1 00:00:00,900 --> 00:00:01,933 >> JAMES: IT WAS JUST A FUNKY 2 00:00:01,933 --> 00:00:03,533 BEATNIK KIND OF PLACE BACK IN 3 00:00:03,533 --> 00:00:06,233 THE DAY AND THEN IT'S EVOLVED 4 00:00:06,233 --> 00:00:07,833 OVER TIME AND HAS SUSTAINED 5 00:00:07,833 --> 00:00:09,100 ITSELF INTO PROVIDING TO OUR 6 00:00:09,100 --> 00:00:09,800 COMMUNITY WHAT WE'VE GOT GOING 7 00:00:09,800 --> 00:00:12,200 ON HERE TONIGHT. 8 00:00:12,200 --> 00:00:18,266 ♪♪♪ 9 00:00:18,266 --> 00:00:19,433 >> TERRI: TODAY WE'RE GOING TO 10 00:00:19,433 --> 00:00:20,100 HEAR ABOUT AN ACOUSTIC MUSIC 11 00:00:20,100 --> 00:00:20,666 SERIES THAT STARTED IN 12 00:00:20,666 --> 00:00:21,466 CHARLOTTESVILLE BACK IN THE 13 00:00:21,466 --> 00:00:24,933 MID-'60S. 14 00:00:24,933 --> 00:00:27,233 THE ORGANIZATION TOOK A HIATUS 15 00:00:27,233 --> 00:00:28,500 IN 2006, BUT CAME BACK STRONG IN 16 00:00:28,500 --> 00:00:30,100 2014 WITH AN IMPRESSIVE SEASONAL 17 00:00:30,100 --> 00:00:31,200 ROSTER OF NATIONAL AND REGIONAL 18 00:00:31,200 --> 00:00:34,000 ACTS. 19 00:00:34,000 --> 00:00:37,933 JOIN US AS WE CATCH UP WITH A 20 00:00:37,933 --> 00:00:39,533 FEW OF THE VOLUNTEERS WHO HELPED 21 00:00:39,533 --> 00:00:40,233 TO BRING THE PRISM COFFEEHOUSE 22 00:00:40,233 --> 00:00:40,800 BACK TO THE COMMUNITY. 23 00:00:40,800 --> 00:00:42,466 COME ON! 24 00:00:42,466 --> 00:00:58,966 ♪♪♪ 25 00:00:58,966 --> 00:01:00,933 >> PETE: THE REAL EMPHASIS OF 26 00:01:00,933 --> 00:01:01,900 THE PRISM IS ON PRESENTING 27 00:01:01,900 --> 00:01:02,900 CONCERTS IN A LISTENING ROOM 28 00:01:02,900 --> 00:01:05,800 ENVIRONMENT. 29 00:01:05,800 --> 00:01:07,166 SO PEOPLE GO THERE TO LISTEN TO 30 00:01:07,166 --> 00:01:09,733 THE MUSIC, THEY'RE NOT THERE TO 31 00:01:09,733 --> 00:01:10,600 DRINK BEER, TO SOCIALIZE THERE, 32 00:01:10,600 --> 00:01:13,466 AND THEY DO THAT AS WELL, BUT 33 00:01:13,466 --> 00:01:14,500 THE MAIN FOCUS IS ON SITTING AND 34 00:01:14,500 --> 00:01:16,166 LISTENING. 35 00:01:16,166 --> 00:01:17,133 AND A LOT OF OUR ARTISTS SAY TO 36 00:01:17,133 --> 00:01:19,633 US AFTERWARDS THIS IS THE KIND 37 00:01:19,633 --> 00:01:21,033 OF SHOW I REALLY WANT TO DO, 38 00:01:21,033 --> 00:01:22,066 BECAUSE THIS IS THE SHOW WHERE 39 00:01:22,066 --> 00:01:23,000 PEOPLE ARE THERE TO LISTEN TO 40 00:01:23,000 --> 00:01:26,466 ME. 41 00:01:26,466 --> 00:01:27,633 >> TERRI: NAME SOME OF THE ACTS 42 00:01:27,633 --> 00:01:29,100 THAT YOU ALL HAVE SEEN 43 00:01:29,100 --> 00:01:29,933 THROUGHOUT THE YEARS AT THE 44 00:01:29,933 --> 00:01:30,666 PRISM BEFORE STARTING IT BACK UP 45 00:01:30,666 --> 00:01:33,666 AGAIN. 46 00:01:33,666 --> 00:01:34,800 >> PETER: WELL, MIKE SEEGER 47 00:01:34,800 --> 00:01:35,700 CERTAINLY WHO HAD HIS ANNUAL 48 00:01:35,700 --> 00:01:38,433 BREAKING UP CHRISTMAS SHOW 49 00:01:38,433 --> 00:01:39,533 THERE, TONY RICE, RALPH STANLEY 50 00:01:39,533 --> 00:01:39,766 -- 51 00:01:39,766 --> 00:01:40,633 >> TERRI: PETER ROWAN -- 52 00:01:40,633 --> 00:01:41,266 >> PETER: JOHN DOYLE -- 53 00:01:41,266 --> 00:01:42,033 >> TERRI: EMMYLOU HARRIS WAS 54 00:01:42,033 --> 00:01:43,033 THERE FOR 75 CENTS. 55 00:01:43,033 --> 00:01:44,000 >> PETER: YEAH, SHE DID TWO 56 00:01:44,000 --> 00:01:44,933 SHOWS BACK IN THE EARLY ‘70S. 57 00:01:44,933 --> 00:01:45,533 >> PETE: AND -- 58 00:01:45,533 --> 00:01:46,533 >> TERRI: IN HER EARLY CAREER. 59 00:01:46,533 --> 00:01:47,600 >> PETE: A LOT OF CELTIC ACTS 60 00:01:47,600 --> 00:01:48,366 TOO. 61 00:01:48,366 --> 00:01:49,933 >> PETER: YEAH. 62 00:01:49,933 --> 00:01:50,900 >> PETE: LIKE LUNASA MADE THEIR 63 00:01:50,900 --> 00:01:51,833 FIRST APPEARANCE IN 64 00:01:51,833 --> 00:01:52,766 CHARLOTTESVILLE AT THE PRISM 65 00:01:52,766 --> 00:01:55,033 COFFEEHOUSE. 66 00:01:55,033 --> 00:01:55,900 >> TERRI: DAVE MATTHEWS PLAYED 67 00:01:55,900 --> 00:01:57,433 THERE IN THE EARLY ‘90S. 68 00:01:57,433 --> 00:01:58,533 >> PETER: DAVE AND TIM REYNOLDS, 69 00:01:58,533 --> 00:01:59,166 YEAH. 70 00:01:59,166 --> 00:02:03,900 >> TERRI: TALK ABOUT HOW OFTEN 71 00:02:03,900 --> 00:02:04,566 YOU HAVE SHOWS. 72 00:02:04,566 --> 00:02:05,400 WHAT IS -- HOW LONG IS THE 73 00:02:05,400 --> 00:02:05,900 SERIES ANNUALLY. 74 00:02:05,900 --> 00:02:06,966 >> CHRIS: I THINK WE DO 10 TO 15 75 00:02:06,966 --> 00:02:07,433 SHOWS A SEASON. 76 00:02:07,433 --> 00:02:08,133 WE HAVE TWO SEASONS SPRING AND 77 00:02:08,133 --> 00:02:10,533 FALL. 78 00:02:10,533 --> 00:02:12,100 WE DO 10 TO 15 SHOWS A SEASON, 79 00:02:12,100 --> 00:02:12,833 SO WE DO 20 TO 30 SHOWS A YEAR. 80 00:02:12,833 --> 00:02:14,300 THE C'VILLE COFFEE HAS BEEN A 81 00:02:14,300 --> 00:02:17,766 WONDERFUL LOCATION, THEY HAVE 82 00:02:17,766 --> 00:02:18,766 FOOD AND BEVERAGES AND IT'S A 83 00:02:18,766 --> 00:02:20,000 NICE ATMOSPHERE, IT'S INTIMATE 84 00:02:20,000 --> 00:02:21,200 BUT FRIENDLY -- AND WE'VE BEEN 85 00:02:21,200 --> 00:02:25,333 VERY HAPPY THERE. 86 00:02:25,333 --> 00:02:26,200 >> TERRI: TALK ABOUT THE 87 00:02:26,200 --> 00:02:26,933 DIFFERENT STYLES OF TRADITIONAL 88 00:02:26,933 --> 00:02:27,633 MUSIC THAT COME THROUGH WE'VE 89 00:02:27,633 --> 00:02:28,366 GOT A SCANDINAVIAN GROUP COMING 90 00:02:28,366 --> 00:02:30,966 IN, THE NORDIC FIDDLERS BLOC AND 91 00:02:30,966 --> 00:02:34,733 WE JUST HAD V ÄSEN IN LAST YEAR. 92 00:02:34,733 --> 00:02:35,766 SO WE BRING IN ACTS FROM AROUND 93 00:02:35,766 --> 00:02:39,100 THE WORLD. 94 00:02:39,100 --> 00:02:48,266 ♪ 95 00:02:48,266 --> 00:02:49,166 >> JOE: WE'VE GOT TO BE ONE OF 96 00:02:49,166 --> 00:02:50,266 THE LONGEST OPERATING COFFEE 97 00:02:50,266 --> 00:02:51,400 HOUSES AND ON THE EAST COAST. 98 00:02:51,400 --> 00:02:54,933 IF NOT ALL THE UNITED STATES. 99 00:02:54,933 --> 00:02:57,300 THE QUALITY OF THE MUSIC WAS 100 00:02:57,300 --> 00:02:58,600 ALWAYS REALLY TOP-NOTCH, AND YOU 101 00:02:58,600 --> 00:02:59,300 COULD SEE THINGS YOU COULDN'T 102 00:02:59,300 --> 00:03:00,633 SEE ANYWHERE ELSE. 103 00:03:00,633 --> 00:03:01,633 >> PHYLLIS: THE WHOLE INTERIOR 104 00:03:01,633 --> 00:03:05,266 WAS LIKE WOOD, WOODEN FLOORS, 105 00:03:05,266 --> 00:03:06,333 WOODEN WALLS -- NICE PAINTINGS 106 00:03:06,333 --> 00:03:07,066 ON THE WALLS -- SO IT HAD A VERY 107 00:03:07,066 --> 00:03:08,166 HOMEY, WARM ATMOSPHERE AND WE 108 00:03:08,166 --> 00:03:13,166 HAD REFRESHMENTS IN THE KITCHEN. 109 00:03:13,166 --> 00:03:16,100 WHEN WE STARTED DRAWING EVEN A 110 00:03:16,100 --> 00:03:16,900 HUNDRED PEOPLE IT WAS VERY 111 00:03:16,900 --> 00:03:17,800 CROWDED AND TIGHT BUT PEOPLE 112 00:03:17,800 --> 00:03:18,700 LOVED IT, IT WAS FINE. 113 00:03:18,700 --> 00:03:23,966 >> ALASDAIR: WE PLAY ALL KINDS 114 00:03:23,966 --> 00:03:25,366 OF VENUES, YOU KNOW, FROM LARGE 115 00:03:25,366 --> 00:03:26,766 TO SMALL, AND IT'S -- A LOT OF 116 00:03:26,766 --> 00:03:27,466 IS ABOUT PEOPLE, I GET A KICK 117 00:03:27,466 --> 00:03:30,866 OUT OF FOLK YOU KNOW. 118 00:03:30,866 --> 00:03:31,200 ♪♪♪ 119 00:03:31,200 --> 00:03:32,033 >> CHRIS: I'VE GOT A LITTLE EQ 120 00:03:32,033 --> 00:03:33,100 ON THE ROOM BUT YOUR CHANNEL IS 121 00:03:33,100 --> 00:03:33,933 FLAT. 122 00:03:33,933 --> 00:03:36,166 WHY DON'T WE LISTEN TO HER WITH 123 00:03:36,166 --> 00:03:37,066 THE REVERB AND -- ALL RIGHT SO 124 00:03:37,066 --> 00:03:41,433 -- 125 00:03:41,433 --> 00:03:41,766 ♪♪♪ 126 00:03:41,766 --> 00:03:42,666 >> TERRI: PETER, TELL US A 127 00:03:42,666 --> 00:03:43,400 LITTLE BIT ABOUT THE HISTORY OF 128 00:03:43,400 --> 00:03:44,633 THE PRISM COFFEEHOUSE. 129 00:03:44,633 --> 00:03:47,500 >> PETER: WELL IT STARTED BACK 130 00:03:47,500 --> 00:03:48,600 IN 1966, STUDENTS WANTED TO GET 131 00:03:48,600 --> 00:03:49,333 AWAY FROM THE UNIVERSITY GROUNDS 132 00:03:49,333 --> 00:03:50,766 AND HAVE A PLACE WHERE THEY 133 00:03:50,766 --> 00:03:52,366 COULD TALK AGAINST THE WAR AND 134 00:03:52,366 --> 00:03:55,500 AMONGST THEMSELVES. 135 00:03:55,500 --> 00:03:56,300 AND SO THEY APPROACHED THE 136 00:03:56,300 --> 00:03:57,366 WESTMINSTER PRESBYTERIAN CHURCH 137 00:03:57,366 --> 00:03:58,600 OVER THERE ON THE CORNER OF 138 00:03:58,600 --> 00:04:00,500 GORDON AND RUGBY. 139 00:04:00,500 --> 00:04:01,766 AND THE MINISTERS CAME TOGETHER, 140 00:04:01,766 --> 00:04:02,966 THEY CALLED THEMSELVES THE GOD 141 00:04:02,966 --> 00:04:04,033 SQUAD, AND SET UP THAT SPACE FOR 142 00:04:04,033 --> 00:04:08,000 THE STUDENTS. 143 00:04:08,000 --> 00:04:09,000 AND STARTED IN '66, AND THEY HAD 144 00:04:09,000 --> 00:04:10,533 THEIR OWN CONCERTS AND THEN THEY 145 00:04:10,533 --> 00:04:11,500 STARTED TO EVOLVE INTO HAVING 146 00:04:11,500 --> 00:04:12,366 FOLKS LIKE JOHN JACKSON AND 147 00:04:12,366 --> 00:04:22,700 EMMYLOU HARRIS COME IN. 148 00:04:22,700 --> 00:04:23,833 AND IN THE MID-'80S, A GROUP 149 00:04:23,833 --> 00:04:24,466 FROM THE PRISM MADE INTO A 150 00:04:24,466 --> 00:04:28,666 NONPROFIT ORGANIZATION AND THEN 151 00:04:28,666 --> 00:04:29,500 AROUND 1990-'91 THEY MADE IT 152 00:04:29,500 --> 00:04:30,733 INTO A WEEKLY SERIES, AND ACTS 153 00:04:30,733 --> 00:04:33,900 FROM ALL OVER THE WORLD STARTED 154 00:04:33,900 --> 00:04:34,800 COMING IN, NOT JUST FOLK BUT 155 00:04:34,800 --> 00:04:35,400 YOU'D HAVE BLUES, JAZZ, 156 00:04:35,400 --> 00:04:36,033 CLASSICAL, FOLKS LIKE MATT 157 00:04:36,033 --> 00:04:36,733 HAIMOVITZ WOULD COME IN AND DO 158 00:04:36,733 --> 00:04:37,400 CONCERTS, PETER ROWAN, TONY 159 00:04:37,400 --> 00:04:38,933 TRISCHKA -- AND IT WENT THAT WAY 160 00:04:38,933 --> 00:04:40,000 UNTIL 2006 -- AND THE CHURCH WAS 161 00:04:40,000 --> 00:04:41,700 READY TO TAKE THEIR SPACE BACK 162 00:04:41,700 --> 00:04:43,200 AND SO THE PRISM KIND OF LOST 163 00:04:43,200 --> 00:04:46,966 ITS HOME FOR A FEW YEARS, BUT 164 00:04:46,966 --> 00:04:54,000 STILL MANAGED TO STAY ALIVE. 165 00:04:54,000 --> 00:04:54,900 ♪♪♪ 166 00:04:54,900 --> 00:04:57,900 >> JAMES: IT'S A SMALL INTIMATE 167 00:04:57,900 --> 00:04:59,133 VENUE AND YOU FEEL LIKE YOU CAN 168 00:04:59,133 --> 00:05:02,066 JUST BE FRIENDS WITH THESE FOLKS 169 00:05:02,066 --> 00:05:06,233 AND THEY BRING WORLD CLASS MUSIC 170 00:05:06,233 --> 00:05:07,200 TO A LOCAL COMMUNITY. 171 00:05:07,200 --> 00:05:07,733 IT'S JUST FANTASTIC. 172 00:05:07,733 --> 00:05:08,466 >> IDA: IT'S PHENOMENAL TO SEE 173 00:05:08,466 --> 00:05:09,433 IT IN C'VILLE COFFEE BECAUSE 174 00:05:09,433 --> 00:05:10,300 IT'S SO SMALL AND I'M GONNA BE 175 00:05:10,300 --> 00:05:11,333 LIKE THREE FEET AWAY FROM THEM 176 00:05:11,333 --> 00:05:11,800 WHILE THEY PLAY. 177 00:05:11,800 --> 00:05:14,800 I'M VERY EXCITED. 178 00:05:14,800 --> 00:05:18,833 >> ALASDAIR: WHAT A JOY IT IS TO 179 00:05:18,833 --> 00:05:21,666 PLAY THIS MUSIC. 180 00:05:21,666 --> 00:05:22,633 I MEAN, HOPEFULLY THAT COMES 181 00:05:22,633 --> 00:05:25,200 ACROSS. 182 00:05:25,200 --> 00:05:25,733 IS IT HONEST? 183 00:05:25,733 --> 00:05:26,433 IT'S A PRIVILEGE, WE LOVE 184 00:05:26,433 --> 00:05:27,400 GATHERINGS AND THE FIDDLE IS A 185 00:05:27,400 --> 00:05:28,233 GREAT MOTIVATOR, IT'S A GREAT 186 00:05:28,233 --> 00:05:30,500 THING TO GATHER AROUND. 187 00:05:30,500 --> 00:05:34,100 >> TERRI: LET'S TALK A LITTLE 188 00:05:34,100 --> 00:05:35,733 BIT ABOUT THE MUSICAL ROLE THAT 189 00:05:35,733 --> 00:05:36,466 YOU PLAY IN OUR COMMUNITIES, SO 190 00:05:36,466 --> 00:05:37,033 PEOPLE SORT OF HAVE AN 191 00:05:37,033 --> 00:05:37,733 UNDERSTANDING OF WHY YOU'RE SO 192 00:05:37,733 --> 00:05:38,533 PASSIONATE ABOUT BEING BEHIND 193 00:05:38,533 --> 00:05:38,833 THIS. 194 00:05:38,833 --> 00:05:39,833 CHRIS MUNSON, YOU'RE INVOLVED IN 195 00:05:39,833 --> 00:05:40,466 EVERYTHING IN THE 196 00:05:40,466 --> 00:05:44,566 CHARLOTTESVILLE MUSIC SCENE. 197 00:05:44,566 --> 00:05:45,933 >> CHRIS: IT'S BEEN A LONG TIME. 198 00:05:45,933 --> 00:05:46,900 I STARTED BOOKING BANDS IN MY 199 00:05:46,900 --> 00:05:48,766 FRATERNITY AT UVA IN 1980. 200 00:05:48,766 --> 00:05:50,633 AND I'VE BEEN INVOLVED WITH 201 00:05:50,633 --> 00:05:52,633 CONCERT PROMOTION, AND I HAD MY 202 00:05:52,633 --> 00:05:53,566 OWN BOOKING AGENCY, RISING TIDE 203 00:05:53,566 --> 00:05:55,466 PRODUCTIONS. 204 00:05:55,466 --> 00:05:56,500 I WORKED AT TRACKS BACK IN THE 205 00:05:56,500 --> 00:06:00,233 EARLY DAYS AND TOURED WITH 206 00:06:00,233 --> 00:06:00,966 SEVERAL NATIONAL AND 207 00:06:00,966 --> 00:06:07,500 INTERNATIONAL ACTS DOING LIVE 208 00:06:07,500 --> 00:06:09,600 SOUND AND PRODUCTION, AND HAVE 209 00:06:09,600 --> 00:06:10,300 CONTINUED TO BE INVOLVED WITH 210 00:06:10,300 --> 00:06:13,633 ALL DIFFERENT KINDS OF MUSIC IN 211 00:06:13,633 --> 00:06:15,266 CHARLOTTESVILLE FOR -- SINCE 212 00:06:15,266 --> 00:06:15,566 1980. 213 00:06:15,566 --> 00:06:17,466 >> TERRI: AND PETE -- 214 00:06:17,466 --> 00:06:18,100 >> PETE: YES. 215 00:06:18,100 --> 00:06:18,800 >> TERRI: MANDO MAFIA! 216 00:06:18,800 --> 00:06:19,400 YOU'VE - TALK ABOUT YOUR 217 00:06:19,400 --> 00:06:20,800 CONNECTION IN THE MUSIC, IN THE 218 00:06:20,800 --> 00:06:21,533 MUSIC SCENE IN CHARLOTTESVILLE. 219 00:06:21,533 --> 00:06:22,333 >> PETE: WELL, I'VE, I CAME TO, 220 00:06:22,333 --> 00:06:23,033 I CAME BACK TO CHARLOTTESVILLE 221 00:06:23,033 --> 00:06:23,766 IN 1985 AND IN ABOUT 1989 JOINED 222 00:06:23,766 --> 00:06:24,500 THE MANDO MAFIA, OR HELPED FORM 223 00:06:24,500 --> 00:06:25,933 THE MANDO MAFIA. 224 00:06:25,933 --> 00:06:27,200 AND OVER THE COURSE OF 20 YEARS, 225 00:06:27,200 --> 00:06:30,000 PROBABLY EVERY YEAR WE PLAYED AT 226 00:06:30,000 --> 00:06:30,866 THE PRISM, SO I HAVE A DEEP 227 00:06:30,866 --> 00:06:34,400 AFFECTION FOR THE PRISM. 228 00:06:34,400 --> 00:06:37,200 AROUND THE SAME TIME, FRED BOYCE 229 00:06:37,200 --> 00:06:38,733 RECRUITED ME TO BE A DJ AT WTJU, 230 00:06:38,733 --> 00:06:41,866 SO I GOT MY FINGER ON A LOT OF 231 00:06:41,866 --> 00:06:43,033 DIFFERENT PULSES OF WHAT'S GOING 232 00:06:43,033 --> 00:06:43,500 ON IN THE MUSIC. 233 00:06:43,500 --> 00:06:43,966 >> TERRI: YEAH. 234 00:06:43,966 --> 00:06:45,800 >> PETER: YOU KNOW MY 235 00:06:45,800 --> 00:06:46,766 INVOLVEMENT WE BOTH WTJU AND THE 236 00:06:46,766 --> 00:06:50,566 PRISM STARTED WITH MANDO MAFIA. 237 00:06:50,566 --> 00:06:55,766 I WAS DRIVING DOWN RUGBY ROAD 238 00:06:55,766 --> 00:06:56,700 AND A FRIEND SAID, HEY, TURN ON 239 00:06:56,700 --> 00:06:57,666 THIS RADIO STATION, WE'RE GONNA 240 00:06:57,666 --> 00:06:58,733 GO TO THIS VENUE AND - AND SO 241 00:06:58,733 --> 00:06:59,600 THE FIRST SOUNDS I EVER HEARD 242 00:06:59,600 --> 00:07:00,433 COMING OUT OF THE PRISON WERE ON 243 00:07:00,433 --> 00:07:03,133 WTJU AND IT WAS MANDO MAFIA. 244 00:07:03,133 --> 00:07:04,500 >> TERRI: I LOVE -- I LOVE ALL 245 00:07:04,500 --> 00:07:05,433 OF THE CONNECTIONS AND - AND YOU 246 00:07:05,433 --> 00:07:08,433 ARE THE DIRECTOR OF. 247 00:07:08,433 --> 00:07:10,033 >> PETER: I'M THE FOLK DIRECTOR 248 00:07:10,033 --> 00:07:10,766 YEAH AND LIVE MUSIC AT WTJU THE 249 00:07:10,766 --> 00:07:16,933 UNIVERSITY'S RADIO STATION. 250 00:07:16,933 --> 00:07:27,333 ♪♪♪ 251 00:07:27,333 --> 00:07:32,233 ♪♪♪ 252 00:07:32,233 --> 00:07:33,433 >> TERRI: YOU ARE BRINGING IN 253 00:07:33,433 --> 00:07:37,566 JUST TOP-NOTCH ARTISTS. 254 00:07:37,566 --> 00:07:38,766 NAME SOME OF THE ARTISTS THAT 255 00:07:38,766 --> 00:07:39,433 HAVE COME THROUGH SINCE THE 256 00:07:39,433 --> 00:07:42,633 PRISM HAS RESTARTED. 257 00:07:42,633 --> 00:07:44,700 >> PETER: CERTAINLY ALASDAIR 258 00:07:44,700 --> 00:07:45,366 FRASER AND NATALIE HAAS HAVE 259 00:07:45,366 --> 00:07:45,866 BEEN A BIG PART -- 260 00:07:45,866 --> 00:07:46,500 >> PETE: PIERRE BENSUSAN. 261 00:07:46,500 --> 00:07:47,233 >> PETER: YEAH, PIERRE BENSUSAN. 262 00:07:47,233 --> 00:07:48,766 >> PETE: BEPPE GAMBETTA -- 263 00:07:48,766 --> 00:07:53,566 >> CHRIS: DRY BRANCH FIRE SQUAD. 264 00:07:53,566 --> 00:07:54,566 >> TERRI: AND MOLLY TUTTLE. 265 00:07:54,566 --> 00:07:55,566 >> PETER: MOLLY TUTTLE, YEAH! 266 00:07:55,566 --> 00:07:56,533 >> TERRI: SO TALK ABOUT HER 267 00:07:56,533 --> 00:07:57,333 BECAUSE WHEN YOU BOOKED HER SHE 268 00:07:57,333 --> 00:07:57,733 HAD NOT WON. 269 00:07:57,733 --> 00:07:58,866 PETER: NO, NO. 270 00:07:58,866 --> 00:08:01,466 >> PETE: WE BOOKED MOLLY TUTTLE 271 00:08:01,466 --> 00:08:02,433 BEFORE SHE WON THE IBMA GUITAR 272 00:08:02,433 --> 00:08:03,233 PLAYER OF THE YEAR AWARD. 273 00:08:03,233 --> 00:08:08,800 >> PETER: FIRST WOMAN TO WIN IT! 274 00:08:08,800 --> 00:08:09,866 >> PETE: LAST YEAR, AND AS SOON 275 00:08:09,866 --> 00:08:10,766 AS WE BOOKED HER, WE STARTED 276 00:08:10,766 --> 00:08:11,800 SELLING TICKETS AND THEY SOLD 277 00:08:11,800 --> 00:08:14,333 LIKE WILDFIRE. 278 00:08:14,333 --> 00:08:15,333 WE SOLD OUT FAR QUICKER THAN WE 279 00:08:15,333 --> 00:08:16,066 SOLD OUT WAY QUICKER THAN WE'VE 280 00:08:16,066 --> 00:08:16,733 SOLD OUT FOR ANY OTHER SHOW. 281 00:08:16,733 --> 00:08:18,966 >> TERRI: AND SEE THIS REMINDS 282 00:08:18,966 --> 00:08:19,866 ME OF THE EARLY DAYS OF THE 283 00:08:19,866 --> 00:08:20,800 PRISM BECAUSE THERE WERE A LOT 284 00:08:20,800 --> 00:08:21,566 OF PEOPLE WHO CAME THROUGH AND 285 00:08:21,566 --> 00:08:22,433 PLAYED A SMALL LISTENING ROOM 286 00:08:22,433 --> 00:08:23,000 FOR THE FIRST TIME. 287 00:08:23,000 --> 00:08:24,133 >> PETER: GILLIAN AND DAVE! 288 00:08:24,133 --> 00:08:25,466 >> TERRI: GILLIAN WELCH, YES! 289 00:08:25,466 --> 00:08:26,400 >> PETER: WELL YOU KNOW THE 290 00:08:26,400 --> 00:08:28,233 FIRST TIME GILLIAN AND DAVE 291 00:08:28,233 --> 00:08:29,400 PLAYED THERE WAS IN ‘95 AND 292 00:08:29,400 --> 00:08:30,200 THERE WERE 12, SOMETIMES PEOPLE 293 00:08:30,200 --> 00:08:30,533 SAY 13. 294 00:08:30,533 --> 00:08:31,833 >> TERRI: I WAS THERE. 295 00:08:31,833 --> 00:08:34,033 >> PETER: AND SIX MONTHS LATER 296 00:08:34,033 --> 00:08:35,066 THE PLACE WAS PACKED, AND THEN 297 00:08:35,066 --> 00:08:35,733 TWO YEARS LATER FOR THE FOLK 298 00:08:35,733 --> 00:08:36,633 MARATHON THEY WERE GONNA PLAY 299 00:08:36,633 --> 00:08:37,666 FOR TWO HOURS BUT PEOPLE JUST 300 00:08:37,666 --> 00:08:38,900 KEPT POURING IN AND THEY ENDED 301 00:08:38,900 --> 00:08:40,066 UP PLAYING FOR FOUR HOURS AND 302 00:08:40,066 --> 00:08:42,866 THEY ONLY STOPPED BECAUSE THEY 303 00:08:42,866 --> 00:08:43,833 SAID -WE DON'T KNOW ANY MORE 304 00:08:43,833 --> 00:08:44,300 TUNES. 305 00:08:44,300 --> 00:08:46,400 [LAUGHTER] 306 00:08:46,400 --> 00:08:47,433 >> PETER: AND THAT'S WHAT I LOVE 307 00:08:47,433 --> 00:08:47,900 ABOUT THE PRISM. 308 00:08:47,900 --> 00:08:48,533 >> TERRI: OH, WHAT A GREAT 309 00:08:48,533 --> 00:08:49,000 PROBLEM TO HAVE! 310 00:08:49,000 --> 00:08:49,833 >> CHRIS: AND I THINK THIS GOES 311 00:08:49,833 --> 00:08:50,800 ARE THE GREAT BOOKING PEOPLE 312 00:08:50,800 --> 00:08:51,833 THAT WE HAVE DOING THE BOOKING 313 00:08:51,833 --> 00:08:52,266 FOR THE PRISM. 314 00:08:52,266 --> 00:08:53,100 THEY HAVE VISION, THEY'RE 315 00:08:53,100 --> 00:08:53,900 LOOKING FOR THAT NEXT THING 316 00:08:53,900 --> 00:08:56,266 COMING ALONG. 317 00:08:56,266 --> 00:09:07,400 ♪♪♪ 318 00:09:07,400 --> 00:09:08,333 >> AL: WE SORT OF HAVE TWO 319 00:09:08,333 --> 00:09:09,033 MISSION STATEMENTS. 320 00:09:09,033 --> 00:09:11,166 ONE IS TO BRING WHAT MIGHT BE 321 00:09:11,166 --> 00:09:12,333 MISSED BY THE COMMERCIAL VENUES 322 00:09:12,333 --> 00:09:14,833 TO THE CHARLOTTESVILLE AUDIENCE. 323 00:09:14,833 --> 00:09:17,366 AND THEN OUR SECOND ONE, IS TO 324 00:09:17,366 --> 00:09:19,166 HELP THE ARTISTS THAT ARE 325 00:09:19,166 --> 00:09:21,900 PLAYING THIS KIND OF MUSIC, THAT 326 00:09:21,900 --> 00:09:23,366 IS NOT NECESSARILY HIGHLY 327 00:09:23,366 --> 00:09:26,200 COMMERCIAL, GIVE THEM A PLACE TO 328 00:09:26,200 --> 00:09:27,800 PLAY IN A TOWN THE SIZE OF 329 00:09:27,800 --> 00:09:28,633 CHARLOTTESVILLE. 330 00:09:28,633 --> 00:09:29,333 >> BECCA: SO I AM IN CHARGE OF 331 00:09:29,333 --> 00:09:30,033 MANAGING THE EMAIL ACCOUNT FOR 332 00:09:30,033 --> 00:09:30,600 THE BOOKING COMMITTEE. 333 00:09:30,600 --> 00:09:31,300 SO ALL THE INQUIRIES THAT COME 334 00:09:31,300 --> 00:09:32,700 IN, I KIND OF SORT THROUGH THEM 335 00:09:32,700 --> 00:09:33,600 AND SEND ON THE ONES THAT SEEM 336 00:09:33,600 --> 00:09:35,766 PROMISING. 337 00:09:35,766 --> 00:09:37,400 I BOOK THE ACTS, HELP NEGOTIATE 338 00:09:37,400 --> 00:09:38,400 THE CONTRACTS AND THEN SET UP 339 00:09:38,400 --> 00:09:40,700 ALL THE DETAILS FOR THAT. 340 00:09:40,700 --> 00:09:41,533 AND THEN I'VE HELPED SOME 341 00:09:41,533 --> 00:09:42,600 RUNNING THE DOOR FOR THE ACTUAL 342 00:09:42,600 --> 00:09:46,000 SHOWS AND SET UP AND THIS AND 343 00:09:46,000 --> 00:09:46,966 THAT. 344 00:09:46,966 --> 00:09:48,300 THE BOARD IS BASICALLY THE 345 00:09:48,300 --> 00:09:51,900 STAFF. 346 00:09:51,900 --> 00:09:53,266 >> CHRIS: THAT'S WITHOUT THE 347 00:09:53,266 --> 00:09:54,166 REVERB, SO LET ME BRING IN A 348 00:09:54,166 --> 00:09:55,366 LITTLE BIT OF REVERB, I WANT TO 349 00:09:55,366 --> 00:09:59,233 MAKE SURE I DON'T HAVE TOO MUCH. 350 00:09:59,233 --> 00:09:59,900 NOT TOO LONG? 351 00:09:59,900 --> 00:10:02,933 OKAY. 352 00:10:02,933 --> 00:10:04,133 >> TERRI: SO IF PEOPLE IN OUR 353 00:10:04,133 --> 00:10:04,766 COMMUNITY WANT TO GET INVOLVED 354 00:10:04,766 --> 00:10:06,533 IN SOME WAY BECAUSE IT'S ALL 355 00:10:06,533 --> 00:10:08,600 VOLUNTEER, WHAT ARE SOME OF THE 356 00:10:08,600 --> 00:10:09,300 OPPORTUNITIES THEY MIGHT HAVE? 357 00:10:09,300 --> 00:10:09,933 WHAT, WHAT COULD THEY GET 358 00:10:09,933 --> 00:10:10,633 INVOLVED IN AND HOW WOULD THEY 359 00:10:10,633 --> 00:10:12,200 GO ABOUT DOING THAT? 360 00:10:12,200 --> 00:10:13,433 >> PETER: WELL THEY CAN LEARN 361 00:10:13,433 --> 00:10:15,666 ABOUT SOUND. 362 00:10:15,666 --> 00:10:17,133 THEY CAN LEARN ABOUT HANDLING 363 00:10:17,133 --> 00:10:17,866 PROMOTION, SOCIAL MEDIA FOR US. 364 00:10:17,866 --> 00:10:18,566 >> CHRIS: WE'RE ALWAYS LOOKING 365 00:10:18,566 --> 00:10:19,866 FOR NEW PEOPLE TO JOIN AND NEW 366 00:10:19,866 --> 00:10:21,000 IDEAS AND PEOPLE CAN HELP WITH. 367 00:10:21,000 --> 00:10:21,700 >> TERRI: GREET PEOPLE AT THE 368 00:10:21,700 --> 00:10:22,000 DOOR. 369 00:10:22,000 --> 00:10:26,566 TAKE THE TICKETS. 370 00:10:26,566 --> 00:10:27,866 >> CHRIS: COME ON IN AND CHAT 371 00:10:27,866 --> 00:10:28,533 WITH US AT A SHOW ONE NIGHT 372 00:10:28,533 --> 00:10:29,333 WE'LL BE HAPPY TO CHAT WITH YOU 373 00:10:29,333 --> 00:10:30,066 OR GO TO OUR WEBSITE AND GIVE US 374 00:10:30,066 --> 00:10:30,866 A HOLLER AND WE'RE HAPPY TO GET 375 00:10:30,866 --> 00:10:31,400 PEOPLE INVOLVED. 376 00:10:31,400 --> 00:10:34,366 >> TERRI: AND WHAT'S REALLY COOL 377 00:10:34,366 --> 00:10:35,166 TOO, IS FOR TICKETING. 378 00:10:35,166 --> 00:10:36,133 PEOPLE CAN GO ONLINE AND GET 379 00:10:36,133 --> 00:10:37,800 THEIR TICKETS IN ADVANCE, YOU 380 00:10:37,800 --> 00:10:39,600 DON'T EVEN HAVE -- AT THE MOMENT 381 00:10:39,600 --> 00:10:40,966 YOU HAVE NO PROCESSING FEE. 382 00:10:40,966 --> 00:10:42,166 >> CHRIS: AND MOST OF THE MONEY 383 00:10:42,166 --> 00:10:43,133 GOES TO THE ARTISTS SINCE WE'RE 384 00:10:43,133 --> 00:10:44,466 VOLUNTEER THAT'S THE OTHER THING 385 00:10:44,466 --> 00:10:45,466 IS YOU KNOW, WE'RE ALL 386 00:10:45,466 --> 00:10:46,566 VOLUNTEERS SO WE HAVE MINIMAL 387 00:10:46,566 --> 00:10:47,733 OVERHEAD EXPENSES AND MOST OF 388 00:10:47,733 --> 00:10:50,000 THE MONEY GOES DIRECTLY TO THE 389 00:10:50,000 --> 00:10:50,333 ARTISTS. 390 00:10:50,333 --> 00:10:52,900 >> PHYLLIS: IT'S REALLY 391 00:10:52,900 --> 00:10:56,966 IMPORTANT, I THINK, TO PRESERVE 392 00:10:56,966 --> 00:10:58,833 ACOUSTIC MUSIC AND ROOTS MUSIC 393 00:10:58,833 --> 00:11:00,833 AND WORLD MUSIC AND INDIGENOUS 394 00:11:00,833 --> 00:11:03,266 MUSIC, AND SO THIS IS AN 395 00:11:03,266 --> 00:11:07,500 OPPORTUNITY FOR PEOPLE WHO 396 00:11:07,500 --> 00:11:08,800 CONTINUE TO PLAY THIS KIND OF 397 00:11:08,800 --> 00:11:09,466 MUSIC TO HAVE A STAGE AND AN 398 00:11:09,466 --> 00:11:11,933 AUDIENCE. 399 00:11:11,933 --> 00:11:12,766 >> ALASDAIR: I THINK THE 400 00:11:12,766 --> 00:11:14,133 AUDIENCES THAT COME HERE HAVE 401 00:11:14,133 --> 00:11:16,600 CHOSEN THIS. 402 00:11:16,600 --> 00:11:19,033 THEY COME HERE BECAUSE THEY LIKE 403 00:11:19,033 --> 00:11:21,100 WHAT'S GOING ON, THEY LIKE THE 404 00:11:21,100 --> 00:11:22,466 ENVIRONMENT, THEY LIKE THAT 405 00:11:22,466 --> 00:11:23,700 INTIMACY. 406 00:11:23,700 --> 00:11:25,666 AND IN SO MANY WAYS THIS KIND OF 407 00:11:25,666 --> 00:11:27,333 MUSIC IS DESIGNED FOR THAT. 408 00:11:27,333 --> 00:11:28,833 >> TERRI: SO WHAT DO YOU SEE IN 409 00:11:28,833 --> 00:11:29,466 THE FUTURE FOR THE PRISM? 410 00:11:29,466 --> 00:11:30,433 >> PETE: MORE SHOWS. 411 00:11:30,433 --> 00:11:31,066 >> CHRIS: MORE SHOWS, MORE 412 00:11:31,066 --> 00:11:31,300 SHOWS. 413 00:11:31,300 --> 00:11:32,766 >> PETER: YOU KNOW, FOR ME, IT'S 414 00:11:32,766 --> 00:11:35,333 MAKING SURE THAT TRADITIONAL AND 415 00:11:35,333 --> 00:11:36,400 BEYOND MUSIC WILL ALWAYS HAVE A 416 00:11:36,400 --> 00:11:40,166 HOME IN CHARLOTTESVILLE. 417 00:11:40,166 --> 00:11:41,733 >> TERRI: OH THIS IS WONDERFUL 418 00:11:41,733 --> 00:11:42,100 YOU ALL. 419 00:11:42,100 --> 00:11:43,400 THANK YOU SO MUCH FOR ALL THE 420 00:11:43,400 --> 00:11:44,133 WORK YOU'RE DOING IN FOR ALL THE 421 00:11:44,133 --> 00:11:44,866 GREAT MUSIC YOU'RE BRINGING INTO 422 00:11:44,866 --> 00:11:45,333 CHARLOTTESVILLE. 423 00:11:45,333 --> 00:11:45,866 >> PETER: THANK YOU. 424 00:11:45,866 --> 00:11:47,466 >> CHRIS: IT'S OUR PLEASURE. 425 00:11:47,466 --> 00:12:05,000 ♪♪♪ 426 00:12:05,000 --> 00:12:15,933 [APPLAUSE]