Louder Than Love-The Grande Ballroom Story
Tony D’Annunzio Producer/Director
Louder Than Love is a film that needed to be made. It is a
documentary that is both natural and stylized using film, photos and interviews
with some of the major figures involved with the Grande Ballroom from 1966 -
1970. It has a gutsy realism that documents a time of upheaval in the American zeitgeist,
a blip in the cheesy processed culture that relied on conformity and the
ascendance of the status quo. It seemed that millions of young campus radicals
across the country believed America needed a major overhaul. Music became a
guiding force that seemed to influence every stratum of our society. It was a
time of unrest, fueled by a burgeoning class of people from every race, creed
and color who dared to challenge the idea of normalcy. The civil rights
movement inspired the Black Panther Party, women’s liberation and children’s
rights. John Sinclair’s White Panther radicalism created the scaffolding for
the MC5 to explore new forms of industrial music and free speech. It was a time of change when freedom of
expression took on a brand new hue and cry. It was most evident in the ascendance
Rock Music as an art form on par with the classical masters. Bach and Beethoven
moved aside for the Beatles, Dylan and the Stones. For many the era signaled a
crisis of materialism and the emptiness of the acquisition of wealth. It was a
transformative era of spiritual awakening, our first experience of romantic
love and beauty.
D’Annunzio has
awakened a sleeping beast, the remnants of our better selves before the rot set
in. We aged but we did not forget. The release of this film is a sweet validation
of our capacity to embrace life in the moment, to be free from the invisible
shackles of a failed and punitive state and rediscover the soundtrack of our
youth. It is louder than love.
Tony D’Annunzio is a renaissance man with a sense of honor
and purpose. His commitment to the Louder Than Love project was impenetrable.
D’Annunzio never for a second gave up his dream even at the worst of times when
he was ignored or when he faced uncertain cross roads. He is man who can smile
broadly and mean it. He can belly laugh out loud and get you laughing with him.
He has been around the world but will talk to you like the guy next door
cutting the grass and taking out the trash. He never gets chesty with a false
sense of importance and he will never shoot you down with a bullet of bourgeois
snootiness. He is a self-made man; his father’s son. He is a force of nature
and that’s what it took to make this film happen
I’ve read that you
have over 22 years of network TV including all the major networks and VH1, MTV,
MSNBC, Fox. You have a diverse resume, music, arts, and politics. Can you tell
me about some of the experiences in television that prepared you for producing
and directing this massive historical project like “Louder Than Love?”
Sure. The experiences that I’ve had over the last 22 years
have all kind of brought me to this point of making my own documentary. I got
into this business 22 years ago. I was 20 years old, and I got in to it because
of my love for music and my love for sports. I was at school, in college, and I
just didn’t know where I wanted to go, and I found this career path. It
instantly gave me incredible drive that I didn’t even know I had in me. My dad
had always said to me If you find something you like, you’ll never work a day
in your life. I can honestly say I’ve never worked a day in my life. I love
what I do, and my love for my job has made me able to be part of some of the
biggest productions in the world because of it. I don’t want to toot my own
horn, but six of the last seven presidents I’ve worked on Super Bowls, on the
NBA championships, I’ve worked with the Rolling Stones, I’ve worked with the
Who, doing commercials for them, I’ve helped design the presentation and the
stage that brought the Super Bowl to Detroit. We had an audience of 32 NFL
owners in Atlanta, Georgia, and we brought our
presentation down. We sold the NFL owners that chartered our place to have the
Super Bowl. There’s a lot more productions that I’ve done over the last 22
years that have been all world class. It was at the 20 year mark that I
realized how incredible my life had been because of this, because of my job. I
was talking to one of my dear friends that I went to broadcasting school with.
He got into radio, I got into television. He works for WIN in Detroit. He was able to meet and interview
some of his biggest icons, and we shared that commonality through our lives. He
said, “What haven’t you done?” At that point I finally realized, wow, I had
done everything I said I would do. So I
think the answer to your question is the 22 years of experience led me to
realize that I can do what I wanted to do originally, and I’m fortunate enough
to have the ways and means to do it. Because of my love for music and because
of the documentaries I knew it would take some time, so I wanted to find
subject matter that would be interesting, and that subject ended up being the
Grande Ballroom.
Did you speak to Michael Moore at all? He’s a Flint
native.
You know, it’s funny because I worked with Michael for the
last four or five years. He would request our crew to shoot this stuff for CNN,
for HBO. I worked with him 20, 25 times over the last 20 years - always been
very nice. You know what’s weird about that is that even while I was doing this
production I was always hesitant to cross that line of my side project with my
day job. It’s not until recently that I realized that this side project is
pretty substantial, and it’s more than just a little film that’s going to come
out. It’s going to have some power in it. Even in working with Michael, I never
announced that “Hey, I’ve been doing this project. Would you be interested?”
One time I gave one of his assistants a trailer and said if he had the time to
look at it, please take a look at it. Within the last few months I’ve been
contacted by him and the programmer from the Traverse City Film Festival.
They’ve got the finished work in front of them, and
hopefully it will be submitted and shown in Traverse City. It wasn’t until I was really
far down the path with the movie that I realized that he grew up in Flint with
rock and roll and was a DJ there, and he knew all these people that I’m talking
about. It probably would have been a really great interview for this project.
It’s unfortunate I never really made the connection.
Was there anyone who inspired you during this time in life,
during the network TV time?
Oh, gosh. Yeah. You know my entire adult life has been in
production. These are people that I call friend. These are people who are not
only my friends, but friends of my family, that know my kids. One thing you
have to realize, Bo, is that when I got into production, this was the late ‘80s
there were only three major networks, ABC, NBC, and CBS. Fox wasn’t even really
a network at that point. Cable was coming on, but it wasn’t a 24-hour thing. It
might be on for five or six hours and then it would have pay TV, a phone-in or
something. When I came into this, I was young and cable was young, and so I was
working for a network like MTV when they showed music videos.
Did you have a
mentor?
Yes - Woody Robertson.
He became one of my nearest and dearest friends. Woody passed away
recently. He had been in the business since 1963 and started with the ABC
affiliate in Washington, DC. He
took me under his wings, and we were doing Lions football games back in the
late ‘80s, early ‘90s. He was the director. He was not only a director for
sports, but he did music videos, and broadcast television, and documentaries.
He treated everyone as an equal. There wasn’t a hierarchy, of well, you’re just
a PA. Everybody was involved. He’s one of many people that I was able to meet
and that got me along the way. It was probably about five years ago when I
worked on a documentary for Discovery that was called “Future Car,” and it was
actually a pretty well received documentary. It was then I realized that a long
format project was something I really wanted to do on my own, and some of the
people that I worked with on that. It’s kind of wild because, like I said, I
don’t feel I’ve ever worked a day in my life and yet I’ve done some of the most
amazing productions. It takes moments like this, though, where I think back and
think, wow, I could spend weeks telling you all the productions I was on and
all the people because each one had an amazing story too. Twelve, fifteen,
sixteen hours, maybe even more, a day doing these productions, you really
become part of a family when you’re doing this. It’s been an amazing road, and
I’m really blessed to have been a part of it. I’m grateful. It’s a labor of
love instead of a 9 to 5 job.
The production community here in Detroit is rather large,
but I’ve been fortunate enough where one company I worked for had an office in
Vegas. I worked all over the world doing production and as I said, at a higher
level. So I’ve always worked with the upper echelon of producers and production
people other than cam operators and lighting directors and whatever. The common
thread is that no one is in this business to fail and if you don’t come into it
with a team mentality, things are not going to get done right. You have to be a
people person, you have to be creative, and you have to be willing to put your
time in to get the job done. I’ve been fortunate enough to work with some of
the best in the business, and like I said, the people I work with are called
friends too. To me, that is the one thing that I take out of all this. They’re
not only just co-workers. They are people that I would like to call up and have
a beer with. That’s how much I enjoy their company.
Is there an
experience that stood out for you back in your time in television? Any one
thing in particular that just blew you away? Like being part of a particular
movie or show or documentary.
Wow. You know, this is how I’ll put that. I’ve been married
for 13 years now to the point that when I come home, I barely even talk about
work because I’m so excited to see my kids and my wife and stuff. My wife and I
will be at a dinner party and someone will say, “Oh, what have you done?” And any given week…Like for instance, this
last week I interviewed Mitt Romney and Santorum; tomorrow I leave for
Milwaukee for a basketball game. I did the Red Wings game last week. This is
all stuff I’ve done in the last five days.
You know what I mean. And so I’ll start telling people about
it and they’ll be like “holy shit.” The funny part about this is I’ve kept all
my passes, my laminates, ticket stubs, and all this stuff. I went to school
here in Southfield and I give back every once in a while. They do this thing where
they’ll bring in someone who graduated
and they’ll bring me out and they’ll say, “Tony’s been in the business for 20
years,” and I don’t even say anything. I just bring out my box full of
laminates, and I just dump them on the table. I’ll pull them out and I’ll go,
“This is when I met President Ford, this is when I was on the field at the
Super Bowl, and this is when I did a commercial for the Rolling Stones,” - and so it’s my life - in passes and
laminates. I think the one thing that sticks out for me because it’s so
personal is that I met my wife there was a festival years ago called the Horn
Festival which was a part of the Blues Traveler, the Black Crowes tour. I met
my wife during the tour and so that changed my life. I’m happily married and
I’ve two beautiful kids and a beautiful house, so that to me is the most but it
isn’t glamorous or high profile.
I was at the
acceptance speech for Obama at Grant Park when he won…the first
African-American president of the United States of America. I’ve been in the
locker room in the World Series. I drank out of the Stanley Cup and I’ve been
on the stage with the Rolling Stones. You know, I’m living’ the dream. I don’t
want to make it sound like I’m bragging, but all this stuff has brought me to
the point where I’m at today. If I would have tried to make a project of this
nature back 20 years ago when I first started, it probably would have been a
good project and fun to watch but it was all the production I’ve done and all
the experiences I’ve had that have allowed me to make this movie. Although this
has been a self-funded, independent project, when people see this they are
going to be blow away at how beautiful it was shot, how beautiful it ended.
I’m just excited to show people because everything I’ve done
to this point even has added to what I’m doing now. They were all important.
But the most memorable event would be when I met my wife. That’s really changed
my world.
Love is more important than anything else.
Yeah, you know you’ve got nothing without it because I
wouldn’t be able to share this with anybody, you know. My daughter’s 11 and my
son’s 8. When I started doing this, I actually made a conscious effort because
I saw my daughter, my son in school, you know, learning to read, learning to
write, and realizing that at every point in your life you’ve got to challenge
yourself. Twenty years into the business I was running out of challenges. I
couldn’t have picked a worse time in the economy to make a project of this
nature because nobody wanted to help fund it or help sponsor it. This was all
self-funded. It was all done on my own dime, on my own time, but I challenged
myself because I think that everybody, no matter where we are financially you
need to challenge yourself. That in and of itself will bring about good. I saw
this in my kids. I saw my son struggle with learning to read for a little bit.
I saw when the light bulb when on, and he realized that, “Wow, I can do this.”
So think that everybody needs to challenge themselves, even if they’ve been in
the business for 10 years, 20 years because it’s important that we do that, you
know. I think that’s only going to make you better.
To tackle this
massive project, you must be a music lover. What music inspired you during your
formative years?
Well, my memories are built around music. When I hear a
song, it brings me to a point. I grew up in a big Italian family on the east
side of Detroit and music was part of the day. My dad had Dean Martin, Frank
Sinatra and Glen Miller records. He got married and had kids when he was older,
so this was late ‘60s. My dad wasn’t a hippie; he was old school - World War
II, Dean Martin, and that kind of stuff. My uncles all played accordion or
piano or whatever, and whenever the family got together there was always music.
I remember when my brother put on a Beatles album, and I’d never heard anything
like this was blown away by it. I was only six years old. What really blew me
was the Rolling Stones. Because for me the Beatles were great but the Stones
were grittier and dirtier, and there was something about that I liked. The
Rolling Stones turned me on to Aerosmith; who turned me on to Ted Nugent who
turned me on to Zeppelin - then going backwards and listening to Chuck Barry
and some of the blues that the Stones had done. It was just amazing. I can
remember being down in the basement with my cousins and I can picture the
needle going on the record - We Sold Our Souls for Rock and Roll was playing.
The first time I heard Black Sabbath I almost shit my pants because I’d never
heard music this heavy.
As a music lover when you find that band that you’re into,
you start searching out. “Well, who influenced them?” There’s got to be some
point where it originated. As I started doing that, all signs started pointing
towards Detroit, you know, that Grande era with heavier rock and roll. It was a
product of Motown - that can’t be
denied, a huge influence here in Detroit. There was this big influence of rock
and roll that was going on that had a groove to it, you know Mitch Ryder. Maybe
that’s the beginning of it all or Jack Scott, if you want to go back a little
but farther.
Oh, yeah, Jack
Scott’s great
It seemed like the Grande gave people a place to do their
own thing, to play their own music. I think up until that point there were a
lot of people just being cover bands, doing the Rolling Stones, doing the
Beatles, and whatever was coming down the pipe. I think the Grande inspired a
lot of people. Russ Gibb was incredible - so open to whatever acts were
happening in this time was , and it was a very tumultuous time, the strife, the
riots. What really blows me away is that whenever I ask people about the
Grande, I can see their eyes well up and they go back to this place in Detroit.
We’re talking riots, Vietnam - nothing good yet there was this moment of
happiness, this sense that it was the best time of their lives and it was all
associated with music and the culture around it.
So the Grande let you do this stuff. You can have long hair;
you can go to listen to this music. It was like, “Wow, there’s other people
like me.” There’s people in Flint,
Traverse City, Holly and wherever. It
wasn’t just in Detroit. It was an urban Michigan thing that was happening.
Yeah, it was a time
when great music, new music like the MC5. They played my senior party in high
school in 1970. There was great music all over the place. The Michigan bands
that played the Grande played Daniel’s Den, for instance. There were great
venues all over the state. Kids had a chance to listen to music in a way that
hasn’t been that readily accessible since.
I wonder why the Grande ascended to the top.
You know, I don’t think it was actually a climb to the top.
I think that from what I’m seeing, it was the first of many. I think it was
because it was Detroit. It was Detroit-based. I think that the other clubs
you’re talking about all had their own little place. I think that what happened
for the Grande, was, first of all, the one thing that really sticks out for the
Grande was built was a ballroom in the ‘20s, so the sound and size of the
place, from the way I understand it and the tapes that I’ve heard, it was made for just a live, big band. I’ve met
people much smarter than me think that the sound inside there was kind of like
being inside of a Stradivarius or a really well-made guitar. It was
acoustically perfect.
So if you were a good band in the Grande, you sounded great.
If you were a great band inside the Grande, you sounded incredible. Because of
that, it motivated you. Because this was the beginning of electrification, you
know, a lot of these places you’re talking about were kind of clubs in their
own right, you know. I can see that being a big thing as far as the sound
systems back in the day where, you know, it was probably hit or miss, what you
were coming up against. If you had a place that was acoustically perfect and
sounded good, you know, I think that helped it quite a bit. I think the fact
was that Russ was allowing bands to be so free. You know, you didn’t really
book any cover bands there. They were looking for new acts that were playing
their own music. I mean they didn’t mind if you did a cover song, but if you’re
doing a cover song, you better do it in your own style. You know what I mean.
You hear Motor City Burning from MC5, that’s Johnny Lee Humbert, too. I don’t
know – two different songs as far as I’m concerned - both great; both
incredible. The other clubs that you’re talking about I think are somewhat
obscure today.
Did you ever feel
like giving up, with all the people not invested?
There was no chance of giving up when I went into this
project. I gave myself three to five years. I finished it in four, so I was on
my time schedule. This was something that was going to get done, and I was
going to do it. Now whether it’s well received, now that’s a whole different
story. I was able to finish it. The one thing I’m very proud of is that it
ended up being on my own terms. There were moments during this time when I
thought that I needed money to do this, I needed grants; I needed sponsorships.
When the doors were closed on those things, it was never a frustrating moment.
It was more of a realization that this needs to be done, and it’s going to be
done by me. It’s not supposed to be done by anybody else. There’s no supposed
to be any corporate sponsorship for this. There isn’t supposed to be a grant
that’s going to come down from heaven or a bag of money that I’m going to find
on the street. This is just going to get done on my own terms.
I spent 45 minutes on a bus with BB King and talked to him
about music and about Detroit. I spent almost an hour with Roger Daltrey
backstage talking about music and about Detroit. I spent time with Alice Cooper
and Ted Nugent talking about this. I was blown away that they accepted my
interview but then I was even more blown away when most of them said, “We’ll
give you 10 minutes; we’ll give you 15 minutes.” I would look down at my watch, kind of off to
the side and thought, “Holy shit. I’ve been here 45 minutes.” These people
really wanted to talk to me about it. I’m almost to a fault honest about the
project. You know, this isn’t sold to MTV, I don’t have the escrow release form
while I was making it. They heard about the movie, they saw the passion that I
put into the trailer, and they realized that the Grande meant enough in their
lives that they were going to give me time out of their lives to talk about it.
I was never discouraged.
Your passion is
clear, and maybe that’s what turned on all these artists, that you could be so
committed to your craft
The thing I realized through doing this was that, again,
this came down from 20 years of being in the business is that I know what it
takes to get these things done. I’m very meticulous when it comes to
production, and I’m not going to sugarcoat anything. I know when people are
touring, you have your couple of minutes of when you can do this, and so in order
to get this job done right you have to talk the talk and speak the speak. If
you’re not passionate about it, you know, just like any other human, you can
sense fear and realize that “Maybe this guy really doesn’t want this
interview.” That’s all I had to sell was the passion for this project, and so
it became a lot easier once I had a trailer that I could show people because in
this day and age, much like you contacting me, it doesn’t take much to get in
contact with anybody today. You’re four clicks away on the computer, you know,
from getting pretty much anybody, you know, their email address or their cell
phone number and being able to talk to them for five to ten minutes. It’s just
a matter of what are you going to do with that five or ten minutes? Is it going
to be time wasted on their end, or are they going to want to talk?
Did you do cold
calls?
No. I made sure that it was defined as far as what the
process was, and that I’m an independent producer of a film and I’ve got a
project and here is my storyline. Everything was done top-notch, professional.
Because of the Internet, because of the computer and cell phones, everybody has
their own printing press. So I’m finding today that some bloggers have more
power than columnists from the New York Times because of the impact that they
have, so you can’t take for granted what someone is going to do or say. I was
going to do this project. In my opinion, John Sinclair, Russ Gibb, Roger
Daltrey, Wayne Kramer, any of these individuals could have their own story told
about them that would be phenomenal in its own right.
Tony, how are you
preparing yourself for the premier of Louder Than Love?
I can see myself inside the theater. It’s like not even
looking at the screen, just looking at the people, at the audience and seeing
their reactions because I’ve watched this movie like 400 times already. I just
wanted to see what people’s reaction to it is. I’m very excited about this
film.
I think they’ll freak
out and love it. It just brings us back to a time when things were a little bit
different and music mattered, and there was a civil liberties movement. There
were some freedoms then that we don’t have now. It really resonates with me.
How have people reacted to your project – were they supportive?
Yes, very supportive, though some folks were miffed. They
were like, “Who do you think you are to do this? You aren’t even old enough to
go to the Grande. I thought, “Really, are you old enough to go there?” It’s
kind of like saying, you know, to not have a story about anything in history. I
mean, why would you not want to tell a story like this. Because I wasn’t part
of it doesn’t mean I can’t tell the story. That’s not even a good reason at
all. I mean Ken Burns spent his career doing these incredible documentaries about
stuff that I’m dying to know about. You don’t have anybody from the Civil War
to talk about it. So when people are saying, “You didn’t go there, you didn’t
know or anything.” “You’re right. I didn’t know, but I’m willing to find out,
and I’m going to try to find out the best that I can. I’m going to tell, in my
opinion, the best story I can. If you don’t like it, this gives other people an
opportunity to go make their own movie.
This is such a
massive project. It’s historical. It just clicks for me in every which way
because I’m a music lover, and some of the best music in the world was there as
you know. Did you have any trouble getting footage for the film, you know,
footage of the period, time?
In the late 60s, early ‘70s, they used movie cameras, you
know those big 8 mm and 16 mm cameras,
it was an event just to take one out. So that was a bit of a challenge.
It was amazing once things started rolling and people started realizing what I
was doing – it’s the beauty of the internet. I had great folks from the media
support me with this project. I have a Facebook page that got a lot of people
interested in the film and they started contacting me. “Hey, I’ve got this
footage, I’ve got these pictures, hey I know so-and-so.” Things started coming
together because of it. The footage I have of the Who at the Grande is
incredible. They performed “Tommy”, it’s only three minutes but it has never
been seen before.
Tom Wright, the Who’s
manager, ended up as the manager of the Grande! He actually recorded the original
Tommy concert. He gave me a cassette of Pete Townsend explaining what they were
going to hear. You know, nobody knew what Tommy was about. In the movie you
hear Pete Townsend explaining what this is about. To me it’s chilling because
nowadays we know what it’s about but you don’t know…this was like - what the
hell is a rock opera? Today we consider almost any form of music to have
something conceptual – but back then it was unheard of, especially from a band
like the Who that was a three-minute pop-song kind of band that was doing great
music but nothing in a long format conceptual thing. It was the first time
that’s seen.
Did you use other
media to capture the essence of the Grande?
I have probably 500
archival photos, black and white, color pictures of bands like the MC5, Iron
Butterfly, Led Zeppelin, Nugent, Chuck Berry, and Fleetwood Mac with Peter
Green. One night John Mayall & the Bluesbreakers were playing, Cream was
playing at Olympia and after the show Clapton came over and played with the Bluesbreakers
- we have photos of that. I’ve got a lot of great stuff from the MC5. The
daughter of the promoter and organizer for Goose Lake gave me a lot of great
pictures. We worked out a licensing deal where she allowed me to use photos for
the film. A lot of that stuff has never
been seen. I think people are really going to be blown away by the amount of
research I’ve done, the songs that are involved with it, the licensed songs I
got. I could have gone a hundred different ways. When I originally sat down
with this it was a trade story - so it’s
all Detroit bands, not only MC5 but SRC, Savage Grace, Jagged Edge, as well as
lesser known bands. Dick Wagner recorded a new song with Jimmy McCarty that we
used for the final credits of the movie. He hadn’t written or recorded a song
an original song in almost seven or eight years and he gave it to me!
Did you have much
help in putting it all together?
One of the things I do want everyone to know is that as much
as I’ve done for this project, I’m not an army of one. The ending was all done
by Karl Rausch. He and I worked together on this project from day one. He saw
my vision and I told him how I wanted some things, but he brought to life. I’ve
been in production long enough where I shot most of the interviews but I had
friends in the business that came out and shot some of them. I had one of my
dear friends at Oakland University, Dr. Jason Schmidt do the interviews, the
actual eye camera interviews while I was worried about the technical side of
things, the cameras, the lighting, and things like that. I didn’t want to be
overwhelmed by trying to come in with a camera and do everything myself. I knew
enough because of my production background to bring in a nice-size crew for all
this stuff. So inasmuch as it was my passion, other people in the production
community believed in me enough to take time out of their lives. I was very
straightforward. Hey, I have no budget
for this, but would you like to go meet Flash, or would you like to go meet
Slash, or would you like to go meet Ted Nugent, and so that was a little
carrot. I was very straightforward with people. Like I don’t know where this
project is going to go, but if you’d help me out, I’d really appreciate it. I
was definitely a labor of love on my own, but I had other people.
Where will you be showing Louder than Love?
These are the dates that we have lined up so far: Thursday
April 5th at the Detroit Art and Film Theater here in Detroit; Monday April 9th
at the Michigan Theater in Ann Arbor, part of Martin Van Dyke’s movie series.
I’ve been accepted to do the Chicago Film Festival which is April 12-15 and
then it was accepted to the Nation Film Festival on April 19-26 and the
Nashville Film Festival April 21st. I’ve been contacted by the Rock
and Roll Hall of Fame and we’re looking at a screening date there at the
beginning of May. There are some strong possibilities of the Traverse City one
and a Mill Valley one in San Francisco as well as I just got sent out for
Sidney’s film festival in San Francisco. So there are quite a few…once the
first one gets out there, the other festivals kind of look at what’s going on.
So I’m kind of setting myself up for film festivals that are music and
documentary related so that I can get the audience. Different film festivals
have different themes, and so you can’t just go to all the film festivals. There
are some that are more for narrative; there are some that are for animation; there
are some that are foreign film documentaries. There are literally thousands of
festivals nowadays. People have really embraced independent film-making and
taken it to a different level, so I’m really overwhelmed by the choices I have.
Hopefully once the word gets out, it will kind of snowball and that’s what I’m
anticipating.
What I’ve done in the last couple of years is appreciate
that you can challenge yourself to do anything you want, no matter where you’re
at in life. I honestly believe that
I believe it too. It
was so nice talking to you. You’re so gracious.
When are we going to start this interview?
Yeah, I know. It’s
just been way too much fun.
Peace
Bo White
