FB: This is our second round with Don. The first round was brilliant and covered and awful lot of parts of your career, your long, and highly successful--satisfying career with Columbia/Sony Records. A lot of--well, we began to touch on you eighteen year career here, as the head of music technology, but we've got an awful lot to fill in. I think we should capture the attention of our young audience by telling them that you are not retired by a long shot, but you're still active with AES and everything else. Please get us off on that foot and then we'll roll. DP: Retirement really does mean change. It doesn't really mean being put out, put to pasture. So, while I am retired, I do teach a course, an introductory course to the industry and the New England Institute of Art. I am on the board, I am the vice-president actually, of Symphony by the Sea, which is a local professional orchestra on the North Shore of Massachusetts. And, I am the president of the Audio Engineering Society's educational foundation. Audio Engineering Society Educational Foundation gives grants for graduate studies in audio and related fields, which is right now--and a very busy time. I'm receiving all of the applications from (New York), going through them, I'll make copies for my committee, I have about six members, and we'll make decisions as to how many and who will get those stipends, which is around $5000 for each participant. FB: What do they entail? What kind of grants are they looking for? DP: This is incredible because it is an international organization, I'm getting applications from Africa, from China--from, really, around the world. And, we just go through and see what their intent is, what their connection is with the audio world, it is after all the Audio Engineering Society. And we just make decisions as to which ones we feel we can support. I had this year, eight candidates for PhD's and then the rest, which is about thirty-five, Masters' Degrees. FB: What might be a winning proposal? DP: Whoa! They're all different, very different. We don't have preconceived notions. We try to look at people--we try to look at all the applications seeing what their motivations are, what they've accomplished, what they plan to do in the future, of course, their educational credits, how successful they've been in their undergraduate studies. So all of these things we kind of put together and discuss them in the group. We do our work individually and then we discuss our decisions within a group meeting one day in New York City, at the headquarters. And we come up with decisions and then more work begins in getting out the cheque to the institution and getting the notification, pro and con, to the applicants. FB: Committee work and sharply run administration was part of your work here at Berklee. DP: Actually, thank you for bringing that up. I would say, I was the first dean of the music technology--I was the first dean at Berklee, who was really an administrator more than an educator. In the typical Berklee College, especially when it was a jazz school, there were two divisions: performance and writing. And the people achieved success in both of those divisions, the Herb Pomeroys, the John LaPortas. The deans of those programs could probably teach almost every course in their division. My division became very different. I became very specialised; we had music production and engineering, music synthesis, which is now electronic design. Those were very specialised fields and my point there was to be a student advocate, number one, and a developer and a mentor for the faculty. I tried to get the faculty--we had diverse faculty. We had a very diverse faculty in music production and engineering, but in music synthesis we had a diverse faculty which were all white males, and yet their diversity was in what they offered. And I tried in as much as possible, their best efforts recognised, not to make one closer to what the ideal was. So they were scattered, they were very scattered, and a very vocal faculty. FB: I think it's okay to name names. A lot of these people are still with us. DP: They're still with us. There's Tom Rhea, Richard Boulanger, of course, Kurt Biederwolf, who became the chair for a while. I just want to say, at one point, I advised Kurt, and Richard also, not to become the chair, not to run for chair of the program. I thought they were young and they had wonderful careers developing and I didn't want to see them stifle that with taking on administrative chores. Kurt a few years later, decided that that was the way that he was going to go and he became the chair, and I knew that he would be a very good chair. Then we had Chris Noyes and we had Michael Brigida, that pretty much rounded out that program. We had some very good staff members as well: Kai Turnbull. That was also a very active, and alive department, started by Dave Mash. And Dave has to be given the credit for it, of course. Dave became the computer guru for Berklee, went on to become vice-president of IT, but during that period where I was the dean, I had Dave for a few years and then I had a couple of other chairs and that was when I had to serve as a mentor for the students… We had issues in music synthesis. They built studios, administration pretty much built classrooms, where the students did projects as well. They put fluorescent lights, I had problems with that. Students were doing their projects under fluorescent lighting. Faculty were showing slides and could not dim the lights. They were showing videos and slides. We did not have appropriate consoles or studio environments for the synthesis people to work in. We ultimately put up a booth for vocal recording, but it was secondary facilities compared with what we had in music production and engineering. Which we had a lot more control, we had a lot more say. I also felt that my role as administrator there was to try to get… I was always concerned about the fact that the students are coming from--they're coming from backgrounds--they're coming from homes where they're being highly supported by parents who are scraping money to get them here and this is not an easy thing to do. It wasn't then, even less now, it wasn't easy to send your son or daughter to Berklee and afford that education. A lot of people were going into debt, a lot of people were doing what they could, 'cause they thought that that education was valuable. I wanted to prove them right. I wanted that education to be a real college education, which I was very proud of Berklee. We had wonderful general education program here. When you came to Berklee you did get an education. It was not a trade school. I resent that some people consider it a trade school. Not at all! You had a real college experience here. I thought that the other problem with the programs-- well, Lee was brilliant in bringing in music technology first, but music business, music therapy, these are the things that brought us out of "Berklee School of Music" as the jazz school. FB: Larry founded it in '46. DP: Yeah, right after the wars so that we could take advantage of the GI bill, basically. But, yeah, we've evolved, and Lee was very good at that. I am very proud that it's now in the hands of Roger Brown. I think Roger's--well, he certainly knows how to raise money and fund the dreams the he and the board and the administration have for the future of this college. And let me just say another thing about Roger Brown; I was in the United States Marine Band. We played a tour once a year, of all of the states, in sections, different sections. I heard some of the best speakers that we have to offer, one day I went to an FBI graduation and somebody gave a speech that just knocked me out, and I asked, "Who is that?" They said, "That's Senator Kennedy. They're thinking of running him for president." I said, "Oh, you've got to be kidding, somebody that smart, and who could speak that well." He's the best speaker I ever heard. But I would say Roger Brown, maybe second. He's really an excellent speaker. I love to hear him. I love the way he puts things together. The way he expresses his ideas I think is terrific. FB: He is highly motivational. He is really great at those beginning-of-the-year things where he'll whip out a poem or lines from a song, and you'll say, "Damn, that's just totally apropos to the mood he was trying to set." DP: Yeah, that's great.