A friend of mine told me last night at the Berkeley Old-Time Music Convention that I should listen to this. I have a few very minor corrections. First, it was not at the Freight & Salvage that I first heard Bruce play "Brothers and Sisters," though he did play it there and say that it was for me a couple of times. In 1996, the Festival of American Fiddle Tunes in Port Townsend celebrated its 20th anniversary with a two-week festival. Bruce played the tune there, and that is when I came up to him and said that I had belonged to the organization that produced the LP, Liberation Support Movement. I was not personally involved in its production. At that time, I had two copies, and I sold one to the late Paul Hofstetter, a luthier and guitarist and a friend of Bruce's. When LSM dissolved in 1981, we had LPs left, and we gave them to Paredon Records. I asked Barbara Dane about them a few years ago. She said they were in her basement and invited me to come over and look for them. I still have not done so. Incidentally, the first time that Bruce came to the Bay Area and played the Freight, I arranged for three radio interviews beforehand. When I phoned Sully Roddy, who then had a show on KSAN in San Francisco, she was playing Bruce on the air. I asked her if she would like to interview him, and she said yes. She told me that her brother-in-law, Jack Tuttle (father of Molly Tuttle), had heard Bruce play (probably in Port Townsend) and told her that she should listen to him.
I should add a couple of other things. The same photo that was on the cover of that LP, the Angolan freedom fighter with the baby and the gun, was on a poster that we distributed. An Ethiopian filmmaker, Haile Gerima, saw it and used it as a symbol of liberation in his 1979 film, "Bush Mama." Also, the late jazz bass player, Charlie Haden, saw some of our materials, and he printed a copy of a drawing of a button we produced for FRELIMO, the liberation movement in Mozambique, on the inside of an LP cover of one of his albums. When I visited Mozambique in 1979, FRELIMO members used that button for identification, and I saw a 6-foot high version painted on a school in Beira. I took a photo of it and gave it to the late Seattle artist, Selma Waldman, who had drawn it.
A friend of mine told me last night at the Berkeley Old-Time Music Convention that I should listen to this. I have a few very minor corrections. First, it was not at the Freight & Salvage that I first heard Bruce play "Brothers and Sisters," though he did play it there and say that it was for me a couple of times. In 1996, the Festival of American Fiddle Tunes in Port Townsend celebrated its 20th anniversary with a two-week festival. Bruce played the tune there, and that is when I came up to him and said that I had belonged to the organization that produced the LP, Liberation Support Movement. I was not personally involved in its production. At that time, I had two copies, and I sold one to the late Paul Hofstetter, a luthier and guitarist and a friend of Bruce's. When LSM dissolved in 1981, we had LPs left, and we gave them to Paredon Records. I asked Barbara Dane about them a few years ago. She said they were in her basement and invited me to come over and look for them. I still have not done so. Incidentally, the first time that Bruce came to the Bay Area and played the Freight, I arranged for three radio interviews beforehand. When I phoned Sully Roddy, who then had a show on KSAN in San Francisco, she was playing Bruce on the air. I asked her if she would like to interview him, and she said yes. She told me that her brother-in-law, Jack Tuttle (father of Molly Tuttle), had heard Bruce play (probably in Port Townsend) and told her that she should listen to him.
I should add a couple of other things. The same photo that was on the cover of that LP, the Angolan freedom fighter with the baby and the gun, was on a poster that we distributed. An Ethiopian filmmaker, Haile Gerima, saw it and used it as a symbol of liberation in his 1979 film, "Bush Mama." Also, the late jazz bass player, Charlie Haden, saw some of our materials, and he printed a copy of a drawing of a button we produced for FRELIMO, the liberation movement in Mozambique, on the inside of an LP cover of one of his albums. When I visited Mozambique in 1979, FRELIMO members used that button for identification, and I saw a 6-foot high version painted on a school in Beira. I took a photo of it and gave it to the late Seattle artist, Selma Waldman, who had drawn it.
Wow, thanks for all the details Steve!! Really appreciate you
This is neat. Would Bruce have met Livingston Taylor at Berkeley School of Music? He’s WS in ‘68 or so. Amazing guitar player.