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Singing for Justice 05.15.06 Page 1 Mr. John SINGING FOR JUSTICE 05.15.06 PAGE 1 MR. JOHN SHATTUCK: Hi. I can assure you, I’m not the main act. I’m John Shattuck. I’m CEO of the Kennedy Library Foundation. And on behalf of my wonderful colleague, Deborah Leff, who is sitting in the front row, who runs the Kennedy Library Museum, we’re thrilled to have you all here. And welcome to this foggy Dorchester outpost of Alice’s Restaurant . [laughter] [applause] And I want you to know that Deborah and I tossed a coin to see who’d get the chance to introduce our guest of honor tonight. And obviously, I won. And she is deeply, deeply … she is in deep mourning. And in order to console her, I’ve had to agree to give her all of my Arlo Guthrie records, which is, you know, a pretty big deal for me. I want to thank our sponsors of tonight in all of our events: the Bank of America, Boston Capital, The Lowell Institute, the Corcoran Jennison Companies, The Boston Globe , and 90.9 WBUR, which broadcasts all Kennedy Library Forums on Sunday evenings at 8:00. And certainly, I know this one will be listened to by many, many people. Just a few words about why we’re here in this wonderful setting and we’ve been able to attract our guest of honor to come here. JFK was probably the last President to have enjoyed a pretty good relationship with songwriters. And the way things are going, he may be the last President ever to enjoy such a relationship. They liked him because he liked to challenge things the way they were, and so did they. And we know that President Kennedy attracted the best and the brightest. And they were not just the policy wonks and the people who wanted SINGING FOR JUSTICE 05.15.06 PAGE 2 to attend meetings in Washington, but they were also artists and poets and folksingers who wanted to escape from the 1950s. And he gave them a special way to do that. It’s reported, for example -- I don’t know whether Arlo knows this -- that Phil Ochs bought his first guitar with the money that he got from a high stakes, high odds bet with a lot of people in Ohio that JFK would beat Nixon. And he got enough money from that that he was able to put himself into the business. When JFK got to the White House, he opened the doors to many of these new performers. One of them, on a more serious note, Miriam Makeba, was invited to the White House just after she had been stripped of her South African citizenship for her anti-apartheid activities. And President Kennedy, then, invited her to perform at the White House. [applause] And, of course, when Dr. Martin Luther King and the leaders of the civil rights movement came to the White House with the March on Washington in August 1963, the songs of protest sounded loud and clear across the Washington Mall. President Kennedy summed up what he believed about politics and the arts in a speech he gave in Amherst in 1962 about another great New England poet, Robert Frost. And he might just as well have been talking about Woody or Arlo Guthrie when he said, “Those who question power make an indispensable contribution to our nation. The highest duty of an artist in a democracy is to remain true to himself, and let the chips fall where they may.” SINGING FOR JUSTICE 05.15.06 PAGE 3 And we all know what happened to the children of the ‘60s. I can see many of you here and certainly see one up here. We marched, and we sang, and we protested the war, and the denial of civil rights. And we listened to Woody Guthrie, and Bob Dylan, and Joan Baez, and Pete Seeger, and Peter, Paul and Mary, and very soon to Arlo Guthrie who put it all together for us in Alice’s Restaurant . Today, we have another war and lots more violations of civil rights. And we’re beginning to hear new songs from Neil Young and Bruce Springsteen and many others. And once again, Arlo Guthrie’s special brand of folk music and storytelling are telling truth to power. I want to just say a few words of introduction, as if he needs one, of our guest before turning things over to tonight’s wonderful moderator, Dick Pleasants, who many of you know as the voice of New England Folk Radio, who comes to us from WUMB, the radio station of our sister institution which is right next door at UMass Boston. And I see our wonderful Chancellor Collins here in the front row. Arlo was born in Coney Island. [audience response] [laughter] Anybody else? [audience response] All right. There you go. He was the oldest son of Woody and Marjorie Guthrie. And his mother … we all know and love his father. And his mother was a professional dancer with the Martha Graham Company and the founder of the Committee to Combat Huntington’s Disease, which we all know tragically struck Woody down in the prime of his life. SINGING FOR JUSTICE 05.15.06 PAGE 4 Arlo grew up with a lot of musicians around; people like Pete Seeger and Ronnie Gilbert, and the Weavers, and Leadbelly, and Cisco Houston, and Ramblin’ Jack Elliott, Sonny Terry, Brownie McGhee, all of whom he says influenced him as he began to develop his own great talents. He also worked with other singer/songwriters and political social commentators like Bob Dylan and Joan Baez. He hit the big time at the Newport Folk Festival in 1967. And he’s been playing his guitar and harmonica and telling stories ever since. And you’ll see there’s some evidence of that right over to his left, fortunately, for us tonight, all over America and all over the world. But his home and his heart are right here in Massachusetts. We’ve had a little chat about that upstairs before coming down. And I know he loves to hang out in the Berkshires near his old church in Great Barrington that he made famous in Alice’s Restaurant . And several years ago, I’m sure you all know that Arlo bought the church and turned it into the headquarters of the Guthrie Center and Foundation that he’s dedicated to serving the community, protecting the environment, promoting healthcare and a cure for Huntington’s Disease, and preserving the world’s local cultures from the ravages of globalization. So it’s with great pleasure that I ask you to join me in welcoming to the stage of the Kennedy Library the great and incomparable Arlo Guthrie. [applause] MR. ARLO GUTHRIE: Thank you. SINGING FOR JUSTICE 05.15.06 PAGE 5 MR. DICK PLEASANTS: It’s great to have Arlo here. And it’s great to see you all here. And you should all stand up a little bit and get a little exercise because this is what we do at rallies. Just get up. MR. GUTHRIE: Can I stand up there? MR. PLEASANTS: Stand up. [laughter] MR. GUTHRIE: Cheer the sign. [A sign from audience member protesting the war -- applause] MR. PLEASANTS: I’d start into aweem away , but you wouldn’t like it. [laughter] Well Arlo, it’s great to see you. MR. GUTHRIE: Thank you. MR. PLEASANTS: And it’s been a long time since we last met, but always hear about what you’re doing, and doing great things. And one of the last things you did was the City of New Orleans trip. It was the trip down the Mississippi, via train, down to New Orleans, taking instruments down to players down there. And you had a cast of dozens there. MR. GUTHRIE: Yes, about 30 of us. MR. PLEASANTS: Thirty of you doing that. That must have been quite a trip. SINGING FOR JUSTICE 05.15.06 PAGE 6 MR. GUTHRIE: It was hell. But it was great. [laughter] MR. PLEASANTS: Raised a lot of instruments for the musicians there. MR. GUTHRIE: Well, you know, what we did was we were sitting around after the, well, during the Katrina disaster. And these days, you know, when you have something like that happening -- whether it’s a tsunami here or there, an earthquake, whatever it is, some kind of disaster going on -- you’ve got millions of people around the world who can tune in and sort of watch it, you know. So we were watching it. And we sent some cash into the Red Cross, you know, all that kind of stuff. And still, it’s still unfolding as time is going by, not just the natural disaster, but the sort of manmade one on top of it. And it just kept getting worse and worse. And you’re trying to wonder, you know, what’s happening here. And I was annoyed that I couldn’t actually think of something to do. I wasn’t in a position to actually do a whole hell of a lot. And then I thought, “You know what? Sometimes you have to do something anyhow. Sometimes you can’t wait around to get the great plan or the good idea. And you just have to do something anyhow.” So I called up my kids. Or I sent them, actually, a little email, said “What about this? What if we took the train, the City of New Orleans -- which Steve Goodman’s song did really well for us -- what if we took it from Chicago, and we went down to New Orleans, and we stopped along the way, and just did a couple of fundraisers or something with the intent of not trying to solve everybody’s SINGING FOR JUSTICE 05.15.06 PAGE 7 problem, but just get the musicians that had lost some instruments back into sort of a workable shape, somebody that lost a guitar or a horn or a piano, or something like that? And what about the little clubs?” You know, I started thinking, “We got our own … we got the church going.
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