I have always been drawn to characters like Jesusa Palancares. María Sabina, the one who performed the ceremony of the sacred mushrooms (LSD in Oaxaca), Juan Perez Jolote (the Chamula peasant from Chiapas), Demetrio Vallejo (the railroad leader), all popular heroes, even if they are not recognized. I admire them because of their wisdom and the way they impart it, with great patience, great prudence, with respect for the ignorance of the person who asks the questions.

I suppose he had the good luck to be executed, no? I had an hour's chat with him in Buenos Aires. He struck me as a kind of play actor, no? Living up to a certain role. I mean, being a professional Andalusian... But in the case of Lorca, it was very strange because I lived in Andalusia and the Andalusians aren't a bit like that. His were stage Andalusians. Maybe he thought that in Buenos Aires he had to live up to that character, but in Andalusia, people are not like that. In fact, if you are in Andalusia, if you are talking to a man of letters and you speak to him about bullfights, he'll say, Oh well, that sort of this pleases people, I suppose, but really the torero works in no danger whatsoever. Because they are bored by these things, because every writer is bored by the local color in his own country. Well, when I met Lorca, he was being a professional Andalusian... Besides, Lorca wanted to astonish us. He said to me that he was very troubled about a very important figure in the contemporary world. A character in whom he could see all the tragedy of American life. And then he went on in this way until I asked him who was this character and it turned out this character was Mickey Mouse. I suppose he was trying to be clever. And I thought, 'That's the kind of thing you say when you are very, very young and you want to astonish somebody.' But after all, he was a grown man, he had no need, he could have talked in a different way. But when he started in about Mickey Mouse being a symbol of America, there was a friend of mine there and he looked at me and I looked at him and we both walked away because we were too old for that kind of game, no? Even at that time.

I’d go to Lionel for a lot of advice. He was so supportive. He used to tell me: ‘CoCo, I never worried about you once. I always knew that you would kill it.’ He’s always been very sweet and supportive. (~2015)

"He was my mentor, one of my best friends. We co-worked together. And actually, at some point, it became less about music and more about just friendship. He was like my small daddy kind of. And when I started getting into trouble in the industry, he was like my bailout and my defender.”

And what was this man Diablo like as a person, anyhow? As a public figure, anybody in communications of any kind had a preconceived image of him, a brilliant, savage, wholly destructive propagandist whose canned programs were seized with cries of delight in Africa and Asia. But that was essentially irrelevant. Back in the pioneering days of the media, almost immediately after the crude and primitive radio era dominated by Dr. Goebbels, that instinctive genius of the borderline period Joe McCarthy had allegedly greeted a former acquaintance at a party, having secured his dismissal from his job, the loss of most of his friends and the acquisition of several million new enemies, with the cry, “Haven’t seen much of you lately — you been avoiding me?

When I was a kid, I wanted to be as good an actor as Patrick, as cool as Frakes, and as funny as Brent. From time to time, one of them would say something to me that made me feel like I'd taken a step in that direction, and it always meant the world to me. I loved it when Brent would joke around with me, because it made me feel like I was the peer I so desperately wanted to be, instead of the clueless teenager I knew I was.

“My father was – well he had a work ethic and a half. Contrary to popular stereotypes, most Latinos I knew growing up had very strong work ethics. He was also a very kindly man, and…gentle, very soft-spoken. And I think to a certain extent, very shy. And I think I inherited that from him, which has made the fact that I have to get out every now and then, and actually be somebody in front of people without getting terrible stage fright, which I used to get all the time. You know it took me a long time to get over that hump.

"When I was fifteen and had quit school forever, I went to work in a vineyard near Sanger with a number of Mexicans, one of whom was only a year or two older than myself, an earnest boy named Felipe. One gray, dismal, cold, dreary day in January, while we were pruning muscat vines, I said to this boy, simply in order to be talking, "If you had your wish, Felipe, what would you want to be? A doctor, a farmer, a singer, a painter, a matador, or what?" Felipe thought a minute, and then he said, "Passenger." This was exciting to hear, and definitely something to talk about at some length, which we did. He wanted to be a passenger on anything that was going anywhere, but most of all on a ship."

Now (Burt Lancaster) was a guy, terrific. I've worked with some Hollywood actors, but he was worth all of them. He used to be a circus acrobat. He had this marvellous physique, and while other actors would choose to act like primadonnas when it came to dangerous scenes, Lancaster would do most of the stuff himself. And he was a friendly guy, always helping us little-knowns when we had problems. This was one of my first more important parts and I was very unsure of myself. He was always telling us what we could do to improve our stuff. A great guy.

The best advice and most help he ever received came from Buster Clarkson, an American player, when he was in Puerto Rico."I played for his team and I was just a kid," Clemente recalled. "He insisted the other players allow me to take batting practice and he helped me. He put a bat behind my foot and made sure I didn't drag my foot. Willie Mays also helped me. He told me not to allow the pitchers to show me up. He suggested I get mean and if the pitchers knocked me down, get up and hit the ball. Show them."

Oral tradition is really how Chicano literature came to be. I was not exposed to the written word, but I had the greatest teacher. I always tell people that my mother was my inspiration because she was the best chismosa, and she had the best stories. And if anyone taught me about drama, it was my mother because she knew how to tell a story. And my grandfather also told stories. One of the reasons why I waned to be a writer was because I was fascinated by stories of La Llorona, supernatural stories and things like that and I love hearing chisme (gossip)…

Bragan and Walker talked to me the most. The fellow who helped me most of all was Buck Clarkson. I think he lives in Donora. He managed me in the Puerto Rican League when I was a boy. He used to see me throw a ball from the outfield 400 feet on the line, most of the time wild. And I hit good. Buck Clarkson used to tell me I am as good as anybody in big leagues. That helped me a lot.

I quite like talking myself, but when Peter was in the room there wasn't much point, you just had to listen. He was unimaginably, overwhelmingly gifted. You had to imagine a cross between Dr. Johnson, Isaiah Berlin, Peter Sellers and don't forget Charlie Chaplin — because Peter was a great mime too. … He was inexhaustible. It was like talking to Europe, talking to history.

[Marlon] Brando was my best friend, [Robert] Mitchum, Burt Lancaster, even though he tried to kill me three times.