WEBVTT 00:00:00.000 --> 00:00:02.850 align:middle line:84% So I think going to leave it here, 00:00:02.850 --> 00:00:06.690 align:middle line:84% and we have overextended ourselves. 00:00:06.690 --> 00:00:09.930 align:middle line:84% But if people have questions, I'll be happy to take them, 00:00:09.930 --> 00:00:12.780 align:middle line:90% or not, as the case may be. 00:00:12.780 --> 00:00:19.160 align:middle line:90% 00:00:19.160 --> 00:00:21.700 align:middle line:84% I'm really glad that you mentioned 00:00:21.700 --> 00:00:25.540 align:middle line:84% the importance of Apollinaire to the New York School. 00:00:25.540 --> 00:00:28.930 align:middle line:84% I don't think O'Hara would exist in the form he's 00:00:28.930 --> 00:00:31.810 align:middle line:90% in without Apollinaire. 00:00:31.810 --> 00:00:36.820 align:middle line:84% Do you see a specific poem or poems in O'Hara's poem, 00:00:36.820 --> 00:00:40.180 align:middle line:84% like the one that you start with, 00:00:40.180 --> 00:00:46.030 align:middle line:84% seems to come out of the poem, "Little blue car, 00:00:46.030 --> 00:00:46.735 align:middle line:90% little red car." 00:00:46.735 --> 00:00:50.770 align:middle line:90% 00:00:50.770 --> 00:00:55.030 align:middle line:84% Yeah, there's that poem about going to Deauville. 00:00:55.030 --> 00:00:59.780 align:middle line:84% And also, I mean, "Zone," for all of these poets, 00:00:59.780 --> 00:01:03.580 align:middle line:84% "Zone" is a very long poem by Apollinaire 00:01:03.580 --> 00:01:05.770 align:middle line:84% which has been much translated by various people, 00:01:05.770 --> 00:01:09.100 align:middle line:84% and influenced various people in very, very different ways. 00:01:09.100 --> 00:01:11.047 align:middle line:84% I mean, Merwin in some ways, Ginsberg 00:01:11.047 --> 00:01:12.880 align:middle line:84% is influenced in a completely different way. 00:01:12.880 --> 00:01:15.240 align:middle line:84% Ginsberg has a great poem-- so the whole, 00:01:15.240 --> 00:01:19.360 align:middle line:84% Apollinaire's Alcools is one of the great foundational 00:01:19.360 --> 00:01:21.580 align:middle line:90% documents of the 20th century. 00:01:21.580 --> 00:01:23.440 align:middle line:84% And it has a wonderful sort of spirit to it. 00:01:23.440 --> 00:01:25.440 align:middle line:84% I mean, the other thing about all of these poets 00:01:25.440 --> 00:01:28.180 align:middle line:84% is that-- the New York School poets, and Apollinaire 00:01:28.180 --> 00:01:30.940 align:middle line:84% and many of these French writers, were urban poets. 00:01:30.940 --> 00:01:33.490 align:middle line:84% They wanted to celebrate the urban. 00:01:33.490 --> 00:01:38.560 align:middle line:84% And in a sense, American poetry of the mid-1950s, mainstream 00:01:38.560 --> 00:01:42.250 align:middle line:84% poetry, is not a poetry that's capable of doing that, 00:01:42.250 --> 00:01:43.840 align:middle line:90% or interested in doing it. 00:01:43.840 --> 00:01:46.300 align:middle line:84% Much of it's still very much located 00:01:46.300 --> 00:01:48.400 align:middle line:84% in a kind of English pastoral tradition, 00:01:48.400 --> 00:01:52.810 align:middle line:84% or very influenced by that lyric pastoral tradition. 00:01:52.810 --> 00:01:55.540 align:middle line:84% And so, again, part of the risk taking of the project 00:01:55.540 --> 00:01:59.140 align:middle line:84% is simply saying, hey, this is urban life. 00:01:59.140 --> 00:02:02.350 align:middle line:90% It's not ugly to us. 00:02:02.350 --> 00:02:06.010 align:middle line:84% The cities were viewed as dangerous places, 00:02:06.010 --> 00:02:07.750 align:middle line:90% increasingly so. 00:02:07.750 --> 00:02:11.200 align:middle line:84% The people who lived in them, who slept in them, 00:02:11.200 --> 00:02:13.695 align:middle line:90% were weird and strange. 00:02:13.695 --> 00:02:16.840 align:middle line:90% 00:02:16.840 --> 00:02:21.040 align:middle line:84% So yeah, so definitely, Apollinaire, for sure. 00:02:21.040 --> 00:02:23.730 align:middle line:90% 00:02:23.730 --> 00:02:28.170 align:middle line:84% It's a tiny point, but when Creeley read "Heroes," 00:02:28.170 --> 00:02:34.830 align:middle line:84% he added the word "all" in all those stories in "Heroes." 00:02:34.830 --> 00:02:37.870 align:middle line:84% And I didn't know whether he just 00:02:37.870 --> 00:02:41.920 align:middle line:84% did what we all sometimes do when we're reading a poem, 00:02:41.920 --> 00:02:44.530 align:middle line:84% or whether it was a word he took out 00:02:44.530 --> 00:02:46.540 align:middle line:90% and this is the final version. 00:02:46.540 --> 00:02:47.980 align:middle line:90% I think that this-- 00:02:47.980 --> 00:02:51.020 align:middle line:90% I'm not sure where I got this. 00:02:51.020 --> 00:02:56.920 align:middle line:84% I do remember, I got this from a website, a blog 00:02:56.920 --> 00:03:02.020 align:middle line:84% that Tom Clark runs, and just kind of copied it. 00:03:02.020 --> 00:03:04.510 align:middle line:84% But I think that he must have typed it in wrong, because it 00:03:04.510 --> 00:03:06.790 align:middle line:90% is actually all those stories. 00:03:06.790 --> 00:03:11.600 align:middle line:90% Yeah, that's the accurate thing. 00:03:11.600 --> 00:03:16.730 align:middle line:84% Just a comment to sort of tie a circle here. 00:03:16.730 --> 00:03:18.400 align:middle line:84% I love what you said, again, death 00:03:18.400 --> 00:03:20.990 align:middle line:90% is the summoner of poetry. 00:03:20.990 --> 00:03:22.150 align:middle line:90% I believe that's true. 00:03:22.150 --> 00:03:26.530 align:middle line:84% And coming to the Koch poem, sort of two things 00:03:26.530 --> 00:03:28.540 align:middle line:84% are outside the poem that informed 00:03:28.540 --> 00:03:33.230 align:middle line:84% my sense of the poem, one, that he is dying as he writes this. 00:03:33.230 --> 00:03:35.210 align:middle line:84% But the other is the way Delmore Schwartz 00:03:35.210 --> 00:03:37.730 align:middle line:84% dies, because Delmore Schwartz does not die a pretty death. 00:03:37.730 --> 00:03:40.160 align:middle line:84% He dies impoverished in a hotel room 00:03:40.160 --> 00:03:41.690 align:middle line:84% and he's lying there for God knows 00:03:41.690 --> 00:03:44.040 align:middle line:84% how long, a week or something, before anyone finds him. 00:03:44.040 --> 00:03:47.390 align:middle line:84% It's a terrible death of a poet who was celebrated, 00:03:47.390 --> 00:03:49.140 align:middle line:84% supposed to be the superstar [INAUDIBLE].. 00:03:49.140 --> 00:03:50.840 align:middle line:84% Humboldt's Gift, the great novel, 00:03:50.840 --> 00:03:52.910 align:middle line:90% was based on Delmore Schwartz. 00:03:52.910 --> 00:03:54.650 align:middle line:90% So it's a tragic poetic life. 00:03:54.650 --> 00:03:56.780 align:middle line:84% So those two things outside of the poem 00:03:56.780 --> 00:04:00.590 align:middle line:84% really make me feel the last line. 00:04:00.590 --> 00:04:02.270 align:middle line:84% "People say, yes everyone is dying, 00:04:02.270 --> 00:04:04.190 align:middle line:84% but here read this happy book on the subject." 00:04:04.190 --> 00:04:08.750 align:middle line:84% The American way, come on, it's no help, it's just death. 00:04:08.750 --> 00:04:11.600 align:middle line:84% But then the move, "But here, read this happy book 00:04:11.600 --> 00:04:13.400 align:middle line:90% on the subject, not Delmore." 00:04:13.400 --> 00:04:18.935 align:middle line:84% It's just like it's Koch's way of seeing, 00:04:18.935 --> 00:04:23.330 align:middle line:84% being present too, through the person of Delmore, 00:04:23.330 --> 00:04:25.910 align:middle line:84% rather than saying, I must raise my own death, 00:04:25.910 --> 00:04:28.670 align:middle line:84% Delmore becomes the figure through which his presence, 00:04:28.670 --> 00:04:30.750 align:middle line:90% what is occurring happens. 00:04:30.750 --> 00:04:34.910 align:middle line:84% That last line it's just beautiful. 00:04:34.910 --> 00:04:40.580 align:middle line:84% Yeah, the sort of volta of when the turn takes place. 00:04:40.580 --> 00:04:42.830 align:middle line:84% "Not Delmore, not that rueful man," 00:04:42.830 --> 00:04:44.600 align:middle line:84% I mean, it's just a great example of how 00:04:44.600 --> 00:04:48.500 align:middle line:84% moving to a very different syntax and sentence phrasing 00:04:48.500 --> 00:04:51.590 align:middle line:84% suddenly changes the tonal value. 00:04:51.590 --> 00:04:55.610 align:middle line:84% And there's so much going on at subtonal levels 00:04:55.610 --> 00:04:56.840 align:middle line:90% and in all of these poems. 00:04:56.840 --> 00:04:58.903 align:middle line:84% But in this one in particular-- and yeah, 00:04:58.903 --> 00:04:59.820 align:middle line:90% I liked what you said. 00:04:59.820 --> 00:05:02.392 align:middle line:84% I mean, there was a sort of honesty-- 00:05:02.392 --> 00:05:04.100 align:middle line:84% one of the virtues of the New York School 00:05:04.100 --> 00:05:13.310 align:middle line:84% is a sort of honesty, a sort of commitment not 00:05:13.310 --> 00:05:17.060 align:middle line:84% to achieve transcendence through language 00:05:17.060 --> 00:05:23.780 align:middle line:84% cheaply, but to look at something 00:05:23.780 --> 00:05:29.810 align:middle line:84% and to see what it is in itself, and what it has to do with you. 00:05:29.810 --> 00:05:34.130 align:middle line:84% And I, too, like what he does with Schwartz, 00:05:34.130 --> 00:05:35.990 align:middle line:90% who was a really tragic figure. 00:05:35.990 --> 00:05:38.030 align:middle line:84% But in a way, he treats them as a sort of-- 00:05:38.030 --> 00:05:40.490 align:middle line:84% he's almost like a slapstick figure. 00:05:40.490 --> 00:05:44.210 align:middle line:84% There's something really sort of odd, and kind of wonderful, 00:05:44.210 --> 00:05:46.430 align:middle line:84% I mean, you can feel the way in which Koch 00:05:46.430 --> 00:05:51.320 align:middle line:84% is kind of relating him to Chaplin, and Buster Keaton. 00:05:51.320 --> 00:05:54.500 align:middle line:84% And I love that, because the way that Schwartz 00:05:54.500 --> 00:05:57.080 align:middle line:90% has been treated largely in-- 00:05:57.080 --> 00:05:59.480 align:middle line:84% Schwartz has been written about by a lot of people. 00:05:59.480 --> 00:06:02.890 align:middle line:84% John Berryman has a series of poems, "In the Dream Songs" 00:06:02.890 --> 00:06:03.890 align:middle line:90% that are about Schwartz. 00:06:03.890 --> 00:06:08.240 align:middle line:84% They're very moving, but they're memorializing 00:06:08.240 --> 00:06:10.040 align:middle line:90% this guy in some way. 00:06:10.040 --> 00:06:13.970 align:middle line:84% And even Humboldt's Gift by Saul Bellow 00:06:13.970 --> 00:06:17.300 align:middle line:84% there's a sort of grandness to this character. 00:06:17.300 --> 00:06:21.350 align:middle line:84% And I like the way Koch goes back to this moment in memory, 00:06:21.350 --> 00:06:23.030 align:middle line:90% and he really brings it forward. 00:06:23.030 --> 00:06:25.430 align:middle line:84% You feel the image of this moment walking-- 00:06:25.430 --> 00:06:30.560 align:middle line:84% this sort of-- it's so silly in a way, the poem begins. 00:06:30.560 --> 00:06:31.940 align:middle line:90% "Who was my teacher at Harvard. 00:06:31.940 --> 00:06:34.220 align:middle line:84% Did not wear overcoat saying to me 00:06:34.220 --> 00:06:37.220 align:middle line:84% as we walked across the yard, cold brittle autumn 00:06:37.220 --> 00:06:39.260 align:middle line:84% is, you should be wearing overcoat. 00:06:39.260 --> 00:06:41.390 align:middle line:84% I said, you are not wearing overcoat." 00:06:41.390 --> 00:06:44.870 align:middle line:90% 00:06:44.870 --> 00:06:47.510 align:middle line:84% There's almost like a parent-child thing 00:06:47.510 --> 00:06:48.890 align:middle line:90% going on there, I think. 00:06:48.890 --> 00:06:52.400 align:middle line:90% 00:06:52.400 --> 00:06:57.590 align:middle line:84% This poem is from the last book that Koch wrote, which 00:06:57.590 --> 00:06:58.790 align:middle line:90% I'm forgetting the title of. 00:06:58.790 --> 00:07:02.350 align:middle line:90% Does anybody remember it? 00:07:02.350 --> 00:07:07.810 align:middle line:84% The book before that is an incredible book. 00:07:07.810 --> 00:07:10.420 align:middle line:84% It's one of the great books of the last 20 years, 00:07:10.420 --> 00:07:15.280 align:middle line:90% and it is called New Addresses. 00:07:15.280 --> 00:07:16.960 align:middle line:90% All the poems are odes. 00:07:16.960 --> 00:07:21.880 align:middle line:84% Some of them are dedicated to decades of his life, to my 20s, 00:07:21.880 --> 00:07:23.440 align:middle line:90% to my 30s. 00:07:23.440 --> 00:07:27.190 align:middle line:84% Some of them are dedicated to concepts like, I don't know, 00:07:27.190 --> 00:07:31.240 align:middle line:84% to ephemerality, or to the moral universe. 00:07:31.240 --> 00:07:36.670 align:middle line:90% Some of them are addressing-- 00:07:36.670 --> 00:07:39.280 align:middle line:84% there's a great one called "To Marijuana," 00:07:39.280 --> 00:07:42.760 align:middle line:84% and he explains why he doesn't write when he's high on pot, 00:07:42.760 --> 00:07:46.030 align:middle line:84% and what it does to him, this incredible image of him 00:07:46.030 --> 00:07:49.870 align:middle line:84% throwing his glasses into a fireplace trying 00:07:49.870 --> 00:07:52.280 align:middle line:90% to impress some woman. 00:07:52.280 --> 00:07:55.750 align:middle line:84% So that book is just the book of a lifetime, 00:07:55.750 --> 00:07:59.310 align:middle line:84% and I would urge you all to read it. 00:07:59.310 --> 00:08:02.070 align:middle line:90% Yeah so, one more? 00:08:02.070 --> 00:08:04.807 align:middle line:84% [INAUDIBLE] reading in two days, so this 00:08:04.807 --> 00:08:06.220 align:middle line:90% is kind of a pre-reading. 00:08:06.220 --> 00:08:08.688 align:middle line:90% 00:08:08.688 --> 00:08:09.355 align:middle line:90% You're cheating. 00:08:09.355 --> 00:08:11.017 align:middle line:90% I am cheating. 00:08:11.017 --> 00:08:12.100 align:middle line:90% That's not in my contract. 00:08:12.100 --> 00:08:13.496 align:middle line:90% I actually can't do-- 00:08:13.496 --> 00:08:14.490 align:middle line:90% [LAUGHTER] 00:08:14.490 --> 00:08:15.940 align:middle line:90% I know it's late. 00:08:15.940 --> 00:08:19.840 align:middle line:84% Obviously, or maybe not, this New York School 00:08:19.840 --> 00:08:22.960 align:middle line:84% has influenced your own writing, and also 00:08:22.960 --> 00:08:26.590 align:middle line:84% the influence of the art of the period influenced 00:08:26.590 --> 00:08:28.030 align:middle line:90% their writing. 00:08:28.030 --> 00:08:31.180 align:middle line:84% Is that something also with your own writing? 00:08:31.180 --> 00:08:32.770 align:middle line:90% As far as that art? 00:08:32.770 --> 00:08:36.130 align:middle line:84% Yeah, in particular the work of Philip Guston. 00:08:36.130 --> 00:08:39.940 align:middle line:84% Guston is a very interesting figure in the American art 00:08:39.940 --> 00:08:44.470 align:middle line:84% world, because he started off as one of these action painters. 00:08:44.470 --> 00:08:46.030 align:middle line:84% And he's one of the major figures 00:08:46.030 --> 00:08:49.360 align:middle line:84% among the abstract expressionists, Klein, 00:08:49.360 --> 00:08:52.600 align:middle line:84% de Kooning, Pollock, Guston, there's 00:08:52.600 --> 00:08:56.150 align:middle line:90% somebody I'm leaving out. 00:08:56.150 --> 00:09:00.730 align:middle line:84% Rauschenberg's actually just five years or 10 years later. 00:09:00.730 --> 00:09:04.840 align:middle line:84% Rauschenberg is part of that Larry Rivers, Red Grooms 00:09:04.840 --> 00:09:08.620 align:middle line:84% thing that is the transition into pop art 00:09:08.620 --> 00:09:12.730 align:middle line:84% that is slightly reacting to the grandeur and heroism 00:09:12.730 --> 00:09:18.430 align:middle line:90% of the abstract expressionists. 00:09:18.430 --> 00:09:21.220 align:middle line:84% And all of these people, again, knew each other. 00:09:21.220 --> 00:09:27.400 align:middle line:84% But Guston, his early paintings, they're beautiful, 00:09:27.400 --> 00:09:31.720 align:middle line:84% I mean, really, really beautiful paintings. 00:09:31.720 --> 00:09:35.290 align:middle line:84% To see them in person, they're incredibly textured, 00:09:35.290 --> 00:09:38.590 align:middle line:84% they're just layered and sort of amazing ways. 00:09:38.590 --> 00:09:40.540 align:middle line:84% They're the most subtle, I think, 00:09:40.540 --> 00:09:43.570 align:middle line:90% of all of the action painters. 00:09:43.570 --> 00:09:46.990 align:middle line:84% And then in the mid-60s, he just smashed it. 00:09:46.990 --> 00:09:48.490 align:middle line:90% He smashed his style. 00:09:48.490 --> 00:09:52.000 align:middle line:84% It's one of the rare examples of somebody 00:09:52.000 --> 00:09:55.060 align:middle line:90% breaking their style totally. 00:09:55.060 --> 00:09:59.290 align:middle line:84% And he started doing these very cartoony paintings 00:09:59.290 --> 00:10:00.130 align:middle line:90% and drawings. 00:10:00.130 --> 00:10:06.340 align:middle line:84% And they're filled with a lot of the stuff that 00:10:06.340 --> 00:10:09.270 align:middle line:84% actually is in a lot of the New York School poems. 00:10:09.270 --> 00:10:13.270 align:middle line:84% It's crapola, Philip Roth has this great phrase, 00:10:13.270 --> 00:10:16.690 align:middle line:84% it's like the crapola of American life, that's 00:10:16.690 --> 00:10:20.500 align:middle line:84% what we should be getting into literature. 00:10:20.500 --> 00:10:25.750 align:middle line:84% And you feel like they're just nails that somebody 00:10:25.750 --> 00:10:29.050 align:middle line:84% has hammered down into a board, boots that 00:10:29.050 --> 00:10:31.180 align:middle line:90% are piled up in a big pile. 00:10:31.180 --> 00:10:33.910 align:middle line:84% They're very strange and put together an odd way. 00:10:33.910 --> 00:10:36.520 align:middle line:84% They're very-- in some ways, they're cartoony 00:10:36.520 --> 00:10:38.120 align:middle line:90% but they're also realistic. 00:10:38.120 --> 00:10:45.910 align:middle line:84% So when he started showing them in, I don't know, 1967, 68, 00:10:45.910 --> 00:10:52.790 align:middle line:84% he had a big show in New York, and he actually left town. 00:10:52.790 --> 00:10:54.910 align:middle line:84% He went to Venice because he knew 00:10:54.910 --> 00:10:57.130 align:middle line:84% there was going to be this horrifying reaction to it. 00:10:57.130 --> 00:11:01.480 align:middle line:84% And The New York Times, Hilton Kramer was then 00:11:01.480 --> 00:11:03.280 align:middle line:84% the art critic for The New York Times, 00:11:03.280 --> 00:11:07.780 align:middle line:84% the headline of that review was, "A Mandarin Pretending 00:11:07.780 --> 00:11:09.580 align:middle line:90% to be a Stumble Bum." 00:11:09.580 --> 00:11:13.160 align:middle line:84% And it was a vicious, incredibly-- 00:11:13.160 --> 00:11:16.840 align:middle line:84% and Guston says, painters would come up to me 00:11:16.840 --> 00:11:19.510 align:middle line:90% and say, why are you doing this? 00:11:19.510 --> 00:11:24.530 align:middle line:84% He said, I just could not do this thing anymore, 00:11:24.530 --> 00:11:28.590 align:middle line:84% which I thought was false, in some ways, to my experience. 00:11:28.590 --> 00:11:32.850 align:middle line:84% And so I had to do something really ugly. 00:11:32.850 --> 00:11:34.520 align:middle line:84% And then in the act of doing it, he 00:11:34.520 --> 00:11:37.160 align:middle line:84% finds some incredible beauty in it. 00:11:37.160 --> 00:11:39.500 align:middle line:84% Those paintings, in particular, I've 00:11:39.500 --> 00:11:42.650 align:middle line:84% been thinking in the last several years a lot 00:11:42.650 --> 00:11:45.170 align:middle line:84% about Philip Guston, and writing a bit about him. 00:11:45.170 --> 00:11:49.550 align:middle line:84% And I'm friends in Boston with a guy named William Corbett 00:11:49.550 --> 00:11:50.950 align:middle line:90% who's-- 00:11:50.950 --> 00:11:55.060 align:middle line:84% Jimmy Schuyler's he edited Jimmy Schuyler's letters, actually. 00:11:55.060 --> 00:11:58.630 align:middle line:84% But he Corbett was close friends with Guston, 00:11:58.630 --> 00:12:02.410 align:middle line:84% and so I loved talking to him about him. 00:12:02.410 --> 00:12:05.260 align:middle line:84% And there's a great book that came out 00:12:05.260 --> 00:12:07.360 align:middle line:90% this past year called-- 00:12:07.360 --> 00:12:11.950 align:middle line:84% it's just a collection of Guston's interviews, 00:12:11.950 --> 00:12:14.620 align:middle line:84% studio visits that were recorded. 00:12:14.620 --> 00:12:18.358 align:middle line:84% And there's a great interview with Clark Coolidge, 00:12:18.358 --> 00:12:19.900 align:middle line:84% the poet Clark Coolidge, who actually 00:12:19.900 --> 00:12:21.280 align:middle line:90% put the whole thing together. 00:12:21.280 --> 00:12:25.720 align:middle line:84% And that book is the most amazing book about process 00:12:25.720 --> 00:12:27.710 align:middle line:90% that I've ever read. 00:12:27.710 --> 00:12:30.970 align:middle line:84% It's incredible, some of the stuff that he says 00:12:30.970 --> 00:12:33.700 align:middle line:84% is just boggling-- and especially 00:12:33.700 --> 00:12:36.520 align:middle line:84% in relationship to this huge kind of change in his work. 00:12:36.520 --> 00:12:39.010 align:middle line:84% But yeah, I mean, I live with a visual artist, 00:12:39.010 --> 00:12:44.530 align:middle line:84% and I've always been friends with painters, 00:12:44.530 --> 00:12:46.120 align:middle line:90% and so in some sense, yeah. 00:12:46.120 --> 00:12:52.000 align:middle line:84% I mean, I really value that time in so many ways. 00:12:52.000 --> 00:12:54.610 align:middle line:90% So much of that time in art-- 00:12:54.610 --> 00:12:57.520 align:middle line:84% Rauschenberg, just an incredible-- 00:12:57.520 --> 00:13:01.450 align:middle line:84% like the great Rauschenberg show at MoMA-- 00:13:01.450 --> 00:13:06.100 align:middle line:84% not MoMA, the Met about five or six years ago, it was boggling. 00:13:06.100 --> 00:13:09.790 align:middle line:84% You just feel like, oh my God, somebody's inventing something. 00:13:09.790 --> 00:13:13.180 align:middle line:84% Very few of us invent something new, 00:13:13.180 --> 00:13:16.150 align:middle line:84% and you just feel like in a lot of those people that-- 00:13:16.150 --> 00:13:18.610 align:middle line:84% and so it has the energy of American-- a certain part 00:13:18.610 --> 00:13:23.080 align:middle line:84% of American life too, that at that time. 00:13:23.080 --> 00:13:26.080 align:middle line:90% So I think we can go. 00:13:26.080 --> 00:13:27.550 align:middle line:90% Yeah, thank you. 00:13:27.550 --> 00:13:29.925 align:middle line:90% [APPLAUSE] 00:13:29.925 --> 00:13:32.300 align:middle line:90% 00:13:32.300 --> 00:13:33.540 align:middle line:90% Thank you so much, David. 00:13:33.540 --> 00:13:35.000 align:middle line:90% That was a great, great treat. 00:13:35.000 --> 00:13:36.417 align:middle line:84% I wish we could have you come back 00:13:36.417 --> 00:13:38.400 align:middle line:84% and talk about the New York School every week. 00:13:38.400 --> 00:13:43.130 align:middle line:84% I apologize for it being kind of hurried, 00:13:43.130 --> 00:13:45.680 align:middle line:84% and I think one of these days, I'll 00:13:45.680 --> 00:13:49.100 align:middle line:90% actually learn a lesson here. 00:13:49.100 --> 00:13:50.930 align:middle line:84% All right everyone, come back on Thursday. 00:13:50.930 --> 00:13:51.560 align:middle line:90% Yeah. 00:13:51.560 --> 00:13:53.110 align:middle line:90% Thanks.