Newport & The Great Folk Dream – new documentary

By Harvey Kubernik 

 

Memphis-based director Robert Gordon’s newest film Newport & The Great Folk Dream will be featured in the Venice International Film Festival as part of the Venice Biennale 2025 on Friday, September 5th. The Venice International Film Festival is the oldest film festival in the world — and is viewed as one of the “Big Five” influential festivals, along with Cannes, Berlin, Sundance, and Toronto.

Gordon produced the film along with Historic Films Archive owner Joe Lauro and Memphis filmmaker Laura Jean Hocking, who also edited the film. The team has working on and off on Newport & The Great Folk Dream for eight years. The recent critical and box office success of the Bob Dylan biopic A Complete Unknown surely had an impact to get this long-awaited documentary across the finish line.

Gordon and company sifted through pristine 4K transfers culled from 80+ hours of mostly never-seen 16mm negative footage they had access to, initially shot by award winning filmmaker Murray Lerner and his crew at the Newport Folk Festivals between 1963 and 1966.

Portions of those footage performances became the foundation for Lerner’s acclaimed documentary Festival! (1967), now titled Festival, available via The Criterion Collection. Lerner visited the annual Newport Folk Festival to document a thriving, idealistic musical movement as it reached its peak as a popular phenomenon.

For decades Lerner’s cinematic study had influence on the booking policies at blues, folk, and bluegrass venues nationally, and especially in Southern California at The Ash Grove and McCabe’s Guitar Shop. Festival! developed a cult following on college campuses and the midnight movie circuit of the late sixties and seventies.

Newport & The Great Folk Dream features musical performances by Bob Dylan, Johnny Cash, Joan Baez, Howlin’ Wolf, Mississippi John Hurt, the Lovin’ Spoonful, Judy Collins, the Freedom Singers with Bernice Reagon, John Lee Hooker, Pete Seeger, and Richard & Mimi Fariña.

In August 2025, Robert Gordon emailed his director’s statement.

“I admit to a misunderstanding about folk music before I began this film. I was attracted to the element of protest, to the way the songs seem to live in and travel through humanity—an intergenerational connectedness, but I mostly associated the sound of folk music with the sappy side of singer songwriters, complemented by spirited versions of ‘She’ll Be Coming ‘Round the Mountain.’

“This is a documentary that is made entirely from footage shot in the early 1960s and it could not be more relevant to this 21st century moment. Making Newport & The Great Folk Dream, we were captivated by the emotional depth that this music plumbs, much of which comes from the most unexpected places. And we were determined to convey that feeling on the screen.

“The Newport Folk Festival stage presented a global cultural horizon for the mostly-white college kids and townies that made up this northeastern audience. The diversity of expression at Newport created an event that echoed the music’s history: the sharing of songs handed down through time, songs that rouse curiosity, that make listeners uncomfortable, that accompany work or that simply sound great when sung together with others.

“At the Newport Folk Festival, the new protest songs and the ancient work songs begin to blend, the gap between the concerned youth and the wise elder diminishes, people who would not ordinarily encounter each other have the chance to develop bonds.

“The footage over these three years, 1963-1965, documents how fast youth culture changed, how fast music changed, how fast the nation changed in that short time. The cumulative effect of the casual performances is nearly overwhelming, the timeliness is astonishing. In this movie, we see a movement grow and take hold. We see a philosophical break and the disruption that change brings—and that we know, from our perspective, will be soon mended.

“Also, the music! Bob Dylan goes electric, Phil Ochs leaps to the present, Mississippi John Hurt removes himself from time, and Pete Seeger and Peter, Paul & Mary evolve before our eyes. It was an honor to curate the artists included—and a very difficult task.

“A thrilling musical experience, Newport & The Great Folk Dream is a paean to activism, it embraces the big tent and like the music, this film does not shy from a powerful message: Democracy thrives on diversity.”

In a subsequent email, Gordon reflected on his team’s endeavor.

“Working with Murray Lerner’s Newport archive was a constant reminder of the force of will it took to capture these hours of great footage. When Murray shows up in 1963 for his first year of filming, he’s working by the seat of his pants. He’s got different film stocks, he’s training camera operators on the spot, he’s surrounded by an incredible range of thrilling American music — and he’s busting ass to capture all he can. The result of Murray’s hard work between 1963 and 1966 at Newport is a treasure trove of American diversity and history and beautiful music. We had endless respect for Murray’s vision and drive.

“From the start, there were a couple ways I wanted to distinguish this film from Festival. For one, I wanted to move chronologically through the 4 years, where Murray’s film makes a montage of time. His film was made in the moment for the moment, and one of our movie’s fascinating charms is the changes that reveal themselves over the four years of filming.

“Today’s audience is quite distant from those times, so moving chronologically let us show the changes—in fashion, in music, in attitude—without making a big deal of them. Some of the changes were happening organically and some were the result of organized or semi-organized groups—whether that was SNCC’s push for voting rights or the traditionalists’ ethos of only acoustic instruments. But in our rapidly changing present times, this movie reminds us that people can create their own changes. The movie makes plain the connection that folk music has long had with activism.

“Another difference between us and the original is our use of 21^st century voices who reflect on their experiences at Newport. Everyone we spoke with was there, and with nearly 60 years of reflection, their perspective, their memories, their comments help us today get more out of what we’re seeing—and help us understand what went on behind the scenes to make the festival occur.

“In many ways, this is a movie about change and about resistance to change. Folk music adheres to traditions, but any study of folk would reveal that even traditions change. Not all change is good, but not all change is bad either. In the moment, as we see in the footage, change can be very difficult to accept, but as the epilogue makes clear, even difficult changes become accepted.

“There’s a difference, of course, between changes in art and changes in politics. When Dylan goes electric, other acoustic artists can do what they want. When fascism takes away democratic freedoms, that’s terminating choices and not expanding them.

“This is a film rooted in the past, but it’s very much about the present.”

 

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Oscar-winning filmmaker Murray Lerner died of kidney failure on September 2, 2017 in New York City at age 90.

Lerner was born in Philadelphia Pennsylvania on May 8, 1927, raised in New York City, a 1948 graduate of Harvard University and an English major. Murray taught at Yale and also helped establish a film studies program.

After Festival! was released in December 1967, it garnered honors at every major international film festival, including Manheim, San Francisco, Mar del Plata, and Venice.

I screened Festival! at San Diego State University in 1972. Lerner’s office sent a video copy to my dormitory room at Zura Hall. I had started with Dr. James L. Wheeler in the school’s Literature Department, the first History of Rock Music class, and the first-ever accredited course in regular curriculum upper division academia. A story in the April 14, 1973 issue of Billboard magazine hailed the department’s academic aim as “the world’s first university level rock studies program.”

Decades later I cited Festival! in my 2017 book, 1967 A Complete Rock Music History of the Summer of Love. Lerner is interviewed in my 2014 book on Leonard Cohen, Everybody Knows.

Lerner was a Harvard Man who loved folk music and literature. Lerner’s hydra-headed distribution and poetic trek was a blend of Oscar Micheaux and Homer, four-walled by Samuel Z. Arkoff, James Nicholson and Roger Corman.

His sound and vision work informed the efforts of all rock ‘n’ reel documentarians who followed him like Andrew Solt and Malcolm Leo who would produce and direct This Is Elvis and Imagine: John Lennon.

“Murray Lerner,” remarked filmmaker Solt, “was a very interesting and important figure in visual music history!”

My brother Kenneth and I hosted a Q & A session with Lerner in Hollywood at the American Cinematheque Egyptian Theater in August 2010 during the Martin Lewis-produced Mods and Rockers film series.

Lerner’s filmmaking career began from “industrial cinema.” In 1980 he produced and directed the Academy-Award winning From Mao To Mozart: Isaac Stern In China about violin virtuoso Isaac Stern’s 1979 goodwill tour of Red China.

Lerner’s long-form trend-setting musical documentaries include Isaac Stern, Miles Davis, Bob Dylan, Joni Mitchell, the Moody Blues, Jimi Hendrix, Emerson, Lake & Palmer, the Doors, Jethro Tull, the Who and Leonard Cohen.

Bob Dylan’s 1963-1965 Newport appearances were documented by Lerner in 2007’s The Other Side Of The Mirror-Bob Dylan Live At The Newport Festival 1963-1965 DVD released by Columbia Records and Legacy Recordings.

On August 16, 1975 in Orange County, California, I interviewed Johnny Cash for the now defunct UK music weekly Melody Maker at the Royal Inn Hotel in Anaheim.

I asked Cash about Dylan. “I became aware of Bob Dylan when the Freewheelin’ album came out in 1963,” Johnny emphasized.
“I thought he was one of the best country singers I had ever heard. I always felt a lot in common with him. I knew a lot about him before we had ever met. I knew he had heard and listened to country music. I heard a lot of inflections from country artists I was familiar with. I was in Las Vegas in ’63 and ’64 and wrote him a letter telling him how much I liked his work. I got a letter back and we developed a correspondence.

“We finally met at Newport in 1964. It was like we were two old friends. There was none of this standing back, trying to figure each other out. He’s unique and original.

“I keep lookin’ around as we pass the middle of the 70s and I don’t see anybody come close to Bob Dylan. I respect him. Dylan is a few years younger than I am but we share a bond that hasn’t diminished. I get inspiration from him,” volunteered Johnny.

On November 19, 1979, friend and drummer, Jim Keltner, invited Knack drummer Bruce Gary and I to the Santa Monica Civic Auditorium to Dylan’s Slow Train Coming concert.

I had a chat with Bob backstage. I mentioned interviewing Johnny Cash and Phil Spector for Melody Maker. I told Bob that Phil talked about R&B vocalists, and he cited “Dion, John, Paul, Elvis, Bobby Darin, and Johnny Cash as great singers.”

Bob removed his tinted sunglasses and smiled. Dylan has blue eyes like Eva Marie Saint, Charles Bukowski, and Kris Kristofferson. He offered a firm handshake, and replied, “Johnny Cash is a friend of mine…”

 

I interviewed Murray Lerner extensively in 2008, 2010 and 2014.

 

Harvey Kubernik and Murray Lerner interview

 

Q: Can you cite the influence of a documentary filmmaker on your work?

 

A: I wasn’t influenced by any filmmakers, maybe Bert Stern and Jazz On A Summer’s Day, also shot at Newport in the late 50s, largely because of his use of telephoto lenses, which I fell in love with.

 

Q: Is there any sort of general philosophy that guides you in preparation of a documentary film subject?

 

A: I tend to make documentary films after thinking about it and researching it and having a concept in mind and finding iconic images that resonate with that concept. That’s the way I work. When it came to Festival, when I started to go up there and look, I went up for the Newport festival, I was a folk music fanatic.

Before then, I did some industrial films, an underwater feature, Secrets Of The Reef. It actually played in theatres successfully, at least in one theater, the Baronet, and then Jacque Cousteau came along with The Silent World and that was the end of our distribution. (laughs). We didn’t have any people in our movie. Ours was anthropomorphism and it was a negative word. I had done a number of industrial films with sophisticated photography and editing before I did Festival!

For The Other Side Of The Mirror, we decided on no narration, no pundit interviews, no interviews with Dylan. Nothing except the experience of seeing him…That to me is exciting. Just the clear experience gives you everything you need. I felt that when I screened the music because he is touted metaphorically as the mirror of his generation, and I thought no, he’s beyond that. He always takes the generation beyond that, and he’s like on the other side of the mirror, but I also felt the wonderous quality of his imagination took us like Alice to a new world on the other side of the mirror. I felt to break that would be bad.

Dylan’s songs and his ideas were so powerful that my thesis, or premise, was that once I got you involved in him and you were also seeing a change in his imagination going in his music that you wouldn’t want to leave it. Either I pulled you into it or I didn’t. If you weren’t pulled into his music and took this journey with him then you’re not going to like the film. Nothing you say is gonna make you like it more.

 

Q: Was it by decision that you chose to shoot Festival! and The Other Side Of The Mirror – Bob Dylan Live At The Newport Folk Festival in black and white?

 

A: I had a choice for black and white over color, and it was a major decision in the face of a lot of negativity. First of all, I thought at that time you could really get good color in the original but you couldn’t get good color duplicates. That the prints, which is, after all, that was going to be what you were going to show, and also the contrasts were too great, and the blacks wouldn’t have any detail in it.

As a matter of fact, I was a fanatic about that, and I earlier had done an industrial film, which became a big hit in that industry, Unseen Journey, and I couldn’t stand the idea of Kodachrome prints, so I actually talked the people to pay to me to going to Technicolor, and doing three strip prints. And it worked. It was beautiful and I shot it in 35mm to begin with. But the 16 mm prints were also great, so I was really in to thinking about those things in a way.

 

Q: How did you get the initial Newport job that resulted in 1967′s theatrical release of Festival!

 

A: Through debt and through cajoling people to help. (laughs). There weren’t a lot of obstacles to shoot Festival! Once it got rolling then the obstacles were different people associated with the festival who had their own favorites to make a film. I had to overcome that. Anyway, I was determined to get it initially released theatrically. I knew there where the workshops and live performances that were interesting and cinematic. And, music was always my passion for the soundtrack of a film. For the form of a film, when I did Festival! it was the form of the film should also be musical and it should be like experiencing a piece of music in addition to being about music. It seemed to work.

At the Venice Film Festival people in a 1,000 seat theater really got up and applauded. I was alone. I was brought up to think that things should be well exposed, in focus, and you can hear the sound. I had no encounters with Dylan except through Howard Alk. He was great, a marvelous human being. You had to stand up to him with a powerful personality. So, every time I told him to change something, a storm would come over the room that we were in. But I stuck to my ground and that’s why he needed a director like me. If you look at the editing of Festival! you will see how sophisticated it is. He’d carry over the tiny sound from one thing to another. It was a three picture two sound movieola and we spent most of our time repairing the film.

Howard called me up and said ‘why don’t we edit this in Woodstock?’ and I said, ‘No!’ Because I would have a lot of powerful voices around me. ‘How ’bout Martha’s Vineyard?’ It was edited for two summers at Martha’s Vineyard, then he saw a film I did about Yale, finish that. I had to deal with Albert Grossman for clearances. It took a while to convince Al who was not a control freak. Not the slightest influence in the editing. As time went on each artist was different. Dylan was a buddy of Howard Alk. Howard had their ear and was a friend of Dylan, and had known Grossman from Chicago.

The concept was that, going beyond the entertainment value of the music that was the music being used was a crucible for creation of a counter-culture and a message. The prize I got at Venice was not only for a form of entertainment but a means of an expression of youth. That’s what I wanted to do and look for stuff like that helped me do that. So, when I did an interview, I had that in mind.

Like in the Dylan Newport DVD, and in Festival! I interview Joan Baez in the car. She did a good one because she discusses what the kids ask. Joan could make fun of Bob on stage because they were close. I think they thought of themselves, and the crowd did as well as the king and queen of Newport. The movie I really wanted to make was about all the tension backstage from the other performers and managers. (laughs).

 

Q: Festival! was always well received when it played at universities and the midnight movie screenings.

 

A: It had more festival showings than any. San Francisco, Argentina, In Italy, Federico Fellini the director gave me his phone number…but I never called him. I always admired him. I was rather shy at the time. At Venice, it sounds crazy, but there were a lot of big wigs there, Pasolini, Antonioni, my film was the most popular of the festival. It was a hit.

Festival! was not just about Dylan. They loved Baez and the rest of it. The whole crowd at Venice got up and danced in the aisles, it was amazing. It was thrilling. It’s always been available for schools and screenings and before a Festival! DVD it was on videotape. I was determined not to let it die through mail order and schools. We never made any money. I was a terrible self-promoter and this was before DVD and cable TV.

 

Q: In Festival! and once again in the Dylan Newport DVD, the live footage of “Maggie’s Farm” was powerful and jolting to see in a theater originally, and now on DVD. Plus, Dylan with some members of the Paul Butterfield Blues Band for this effort is always being confrontational. With the camera, daring it to love him, he is being confrontational with the audience.

 

A: I knew the Butterfield band and had done some industrial film with some of their music. On stage Paul came alive. He’s not performing with Dylan together in the 1965 set because Paul mentioned something like it wasn’t right to have two stars on stage at the same time. I interviewed Mike Bloomfield in Festival! talking about (Paul) Butterfield. I wanted to show in the movie that this was a movement for white kids and white people to get into the blues. Bloomfield and Butterfield were iconic figures in my mind.

Q: You understood Dylan moving into electric rock ‘n’ roll from an acoustic setting.

 

A: I felt that electricity was needed to distribute the music in a wide basis, radio and television. Then, once it happened, the hunger for the feeling that electricity gave people listening to it was more than volume. I think electric music gets into your body, and enters into your nerves quite deeply, and almost puts you into a trance. It’s hypnotic. I’ve always felt this and this was the feeling I had when I watched Bob. And I was excited by it. I not only appreciated the changes, I loved it! I really was mesmerized and hypnotized by “Maggie’s Farm” on many levels.

As I was filming it I knew it was a gateway to a new culture in the form of based on the older culture, and I thought this was it. I was mesmerized by electric music, by Paul Butterfield earlier in the thing, and Howlin’ Wolf played with a band. But what Dylan did the electricity got into your bones. I was both in the pit and on the stage.

In the DVD we didn’t use “Phantom Engineer (It Takes A Lot To Laugh A Train To Cry)” because I didn’t think it was up to the standard of “Maggie’s Farm” and “Like a Rolling Stone.” To be honest with you. “Stone” is too big a climax to extend it with something not as good.

I knew it was going to be a major breakthrough. It was a mixture of booing, applause and bewilderment. I was intensely involved in the filming so I didn’t pay much attention to what the audience was doing. I was hypnotized in a way by the electric music and had to get the shot. And, the interesting thing about “Maggie’s Farm” which was a breakthrough musically, but the lyrics were expressing the same kind of idea that he wasn’t gonna be a conformist. And in a way, “Maggie’ Farm” was a symbol for America working. We’re all working on “Maggie’s Farm.”

 

Q: What impressed you the most about Dylan as a poet?

 

A: The words just fell on his music. I knew that when I saw him walk in a room at a party around 1962 for Cynthia Gooding. He came in and pulled out his guitar, played a few songs about New York, packed it up and split. He intrigued me. At Harvard University I majored in English and my main interest was modern American poetry. T.S. Eliot and Ezra Pound and their technique of two opposite symbols creating a third idea. Two different images, the unexpected juxtaposition of two different images for the third idea. Which guided me into filmmaking.

I always use very very long lenses as an adjunct to my photography. I believe in the long shot because I would like the thing to feel musical and not jumpy. I think film is visual music. And it should be, and I believe in editing that way. You can have moments where you are doing quick montage. Most of the time you need to relax.

I like really long shots and before anyone ever did it, I used 2,000 millimeter lenses and for crowd shots, moving in slow motion on Broadway, a lot of unusual stuff. I love people coming towards the camera and coming into close up. And then I got a 600 millimeter lens for my 16 millimeter camera, playing around with it during Sonny Terry and Brownie McGee at Newport. Real close ups.

 

Q: What was the one thing you learned from your Newport films applied to future movies?

 

A: First of all, on the technical side, I learned and made sure everyone examines and perfects their equipment so that they were sharp to be on a very literal level. Sharp when they were close in and wide angle. Very often when you go to a wide angle it can lose focus. So, I had them check their cameras for that problem and fix it. And, going from there, I had to call them all together and explain what I don’t like. I don’t like, and some of them did it anyway, I don’t like fast pans, fast zooms.

I said, “If you are panning over to a musician that is playing but you don’t see because he comes in after the musician is on go slow.” You’ll hear the person and it will be more dramatic than if you swish the camera or zoom in. That is one of the big things. And, I said “Close Up! Close Up!” I don’t mind looking into the lights for effect. A bunch of stuff I directed them to do. I took special shots, positions. I took the shots from behind looking into the lights. The idea is to be musical in the movements and try and move with the music.

I personally have a technique where I practice the choreography of the camera. Every day for about an hour before I shot, having an assistant stand by and I would focus, zoom and figure out how big the moves had to be to get the result I wanted so I could do it myself. And I practiced all of that. And I kind of instilled that sense that of the choreography of the camera being part of the concert. For the most part, in the planning stages, I picked positions to shoot. And I told people, “You concentrate on the close up and you concentrate on something else.”

 

Q: You and D.A. Pennebaker have witnessed and participated in the rock and music documentary world for well nearly 60 years. You’ve done these panel discussions with Pennebaker in front of university film students. I’ve been attending some of these events. Unlike the sixties and seventies, most of the students and hustling filmmakers now in the audience at the Q. and A. sessions want to know about royalty points on the back end of film deal and nothing about film stock, lenses or concepts to creating a story.

 

A: The best one of those was at the Santa Fe New Mexico Film Festival, a documentary panel. Pennebaker was there. (Ricky) Leacock was there. I was there. It was a seminar type thing where people would question us afterwards, you know. It was all about “how do you get the money?” Not about creative stuff but financial.

One kid said to Pennebaker, “How do you get the money to finance a film?” And without missing a beat he said, “Marry a rich woman.”

 

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In 2025 I asked film producer, humorist, record producer and writer Martin Lewis about Murray Lerner.

“I had the honor of friendship and working as film festival curator/moderator with all the greats of NY-based music documentary-makers: D.A. Pennebaker (known as ‘Penny’), the Maysles Brothers – both David & Albert – and Murray Lerner. All of them legitimately described as geniuses. All of them delightful impish characters.

“All three documented our 1960s present – and all of them have had a profound influence on how we understand our 1960s past. In my life I’ve loved them all. But I loved Murray Lerner that little bit more…

“What he captured in his Message To Love film of the 1970 Isle of Wight festival was the End of the Dream.

“Pennebaker showed the dream erupting at Monterey. The Maysles documented the nightmare of Altamont. But Lerner summarized the Alpha-to-Omega of the era in his 26-years-in-the-making indictment of how bread-heads and free-loaders combined to destroy the Utopia of the Sixties.

“Many people recall Lerner for the brilliance of his film Festival documenting four crucial years of the Newport Folk Festival – 1963-1965. And especially comment on his capture of Dylan going electric in 1965 and breaking the hearts of a few be-sandaled snowflakes of the tie-dyed-in-the-woolly-sweater brigade. That was indeed notable. However, it’s even more instructive to see Dylan in Lerner’s 2007 Dylan compendium The Other Side of the Mirror. It telescopes Dylan’s three consecutive Newport appearances (63-64-65) into one time-lapse revelation.

“In ’63 Dylan is scrawny-thin, purposeful yet still tentative… a larva with a guitar. In ’64 he has matured to self-assurance and strength… a chrysalis biding his time. By ’65 he has become a full-blown rock star exuding charismatic control of the audience. The leather-clad, Ray-Banned butterfly is ready to fly away from Newport and share his music with the wider world beyond the folk music village. Lerner’s film captures that entire metamorphosis. A crucially important rite-of-passage for the world as much as for Dylan.

“But Lerner also documented an equally important though less-remarked on paradigm shift in his Newport film.

“He captured blues-rock pioneers Mike Bloomfield and Paul Butterfield studying at the feet of blues legends such as Son House and Mississippi John Hurt. The very young Bloomfield and Butterfield had both been earnest blues devotees in the hard-scrabble blues clubs in their native Chicago for a few years preceding Newport 1965 – savoring such encounters with older musicians as they could engineer. But Lerner capturing them on crisp 16mm black & white celluloid in the presence of these grizzled blues masters forty and fifty years their senior in the Newport fields allows us to witness the passing of the candle that led to the electric blues-rock that took over our era.

“My friendship with Murray spanned 32 rich years. And included my presenting him and his films many times at my Mods & Rockers Film Festivals at the American Cinematheque in Los Angeles.”

 

© Harvey Kubernik 2025

 

Harvey Kubernik is the author of 20 books, including 2009’s Canyon Of Dreams: The Magic And The Music Of Laurel Canyon, 2014’s Turn Up The Radio! Rock, Pop and Roll In Los Angeles 1956-1972, 2015′s Every Body Knows: Leonard Cohen, 2016′s Heart of Gold Neil Young and 2017′s 1967: A Complete Rock Music History of the Summer of Love. Sterling/Barnes and Noble in 2018 published Harvey and Kenneth Kubernik’s The Story Of The Band: From Big Pink To The Last Waltz. In 2021 the duo wrote Jimi Hendrix: Voodoo Child for Sterling/Barnes and Noble.

Otherworld Cottage Industries in 2020 published Harvey’s Docs That Rock, Music That Matters. His Screen Gems: (Pop Music Documentaries and Rock ‘n’ Roll TV Scenes) is scheduled for 2025.

Harvey wrote the liner notes to CD re-releases of Carole King’s Tapestry, The Essential Carole King, Allen Ginsberg’s Kaddish, Elvis Presley The ’68 Comeback Special, The Ramones’ End of the Century and Big Brother & the Holding Company Captured Live at The Monterey International Pop Festival.

During 2006 Kubernik spoke at the special hearings by The Library of Congress in Hollywood, California, discussing archiving practices and audiotape preservation. In 2017 he appeared at the Rock and Roll Hall of Fame in Cleveland, Ohio, in their Distinguished Speakers Series. Amidst 2023, Harvey spoke at The Grammy Museum in Los Angeles discussing The Last Waltz music documentary. The New York City Department of Education is developing the social studies textbook Hidden Voices: Jewish Americans in United States History. Kubernik’s 1976 profile/interview with music promoter Bill Graham on the Best Classic Bands website Bill Graham Interview on the Rock ’n’ Roll Revolution, 1976, is included).

 

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