An important element of the program was the dynamic tension between 
our two ways of seeing the world and doing things.21  Hank had been 
raised as the son of an Anglican priest who is a master at 
extemporaneous homiletics. Hank had played music professionally with 
several successful bands (The Bonnevilles, Downchild Blues Band, et 
al), and studied painting. For Hank the energy generated in performance 
was as important as anything, and if the energy was flowing well the 
audience would pick up on it. I learned a bit  about how to use this 
energy from him Ñ when we were "on" we could do no wrong and you 
could almost feel the proverbial golden thread. But for Hank it was the 
art. This energy at the edge, the act itself of creating, was the art. He 
once painted a picture while playing the piano as a performance at 
Pumps. 22

I, on the other hand, was always concerned with product. What will the 
listener think, understand, enjoy? I could never logically accept Hank's 
esthetic stance, though I realized that it did work when it worked. I 
would spend worrisome hours in script preparation and got to be quite 
fast writing dialogue for us. This piece is being written in the same 
manner Ñ fast and as if it were to be spoken.

At any rate our differences tended to compliment each other in useful 
ways and radio became the predominant element in our lives. 23