P- Yeah, he does, but Victor hasn’t even talked to him in a while. He had an art show, his last art show, and he was in a wheelchair then. P- Oh God, and he didn’t know what he was doing, you know. There’s no desire in me to take from other people or to hurt them, but there is a desire in me to correct someone trying to knock me down. It’s probably there for all of us, we just don’t realize it, but the fact that you realize it’s always there? Because I write books and I have to sit my butt in a chair, but I do everything in this world to avoid that. P- There’s a chapter on my musical inspirations from Elvis to Dylan to Leonard Cohen to the band, Sparks…
Same thing happened with Zappa, was the opening drum fill to ‘Peaches en Regalia’. JW- Ohhh my God, I still play that over and over again. With both those guys, the drummer got me into them. Why did that ‘Moonlight on Vermont’ drum fill lead me more into Beefheart? JW- But it’s the structure of it, the conducting of it. I do understand the need for sexuality, the desire for sexuality, but there’s no desire for me to rob a bank. P- And you’re the final person in there because you are so special… P- God, but you’re doing just exactly what you should be doing. You’re just totally aligned with what you’re here to do.
JW- That’s the hard part too, when there’s not enough time for any of those things. [laughs] I don’t know a whole lot about that, but God it was amazing to watch him.
[laughs] But I don’t understand what’s the difference between that and looking to take from people and destroy them, sort of way. I always try to go there, always try to blow up things, you know. Or is it always there, or do you have to work at it? And I’m writing a fifth book, it’s about my spiritual life.
If you’re trying to push me down and walk all over me, there’s a desire in me to jump up and strangle. Is that something you have to go after, or does it just come to you? So then I finally sit there and say, okay I’m going to do this.
I want to put something new out there, that wasn’t already there, but not to take from anybody.
Walking the earth and taking, I don’t feel that desire at all. JW- I think it’s always there, yeah, it’s always there.
JW- I was in a band called the Go in Detroit, and the other guitar player came over and had the BBC documentary John Peel made about Beefheart. P- ‘Safe as Milk’ is one of the greatest underrated albums of all time. JW- The hard part for me, and I almost sort of need to go to therapy about it or something, is that I don’t really know how to enjoy it while it’s happening. [laughs] P- Perhaps you’re just so present to it, that you’re just living it at that moment. As a matter of fact, in between takes they yelled cut, and I actually went over and picked that cross up and held it, and came back and the director said, ‘no, no, you can’t do that, we already have this other guy doing it.’ And I said, ‘oh, I thought maybe we could take turns or something and whoever did the best take would be in the film.’ Showbiz, already showbiz. I’m just glad I got God out of all of that because I would hate to have waited until I was in my 30s to have discovered God, in whatever aspect. P- That’s exactly how I am, because I’ve experienced and experimented with every kind of spiritual way, ans I always come back to Jesus too, because of the same thing. P- Yeah, it’s so vast it’s impossible to comprehend JW- So that’s what compels me to him all the time. P- Do you think that you need to be a good person because of aligning with the God spirit? That’s a blessing too, just to have the opportunity to do some of that stuff. Before Son House, before Robert Johnson, he’s their dad.