Howard was in town for the San Francisco Film Festival, and we did a show there. And him and Howard actually hit it off pretty well. He spent the next couple days trying to find a place to get a good color Xerox of it, which in those days was sort of hard. I showed him that book, The ABCs of Pornography, and he just flipped out. No, it wasn’t aware of Howard Armstrong’s record even, it was so rare. You mentioned that the Crumb drawings share a similar style. Your first film, Louie Bluie, about Howard Armstrong, shows his illustrations. I thought somehow this was an interesting subject for a film. Everything was pretty much the same subject, the same sort of discussion. And then after dinner we went up to Charles’s room and talked, just like in the film. He didn’t say much we had dinner downstairs, they had spaghetti and Charles came down and ate. We went over there and his father was still alive at that point, who was a pretty scary guy. They’ll put us up, and we can look at the car in the morning.” So he made a call and set it up. Maybe we should just go there for the night. He said, “You know, my parents live within like five minutes of here, I haven’t seen them in years. It was getting to be around dark, and we didn’t know what to do. And on the way up there our car started having problems around Philadelphia. How much do you pay?” And we said, “Well, depends, you know.” He said, “Okay, I’m going to find some, come back here in an hour.” We went back to see him, and he had got a pile of records and he had broken a piece off the edge of each one because he thought that was what we wanted.Īnyway, we were on our way to New York after that to visit this guy that recorded our record with the Cheap Suits Serenaders, who lived not too far from here in the West Village. We would say, “You know, old records like this.” This one guy said, “I can get you all the records you want. It had a piece broken out of it, so we used it to take door to door because people didn’t know what we were talking about when we’d ask them for old records, they’d bring out Beatles LPs. He asked us what we were doing down there, and we said, ”We’re down here looking for old blues records, we collect, we like the music.” He paused for a second, looked at us, and said, “You boys must be Jews.” Anyway, we didn’t find any good records.Īt one point we actually broke a piece off, we had like a junk record. We’d knock on the doors and say, “Do you guys have any old blues records we could buy, these old Victrola records?” And at one point, a cop stopped us, the local sheriff. We found almost nothing we would go we would go door to door in older, Black neighborhoods that looked like people had lived there for a while. I used to be a printer at a comic book place, printed some of his covers and met him that way, and just became friends at some point, around 1975 maybe? We went on a record-hunting trip through the South, like in Mississippi, hoping there’d be Charley Patton records there, Robert Johnson, that kind of stuff. We were both interested in collecting records and that kind of old music. Since moving to San Francisco in the early 70s. Well, let’s see, God I’ve known him forever. I wondered if you could start by talking a bit about your friendship with Crumb? Wait, I have to take a picture to prove this. Everybody looks minimum regular to attractive here. The typical audience for my film is fat, bald, pasty white guys that smell like mothballs, that’s 90% of the people who show up at my films. Audiences out here are so different than anywhere else-for my films. ALIZA MA: Please welcome Terry, everyone.
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