Chords for Linda Ronstadt INTERVIEW '83 (3/4)
Tempo:
124.45 bpm
Chords used:
B
Eb
Ab
A
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
You know when [Eb] you were on this first time you were on a tonight show?
It was a long time ago.
It was July I found out [B] of 1969.
I don't think either one of us should admit to that.
Yeah, July of 69.
Do you remember it at all?
I remember it a little bit, yeah.
Do you remember what you sang even?
I don't remember what you sang.
I think I remember I wore a striped dress.
That's about the only thing I can remember.
[N] Why has it been 14 years?
Did we do something wrong?
Did we do a thing called believe it or stuff it at all?
We're a little afraid of television because of the [E] music.
And I understand your sound guys were here until all hours last night trying to make that
so that it would accommodate rock and roll over there a little bit more realistically.
To us it sounds incredible.
I mean we sounded like little ants playing tiny little, through little ant amplifiers on little ant guitars.
It was very small sounding.
Yeah, because the set up that you travel with is tremendous, right?
[Ab] It's very large, yes.
To set it up in a TV studio [B] is difficult.
Well, it's hard to duplicate the sound.
Rock and roll is based on amplified sound and it's got to be real big to distort and hurt your ears.
Right.
[N] Is it supposed to intimidate you?
I don't [Abm] know.
I can't.
Music is so strange.
I don't understand [Eb] it anymore.
I must [N] confess.
Where do you think the music is going?
Do you like what you're hearing nowadays?
I like it now.
This week I like it.
I was really worried because music is such an
Last Wednesday was a lousy day.
But music is such an immediate reflection of what the culture is.
Except for that it's about 15 years ahead, I think.
And so when I don't hear anything going on in the music, it usually means
It's silly to reduce it to this, but it usually means there's nothing going on in the economy.
Because the whole idea of
I think that pop music, the way that we know it right now, is born from the economy anyway.
The whole idea of something lasting for six weeks and then you don't want it anymore.
It's sort of like the way they do with cars.
They last for three years and then you don't want it anymore.
You get fattish at times.
Do you ever get tired of singing a particular number that you've had
Like you [B] had
Was it Bayou?
Is it
I'll record for you.
I [A] know Sinatra [Ab] says if he has to sing My Way one more time or even New York, New York, he's gonna go crazy.
Oh, I like him when he [B] sings New York, New York.
I must confess, I went to see him in a concert because I'm a very big fan.
Because I'm doing this album of standards right now and I studied his singing extensively.
And I also took his arranger, Nelson Riddle, because I feel that he's the very best kind of orchestra arranger for that kind of music.
And I went to see Frank Sinatra and I was [N] so disappointed when he didn't do some of my favorites.
And I know because I, you know, I want to sing something brand new all the time, you know.
Right.
But your fans who come want to hear it very often.
I even get tired of the music from this century, you know.
I like to have music from another century immediately, you know.
Well, you're doing Pirates of Penzance.
The critics, everybody loved the picture.
And you sang Gilbert and Sullivan.
Now, is that your idea?
Well
Did you sing something in a Victorian era?
I was reading a book about
by this woman, Colette, you know, that French writer.
It was a book called The Vagabond and it was about this girl who was a music hall performer.
And she went all over the world and she had this dog and this boyfriend and she did all this.
She did art.
She was an artiste.
And I thought, well, that's sort of like me.
You know, she had the same kinds of problems that any itinerant performer has.
And so I got this idea that I wanted to sing in a beautiful little theater that was
I love architecture.
I wanted something with good architecture instead of a boxing arena.
And so
Because it's not very inspiring, you know.
Or a gymnasium or something.
Well, make a statement.
It sounds like you're calling out the scores.
You know, if you say anything.
I haven't talked on stage for years because I feel like a sports announcer.
Right.
[B] So, at any rate, back to Colette.
So, I wanted to do something Victorian or something from the German
the Weimar Republic.
You know, Germany before the [N] war.
Because the makeup styles are very similar to the way they are now, which is also disturbing for other reasons.
But at any rate, it has to do with the economy also, I think.
So I went to Joe Papp and I told him all this stuff.
But more elaborate detail.
I don't think he even remembered it.
But then John Rockwell was on television one day talking about me.
He was the one who introduced me to Joe Papp.
And the director of Pirates saw me and decided that I would be good in Pirates and went back to Joe and said,
you know, we should get this girl.
And he said, oh, she's already been here.
She's a snap.
And I was.
They called me up on the phone and I said yes over the phone, you know.
So, that's how hard I am to talk into things, I guess.
But it was Victorian and I wanted to do it.
They put us in this theater that was
Well, from the Colette book I wanted to do something with.
Oh, I guess that's where I was.
They put us in the Eurus Theater, which is this huge theater that was built in the 50s and it had everything.
But it was the biggest [A] theater they had.
But it didn't have any angels on the ceiling, you know, or any nice molding.
That's important.
Nice [F] molding is important in the building. It is.
[N] It also reflects the culture.
I think that was the problem with this bit, the one we did earlier.
The architecture of the building allowed the sound to reach the audience.
You said you are an itinerant performer.
You travel all the time.
And a lot of articles have been written about you.
And any relationships you have with anybody.
Does that make it count?
Have I ever had one with you yet in the papers?
Let's see.
No, but you want to take a shot at it?
I've been out with people I've never met.
Is that true?
Oh, God, somebody told me about some Dodger.
Who'd they have?
The hedgehog with the baseball player?
You've never met him?
Never met him.
I can't even remember his name.
But I got him in trouble with his wife and everything.
[Ab] Not [Gbm]
[B] Bruce Hitchcock.
Some ballet dancer.
Rudnath?
No.
Older than that.
[N]
Ronald Regan's sons?
I don't remember.
How about the people you have been out with?
Do you mind it when they dog you all over the place?
I mind, yeah.
But it's hard.
[B] I realize that it's part of the job.
But I don't like it.
I don't think anybody would.
It's hard to be spontaneous.
After they make things up about you, it makes me feel weird.
[N] This probably sounds like a fan magazine question.
What kind of gentleman do you prefer?
Oh, I don't know.
Smart and honest, I suppose.
Just for starters, if it's possible.
I'm a sucker for musicians, I have to say.
I just love music, you know.
Any honest musicians over there?
I just wonder.
I don't know.
It's a silly question.
I suppose, being in the business, musicians are [B] fun to be with, right?
[N] I don't know.
Music has ruled me ever since I was little.
My father was a good singer.
Maybe that has something to do with it.
He always loved music.
There was always music in the house.
That's what I remember from the very earliest.
It was something that was very completely incorporated into what we did.
It was never a job.
It was something we didn't wash the dishes.
We sang at the dinner table.
Do you ever consider what you might do if you do the [B] same?
I'd have to milk cows or sell hot dogs on the [Eb] street.
I don't know how to do anything.
[N]
I would like it.
When I think about singing, getting tired of stuff
You have great eyes, you know that?
Thank you.
It's nice to get a compliment.
It also makes me feel good.
But you do.
You have sensational eyes.
If you want me to talk, you have to stop saying things like that.
You can ask me another question if you want.
Stop just looking for me.
Or give me another compliment.
I don't mind.
You have nice legs, too.
It was a long time ago.
It was July I found out [B] of 1969.
I don't think either one of us should admit to that.
Yeah, July of 69.
Do you remember it at all?
I remember it a little bit, yeah.
Do you remember what you sang even?
I don't remember what you sang.
I think I remember I wore a striped dress.
That's about the only thing I can remember.
[N] Why has it been 14 years?
Did we do something wrong?
Did we do a thing called believe it or stuff it at all?
We're a little afraid of television because of the [E] music.
And I understand your sound guys were here until all hours last night trying to make that
so that it would accommodate rock and roll over there a little bit more realistically.
To us it sounds incredible.
I mean we sounded like little ants playing tiny little, through little ant amplifiers on little ant guitars.
It was very small sounding.
Yeah, because the set up that you travel with is tremendous, right?
[Ab] It's very large, yes.
To set it up in a TV studio [B] is difficult.
Well, it's hard to duplicate the sound.
Rock and roll is based on amplified sound and it's got to be real big to distort and hurt your ears.
Right.
[N] Is it supposed to intimidate you?
I don't [Abm] know.
I can't.
Music is so strange.
I don't understand [Eb] it anymore.
I must [N] confess.
Where do you think the music is going?
Do you like what you're hearing nowadays?
I like it now.
This week I like it.
I was really worried because music is such an
Last Wednesday was a lousy day.
But music is such an immediate reflection of what the culture is.
Except for that it's about 15 years ahead, I think.
And so when I don't hear anything going on in the music, it usually means
It's silly to reduce it to this, but it usually means there's nothing going on in the economy.
Because the whole idea of
I think that pop music, the way that we know it right now, is born from the economy anyway.
The whole idea of something lasting for six weeks and then you don't want it anymore.
It's sort of like the way they do with cars.
They last for three years and then you don't want it anymore.
You get fattish at times.
Do you ever get tired of singing a particular number that you've had
Like you [B] had
Was it Bayou?
Is it
I'll record for you.
I [A] know Sinatra [Ab] says if he has to sing My Way one more time or even New York, New York, he's gonna go crazy.
Oh, I like him when he [B] sings New York, New York.
I must confess, I went to see him in a concert because I'm a very big fan.
Because I'm doing this album of standards right now and I studied his singing extensively.
And I also took his arranger, Nelson Riddle, because I feel that he's the very best kind of orchestra arranger for that kind of music.
And I went to see Frank Sinatra and I was [N] so disappointed when he didn't do some of my favorites.
And I know because I, you know, I want to sing something brand new all the time, you know.
Right.
But your fans who come want to hear it very often.
I even get tired of the music from this century, you know.
I like to have music from another century immediately, you know.
Well, you're doing Pirates of Penzance.
The critics, everybody loved the picture.
And you sang Gilbert and Sullivan.
Now, is that your idea?
Well
Did you sing something in a Victorian era?
I was reading a book about
by this woman, Colette, you know, that French writer.
It was a book called The Vagabond and it was about this girl who was a music hall performer.
And she went all over the world and she had this dog and this boyfriend and she did all this.
She did art.
She was an artiste.
And I thought, well, that's sort of like me.
You know, she had the same kinds of problems that any itinerant performer has.
And so I got this idea that I wanted to sing in a beautiful little theater that was
I love architecture.
I wanted something with good architecture instead of a boxing arena.
And so
Because it's not very inspiring, you know.
Or a gymnasium or something.
Well, make a statement.
It sounds like you're calling out the scores.
You know, if you say anything.
I haven't talked on stage for years because I feel like a sports announcer.
Right.
[B] So, at any rate, back to Colette.
So, I wanted to do something Victorian or something from the German
the Weimar Republic.
You know, Germany before the [N] war.
Because the makeup styles are very similar to the way they are now, which is also disturbing for other reasons.
But at any rate, it has to do with the economy also, I think.
So I went to Joe Papp and I told him all this stuff.
But more elaborate detail.
I don't think he even remembered it.
But then John Rockwell was on television one day talking about me.
He was the one who introduced me to Joe Papp.
And the director of Pirates saw me and decided that I would be good in Pirates and went back to Joe and said,
you know, we should get this girl.
And he said, oh, she's already been here.
She's a snap.
And I was.
They called me up on the phone and I said yes over the phone, you know.
So, that's how hard I am to talk into things, I guess.
But it was Victorian and I wanted to do it.
They put us in this theater that was
Well, from the Colette book I wanted to do something with.
Oh, I guess that's where I was.
They put us in the Eurus Theater, which is this huge theater that was built in the 50s and it had everything.
But it was the biggest [A] theater they had.
But it didn't have any angels on the ceiling, you know, or any nice molding.
That's important.
Nice [F] molding is important in the building. It is.
[N] It also reflects the culture.
I think that was the problem with this bit, the one we did earlier.
The architecture of the building allowed the sound to reach the audience.
You said you are an itinerant performer.
You travel all the time.
And a lot of articles have been written about you.
And any relationships you have with anybody.
Does that make it count?
Have I ever had one with you yet in the papers?
Let's see.
No, but you want to take a shot at it?
I've been out with people I've never met.
Is that true?
Oh, God, somebody told me about some Dodger.
Who'd they have?
The hedgehog with the baseball player?
You've never met him?
Never met him.
I can't even remember his name.
But I got him in trouble with his wife and everything.
[Ab] Not [Gbm]
[B] Bruce Hitchcock.
Some ballet dancer.
Rudnath?
No.
Older than that.
[N]
Ronald Regan's sons?
I don't remember.
How about the people you have been out with?
Do you mind it when they dog you all over the place?
I mind, yeah.
But it's hard.
[B] I realize that it's part of the job.
But I don't like it.
I don't think anybody would.
It's hard to be spontaneous.
After they make things up about you, it makes me feel weird.
[N] This probably sounds like a fan magazine question.
What kind of gentleman do you prefer?
Oh, I don't know.
Smart and honest, I suppose.
Just for starters, if it's possible.
I'm a sucker for musicians, I have to say.
I just love music, you know.
Any honest musicians over there?
I just wonder.
I don't know.
It's a silly question.
I suppose, being in the business, musicians are [B] fun to be with, right?
[N] I don't know.
Music has ruled me ever since I was little.
My father was a good singer.
Maybe that has something to do with it.
He always loved music.
There was always music in the house.
That's what I remember from the very earliest.
It was something that was very completely incorporated into what we did.
It was never a job.
It was something we didn't wash the dishes.
We sang at the dinner table.
Do you ever consider what you might do if you do the [B] same?
I'd have to milk cows or sell hot dogs on the [Eb] street.
I don't know how to do anything.
[N]
I would like it.
When I think about singing, getting tired of stuff
You have great eyes, you know that?
Thank you.
It's nice to get a compliment.
It also makes me feel good.
But you do.
You have sensational eyes.
If you want me to talk, you have to stop saying things like that.
You can ask me another question if you want.
Stop just looking for me.
Or give me another compliment.
I don't mind.
You have nice legs, too.
Key:
B
Eb
Ab
A
E
B
Eb
Ab
_ _ _ _ _ _ _ _
You know when [Eb] you were on this first time you were on a tonight show?
It was a long time ago.
It was July I found out [B] of 1969.
I don't think either one of us should admit to that.
Yeah, July of 69.
Do you remember it at all?
I remember it a little bit, yeah.
Do you remember what you sang even?
I don't remember what you sang.
I think I remember I wore a striped dress.
_ That's about the only thing I can remember.
[N] Why has it been 14 years?
Did we do something wrong?
Did we do a thing called believe it or stuff it at all?
_ _ We're a little afraid of television because of the [E] music.
And I understand your sound guys were here until all hours last night trying to make that
so that it would accommodate rock and roll over there a little bit more realistically.
To us it sounds incredible.
I mean we sounded like little ants playing tiny little, through little ant amplifiers on little ant guitars.
It was very small sounding.
Yeah, because the set up that you travel with is tremendous, right?
[Ab] It's very large, yes.
To set it up in a TV studio [B] is difficult.
Well, it's hard to duplicate the sound.
Rock and roll is based on amplified sound and it's got to be real big to distort and hurt your ears.
Right.
[N] Is it supposed to intimidate you?
I don't [Abm] know.
I can't.
Music is so strange.
I don't understand [Eb] it anymore.
I must [N] confess.
Where do you think the music is going?
Do you like what you're hearing nowadays?
I like it now.
This week I like it.
I was really worried because music is such an_
Last Wednesday was a lousy day.
But _ music is such an immediate _ reflection of what the culture is.
Except for that it's about 15 years ahead, I think.
And so when I don't hear anything going on in the music, it usually means_
It's silly to reduce it to this, but it usually means there's nothing going on in the economy.
Because the whole idea of_
I think that pop music, the way that we know it right now, is born from the economy anyway.
The whole idea of something lasting for six weeks and then you don't want it anymore.
It's sort of like the way they do with cars.
They last for three years and then you don't want it anymore.
You get fattish at times.
Do you ever get tired of singing a particular number that you've had_
Like you [B] had_
Was it Bayou?
Is it_
I'll record for you.
I [A] know Sinatra [Ab] says if he has to sing My Way one more time or even New York, New York, he's gonna go crazy.
Oh, I like him when he [B] sings New York, New York.
I must confess, I went to see him in a concert because I'm a very big fan.
Because I'm doing this album of standards right now and I studied his singing extensively.
And I also took his arranger, Nelson Riddle, because I feel that he's the very best kind of orchestra arranger for that kind of music.
And I went to see Frank Sinatra and I was [N] so disappointed when he didn't do some of my favorites.
And I know because I, you know, I want to sing something brand new all the time, you know.
Right.
But your fans who come want to hear it very often.
I even get tired of the music from this century, you know.
I like to have music from another century immediately, you know.
Well, you're doing Pirates of Penzance.
The critics, everybody loved the picture.
And you sang Gilbert and Sullivan.
Now, is that your idea?
Well_
Did you sing something in a Victorian era?
I was reading a book about_
by this woman, Colette, you know, that French writer.
It was a book called The Vagabond and it was about this girl who was a music hall performer.
And she went all over the world and she had this dog and this boyfriend and she did all this.
She did art.
She was an artiste.
And I thought, well, that's sort of like me.
You know, she had the same kinds of problems that any itinerant performer has.
And so I got this idea that I wanted to sing in a beautiful little theater that was_
I love architecture.
I wanted something with good architecture instead of a boxing arena.
And so_
Because it's not very inspiring, you know.
Or a gymnasium or something.
Well, make a statement.
It sounds like you're calling out the scores.
You know, if you say anything.
I haven't talked on stage for years because I feel like a sports announcer.
Right.
[B] So, at any rate, back to Colette.
So, I wanted to do something Victorian or something from the German_
the Weimar Republic.
You know, Germany before the [N] war.
Because the makeup styles are very similar to the way they are now, which is also disturbing for other reasons.
But at any rate, it has to do with the economy also, I think.
So I went to Joe Papp and I told him all this stuff.
But more elaborate detail.
_ _ I don't think he even remembered it.
But then John Rockwell was on television one day talking about me.
He was the one who introduced me to Joe Papp.
_ And the director of Pirates saw me and decided that I would be good in Pirates and went back to Joe and said,
you know, we should get this girl.
And he said, oh, she's already been here.
She's a snap.
And I was.
They called me up on the phone and I said yes over the phone, you know.
So, that's how hard I am to talk into things, I guess.
But it was Victorian and I wanted to do it.
They put us in this theater that was_ _ _ _ _
Well, from the Colette book I wanted to do something with.
Oh, I guess that's where I was.
They put us in the Eurus Theater, which is this huge theater that was built in the 50s and it had everything.
But it was the biggest [A] theater they had.
But it didn't have any angels on the ceiling, you know, or any nice molding.
_ That's important.
Nice [F] molding is important in the building. It is.
_ [N] _ _ It also reflects the culture.
I think that was the problem with this bit, the one we did earlier.
The architecture of the building allowed the sound to reach the audience. _ _ _ _ _ _
_ _ _ _ _ _ _
You said you are an itinerant performer.
You travel all the time.
And a lot of articles have been written about you.
And any relationships you have with anybody.
Does that make it count?
Have I ever had one with you yet in the papers?
Let's see. _
No, but you want to take a shot at it? _ _ _ _ _
_ _ _ _ _ _ _ _
I've been out with people I've never met.
Is that true?
Oh, God, somebody told me about some Dodger.
Who'd they have?
The hedgehog with the baseball player?
You've never met him?
Never met him.
I can't even remember his name.
But I got him in trouble with his wife and everything.
_ [Ab] Not [Gbm] _ _ _
_ _ [B] Bruce Hitchcock.
Some ballet dancer. _ _
Rudnath?
No.
Older than that.
[N] _ _
_ Ronald Regan's sons?
_ _ _ I _ don't remember.
How about the people you have been out with?
Do you mind it when they dog you all over the place?
I mind, yeah.
But it's hard.
_ _ _ [B] I realize that it's part of the job.
But I don't like it.
I don't think anybody would. _ _ _
It's hard to be spontaneous.
After _ they make things up about you, it makes me feel weird.
[N] This probably sounds like a fan magazine question.
What kind of gentleman do you prefer? _
_ _ _ _ Oh, I don't know.
Smart and honest, I suppose.
Just for starters, if it's possible. _ _
_ _ _ I'm a sucker for musicians, I have to say.
I just love music, you know.
_ Any _ _ _ _ honest musicians over there?
_ _ _ _ _ I just wonder.
I don't know.
It's a silly question.
I suppose, being in the business, musicians are [B] fun to be with, right?
_ [N] I don't know.
_ Music has ruled me ever since I was little.
My father was a good singer.
Maybe that has something to do with it.
He always loved music.
There was always music in the house.
That's what I remember from the very earliest.
It was something that was very completely incorporated into what we did.
It was never a job.
It was something we didn't wash the dishes.
We sang at the dinner table.
Do you ever consider what you might do if you do the [B] same? _
I'd have to milk cows or sell hot dogs on the [Eb] street.
I don't know how to do anything.
[N] _
_ _ _ _ _ I would like it.
When I think about singing, getting tired of _ _ stuff_
You have great eyes, you know that?
Thank you. _ _
_ _ _ _ It's nice to get a compliment.
It also makes me feel good.
But you do.
You have sensational eyes.
If you want me to talk, you have to stop saying things like that. _ _
_ _ _ _ _ _ You can ask me another question if you want.
Stop just looking for me.
Or give me another compliment.
I don't mind.
You have nice legs, too. _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
You know when [Eb] you were on this first time you were on a tonight show?
It was a long time ago.
It was July I found out [B] of 1969.
I don't think either one of us should admit to that.
Yeah, July of 69.
Do you remember it at all?
I remember it a little bit, yeah.
Do you remember what you sang even?
I don't remember what you sang.
I think I remember I wore a striped dress.
_ That's about the only thing I can remember.
[N] Why has it been 14 years?
Did we do something wrong?
Did we do a thing called believe it or stuff it at all?
_ _ We're a little afraid of television because of the [E] music.
And I understand your sound guys were here until all hours last night trying to make that
so that it would accommodate rock and roll over there a little bit more realistically.
To us it sounds incredible.
I mean we sounded like little ants playing tiny little, through little ant amplifiers on little ant guitars.
It was very small sounding.
Yeah, because the set up that you travel with is tremendous, right?
[Ab] It's very large, yes.
To set it up in a TV studio [B] is difficult.
Well, it's hard to duplicate the sound.
Rock and roll is based on amplified sound and it's got to be real big to distort and hurt your ears.
Right.
[N] Is it supposed to intimidate you?
I don't [Abm] know.
I can't.
Music is so strange.
I don't understand [Eb] it anymore.
I must [N] confess.
Where do you think the music is going?
Do you like what you're hearing nowadays?
I like it now.
This week I like it.
I was really worried because music is such an_
Last Wednesday was a lousy day.
But _ music is such an immediate _ reflection of what the culture is.
Except for that it's about 15 years ahead, I think.
And so when I don't hear anything going on in the music, it usually means_
It's silly to reduce it to this, but it usually means there's nothing going on in the economy.
Because the whole idea of_
I think that pop music, the way that we know it right now, is born from the economy anyway.
The whole idea of something lasting for six weeks and then you don't want it anymore.
It's sort of like the way they do with cars.
They last for three years and then you don't want it anymore.
You get fattish at times.
Do you ever get tired of singing a particular number that you've had_
Like you [B] had_
Was it Bayou?
Is it_
I'll record for you.
I [A] know Sinatra [Ab] says if he has to sing My Way one more time or even New York, New York, he's gonna go crazy.
Oh, I like him when he [B] sings New York, New York.
I must confess, I went to see him in a concert because I'm a very big fan.
Because I'm doing this album of standards right now and I studied his singing extensively.
And I also took his arranger, Nelson Riddle, because I feel that he's the very best kind of orchestra arranger for that kind of music.
And I went to see Frank Sinatra and I was [N] so disappointed when he didn't do some of my favorites.
And I know because I, you know, I want to sing something brand new all the time, you know.
Right.
But your fans who come want to hear it very often.
I even get tired of the music from this century, you know.
I like to have music from another century immediately, you know.
Well, you're doing Pirates of Penzance.
The critics, everybody loved the picture.
And you sang Gilbert and Sullivan.
Now, is that your idea?
Well_
Did you sing something in a Victorian era?
I was reading a book about_
by this woman, Colette, you know, that French writer.
It was a book called The Vagabond and it was about this girl who was a music hall performer.
And she went all over the world and she had this dog and this boyfriend and she did all this.
She did art.
She was an artiste.
And I thought, well, that's sort of like me.
You know, she had the same kinds of problems that any itinerant performer has.
And so I got this idea that I wanted to sing in a beautiful little theater that was_
I love architecture.
I wanted something with good architecture instead of a boxing arena.
And so_
Because it's not very inspiring, you know.
Or a gymnasium or something.
Well, make a statement.
It sounds like you're calling out the scores.
You know, if you say anything.
I haven't talked on stage for years because I feel like a sports announcer.
Right.
[B] So, at any rate, back to Colette.
So, I wanted to do something Victorian or something from the German_
the Weimar Republic.
You know, Germany before the [N] war.
Because the makeup styles are very similar to the way they are now, which is also disturbing for other reasons.
But at any rate, it has to do with the economy also, I think.
So I went to Joe Papp and I told him all this stuff.
But more elaborate detail.
_ _ I don't think he even remembered it.
But then John Rockwell was on television one day talking about me.
He was the one who introduced me to Joe Papp.
_ And the director of Pirates saw me and decided that I would be good in Pirates and went back to Joe and said,
you know, we should get this girl.
And he said, oh, she's already been here.
She's a snap.
And I was.
They called me up on the phone and I said yes over the phone, you know.
So, that's how hard I am to talk into things, I guess.
But it was Victorian and I wanted to do it.
They put us in this theater that was_ _ _ _ _
Well, from the Colette book I wanted to do something with.
Oh, I guess that's where I was.
They put us in the Eurus Theater, which is this huge theater that was built in the 50s and it had everything.
But it was the biggest [A] theater they had.
But it didn't have any angels on the ceiling, you know, or any nice molding.
_ That's important.
Nice [F] molding is important in the building. It is.
_ [N] _ _ It also reflects the culture.
I think that was the problem with this bit, the one we did earlier.
The architecture of the building allowed the sound to reach the audience. _ _ _ _ _ _
_ _ _ _ _ _ _
You said you are an itinerant performer.
You travel all the time.
And a lot of articles have been written about you.
And any relationships you have with anybody.
Does that make it count?
Have I ever had one with you yet in the papers?
Let's see. _
No, but you want to take a shot at it? _ _ _ _ _
_ _ _ _ _ _ _ _
I've been out with people I've never met.
Is that true?
Oh, God, somebody told me about some Dodger.
Who'd they have?
The hedgehog with the baseball player?
You've never met him?
Never met him.
I can't even remember his name.
But I got him in trouble with his wife and everything.
_ [Ab] Not [Gbm] _ _ _
_ _ [B] Bruce Hitchcock.
Some ballet dancer. _ _
Rudnath?
No.
Older than that.
[N] _ _
_ Ronald Regan's sons?
_ _ _ I _ don't remember.
How about the people you have been out with?
Do you mind it when they dog you all over the place?
I mind, yeah.
But it's hard.
_ _ _ [B] I realize that it's part of the job.
But I don't like it.
I don't think anybody would. _ _ _
It's hard to be spontaneous.
After _ they make things up about you, it makes me feel weird.
[N] This probably sounds like a fan magazine question.
What kind of gentleman do you prefer? _
_ _ _ _ Oh, I don't know.
Smart and honest, I suppose.
Just for starters, if it's possible. _ _
_ _ _ I'm a sucker for musicians, I have to say.
I just love music, you know.
_ Any _ _ _ _ honest musicians over there?
_ _ _ _ _ I just wonder.
I don't know.
It's a silly question.
I suppose, being in the business, musicians are [B] fun to be with, right?
_ [N] I don't know.
_ Music has ruled me ever since I was little.
My father was a good singer.
Maybe that has something to do with it.
He always loved music.
There was always music in the house.
That's what I remember from the very earliest.
It was something that was very completely incorporated into what we did.
It was never a job.
It was something we didn't wash the dishes.
We sang at the dinner table.
Do you ever consider what you might do if you do the [B] same? _
I'd have to milk cows or sell hot dogs on the [Eb] street.
I don't know how to do anything.
[N] _
_ _ _ _ _ I would like it.
When I think about singing, getting tired of _ _ stuff_
You have great eyes, you know that?
Thank you. _ _
_ _ _ _ It's nice to get a compliment.
It also makes me feel good.
But you do.
You have sensational eyes.
If you want me to talk, you have to stop saying things like that. _ _
_ _ _ _ _ _ You can ask me another question if you want.
Stop just looking for me.
Or give me another compliment.
I don't mind.
You have nice legs, too. _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _