TMP354 ROBERT MUGGE IN THE HOUSE

[00:00:15] Speaker A: Greetings, troubled listeners. Welcome back to the Troubled Men podcast. I am Renee Coleman, sitting once again in Snake and Jake's Christmas club lounge in the heart of the Clempire with my co host, the original troubled man for troubled times, Mr. Manny Chevrolet. Welcome, Manny. [00:00:31] Speaker B: Hello. How are you? [00:00:32] Speaker A: I'm good, I'm good. We got. It's a very auspicious night. We're here at. In the heart of the Clempire. It's. It's. It's [00:00:40] Speaker B: Erection Tuesday. [00:00:42] Speaker A: It's. It's. It's midterm erection night. It's also Tiki Tuesday. [00:00:48] Speaker B: Yeah, I don't. I still understand the vibe with that. [00:00:50] Speaker A: Yeah, I don't know. It's. They. They have the two tiki torches outside and I [00:00:54] Speaker B: guess he makes some tropical drinks. [00:00:56] Speaker A: Tropical drinks? Ye. Yeah. Drinks that we don't like because they take too long to make. [00:01:00] Speaker B: Well, yeah. And [00:01:01] Speaker A: they're not [00:01:01] Speaker B: good. [00:01:02] Speaker A: Slows down. Well. Yeah, they don't taste well. Too sweet. Yeah, [00:01:05] Speaker B: sweet. [00:01:05] Speaker A: And, and, and it takes up the bartenders. [00:01:08] Speaker B: Gimme booze and ice. [00:01:10] Speaker A: Right, right. We discussed my [00:01:11] Speaker B: favorite mixer [00:01:13] Speaker A: several weeks ago, how bartenders say you could have three ingredients and ice is one of them. [00:01:20] Speaker B: Right, yeah. That's it. You know, come on, people. Right, [00:01:23] Speaker A: right, right, right. [00:01:24] Speaker B: We don't want any girly drinks here. [00:01:27] Speaker A: Sure. Well, [00:01:28] Speaker B: you know. Yeah. Anyway, what's going on? [00:01:30] Speaker A: Oh, not too much. We had. So, yeah, it's the election night we just had. Halloween passed. Yeah. [00:01:36] Speaker B: I [00:01:36] Speaker A: see you showed up with one of the Red vine things. I know, I know. I'm saying yes. And thank you for bringing that. Yeah, it's uh, it's. It's almost empty. [00:01:47] Speaker B: Yeah, I couldn't empty it out. I still. The other one's still completely full. I [00:01:50] Speaker A: never [00:01:50] Speaker B: opened it. [00:01:51] Speaker A: Did you have any trouble getting the razor blades into the Red Vines for Halloween? [00:01:56] Speaker B: Actually, we had maybe eight kids. It was so pouring rain all night. [00:02:01] Speaker A: Oh, right, right, right. But [00:02:03] Speaker B: we didn't have any kids. I've got tons of Halloween candy left. And you can't give out those. [00:02:08] Speaker A: No. Because [00:02:09] Speaker B: they're not wrapped up [00:02:10] Speaker A: right. [00:02:10] Speaker B: You know. You know, I could, I can't. Couldn't give out those. I would have liked to, but there was no kids. And you, you know, someone see, a parent sees that. [00:02:19] Speaker A: Right. [00:02:19] Speaker B: And all of a sudden, you know, you [00:02:20] Speaker A: got a lawsuit on your hands. Yeah. [00:02:22] Speaker B: I'm sitting in court going, who wants to sue? [00:02:24] Speaker A: Right. [00:02:24] Speaker B: You know, [00:02:25] Speaker A: and the answer is everybody. [00:02:26] Speaker B: Yeah, everybody. The whole, the whole gallery is screaming at me, as they say. [00:02:30] Speaker A: Well, you know, it's election night here in the United States. But when we got home from doing the podcast last week, I went and turned the TV on and it was election night in Serbia. As you know, we're big in [00:02:43] Speaker B: Serbia. We are big in Serbia. [00:02:45] Speaker A: And the [00:02:46] Speaker B: Serbs love us. The [00:02:47] Speaker A: Serbs love us. [00:02:48] Speaker B: We love them. [00:02:48] Speaker A: Yes. I [00:02:49] Speaker B: love their cuisine in Serbia. [00:02:51] Speaker A: Okay? [00:02:52] Speaker B: Yeast and mud balls. I have no idea what they used, [00:02:57] Speaker A: but apparently they had a big national election, and the former. The government that had been in for 12 years got voted out. They have a new reform minded, anti corruption ticket that won. So the people were filling the streets, but not like in. In Paris and Spain and all where they're burning it down. Everyone was happy. They were all joyous. Nobody was lighting any fires. And did [00:03:26] Speaker B: the incumbent who lost, did he. Was he escaped by our government? No. [00:03:32] Speaker A: Give him [00:03:33] Speaker B: a free ride to Mar Lago like they did that Argentinian fuck Brazil. [00:03:38] Speaker C: The [00:03:38] Speaker B: Brazilian? [00:03:39] Speaker A: Well, as far as I know. [00:03:41] Speaker C: Bolsonaro, [00:03:42] Speaker A: Brazilian. Yeah, yeah. As far as I know, the opposition wasn't threatening to arrest him and have him turn his password passport in, which is what they were doing in Brazil. So that's why the guy figured, maybe I won't go turn my passport in. Maybe I'll just get the out of here before you guys lock me up. [00:03:56] Speaker B: Well, I'm sure you got a good pension. Well, the Serbs are known for their pensions. [00:04:00] Speaker A: Okay. Are they? All right. The [00:04:02] Speaker B: Serbs are known for their pension. All [00:04:03] Speaker A: right, well, I'm sure we'll get some feedback from our Serbian fans. Yeah, that's. That's true. Or not. But we wish the Serbs all the best in their future. But, you [00:04:14] Speaker B: know, their 401ks they have there. It's not a four, okay? It's a race. They have to run it. [00:04:22] Speaker A: Oh, oh, okay. [00:04:23] Speaker B: Yeah. It's not a pension. Oh, [00:04:25] Speaker A: okay. Now I got it. Yeah, yeah, yeah, yeah, yeah. What else? So, [00:04:30] Speaker B: yeah, there's elections all over the world. Italy now is burning things down. Oh, [00:04:35] Speaker A: yeah. Oh, yeah. They had a quarter of a million people filling the streets of Rome. They. They bum rush the Coliseum. Burning and looting. You know, we talked about this a few weeks ago, and I brought it up, and you're saying, oh, well, those kids in France, you know, they're. They're protesting because they don't have air conditioning. And I didn't say it at the time. I thought. Manny, did you have air conditioning in school when you went to. Yeah. Really? [00:05:02] Speaker B: Yeah. [00:05:02] Speaker A: So I went to school in New Orleans, where it's much hotter than la, and I Didn't have air conditioning. I [00:05:08] Speaker B: mean, it's backwards down here. [00:05:09] Speaker A: I didn't have an air conditioning in school until I got to college. [00:05:13] Speaker B: Really? [00:05:13] Speaker A: Yes. There would be some days, like in September or, or, or, you know, may where it be so hot, the teacher would just say, just put your head down on your desk. And we would. We wouldn't. You wouldn't [00:05:26] Speaker B: masturbate? [00:05:27] Speaker A: No. Well, she didn't say you could or could not. But, you know, I mean, you're there in a room full of people, [00:05:32] Speaker B: but. Because, you know, you probably had money for ac, but your politicians are so crooked and your school board people are so [00:05:38] Speaker A: crooked. Everybody grew up that everybody that was in office GRE with no air conditioning in the schools. That's just how we did it. You know, they didn't. We were in portable buildings. Look [00:05:47] Speaker B: at you now. [00:05:48] Speaker A: Well, we seem to have made it. Made it through. We educated doctors, attorneys, you know, [00:05:56] Speaker B: crooks. [00:05:57] Speaker A: Well, it's. Again, I don't think that [00:05:59] Speaker B: H Vac people. [00:06:00] Speaker A: Well, yeah, yeah. And now eventually the schools now have mostly air conditioning in New Orleans public schools. But anyway, [00:06:10] Speaker B: what else? Well, you know, I feel bad that you didn't have ac. [00:06:14] Speaker A: You know, it was fine. Now, [00:06:17] Speaker B: did you have to change your underwear every day because you sweat so much in them because of [00:06:21] Speaker A: the heat? I was definitely. I was bathing daily and changing my underwear. During school? Sure, yeah, yeah, yeah. [00:06:27] Speaker B: During school. So [00:06:28] Speaker A: you were at school while I was at school. I mean, while you were [00:06:31] Speaker B: bathing [00:06:32] Speaker A: at school? While I was a student, Manny. [00:06:34] Speaker B: Okay, but you said, you said you were bathing at the school. [00:06:38] Speaker A: I was not bathing at school. I was bathing at home while I was a student at the school. During the time [00:06:43] Speaker B: until you went to college and then you stopped. [00:06:45] Speaker A: Then I stopped. You [00:06:46] Speaker B: stopped bathing? [00:06:47] Speaker A: Yes, yes. What else? Well, I don't know if you've been following this red light camera thing. Probably not, but you know, it's been going on for a while. They have the cameras, they send out tickets to automation. Yes, I [00:06:58] Speaker B: saw the story yesterday, but the sound was off. [00:07:02] Speaker A: Okay, well, so what it is, is in order to certify that each one of these tickets is legit, they had a police officer, New Orleans police department officer [00:07:12] Speaker B: in an AC office [00:07:14] Speaker A: reviewing. I'm sure he probably had air conditioning in there reviewing all the tickets. And he was doing it for a couple of years. And then in the last six months or so, someone audited his time sheets and they saw. Well, let's. You have an eight hour period here where you have said that you've okayed something like 400 tickets or. I don't know, they worked it out to where it would be like 1.2 seconds per ticket that he had supposedly done this. And it's like, well, that's not possible. So the guy is charged with 300 counts of payroll fraud and obviously he was. You know, it's bullshit. [00:07:54] Speaker B: The more he, the more he got paid, the more, the more, the [00:07:57] Speaker A: more tickets he wrote. Yeah, he would [00:07:59] Speaker B: get. Well, I thought they got rid of the cameras here. [00:08:01] Speaker A: Well, they, they, they, they don't have the school zone cameras in. In place now or they're not ticketing because they don't have a cooperative agreement. [00:08:11] Speaker B: Cameras. They put AC units up there. [00:08:13] Speaker A: Right, right. No, it's the, the school zone cameras are different than the, the, the red light. I mean, it's the same company, but, you know, it's a, a different thing. And so they still had the red light cameras in effect, but not for now. I mean, they will put them in, but they gotta. It's a whole stink. You know, the. Again, I predicted long ago when this came about that that is going to be another source of terrible corruption because, you know, it's just a bunch of free money floating around. It's a, it's a way for them to gouge the citizenry. Yeah. And it's been going on for too long. And [00:08:48] Speaker B: our fearless leader, Moreno, will probably want a piece of that pie, you know, because he's got to save the city from [00:08:55] Speaker A: the [00:08:55] Speaker B: previous mayor. She [00:08:56] Speaker A: is the. It's true. The previous mayor did. But you know, when I was watching, [00:09:01] Speaker B: when I was looking at that story, I couldn't hear it, but I was looking at it. And the chief of police there, Elmo. What's her name? Emo. [00:09:10] Speaker A: Emo Phillips. [00:09:11] Speaker B: Emo Phillips, our chief of police. I thought, I thought to myself, you know, that's the only thing good that Cantrell did. She got her [00:09:22] Speaker A: okay. She [00:09:23] Speaker B: got emo. [00:09:24] Speaker A: Yeah. You like. You like. What's her name? Fitzpatrick. [00:09:27] Speaker B: Emo Fitzpatrick. Yeah, [00:09:29] Speaker A: she's done an okay job. She's kept, kept her nose clean, as I [00:09:32] Speaker B: said. Yeah, she's been all right. [00:09:34] Speaker A: Well, so far so good. [00:09:36] Speaker B: Yeah. Well, we'll see how Moreno feels about. Right, [00:09:40] Speaker A: Right, right, [00:09:41] Speaker B: right. [00:09:42] Speaker A: We got anything else there, Manny? [00:09:44] Speaker B: Well, it is election night. Yes. You know, and everyone's watching, everyone's hopeful and, you know, it's kind. Everyone's tense in this country right now. Oh, yeah. A lot of tension going on. [00:09:58] Speaker A: Oh, yeah. [00:09:59] Speaker B: It's like. It's like the same feeling. You get when you're waiting for your STD results. [00:10:05] Speaker A: Right. [00:10:06] Speaker B: You know? [00:10:06] Speaker A: Right. [00:10:07] Speaker B: It's that same feeling. It's like, do I have it or don't I? [00:10:12] Speaker A: Sure. [00:10:12] Speaker B: You know that kind of thing. [00:10:13] Speaker A: Sure. That. Pins and [00:10:15] Speaker B: needles. Yeah, it's pins and needles and stuff. Hopefully things will swing. I have no idea. [00:10:21] Speaker A: Now, did you vote today? [00:10:23] Speaker B: Well, I tried to vote, but I wasn't allowed into the place. [00:10:27] Speaker A: Huh. [00:10:28] Speaker B: Because last election. [00:10:29] Speaker A: No pants. [00:10:31] Speaker B: No. Last election, I. For when I was running for mayor. [00:10:36] Speaker A: Right. [00:10:37] Speaker B: Last election I went into the booth and. And I screamed, there's no toilet paper in here. [00:10:42] Speaker A: Yeah, they, they, they had your name on a list for that. [00:10:45] Speaker B: So. Yeah, [00:10:46] Speaker A: I had your picture there. Don't. Don't let this man. [00:10:49] Speaker B: Don't let this man. He's gonna [00:10:50] Speaker A: make a mockery. [00:10:51] Speaker B: In fact, I. Even when I, I was getting out of my car and they stopped me. [00:10:55] Speaker A: Huh. Wow. [00:10:56] Speaker B: You know, they said, hey, no, get out of here. Very [00:10:57] Speaker A: proactive, man. [00:10:58] Speaker B: Yeah. Cuz they know me. [00:11:00] Speaker A: Sure. I've [00:11:01] Speaker B: been around, man. [00:11:02] Speaker A: Yeah, yeah, yeah. I've [00:11:03] Speaker B: seen some things. [00:11:04] Speaker A: Right, right. [00:11:05] Speaker B: Anyway, so, yeah, I couldn't vote, but they gave me a sticker. [00:11:09] Speaker A: Oh, wow. [00:11:09] Speaker B: Just so I could tell people I voted. [00:11:11] Speaker A: Huh. Okay. [00:11:12] Speaker B: Which was that, Which I'm wearing right now over my penis, [00:11:15] Speaker A: playing along with the. We're right here. Yeah. [00:11:18] Speaker B: Okay. Yeah, I got your vote right here. [00:11:20] Speaker A: Okay. All right. I [00:11:21] Speaker B: got you. All [00:11:22] Speaker A: right. One man, one vote. [00:11:23] Speaker B: Yeah. But I did see a great sign earlier today because, you know, people were voting, you know, they're not going to have all the result. It results in for a couple more hours or whatever. Oh, yeah. That kind of thing [00:11:36] Speaker A: could be days. [00:11:36] Speaker B: It could be days. You know, we've become third world. You know, you'd hear elections like in El Salvador, like in the 80s, it would take them like six weeks to find who won. [00:11:46] Speaker A: Sure. [00:11:46] Speaker B: You know, I think that's what we become now. Oh, yeah. Oh, we don't know yet. [00:11:51] Speaker A: Well, we're on our way for sure. [00:11:54] Speaker B: But I saw this great sign this girl had. She's said, can we just get to the part where he shoots himself in the bunker? I thought that was the funniest thing I've ever seen. Oh, hold on. [00:12:12] Speaker A: You know, something I've had in the notes for a few weeks and our guest may have have seen this as well. There's a Martin Mull documentary that came up up on the, the, the one of the streaming services. Did you get to see that, Manny? [00:12:28] Speaker B: Not yet. Because since I got this whole package deal from My friend who will remain nameless. Oh, [00:12:37] Speaker A: right, right. [00:12:38] Speaker B: I've got like over 6,000 channels. [00:12:40] Speaker A: Too much to watch? [00:12:41] Speaker B: Well, yeah, no, but I, I have Netflix, but the Netflix is now controlled by my daughter's account. [00:12:49] Speaker A: Oh, okay. [00:12:50] Speaker B: So I have to get her [00:12:52] Speaker A: to sign you to [00:12:54] Speaker B: sign me in so I can watch it at home. [00:12:56] Speaker A: Okay. [00:12:57] Speaker B: But you know, typical, you know, 21, 22 year old, she doesn't return my call, that kind of stuff. So I haven't seen it. I've been wanting to watch the Norm MacDonald one. They. Oh, [00:13:08] Speaker A: that's terrific too. [00:13:08] Speaker B: Yeah, I've been wanting to watch that. And then there's a new one now about Second City. Yes, that's out and stuff. But no, I haven't been able to see it because my daughter only, you know, returns my calls when she wants. [00:13:21] Speaker A: Right, right, right. Well, it's, it's. Now, did our guests see the Martin Mall documentary [00:13:27] Speaker C: and, and the Norm and [00:13:28] Speaker A: the Norm MacDonald. They're both terrific, huh? [00:13:30] Speaker C: Yes, my wife and I liked them both. I can give you a capsule review from my very singular position. [00:13:39] Speaker A: Right. [00:13:39] Speaker C: I thought the Martin Mall was a bit form, formless. It kind of went around in time and space and everything. But it had a lot of heart and, and really impressed us with his paintings. Oh [00:13:52] Speaker A: yeah, that [00:13:53] Speaker C: was a nice surprise. Yeah, [00:13:54] Speaker A: yeah. [00:13:54] Speaker C: How good they were. [00:13:55] Speaker A: So much you didn't know about Martin Mull, you know, and, and well, [00:13:58] Speaker B: you know, he used to do a stand up. He said he had a U haul van because he had furniture. Furniture, [00:14:04] Speaker C: yeah, furniture on the stage. [00:14:06] Speaker B: Yeah, yeah. [00:14:07] Speaker A: They talk about that they show, have a lot of fun. But I also did [00:14:10] Speaker B: Judd Apatow do that one because he did the nor McDonald one. [00:14:13] Speaker A: I think it started off by with Bob Saget. Right. And then it was finished off by Steve Mar. [00:14:20] Speaker B: I, I, I see because I, Judd Apato said that the, the Norm one, which I'm really curious to see that he doesn't interview anybody. It's, there's no interviews. [00:14:31] Speaker C: It too has a very strange form. They, you know how like if you really want to watch Norm MacDonald these days, you've got a zip all over the Internet, YouTube and all these places. You watch a little bit here, you watch a little bit there. So that's how they structured it, as if that's what you're doing. And so I loved all the bits of Norm MacDonald humor and stand up and everything that we got and I loved some of the behind the scenes stories that I didn't know. But I was practically had an epileptic fit by the time it was over with all that jumping around. [00:15:05] Speaker A: Right. Yeah, yeah. Your attention being pulled in this, this way and that. [00:15:09] Speaker C: Speaking of which, we've got the election returns off on the. Right. You calling on me suddenly was like being called in school and my mind's on something else and I don't know the answer. [00:15:19] Speaker A: Well, please, please focus on the podcast for now, because the results are going to be the results, and that's. You have no effect over them. So. So sadly, watching. I did [00:15:28] Speaker C: vote a few weeks ago. [00:15:29] Speaker A: Sure. But only once. Right? [00:15:31] Speaker C: Well, my wife voted once. That's like [00:15:33] Speaker A: voting twice. Once a piece. Okay, but. But, well, [00:15:37] Speaker B: you can't. You can only make change if you vote. Right, right. Or [00:15:42] Speaker C: if you have a dollar. Or if you have a dollar to give them. [00:15:45] Speaker A: No, no, your vote counts for sure, but I'm just saying you. You don't have at this point, you watching it. It makes no difference as to the outcome. [00:15:53] Speaker C: No. Except [00:15:53] Speaker B: if you're on FanDuel, because FanDuel, you can make bets and stuff. Oh, [00:15:58] Speaker A: okay. Yeah. Are you. Did you place any wagers on the outcome? [00:16:02] Speaker B: I [00:16:03] Speaker C: don't gamble [00:16:03] Speaker A: either. Yeah, me either. Except for the scratchers you like. Right. [00:16:07] Speaker C: Except you being a musician and me being an independent filmmaker. The biggest gamble of all. [00:16:12] Speaker A: It's all a big gamble. Yeah, yeah. Someone was asking me. It was talking about life expectancy. And I was pointing out that actuarially, you know, statistically speaking, the life expectancy, maybe average life expectancy for a musician, I think, is 39 years. Now, that's including everybody. You know, people that, you know, die in their early twenties and play [00:16:37] Speaker C: a ukulele when they're ten and then die. [00:16:39] Speaker A: Sure, sure. But yes, I'm playing with house money at this point. I'm way. [00:16:47] Speaker C: Well, I'm glad you are. [00:16:48] Speaker A: Yes, yes, yes. Well, maybe we should get to our guest. [00:16:51] Speaker B: He's been talking enough. Yeah, [00:16:53] Speaker A: yeah, yeah, yeah, yeah. I [00:16:54] Speaker C: thought that was the guest talking. [00:16:55] Speaker A: Oh, yeah, no, that. This is. This. We have [00:16:57] Speaker B: to introduce you. [00:16:59] Speaker A: All right, well, I have a terrific, terrific guest here. It's. It's actually his second time on the podcast. He first appeared during the pandemic. We were remote. That was episode 187. That was back in January of 2022. [00:17:16] Speaker C: Oh, wow. [00:17:17] Speaker A: It was that long ago. Yes. He's a fantastic award winning music filmmaker. Has four decades as an independent, five as an independent producer, director, writer, editor, musicologist, college professor. He's made important music documentaries such as Deep Blues about the whole North Mississippi Scene [00:17:41] Speaker C: Iguana's in the house. [00:17:43] Speaker A: Iguanas in the house. Did one on a. Making of one of our records. Gil Scott Heron, Black Wax, the Gospel According to Al Green, Sonny Rollins, saxophone Colossus. On and on and on. [00:17:55] Speaker C: New Orleans, Music in Exile, the first film I made with my [00:17:58] Speaker B: wife. So the question you should ask yourself is, why the fuck are you here? [00:18:03] Speaker A: Well, well, [00:18:04] Speaker C: well. To see if you were running for anything today. [00:18:07] Speaker A: Yeah, well, I'm. I'm not. I'm. I'm almost finished with the introduction here. He has. He's in town doing a book talk on. On his most recent book, which is Quotes from the Road, Wit and Wisdom of American Musicians. But he's in the last. Since. Since he was on the podcast. The first time he's put out three books and three or four films, or made three or four films. We're going to get into all that and more. But without further ado, the great Mr. Robert Muggy. Welcome, Bob. [00:18:40] Speaker C: Thank you, sir. It's a [00:18:43] Speaker B: pleasure with this music. [00:18:44] Speaker A: I don't know, just awful [00:18:47] Speaker B: music. [00:18:49] Speaker A: Try not to get distracted. Bob, tell us you. This was kind of an unexpected thing. I didn't actually have a guest book this week, and fortunately, I saw that you were in town. I reached out to you. You changed your plans to stay here and be with us on [00:19:05] Speaker C: you ask, I'm there. [00:19:07] Speaker A: Oh, sweetheart. So what were you doing in town? [00:19:12] Speaker C: God only knows. Okay. I came out with this book in the spring, the late spring Quotes from the Road, the Wit and Wisdom of American Musicians, a sequel to Notes from the Road, A Filmmaker's Journey Through American Music, which is more a memoir. [00:19:28] Speaker A: Right. [00:19:28] Speaker C: And this is a book of. Well, I'll tell. I'll tell about the book in a minute. But to. Anyway, that came out in the spring and to help support that book, I made a film using some of the interviews that were going into the book, a film about the longtime friendship between Marsha Ball and Irma Thomas. And so I showed it at the Blues in conjunction with the Blues Awards in Memphis in May, and then was just working on other things all summer. And then I knew that the Louisiana Book Festival in Baton Rouge wanted to show it in October, so I knew that was gonna be on Halloween. And so I got in touch with David Cunian, the chief curator at the New [00:20:20] Speaker A: Jazz Museum. [00:20:21] Speaker C: Absolutely. And so he said if I was there on the Saturday, he could do a screening on the Monday, a screening of the film, and we talk about the book. But he only had an hour free, and the film is 50 minutes. So then Barry Smith at the Louisiana [00:20:39] Speaker A: Music Factory. [00:20:40] Speaker C: Music Factory. Great guy. Both. Both of them great guys. [00:20:43] Speaker A: Yes. [00:20:45] Speaker C: Said we could transition from the, from the screening over to the Louisiana Music Factory. In fact, we didn't really have to because then they said, okay, Barry, come on over. You can sell books and DVDs and Blu Rays over here. So how all this came about is after making the memoir and then the film that the three of us discussed a few years ago, I mean, the book that I was working on called Saloon man, about my great grandfather. And then I started thinking about all these interviews I've done over the years with musicians. And you know, sometimes I'll interview somebody for an hour, even two hours, or as with Sun Ra, I'll interview them over and over, over a two year period. And. And yet all I can fit of them talking into a film is a few minutes. So I thought, how do I save all these incredible stories and great insights and all that? So I decided, okay, I'll do a book of interviews. So the initial idea was, okay, I'll go back and I'll transcribe all these interviews, I'll see which ones I like best, and I'll do long interviews. But ultimately what I decided to do instead was to create 25 chapters, each one on a different aspect of being music makers. Starting out, sense of place, you know, instruments singing, you know, musical families supported. How do you survive? Just all kinds of things. Right up through we have a whole chapter on Katrina. Because as you know, in 2005, two months after Katrina, my wife and filmmaking partner, Diana Zellman and I came to New Orleans as well as Memphis, Lafayette, Houston and Austin, tracking all our musician friends, what happened to them when Katrina hit and the levees breached and all that. So anyway, the book is well over 300 pages of excerpts, thematically organized, with roughly 150 musicians. You're one of them. Other members of the Iguanas among them. And then as I'm doing that, I thought, well, okay, how do I promote this? I thought, it's a little weird for me to go to festivals or whatever and have to read what all these wonderful musicians had to say. And I don't want to like people to think I'm like imitating their accents or something like that. So then I realized, hey, I've got film or video of all these interviews. So for different presentations, I've edited together, like bits of different musicians talking so I don't have to do the reading. Then I also, as I was putting it together, I remembered a dual interview that I conducted on the October 2010 legendary rhythm and Blues cruise. My wife and I took a bunch of my then students and made a film about jamming. It was called all jams on Deck. Marsha Ball and Irma Thomas were both on the cruise. So I said, let's sit them down and do an interview about their longtime friendship, the two of them together. And so all this time I never got around to doing anything with it. But then I rediscovered it. I put a bunch of excerpts from it in the book and then I thought, let's make a film. So we made a film called. Which at the moment is only 50 minutes because I was trying to keep it under an hour for book promotion. I'm going to expand it before it gets released commercially as a film. But it's called sing it for your sister. The enduring friendship of Irma Thomas and Marsha Ball. And so what we ended up doing in Baton Rouge is showing the film. And then I talked a little about the book. And then what we did here again is the New Orleans Jazz Museum showed the film and then we sold books and other stuff. And now you can't get the film yet, but you can get quotes from the road. And in fact, if you want a signed copy, the Louisiana Music Factory has a bunch of signed copies of the new book Quotes from the Road and a number of copies of the. Of the previous music related book Notes from the Road. [00:25:21] Speaker A: Nice. [00:25:23] Speaker B: Hey, listen, we had some problems. We weren't able to record any of that. [00:25:32] Speaker A: Just a joke that happened a couple of weeks ago. But [00:25:35] Speaker C: here, here, I'll redo it. I made a. [00:25:38] Speaker B: Remember what you just said. [00:25:39] Speaker A: I bet he does. I made [00:25:41] Speaker C: a book. [00:25:42] Speaker A: I [00:25:42] Speaker C: made a film. Enjoy. [00:25:44] Speaker A: Well, I want to talk about that. Your prodigious output, man. Because [00:25:51] Speaker C: I'm gonna die one day and I want to get as much shit done as I can. [00:25:54] Speaker A: Now say that again, my wife [00:25:56] Speaker C: is laughing. [00:25:57] Speaker A: Listeners need to understand that because people think, oh, this will go on forever. [00:26:02] Speaker C: Like the old Rod, what's his name, the swamp pop song. This could go on forever. [00:26:09] Speaker A: Oh, sure, okay, but, but in fact, it can't. Well, except when you can document the stuff like in a book or a film that can go on forever, you know, that actually does live well past [00:26:21] Speaker C: till the comet hits us. [00:26:23] Speaker A: Sure. Well, you know, yes. You know, it's ultimately we all return to dust, but, but, but just [00:26:31] Speaker C: such a cheery podcast. [00:26:32] Speaker A: Well, we're trying to get through this part, but just, just over the. Since we spoke last, you know, You've put out a book every year or a film, several films a year. Now. I noticed, like, with some of these, you're going back and mining some of your previous material, but it's not like it's regurgitated, like you said. This is stuff in the book that was never even. Most of it never even, you know, was, was, was utilized. [00:27:05] Speaker C: Right. Well, you know, you know what it's like in a career when, especially a creative one, at a certain point you decide. I want to help people make sense of how it all connects. And that's, of course, why I made the memoir, because I organized that not chronologically, the films, but thematically as well, because I wanted to show people how things from different films fit together. And the new book, Quotes from the Road, is an, an extension of that. And yes, I'm mining material I already had, but if I hadn't mined it, most of it [00:27:42] Speaker A: would have been lost. [00:27:43] Speaker C: Yes. Right. [00:27:44] Speaker A: No, I don't, I don't mean you're cheating. I just, I'm just, I admire how, you know, you're, you're, you're seeing. Oh, well, there's another facet to this, that, that and, and, you know, presenting it in a different way. But, but I really am. It's a compliment in your drive and, you know, you're continuing to. Your continuing output. [00:28:07] Speaker C: Well, I should also say about the books, like, you know, I didn't, like, write them and release them in three years. I'd been working on Saloon man about my great grandfather, since 2017. You know, nobody in our family knew most of the facts about him. It was, you know, he came over in 1870 and we talked about it the last time. Right. But, but. So there were years of research and writing before it finally came out in 2024. But the three films I've made over these last few years, one of them I saw of as kind of a sequel to Deep Blues. It's a film called Deep Red Roots the art and music of Bill Steber and friends. And Bill Steber, for those who don't know, is a really interesting guy out of Murfreesboro, Tennessee, who works with various musicians performing old jazz, early, early music going back, like, to the minstrel shows and everything else, and has various groups that he plays with. But he also focuses heavily on the Mississippi Delta and North Mississippi. And so we filmed him in those places. And he's also, he's not just a musician, he's also a photographer and an artist. So he interprets, like, the Mississippi Delta and North Mississippi through his incredible photos. Like he can shoot photos in juke joints like nobody can because he has a special strobe he sets up in the corner. He gets these unbelievable shots of people playing and dancing. And then he does these amazing artworks which are often based on like European art in some ways. But then he'll do. He'll take materials like Junior Kimbrough. Junior Kimbrough's juke joint that he used to go to all the time and documented it burned down. And so he went and got pieces of the pool table, pieces of the jukebox, pieces of the roof, all these things. And then he. Out of these pieces, he made some incredible works of art. So anyway, it's a sequel to Deep Blues and then it's covering the same region and everything, but from a. But from some very different perspectives and with a whole lot less money. [00:30:44] Speaker A: Okay, well, now just to catch up with you, though, like we talked about Saloon man when it was completed, and you were just, just putting it out. But then [00:30:56] Speaker C: actually a couple years before I put it out. Okay. Is when we talked that last [00:30:59] Speaker A: week. Okay. All right, so. So then. So that book came out and you went and. And toured around with that. Now how that. That's a very different kind of project than. Than all of your music films and your memoir [00:31:11] Speaker C: and a somewhat harder one to push because the. These two books, the two music related books are closer to me. So people who were already into my films had a reason to be interested in these. The film about my great grandfather, you know, it was. It was. As we talked about the last time, it was not only about his incredible success as a businessman. He was the original Robert Muggy, by the way. But he came to Florida, you know, in the 1870s and created all these businesses, alcohol related initially, and then built up all these others too. Had a little. Little cruise line that went from like Tampa to New Orleans and he built in hotels. Any. I can't remember all the things right now. [00:32:01] Speaker A: Right. [00:32:01] Speaker C: But it was hard for me to get people to review that book because I'm not really known as an author. But I did get a really nice award in Florida from an author and publisher organization. I've been doing better with the other two in terms of recognition. Like there's this group called Kirkus Reviews which. Which authors send their books to. When you actually have to pay to have it reviewed, that doesn't guarantee you a good review. And so it's really great because other press and so forth. Check out the responses from Kirkus and with notes from the Road. I got what's called a starred review, which only a tiny fraction of the book books get. And. And then they called it one of the top 100 indie books of 2023. [00:32:58] Speaker A: Nice. [00:32:59] Speaker C: And then with this one, amazingly, I got a starred review as well. I don't know. Congratulations. Beyond that, but thanks, but. So it's. It's funny because, you know, part one of the reason I left earlier publishers is they keep. Kept wanting to edit me, and I. I kept telling him, look, all these years I've been making my own films as an independent filmmaker, and I'd kill anyone who tried to edit my films, and you want to edit my books. And I. And so I found this distributor, Mike Sager, and his. The Sager Group, and he, too, wanted me to have them edited, but he finally backed down. So on each of my three books, it is, there's a little disclaimer about the. They didn't get to edit the book. [00:33:46] Speaker A: Okay. [00:33:47] Speaker C: But then not one review ever has ever complained about the writing. And I've gotten all this, you know, acclaim with them, so it's worked out well. [00:33:57] Speaker A: Very good. Very good. Well, you're editing yourself as you're. As you're doing it, you're. That's [00:34:01] Speaker C: the way I look [00:34:01] Speaker A: at it. Being a film, being a filmmaker, you understand how. What the process is. Right, right, right. [00:34:07] Speaker C: My biggest problem is finding all the typos when it's done, you know? Okay. It's like the biggest job. [00:34:12] Speaker A: Well, that's why you have a. Your wife, I'm sure, helps you with that. No. Okay. Maybe not. [00:34:18] Speaker C: I'm lucky if I get her to read it. [00:34:20] Speaker A: Okay. Sure. Yeah, I could. I could see that. I saw. A couple of months ago, you were at the Memphis Music Lab. [00:34:29] Speaker C: Yeah, that was for the Blues Awards. And then in early June, well, obviously on Memorial Day, Sonny Rollins died. [00:34:37] Speaker A: Oh, man. No kidding. Yeah. [00:34:39] Speaker C: Ironically, we were already planning. I had already been invited to come up to Opus 40, the sculpted rock quarry in Saugerties, New York, where we had shot parts of Saxophone Colossus, my 1986 Sonny Rollins film. And so then I contacted a couple other places, and they said, yeah, we'd like you to show either the Sonny Rollins film or your Sun Ra film. And then Sonny Rollins died, and all of a sudden, more people piled on. So Diane and I took a trip of about 10 days to upstate New York and Vermont and Brooklyn. And we didn't make it to DC but they showed the film in DC Too. So we did a whole little thing there. And Then we kind of chilled for much of the summer and on till till now. But I was doing other things because I think I mentioned to you before we started that a close friend of ours, our closest friend where we live, who was an incredible doctor, an incredible musician, I had once before made a film about him and I was filming him again for these recordings he was doing of his so called spirit songs. And then I was gonna do a film on the whole thing with Diana's help. And then he died because he was taking better care of us than he was of himself as a doctor. So I've just finished a night. [00:36:05] Speaker B: Please don't do a film about us because I don't want to die. All right? [00:36:08] Speaker C: That's what all the people in Deep Blues say. They're all dead now, except for Dave Stewart. But. But. So I just finished this film and it's going to be fun to try to distribute because nobody really knows this guy outside of Indiana, but we're going to try anyway. [00:36:27] Speaker A: I have a good Sonny Rollins story that you'll like this. So, you know, we have the great saxophone player down here, a couple of years older than me, Donald Harrison. Oh, yeah. And Donald Harrison had. Was having some health issues. Sonny Rollins heard about it. Sonny Rollins called him on the phone and checked in. Is like, donald, I heard you were having some challenges. Just wanted to see how you're doing. I wanted to wish you well. [00:36:53] Speaker C: I've heard so much, so many stories like that. That's the kind of [00:36:56] Speaker B: guy [00:36:56] Speaker C: he was. And [00:36:57] Speaker A: then Sonny died like three weeks later or something. [00:36:59] Speaker B: I'm gonna drop dead, [00:37:01] Speaker A: just. But. But [00:37:02] Speaker C: I hope somebody called, you [00:37:03] Speaker A: know, Sonny Rollins in his deep. In his 90s. How old was he? 98 or something? [00:37:09] Speaker C: No, it was more like 92. 90, I [00:37:11] Speaker A: think. But he's the one checking in on Donald who's. Who's in his 60s, you know. [00:37:15] Speaker C: Yeah. So they. They then invited me to come up to the. To the celebration of art and life in New York City. They had a few weeks later. And I did contribute a clip from the film to a little video collage they showed. But we had just been up there and it's such a haul to go from Indiana to New York and back again, just to spend two or three hours in a. In a single event. [00:37:47] Speaker A: Sure, sure, sure, man. I'm loving the story, but, Manny, it seems like it's a good time to take a. Yeah, [00:37:53] Speaker B: we're at the halfway point. After this halfway point, I think I'm gonna start smoking again. [00:37:58] Speaker A: Okay. [00:37:59] Speaker B: But the [00:38:00] Speaker C: troubles I Hope I'm not the reason [00:38:02] Speaker B: we'll see I start doing heroin again Troubled nation knows the drill we'll be right back [00:38:13] Speaker D: on the line. Nobody something on my mind. Wouldn't know been here baby love it had to be for you Sa. Get out yeah where you wanna do. [00:39:44] Speaker A: And we're back. Back with Mr. Manny Chevrolet. I am Renee Coleman, back with our guest, Mr. Robert Muggy, the great filmmaker. Bob. I know you are familiar with the show. You understand this is a listener supported operation. We have PayPal and Venmo links in the show notes of every show. Listeners will support us. They'll send money in, buy us these cocktails that we're drinking, underwrite our operating costs, the hosting costs, you understand about raising money for an independent project. I like that groan. That sounded very hard won there. So it's been a while since we got any funding. Now. We did get these Red Vines. Now I don't know if you got to, to check out the Red vine custom label that was put on here that, that means more than money to me. [00:40:37] Speaker C: Is that licorice? [00:40:38] Speaker A: It's, it's, it's, it's licorice company. But it's like somebody [00:40:42] Speaker B: sent to me because they're big fans of me. [00:40:46] Speaker C: I quit raising money for projects 10 years ago. I just could not. [00:40:50] Speaker A: Is that, is that what wore you out? It wasn't the film making? [00:40:53] Speaker C: No, not at all. It wasn't [00:40:55] Speaker A: the [00:40:55] Speaker C: ass for. [00:40:57] Speaker A: Right. And [00:40:57] Speaker C: so the things we've been doing in recent years, the things we can do with virtually no money, just plow back in a little bit from my film royalties and stuff. Right. [00:41:07] Speaker A: Well, that's what we're operating this with virtually no money. Yeah, but you know, we could, we could use even the loose chains that you have in your, in your couch cushions or, or your dryer. [00:41:16] Speaker C: Like soupy sales all those years. Yes, [00:41:18] Speaker A: exactly. To that end, we also have the Patreon link there. Takes the guesswork out of supporting the podcast. And we have the link for the Troublemen podcast T shirts which you should get on if you want to give them to anybody for any holiday gifts. Also, follow us on social media, Instagram, Facebook and rate, review and subscribe to the podcast wherever you're listening to it. Us five stars cost you. Nothing helps us a lot. And you know the iguanas are still at, at the Carousel Bar every Sunday night. They're 7 to 10. And you know, you can always find my dates on Renee Coleman Facebook page. [00:42:02] Speaker C: You were there this past Sunday. [00:42:04] Speaker A: Yes, we were there. It was A good night. I'm sorry you didn't know about it [00:42:07] Speaker C: because we were here. I kept [00:42:09] Speaker A: going. I know, I know. Well, you know, you [00:42:11] Speaker B: were here at this bar. [00:42:14] Speaker C: No, you weren't playing at this bar. [00:42:15] Speaker A: No, we were at Carousel Lounge. He was here. [00:42:18] Speaker C: I know. Here [00:42:19] Speaker A: in New Orleans, here on the planet Earth. Okay. Yes. Anyway, enough of that. Back to you, our guest. [00:42:25] Speaker C: Would you like me to read a sample or is it too early? [00:42:30] Speaker A: Sure. Well, I was going to say I was going to set it up a little bit first. [00:42:34] Speaker C: We're going to do things in an. Why don't you have his [00:42:37] Speaker B: reading as the intermission, like you do music. You know how you do music in the intermission? You play songs and stuff like that. [00:42:46] Speaker A: Well, that. That part's already gone. So. So now. Now. So, okay, your most recent book, which is. Is this already out now or. It's coming out. [00:42:55] Speaker C: Yes, yes. It's actually been out for a few months. [00:42:58] Speaker A: Okay. That's right. And quotes from the Road, the Wedding Wisdom of American Musicians. This is taking from all your many years of interviews, [00:43:09] Speaker C: probably should say the wit and wisdom of Renee Coleman and some others. [00:43:15] Speaker A: Oh, no, no, no, no, no. I would be. I would. I would be embarrassed if it said that. But I wasn't even. I'd forgotten that I was in this book because I didn't have time to go back. And from [00:43:25] Speaker C: both films that we made together, [00:43:27] Speaker A: we have. We've done a lot of good work together. And I've actually been kind of eloquent at times on your. In fact, I told this the first time. Or maybe just in the. I actually. The Troubled Nation doesn't know about this, but I interviewed you for an Octavia book reading. You [00:43:48] Speaker C: were so good [00:43:49] Speaker A: a couple of years ago. Well, thank you very much. It's the first. First and only time I've ever done. I was so good they never asked me to do it again. [00:43:54] Speaker C: They don't usually review moderators, I guess. [00:43:58] Speaker A: No, no, no. Well, they never asked me back. Octavia books, which is fine. Or [00:44:02] Speaker C: me. [00:44:03] Speaker A: Okay. All right. But. But. But it was. It was, you know, being. Being. [00:44:08] Speaker B: I wonder why. [00:44:10] Speaker A: Having history with you. I was. I was very happy to do it, but. Yes, you're going to read a passage from the book. Go ahead. [00:44:16] Speaker C: Yeah. If you don't mind, I thought since it's election night, it might be nice to hear something from Gil Scott Heron from my film Black Wax in 1982, [00:44:25] Speaker A: who said the. The revolution will not be televised. [00:44:28] Speaker C: And we're working up to that. Yes. This is Something that, that song and, and poem were not in the film. And the reason is because I couldn't fit everything. And that was so well known by that point, you know, I just thought, why bother? But anyway, this is something that's not in the book and I mean in the film. And I'm going to try to read it in this dark bar where you guys do this. [00:44:54] Speaker A: I'll give you, give you two, two likes. [00:44:57] Speaker C: Oh, that's helpful [00:44:59] Speaker B: right there. [00:45:00] Speaker C: They're not reading glasses. [00:45:02] Speaker A: Just for, just for show. [00:45:03] Speaker C: All right, this, I am not going to attempt to sound like Gil Scott Heron. No, but the words carry. [00:45:09] Speaker A: Probably best not. [00:45:10] Speaker C: Best not. [00:45:10] Speaker A: Yeah, yeah. [00:45:11] Speaker C: All right. Feeling is though, there was nothing you could do. Sooner or later you start to do nothing. If you feel as though there's no way you could express yourself against the system or the establishment or the society, whatever, because they've got it pre programmed in terms of some kind of response, then everybody gets the same vibration in terms of how they're going to react. But see, the idea became so involved that if we didn't see it on television, regardless of what we saw in our lives, we wouldn't believe it. And we was already the victims of an instant society. See, in America we get everything instantly. You hit this and the lights come on. Pour the hot water in there. You've got coffee or instant grits. Yeah, you got to be careful about them instant grits. They'll rock right up on you. So when people over here heard about revolution and they didn't see it instantly, they said, well, must not gonna have one. But the truth is, of course, that revolution is a gradual process. A process that starts with information. People who are not informed cannot be organized. People who are not organized cannot act effectively. And everybody will not gain the same consciousness or awareness on the same day at the time. Same, same time. Fortunately, you do not need everybody to do something because the nucleus moves the cell. You see, the nucleus decides it's going to be two cells. They don't take no vote, they split up. And both organisms is better off because that decision was made. If you're waiting for everybody, you will be waiting for quite a while. That's often an excuse people use for not being, doing nothing. They say, I'm waiting for everybody else. Well, hell, you ain't gonna have everybody else. So you're just in a permanent position of waiting. But we did a thing to try to point out that our struggle is local. Starts at the home. First organize that, then you try to organize the block. Then you try to organize the town or the neighborhood or the city, because trying to organize the world in the beginning, you miss a whole lot of steps. Did a poem that said, you will not be able to stay home, brother. You will not be able to plug in, turn on, and cop out. You will not be able to lose yourself on skag and skip out for beer during commercials, because the revolution will not be televised. The revolution will put you in the driver's seat. The revolution will not be televised, not be televised, not be televised, and be no reruns, brothers and sisters, thank God the revolution will be live. I actually, in. In putting that in the book, I actually left. Left some of the poem out, but enough to. To give people the idea. [00:48:09] Speaker A: Oh, yeah, yeah. Now, now, now. [00:48:13] Speaker B: Who said this? [00:48:14] Speaker A: Gil Scott Heron. [00:48:15] Speaker B: Oh, never heard of him. [00:48:16] Speaker A: Oh, well, you know, [00:48:18] Speaker B: he seems like a good guy. [00:48:20] Speaker A: So. So he was. He was a. He was a thinker. He was a troubled guy. Troubled man. I would have loved to have Gil Scott on the show, but it was. Seemed like [00:48:29] Speaker B: he was a boozer. Boozer [00:48:33] Speaker A: or [00:48:33] Speaker B: just a pothead. [00:48:34] Speaker A: He had his issues. He [00:48:35] Speaker C: was a heroin user. [00:48:37] Speaker B: Oh, [00:48:38] Speaker A: well, [00:48:38] Speaker B: we should have [00:48:39] Speaker C: got him on the show. Cut that. He. He went to jail for hard drugs. [00:48:47] Speaker A: Okay, [00:48:49] Speaker C: it wasn't heroin, but. [00:48:50] Speaker A: But yeah, he liked the [00:48:52] Speaker B: Flocka, [00:48:53] Speaker A: the cocaine. He [00:48:54] Speaker B: liked the Flocka. [00:48:56] Speaker A: But, you know, the talk of revolution, it's, you know, like everyone's thinking about revolution today and they think about it in terms of political violence and. But I don't think that's what Gil Scott was. Was. Was getting at, is it? I don't think it was either, because I think that's a dead end street. I think political violence is just a way for the establishment to discredit you and discredit your ideas. And so. [00:49:26] Speaker B: But it is fun to burn things down. [00:49:28] Speaker A: Well, you think that's fun? [00:49:30] Speaker B: Well, I was in the LA riots, man, and [00:49:32] Speaker A: it was. Was fun. It was fun. Okay. All right, well, you know, it seems like [00:49:37] Speaker B: stick it to the man sometimes, man. [00:49:40] Speaker C: Would. Would you like, Would you like to read some of what you. You said about [00:49:45] Speaker A: Katrina? No, no, no, but. Well, we, we got to say something for the people. [00:49:50] Speaker B: Listen to himself. Read. [00:49:51] Speaker C: That's [00:49:51] Speaker A: true. You need to [00:49:52] Speaker C: go buy the book to read what. What Renee Coleman said two months after Katrina said, stuck in Austin, which he said is a beautiful place. [00:50:02] Speaker A: Oh, it is, it is. If you have to be outside of New Orleans, Austin is probably. Yes, [00:50:07] Speaker B: it [00:50:07] Speaker A: is second best choice, [00:50:08] Speaker C: actually. You said yes. Austin's a beautiful town and there's really nothing not to like about it. You know, New Orleans at the moment is not itself. It's like, we long for a city that doesn't exist right now, you know, and it's really crushing to even come contemplate the idea that you wouldn't be able to go back, that it wouldn't be as it once was, at least to some degree. We have to hold out hope that that will all at some point be remedied and we'll be able to go back. But it's definitely been a huge comfort to have the band stay intact and to have that kind of grounding, because for the majority of the people in the city, they were just scattered to the wind. You know, they didn't have co workers, workers, maybe they had their immediate family, but all other community ties are completely evaporated, and it makes an already really hard situation even more difficult. Now, is that eloquent or what? Are [00:51:04] Speaker B: you gonna have Danny DeVito do the audiobook of this? [00:51:08] Speaker C: That would be perfect. [00:51:09] Speaker B: Yeah, I think so. But [00:51:11] Speaker C: actually, what I love, it [00:51:11] Speaker B: seems like a comedy so far, this book. [00:51:13] Speaker C: What I would love to do. Thank you, Renee. Should thank you. What I thought about doing, but it would just be so much work, is to have all the original artists, you know, audio. [00:51:27] Speaker B: Most of them are dead, I thought, [00:51:29] Speaker C: but I have their audio. [00:51:30] Speaker B: Oh, okay. [00:51:31] Speaker C: Magic. [00:51:33] Speaker B: Yeah, that would be great. You should have the audiobook with them. But you probably have to pay their estates, though, probably, wouldn't you? [00:51:40] Speaker A: Nobody gets paid in document. Let's [00:51:42] Speaker C: not suggest that. [00:51:44] Speaker A: Let's not bring up money. So [00:51:47] Speaker B: you made films now? I was talking to last week. We had a filmmaker on the show and his film. He had a film out which is actually screening tonight, I think at the Britannia. [00:51:59] Speaker A: Yes, yes, Brenda. [00:52:01] Speaker B: Yeah, Brenda. With Henry. Henry Griffith's film. And we talked and I said, how come? [00:52:06] Speaker C: Yeah, Henry Griffith's a friend of mine. [00:52:07] Speaker B: Yeah, yeah. And I said, [00:52:09] Speaker C: I'm sorry. Henry Griffin, [00:52:10] Speaker B: he. I asked him because I was watching that film and the opening credits was like, at least 14 producers. It's just like, what the is that about? What the fuck? And. And since, like, I'd say the late 70s, early 80s films have had so many producers. [00:52:34] Speaker A: Right, right. [00:52:35] Speaker B: You know, and there's no real vision then, because you have to have one producer to have a vision. [00:52:39] Speaker C: If you ever. Okay, the producer isn't the one who makes the film. That's the director. Yeah, [00:52:45] Speaker B: I know that. Yeah. [00:52:46] Speaker C: But what's really wild. And my wife and I talk about this all the Time, because we, we watch essentially one film a night, sometimes a couple, and we watch all these foreign films. And as you say, there'll be a whole series of production companies from different countries and all at the beginning and then they'll go through. And as you say, there'll be eight executive producers and six producers, [00:53:11] Speaker B: associate producers. But [00:53:13] Speaker C: it's, it's, it's all about getting the money, [00:53:16] Speaker A: right? [00:53:16] Speaker B: So all those producers are just putting up money. That's basically why they get their name on the credits. They're just putting up money. [00:53:24] Speaker C: A few of them might have some actual input, but mostly, but [00:53:28] Speaker B: none of them really care about the art in it. They just want to make their money back and more. [00:53:33] Speaker C: They may care about the art. People give money for different reasons, but often the way it works is someone in France will be buying the theatrical rights in France or someone in Italy will be buying all of Europe or something. So the world gets carved, it has for many decades. Get car. It's carved up into sections. And so often what the real producers of the film will do in advance is sell off these rights and then use the advances to actually make the film. [00:54:06] Speaker B: Okay, so let me ask you, over the years, you've. Five decades or so, you've made a million films. I don't know how many you made, but [00:54:12] Speaker C: close to 40. [00:54:13] Speaker B: 40 films. Okay, so a film, let's say you did one on Sonny Rollins, right? Okay, yes. [00:54:19] Speaker A: And [00:54:20] Speaker B: it bombs here in the US but it's big in France. Is that how you know, that's how you recoup your money? [00:54:27] Speaker C: Well, [00:54:27] Speaker B: because there are films over the years that are huge. Like Weekend at Bernie's, you know, was the stupidest movie here in the States, but it made billions in France. [00:54:40] Speaker A: Billions. That makes sense. You [00:54:41] Speaker B: know, [00:54:42] Speaker C: they love Jerry Lewis. [00:54:45] Speaker B: So. So to recoup your investment, you're out of pocket. So has a film like bombed here in the US and done well with the Japs? [00:54:55] Speaker A: Is anyone recouping from a document? Music, documentary? [00:54:59] Speaker C: Yeah, see that's the thing. You're talking about the world of fiction films. And I'm in the world of non fiction films. And often the way it has worked over the years with me is okay, like throughout most of the 80s, much of the 80s, I was getting money from Channel 4 television in the UK. I started getting it a year, year before they went on the air. The guy who was in charge of music for them bought my Sonny Sun Ra film. And then that led to him funding my Gil Scott Heron film. And then Gil was got approached to play at Sunsplash in Jamaica. And then Gil suggested me as a director to do a film about Sunsplash, which I did. And then the same guy who Fund at Channel 4 who funded the Gil Scott Heron film funded my Al Green film and then my. My Reuben Blades film. It's [00:55:54] Speaker A: all Daisy chained together. [00:55:56] Speaker C: And then he left the network. But another guy there was then in charge of jazz and he put up the primary funding for the Sonny Rollins film. So it's great if they make money after that, but what I've always tried to do where I can is have them fully funded up front. So it doesn't matter to me if they make money or not. And in these cases. Because [00:56:18] Speaker B: you've just taken their money. [00:56:20] Speaker C: Yeah, [00:56:21] Speaker A: yeah. It's such a hustle, man. No, I mean, in a good way. No, it's. I admire you. I don't say that to disparage you. It's like you are hustling to try to. It's [00:56:32] Speaker B: like the great rock and roll swindle, [00:56:35] Speaker A: just [00:56:35] Speaker B: swindling money from people. I [00:56:37] Speaker A: mean, well, to do the work, to do the art, you know. [00:56:40] Speaker C: But the other thing is, in cases like this, they're paying for something. They need programming for their channels, right. So they put it on. They pay for me to make it so they can show it on TV and they [00:56:52] Speaker A: get [00:56:53] Speaker C: a [00:56:53] Speaker A: product. Yeah. [00:56:54] Speaker C: And then they or I, or both of us together, distribute it around the world and they get more money and maybe I get a share of it. But, you know, it's just like the. The broadcast channels here, the cable channels here, the streaming services here, they pay to have product made. And so in that case, you don't have to worry about it. But if you're funding it yourself, maybe you're going to syndicate it in some way or maybe you're going to sell it in different regions around the world for theatrical release or for home video release or for television. It's all very complicated. And I just got so tired of it. And that's why I've mostly backed away from it for now. And I just sort of do projects I can do. I can write a book myself. I don't have to get funding from anybody. I can, I can make a low budget film now. I shoot with iPhones. My wife sometimes shoots with me. I have a device that holds the iPhone like. It's a camera, [00:57:57] Speaker A: like gamble for the [00:58:00] Speaker C: iPhone. I have a shure microphone attached to the top and I hold a hand and. But also we will have iPhones on tripods. And so like that film that. That we mentioned, Deep Roots, Unlike Deep blues back in 1990. [00:58:17] Speaker B: And then you made Deep Throat. Right. [00:58:19] Speaker A: Well, we're gonna get there, man. You know, don't get ahead. We're. That's my next question. [00:58:23] Speaker B: I would give you money for that film, [00:58:26] Speaker A: Deep. Deep Throat Revisited. [00:58:28] Speaker C: There are too many answers and no answers all at the same time to that. To that. That [00:58:34] Speaker A: query. [00:58:35] Speaker C: But, yes, but now you've sewn Throw me. I forget. [00:58:39] Speaker A: That's okay, because [00:58:40] Speaker B: you've seen Deep Throat and now you're getting a little Woody [00:58:44] Speaker C: thinking [00:58:44] Speaker B: about it. Right? [00:58:45] Speaker A: Well, a [00:58:46] Speaker C: little Woody Allen. [00:58:48] Speaker A: Okay. Right on. I like it. I like it. So. So you're kind of answering half of my next question, which is, you know, deciding whether you're going to make a film or write a book. Now, I know for most of your career, all you did was make films. But. But we did have. Early on, we had the great Robert Gordon, filmmaker. And. [00:59:10] Speaker C: And author. [00:59:11] Speaker A: And author, yes. [00:59:12] Speaker C: Actually more author than filmmaker, but he does both. [00:59:14] Speaker A: And I asked him on the podcast, he says, well, I kind of try to do one and then the other. He goes. Because [00:59:21] Speaker C: he does. He sort of goes back [00:59:22] Speaker A: and forth, you know, because you're making a film and there's so many moving parts and. And it's nice because you're. It's a social exercise. You're around a lot of people. It's a collaborative thing, and. And that's fun. But then that wears on you. You get. You have to develop a lot of consensus. Yeah. [00:59:40] Speaker C: He also. He also sometimes co directs with. With another director. [00:59:45] Speaker A: Okay. [00:59:47] Speaker C: But he writes his books himself. [00:59:49] Speaker A: But. And he says. And then. So. So I finish one of those. Like, God, I never want to do that again. You know, if I write a book, it's just me. And then it's like I control everything. He goes, but it's very lonely. [01:00:03] Speaker C: All true, [01:00:04] Speaker A: all true. I'll finish one of those. Like, fuck, man. I want to be around some people, make a film. [01:00:11] Speaker C: But, you know, when I make a film, it's social. When we're shooting, there's a number of us involved, but when I'm editing for months, that's just like writing a book. Sure, [01:00:21] Speaker A: sure, sure, sure, [01:00:21] Speaker C: sure. I'm on my own, and I actually won't let anybody in to participate. [01:00:26] Speaker A: Right, right. Well, my next question is, you've done so much in your career, so many, you could just rest on your laurels, but you seem incapable of that. What motivates you to start a new project that these days you just get get antsy. You start feeling, like the tingling on the back of your neck or. [01:00:50] Speaker C: You know, it's funny. [01:00:52] Speaker B: The wife just wants you out of the house. Basically, [01:00:55] Speaker A: she's laughing over here. She had a mic. But. [01:00:58] Speaker C: Well, my wife Diane and I had dinner last night with our longtime friends, Malcolm and Michelle Wellborn. [01:01:10] Speaker A: Wellborn, yes. [01:01:11] Speaker C: Malcolm is Papa Mol. Molly. And so after a while, after he cooked us this wonderful red beans and rice, and at a. At a certain point, it's kind of inevitable. Diane ends up talking to Michelle, I end up talking to Malcolm. And, you know, he's. He's spent his life, like you, as an independent musician, hustling, doing concerts, doing records, doing whatever he can, just as I've done with films and now, for a short time, books. And we both agreed we can't stop. It's who we are. We don't know ourselves if we're not doing these things. Right. [01:01:53] Speaker A: Right. [01:01:55] Speaker C: And it gives us joy. As our late friend Dr. John Peterson, who died in July, said, bliss. It's where we find bliss. So it's not like, why are you doing it? It's almost like, why would you not be doing it? It's what you always love doing, you know, [01:02:11] Speaker A: It's a. It's a calling. It's an advocation [01:02:13] Speaker C: and, like [01:02:13] Speaker A: the priesthood [01:02:14] Speaker C: and. Manny, why are you not running for mayor tonight? [01:02:17] Speaker B: Because it's not the mayor's election. [01:02:19] Speaker C: Oh, okay. That's a great answer. [01:02:23] Speaker A: It's the midterms. [01:02:26] Speaker C: I didn't know the mayor only went [01:02:28] Speaker A: with, but he was. He was. He heard that. That you weren't going to run next time. At least that's what you. The. The. The scuttlebutt is too much work. Yeah. Yeah, [01:02:35] Speaker C: it is. It's [01:02:36] Speaker B: a lot of work, and I [01:02:38] Speaker C: can't. And I realize. [01:02:39] Speaker B: Well, I don't give a. I don't [01:02:41] Speaker A: raise any money. [01:02:43] Speaker B: Well, [01:02:43] Speaker C: you're clever enough to get attention without it. [01:02:45] Speaker B: Yeah, exactly. And I. I've come to the point. I mean, I realize about. I'd say maybe 25 years ago, that I have no use for people. I can't stand them. People are the worst. [01:02:58] Speaker A: That is just [01:02:59] Speaker B: the worst. [01:03:00] Speaker C: The inevitable [01:03:01] Speaker B: question compared to, give me a book tonight and I'll never read it. It's perfect, you know, But [01:03:06] Speaker C: I'll be honored that you're not reading it. [01:03:08] Speaker B: Yeah. Okay. I wrote a book once. [01:03:11] Speaker C: Did you? [01:03:12] Speaker B: Yeah. It's the first book ever written without verbs. Without verbs, man, [01:03:18] Speaker C: There must be. Must be a bit short on action. [01:03:21] Speaker B: It's basically for Kindergarteners. [01:03:23] Speaker A: Well, well, getting back to your, your, your film productions here and your, your again, your prodigious output, something that caught my eye. Yet another film that you've put out this year, the Devil and Mike Sager. It's about the making of the documentary Wad. The life and times of John. This [01:03:42] Speaker C: is, this is more in the realm of [01:03:44] Speaker A: trouble you guys would normally be [01:03:46] Speaker C: discussing. [01:03:47] Speaker A: So you did a documentary, kind of a making of the documentary on John Holmes. [01:03:54] Speaker C: Yes. Here's the story. [01:03:55] Speaker B: Johnny Wad home. [01:03:57] Speaker A: Johnny Wad. John C. Holmes. [01:03:59] Speaker C: Mike. Mike Sager, as I say, is my publisher. My three books [01:04:03] Speaker A: he has. It's kind of a co op publishing operation. I know because Michael Tisseran, our good friend Michael's the [01:04:10] Speaker C: one who turned me on to [01:04:11] Speaker A: him. He put his book out My father, when you. [01:04:16] Speaker C: Yeah, yes. That [01:04:17] Speaker A: was the first book that he put out on that imprint. [01:04:20] Speaker C: Right. Well what it is, it's, it's, it's really a great thing. It's not a vanity press where you know, anybody can come in and, and write any crap and pay them and they'll do all the work. [01:04:34] Speaker A: It's all legit writers. [01:04:35] Speaker C: Right? It's legit writers, but you still share the pain. You put up a few grand to help with the expenses and everything, then you get the vast majority of any profits. But so Mike of course wrote for Rolling Stone for many years and for other publications and many years ago he wrote a very controversial and famous piece about John Holmes. [01:05:01] Speaker B: On Wonderland. [01:05:03] Speaker C: Yeah. [01:05:04] Speaker B: On the Wonderland street. [01:05:05] Speaker C: Yeah, yeah. And so it's, it's about Holmes's 13 and 3/4 inch penis. It's about the drugs he took and sold and got. I [01:05:18] Speaker B: thought it was half his penis. [01:05:23] Speaker C: It's supposed to be 14, but they actually made. [01:05:26] Speaker B: Milton Burrow had the biggest In Hollywood. You did not know that? [01:05:30] Speaker C: No. [01:05:30] Speaker B: Milton Burrow, that's [01:05:33] Speaker C: why he did stand up. [01:05:34] Speaker B: Yeah, yeah, yeah, he did. He didn't need a, he didn't need a stand up microphone. Exactly. Yeah. Burrow had apparently like a 14 and a half inch and he bragged about it constantly. [01:05:46] Speaker C: Then he, he outdid Holmes. He [01:05:49] Speaker B: should [01:05:49] Speaker C: have done porn. [01:05:50] Speaker B: In fact, when people would come backstage to see burl in the 50s, he purposely, he'd purposely be in a robe and wearing nothing else because he was so proud of his Johnson. [01:06:03] Speaker C: Well, anyway, so he wrote this, this incredible piece that got a lot of attention in Rolling Stone. It didn't get awards at the time because he figures people were kind of embarrassed about the subject matter and everything but, but it had a big effect and a couple of films, Wonderland being one of them. And, and before that, Boogie Nights borrowed from it without paying for the. Right. But another guy made a documentary which actually won the south by Southwest film festival in 1999. And it's, it's called Wad W A D D and I forget the Rest of [01:06:47] Speaker A: the Life and Times of John C. Holmes. [01:06:49] Speaker C: Yes. And so, so it was sort of a collaboration because this director of this thing had shot a lot of porn over the years. He also shot for abc, but he shot lots of porn. And so he knew all the people in the porn industry and Mike had really researched and told the story of John Holmes. So together they sort of made this film though the other guy directed it. So after it won those awards and got those incredible reviews, it basically sat on the shelf for decades. And then the director died. But Mike said at one time, you know, it was shot in kind of an inferior form of video because, you know, that's kept changing over the years. And I didn't even get into video until this century because it wasn't really into HD and all. And then 4k and all that after that. So I was still shooting film. But at one point, as we're working on one of the books together, he. He was telling me about the film and he said, would you like to see it? And I said, sure. And so. [01:07:58] Speaker B: Dirty old man. [01:07:59] Speaker C: And so my wife, My wife and I watched it together. In fact, [01:08:03] Speaker B: couples thing. I gotcha. Listen, I've been there, dude, I've been there. I worked on a porno film in la. [01:08:12] Speaker C: Yeah, [01:08:13] Speaker B: yeah, I'm from la. [01:08:15] Speaker C: Okay. [01:08:15] Speaker B: And I used to work for the studio, Sunset Gower Studios in the 80s and HBO cable, stuff like that. And during like hiatuses I worked on some shows during hiatuses. I. Guys would say, hey, listen, Manny, you got four or five weeks off. You want to do a. Pick up a gig here, pick up a gig there? Said, yeah, sure. He goes like, I know a guy, boom operator in vine in Van Nuys who needs just someone to hold the boom mic. I was like, it's like [01:08:42] Speaker C: what you had to hold. [01:08:43] Speaker B: I had to hold the boom mic [01:08:45] Speaker A: and fluffing, but. [01:08:46] Speaker B: And you know, I had the headset on and I think, I think. What was her name? Chris. She was a very big porno star in the 80s. Crystal Christie something. Anyway, I just held the boom mic and just listened to people fuck. Fucking suck. [01:09:01] Speaker C: That could be good and bad at this. It [01:09:03] Speaker B: was an eight hour gig. I got about 120 bucks in 1986. Not bad. [01:09:07] Speaker C: And your girlfriend was happy to see you when you got home because she [01:09:12] Speaker B: was always happy to see. [01:09:13] Speaker C: Oh, well, that's very nice. [01:09:14] Speaker B: I wasn't so happy to see her, but. [01:09:16] Speaker A: Except when she had the cash from stripping. [01:09:19] Speaker C: Well, anyway, we looked at the film and we both agreed that the latter part was kind of repetitive. And also there were serious issues with the. The quality of the image because they had. They had upgraded it from this earlier thing into HD but didn't do it quite right, whoever did it for them. And so I said, look, you know, if. If you want. Well, first of all, I. You'll [01:09:45] Speaker B: reshoot the scenes. If you want, I'll reshoot the scenes. [01:09:50] Speaker C: You [01:09:51] Speaker B: and your wife [01:09:52] Speaker C: Diana, [01:09:52] Speaker B: you'll be the reenacted [01:09:54] Speaker C: and AI. But so no, I said, look, let me also see if either of my distributors, mvd, which handles most of my stuff, or Film Movement, [01:10:05] Speaker B: are Bang Brothers. [01:10:06] Speaker A: Sure. [01:10:06] Speaker C: Or Film Movement that had put out after I remastered Deep Blues for Dave Stewart, who funded it. Phil Movement put it out. So MVD wasn't interested, but Film Movement said, yeah. And so then I got Mike and Film Movement together to pay me to totally remaster it and to edit it down a bit. And so then I said, hey, while I'm at it, how about now that we've got the film itself in good shape, how about I do a making of doc? I'll do a long interview with Mike. [01:10:42] Speaker A: The mind is always working, Bob. That's what I love about you, you know, you're never gonna miss an opportunity. [01:10:48] Speaker C: Thousand here, a thousand there, you pay the mortgage. [01:10:51] Speaker A: Yeah, man. [01:10:53] Speaker C: And so Mike and I had a great, hilarious conversation. And then I cut in scenes from the film and I cut in stills from Mike's life and all that. And it's a really fun thing. It's like 55 minutes. And so they have it as a bonus feature on the Blu Ray and I have a very short version of it available. But if. If you guys want to see it, I'll. I'll send you. Oh, [01:11:17] Speaker A: yeah, no, please do. Yeah, yeah, yeah. Fidelio. [01:11:22] Speaker C: Yeah. In fact, even in the. Even in the making of video, you can see the real thing on John Holmes of just Even not erect. It was pretty darn long. [01:11:32] Speaker A: Sure, sure, sure, sure, sure. It's exhausting. Well, God, Bob, thank you so much for this. It's. It's been so much fun. [01:11:40] Speaker B: Yeah, we're about [01:11:41] Speaker A: ready. Time flies. Do you have anything else you haven't gotten out about this? This latest thing I don't think there could be. I think [01:11:49] Speaker C: exhausted. I hope people will buy quotes from the Road if they're so moved. I hope they'll buy notes from the road and even Saloon Man. And [01:11:57] Speaker A: check out all of Bob Muggy's work. Robert Muggy, he's. He. He is a national treasure. Is. I mean, and. And one of the. The. The. That's [01:12:06] Speaker C: what my wife says every night. [01:12:08] Speaker A: Okay, well, I like that. That's a good girl, man. You see, sometimes they get tired of you and they're. They're so. They're less than impressed. But, you know, there [01:12:17] Speaker C: are days. [01:12:18] Speaker A: See that. Well, sure, we all have our days. But. But, you know, that's. That's. That. That is the. The key to longevity is. Is the. The. That the spark is always there. Now, let me talk for a second, just. No, that one of the reviews for Quotes from the Road is someone said, this is a time machine, because so many people that are quoted here are no longer with us. But this transports you back into a time when those people are alive. [01:12:50] Speaker C: Yeah. Actually in the. A wonderful writer, Aidan Levy, who wrote the. The big Sonny Rollins document. I mean, a biography which also is called. It's like. It's like almost 800 pages, and then there's another 500 pages of notes online. That's. That's what kind of researcher he is. Sure, sure. But he wrote the foreword for me for this book. And so he wrote what. And in fact, that time machine, Some reviewer just borrowed it from his forward. [01:13:24] Speaker A: Okay, well, and then I borrowed it again, [01:13:27] Speaker C: but. Exactly. But Kirkus Reviews called it a scintillating memoir, a vibrant, entertaining panorama of music making and the picaresque struggle to capture it on film. And Aidan, one paragraph of his forward, he wrote, what you have in your hands or on your screen is not just a book. It's a time machine, an archive, a historical record, a musical record, a travelogue, a thousand stories, all part of our one cosmic human story. Maybe most significantly, a road map to the heart and soul of American music. And I just wanted to say again that there are signed copies of this book and a few copies of Notes from the Road at the Louisiana Music Factory, along with several of my films on Blu Ray or dvd. [01:14:20] Speaker A: And now, Bob, once again, you're part of our Troubled Men podcast. Time Machine that. That, you know, [01:14:27] Speaker C: where are we gonna go, [01:14:29] Speaker A: Bob, thank you so much, man. I'm so glad you stayed an extra day. I do really appreciate it, man. I'm [01:14:35] Speaker C: so grateful [01:14:35] Speaker A: to you guys for giving [01:14:36] Speaker C: attention to the work. [01:14:38] Speaker A: And you see, this is like the, the, the, the, the moment to moment interaction here. It's not like on. When it's remote. Right. That's, that's nothing like the, when you can feel the, the skin tension. Yes, yes. Of someone you're sitting with. And [01:14:54] Speaker C: I'm, I'm very grateful and it's, and it was great fun, I guess, four years ago or. [01:15:00] Speaker A: Yeah. Yeah. Time's flying, man. Bob we like to say trouble never ends, [01:15:04] Speaker B: but the struggle continues. Good night. [01:15:06] Speaker A: Good night. [01:15:07] Speaker D: You will not be able to stay home, brother. You will not be able to plug in, turn on and cop [01:15:15] Speaker E: out. You will not be able to lose yourself on skag and skip out for beer during commercials because the revolution will not be televised. The revolution will not be televised. The revolution will not be brought to you by Xerox and four parts without coming commercial interruptions. The revolution will not show you pictures of Nixon blowing a bugle and leading a charge by John Mitchell, General Abrams and Spyro Agnew to eat hog maws confiscated from a Harlem sanctuary. The revolution will not be televised. The revolution will not be brought to you by the Shaffer Award Theater and will not star Natalie woods and Steve McQueen or Bullwinkle and Jul. The revolution will not give your mouth sex appeal. The revolution will not get rid of the nubs. The revolution will not make you look five pounds thinner because the revolution will not be televised, brother. There will be no pictures of you and Willie Mae pushing that shopping cart down the block on the dead run or trying to slide that color TV into a stolen ambulance. NBC will not be able to predict the winner at 832 on report from 29 districts. The revolution will not be televised. There will be no pictures of pigs shooting down brothers on the instant replay. There will be no pictures of pigs shooting down brothers on the instant replay. There will be no pictures of Whitney Young being run out of Harlem on the rail with a brand new process. There will be no slow motion or still life of Roy Wilkins strolling through Watts in a red, black and green liberation jumpsuit that he has been saving for just the proper occasion. Green Acres, Beverly Hillbillies and Hooterville Junction will no longer be so damn relevant. And women will not care if Dick finally got down with Jane on Search for tomorrow because black people will be in the street looking for a brighter day. The revolution will not be televised. There will be no highlights on the 11 o' clock news and no pictures of Harry armed women liberationist and Jackie Onassis blowing her nose. The theme song will not be written by Jim Webb or Francis Scott Keys, nor sung by Glenn King Campbell, Tom Jones, Johnny Cash, Engelbert Humperdinck or the rare Earth. The revolution will not be televised. The revolution will not be right back after a message about a white tornado, white lightning or white people. You will not have to worry about a dove in your bedroom, the tiger in your tank or the giant in your toilet bowl. The revolution will not go better with Coke. The revolution will not fight germs that may cause bad breath? The revolution will put you in the driver seat. The revolution the revolution will not be televised, will not be televised, Will not be televised, will not be televised. The revolution will be no rerun, brothers. The revolution will be live.