H igh school was a great ride. I liked the schoolwork, my friends, the band, DeMolay, and my other activities, but it bothered me that Hot Springs schools still werent integrated. The black kids still went to Langston High School, which claimed as its most famous alumnus the legendary Washington Redskins back Bobby Mitchell. I followed the civil rights movement on the evening news and in our daily paper, the Sentinel-Record, along with Cold War events like the Bay of Pigs and the U-2 incident with Francis Gary Powers. I can still see Castro riding into Havana at the head of his ragtag but victorious army. But as with most kids, politics took a backseat to daily life. And apart from Daddys occasional relapses, I liked my life a lot.

It was in high school that I really fell in love with music. Classical, jazz, and band music joined rock and roll, swing, and gospel as my idea of pure joy. For some reason I didnt get into country and western until I was in my twenties, when Hank Williams and Patsy Cline reached down to me from heaven.

In addition to the marching and concert bands, I joined our dance band, the Stardusters. I spent a year dueling for first chair on tenor sax with Larry McDougal, who looked as if he should have played backup for Buddy Holly, the rocker who died tragically in a bad-weather plane crash in 1959 along with two other big stars, the Big Bopper and seventeen-year-old Richie Valens. When I was President I gave a speech to college students in Mason City, Iowa, near where Holly and his pals had played their last gig. Afterward I drove to the site, the Surf Ballroom, in neighboring Clear Lake, Iowa. Its still standing and ought to be turned into a shrine for those of us who grew up on those guys.

Anyway, McDougal looked and played as if he belonged with them. He had a ducktail hairdo, crew cut on top, long hair greased back on the sides. When he stood for a solo, he gyrated and played with a blaring tone, more like hard-core rock and roll than jazz or swing. I wasnt as good as he was in 1961, but I was determined to get better. That year we entered a competition with other jazz bands in Camden in south Arkansas. I had a small solo on a slow, pretty piece. At the end of the performance, to my astonishment, I won the prize for best sweet soloist. By the next year, I had improved enough to be first chair in the All-State Band, a position I won again as a senior, when Joe Newman won on drums.

In my last two years I played in a jazz trio, the 3 Kings, with Randy Goodrum, a pianist a year younger and light-years better than I was or ever could be. Our first drummer was Mike Hardgraves. Mike was raised by a single mom, who often had me and a couple of Mikes other friends over for card games. In my senior year Joe Newman became our drummer. We made a little money playing for dances, and we performed at school events, including the annual Band Variety Show. Our signature piece was the theme from El Cid. I still have a tape of it, and it holds up pretty well after all these years, except for a squeak I made in my closing riff. I always had problems with the lower notes.

My band director, Virgil Spurlin, was a tall, heavyset man with dark wavy hair and a gentle, winning demeanor. He was a pretty good band director and a world-class human being. Mr. Spurlin also organized the State Band Festival, which was held over several days every year in Hot Springs. He had to schedule all the band performances and hundreds of solo and ensemble presentations in classrooms in the junior and senior high school buildings. He scheduled the days, times, and venues for all the events on large poster boards every year. Those of us who were willing stayed after school and worked nights for several days to help him get the job done. It was the first large organizational effort in which I was ever involved, and I learned a lot that I put to good use later on.

At the state festivals, I won several medals for solos and ensembles, and a couple for student conducting, of which I was especially proud. I loved to read the scores and try to get the band to play pieces exactly as I thought they should sound. In my second term as President, Leonard Slatkin, conductor of the Washington National Symphony, asked me if I would direct the orchestra in Sousas Stars and Stripes Forever at the Kennedy Center. He told me all I had to do was wave the baton more or less in time and the musicians would do the rest. He even offered to bring me a baton and show me how to hold it. When I told him that Id be delighted to do it but that I wanted him to send me the score of the march so I could review it, he almost dropped the phone. But he brought the score and the baton. When I stood before the orchestra I was nervous, but we got into it, and away we went. I hope Mr. Sousa would have been pleased.

My only other artistic endeavor in high school was the junior class play, Arsenic and Old Lace, a hilarious farce about two old maids who poison people and stash them in the house they share with their unsuspecting nephew. I got the role of the nephew, which Cary Grant played in the movie. My girlfriend was played by a tall, attractive girl, Cindy Arnold. The play was a big success, largely because of two developments that werent part of the script. In one scene, I was supposed to lift up a window seat, find one of my aunts victims, and feign horror. I practiced hard and had it down. But on play night, when I opened the seat, my friend Ronnie Cecil was crammed into it, looked up at me, and said, Good evening, in his best vampire voice. I lost it. Luckily, so did everyone else. Something even funnier happened offstage. When I kissed Cindy during our only love scene, her boyfrienda senior football player named Allen Broyles, who was sitting in the front rowlet out a loud comic groan that brought the house down. I still enjoyed the kiss.

My high school offered calculus and trigonometry, chemistry and physics, Spanish, French, and four years of Latin, a range of courses many smaller schools in Arkansas lacked. We were blessed with a lot of smart, effective teachers and a remarkable school leader, Johnnie Mae Mackey, a tall, imposing woman with thick black hair and a ready smile or a stern scowl as the occasion demanded. Johnnie Mae ran a tight ship and still managed to be the spark plug of our school spirit, which was a job in itself, because we had the losingest football team in Arkansas, back when football was a religion, with every coach expected to be Knute Rockne. Every student from back then can still remember Johnnie Mae closing our pep rallies leading the Trojan yell, fist in the air, dignity discarded, voice roaring, Hullabloo, Ke-neck, Ke-neck, Hullabloo, Ke-neck, Ke-neck, Wo-Hee, Wo-Hi, We win or die! Ching Chang, Chow Chow! Bing Bang, Bow Wow! Trojans! Trojans! Fight, Fight, Fight! Fortunately, it was just a cheer. With a 6291 record in my three years, if the yell had been accurate, our mortality rate would have been serious.

I took four years of Latin from Mrs. Elizabeth Buck, a delightful, sophisticated woman from Philadelphia who had us memorize lots of lines from Caesars Gallic Wars. After the Russians beat us into space with Sputnik, President Eisenhower and then President Kennedy decided Americans needed to know more about science and math, so I took all the courses I could. I was not very good in Dick Duncans chemistry class, but did better in biology, though I remember only one remarkable class, in which the teacher, Nathan McCauley, told us we die sooner than we should because our bodies capacity to turn food into energy and process the waste wears out. In 2002, a major medical study concluded that older people could increase their life span dramatically by sharply decreasing food intake. Coach McCauley knew that forty years ago. Now that I am one of those older people, I am trying to take his advice.

My world history teacher, Paul Root, was a short, stocky man from rural Arkansas who combined a fine mind with a homespun manner and an offbeat, wicked sense of humor. When I became governor, he left his teaching position at Ouachita University to work for me. One day in 1987, I came upon Paul in the state Capitol talking to three state legislators. They were discussing Gary Harts recent downfall after the story broke about Donna Rice and the Monkey Business. The legislators were all giving Gary hell in their most sanctimonious voices. Paul, a devout Baptist, director of his church choir, and certified straight arrow, listened patiently while the legislators droned on. When they stopped for breath, he deadpanned, Youre absolutely right. What he did was awful. But you know what else? Its amazing what being short, fat, and ugly has done for my moral character. The legislators shut up, and Paul walked off with me. I love that guy.

I enjoyed all my English courses. John Wilson made Shakespeares Julius Caesar come alive to Arkansas fifteen-year-olds by having us put the meaning of the play in ordinary words and asking us repeatedly whether Shakespeares view of human nature and behavior seemed right to us. Mr. Wilson thought old Will had it about right: life is comedy and tragedy.

In junior English honors class, we had to write an autobiographical essay. Mine was full of self-doubt I didnt understand and hadnt admitted to myself before. Here are some excerpts:

I am a person motivated and influenced by so many diverse forces I sometimes question the sanity of my existence. I am a living paradoxdeeply religious, yet not as convinced of my exact beliefs as I ought to be; wanting responsibility yet shirking it; loving the truth but often times giving way to falsity. . . . I detest selfishness, but see it in the mirror every day. . . . I view those, some of whom are very dear to me, who have never learned how to live. I desire and struggle to be different from them, but often am almost an exact likeness. . . . What a boring little wordI! I, me, my, mine . . . the only things that enable worthwhile uses of these words are the universal good qualities which we are not too often able to place with themfaith, trust, love, responsibility, regret, knowledge. But the acronyms to these symbols of what enable life to be worth the trouble cannot be escaped. I, in my attempts to be honest, will not be the hypocrite I hate, and will own up to their ominous presence in this boy, endeavoring in such earnest to be a man. . . .

My teacher, Lonnie Warneke, gave me a grade of 100, saying the paper was a beautiful and honest attempt to go way down inside to fulfill the classic demand to know thyself. I was gratified but still unsure of what to make of what Id found. I didnt do bad things; I didnt drink, smoke, or go beyond petting with girls, though I kissed a fair number. Most of the time I was happy, but I could never be sure I was as good as I wanted to be.

Miss Warneke took our small class on a field trip to Newton County, my first trip into the heart of the Ozarks in north Arkansas, our Appalachia. Back then it was a place of breathtaking beauty, hardscrabble poverty, and rough, all-consuming politics. The county had about six thousand people spread over more than a couple of hundred square miles in hills and hollows. Jasper, the county seat, had a little more than three hundred people, a WPA-built courthouse, two cafs, a general store, and one tiny movie theater, where our class went one night to watch an old Audie Murphy western. When I got into politics I came to know every township in Newton County, but I fell in love with it at sixteen, as we navigated the mountain roads, learning about the history, geology, flora, and fauna of the Ozarks. One day we visited the cabin of a mountain man who had a collection of rifles and pistols dating back to the Civil War, then explored a cave the Confederates had used for munitions storage. The guns still fired, and remnants of the arsenal were still in the cave, visible manifestation o............