrities stay, they won't
793
01:12:54,954 --> 01:12:55,371
tell you.
794
01:12:55,371 --> 01:12:56,038
-Yeah, but I'm telling you.
795
01:12:56,038 --> 01:12:57,123
It's 1104.
796
01:12:57,123 --> 01:12:57,874
-I'll be there.
797
01:12:57,874 --> 01:12:58,499
-Yeah, OK.
798
01:12:58,499 --> 01:13:00,459
-Thank you very much.
799
01:13:00,459 --> 01:13:01,961
-This is a very
exciting happening.
800
01:13:01,961 --> 01:13:03,796
-It is a very
exciting happening.
801
01:13:03,796 --> 01:13:05,798
-John, you're a great
disappointment to us all.
802
01:13:05,798 --> 01:13:06,340
-I am?
803
01:13:06,340 --> 01:13:10,595
I left my clothes on.
804
01:13:10,595 --> 01:13:14,974
-One sip?
805
01:13:14,974 --> 01:13:16,475
-Hello, my darlings.
806
01:13:16,475 --> 01:13:19,145
I'm having a marvelous time.
807
01:13:19,145 --> 01:13:21,105
[Inaudible].
808
01:13:21,105 --> 01:13:21,731
No, darling.
809
01:13:21,731 --> 01:13:23,774
I'm from Beverly
Hills, California.
810
01:13:23,774 --> 01:13:27,320
And I work in [inaudible]
and movies out in Hollywood.
811
01:13:27,320 --> 01:13:30,114
With Lex Barker.
812
01:13:30,114 --> 01:13:31,574
Down to Earth
with Rita Hayworth,
813
01:13:31,574 --> 01:13:33,618
Harvey Girls
with Judy Garland.
814
01:13:33,618 --> 01:13:35,077
Many, many others.
815
01:13:35,077 --> 01:13:37,163
I love Fort Worth.
816
01:13:37,163 --> 01:13:40,333
I'm pretending I'm a Texan now.
817
01:13:40,333 --> 01:13:45,338
I've even got the Texan accent.
818
01:13:46,213 --> 01:13:51,218
Oh, I love you too,
you good-looking doll.
60278
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