Without You I'm Nothing
: The Believer looks at the memoirs of the wives and girlfriends of rock stars.
Though Llewyn appears stuck, he’s the nomad always ecstatic in his circumlocutions. He’s on a road to nowhere but at least trudging on a path to somewhere. The rest of the world marks time, gliding smoothly along the straight line of the future, arrested comfortably in the steady flow of the ever-present, and being naively present relieves one from the nightmare of history. Maybe the materialization of Dylan’s music in the final minutes, when it wasn’t there in the beginning, is another sign that Llewyn’s time has passed, and it’s time to, um, face the music. Like clockwork he goes into the alley to confront the shadowy figure, and takes his punch (this time not saying “I’m sorry?” before the fist collides with his face, however). Consigned again to this cesspool, he doesn't stay down but ascends through iron bar shadows and follows his bellicose aggressor, who gets into a cab and drives off. Llewyn looks on somewhat wistfully, not saying “farewell” in accord with Dylan but rather says “Au revoir”—indicating they’ll see each other again. At that quiet utterance the cab’s wheels screech and turn a sharp corner. The linear trajectory forward is thwarted and Fate's Emissary will inevitably come around again. The Orbital Noose: Inside Llewyn Davis
Bob Dylan ran through the 18th century English folk song "Pretty Saro" six consecutive times during the Self Portrait
sessions in March 1970, but none of those versions made the final cut for the album and the song remained in Columbia's vault for the past 43 years, until now. Bob Dylan's Lost 1970 Gem 'Pretty Saro' - Premiere
Trailer for Inside Llewyn Davis
- the new film by the Coen brothers possibly
inspired by the album cover for The Freewheeling' Bob Dylan
Audio only, Newport 1966: Joan Baez - Farewell Angelina
Recorded Jan. 13, 1965, released 1991: Bob Dylan - Farewell Angelina
B/W Video 1966 Joan Baez - Farewell Angelina
Tablature and lyrics following those of the Dylan recording: dylanchords: Farewell Angelina
French TV 1967: Nana Mouskouri - Adieu Angélina
Bratislava 1989, avant de la Révolution de velours: Joan Baez - Farewell Angelina
From the 90s, or so I believe: Nickle Creek - Farewell Angelina
June 19, 2010 at Kidzstock: Joan Baez and Jasmine Harris - Farewell Angelina [more inside]
Bob Dylan famously "went electric"
at the Newport Folk Festival in 1965. 47 years later, experts believe a woman in New Jersey has the guitar
the Dylan played on stage that day. [more inside]
Dr. John Rudoff
is a cardiologist in Oregon, but before he entered medical school, he was the staff photographer at The Main Point
, a coffeehouse in Bryn Mawr, PA associated with the early 1960s folk revival in the Philadelphia area. His photographs of the Philadelphia folk scene include unidentified local folkies
, but also touring folk singers such as Dave van Ronk
and John Hammond
. Eventually, Rudoff got a press pass to the 1965 Newport Folk Festival, where he took photos of Mary Travers sharing a moment with Mimi and Dick Fariña
and Joan Baez with a pre-psychedelicized Chambers Brothers
, but the most amazing discovery of all are the photos of when Bob Dylan "went electric."
And now you can see Rudoff's whole collection
, thanks to the magic of Flickr.
On "Love and Theft"
& On On "Love and Theft" and the Minstrel Boy
& The Annotated Love And Theft
... In melody, Bye and Bye
comes by way of Billie Holiday's Having Myself A Time
by way of Bing Crosby's (& Eddie Duchin's & Kate Smith's & Isham Jones's...) Snuggled On Your Shoulder
--and lyrically, by way, in part
, of Junichi Saga's Confessions Of A Yakuza
, which was not a crime novel, as StupidSexyFlanders
once surmised, but an outright As told to
memoir, which makes it four or five degrees from Yakuza to Dr. Saga to translator to Dylan to Plagiarism in Dylan, or a Cultural Collage? Oh, who's going to throw that minstrel boy a coin ?
Be careful what you wish for, the cliché goes. Having aspired from early youth to become stars, people who achieve that status suddenly find themselves imprisoned, unable to walk down the street without being importuned by strangers. The higher their name floats, the greater the levy imposed, the less of ordinary life they can enjoy. In his memoir, Bob Dylan never precisely articulates the ambition that brought him to New York City from northern Minnesota in 1961, maybe because it felt improbable even to him at the time. Nominally, he was angling for Leading Young Folksinger, which was a plausible goal then, when every college town had three or four coffeehouses and each one had its Hootenanny night, and when performers who wowed the crowds on that circuit went on to make records that sometimes sold in the thousands. But from the beginning Dylan had his sights set much higher: the world, glory, eternity—ambitions laughably incommensurate with the modest confines of American folk music. He got his wish, in spades... 'I Is Someone Else'
"It was surprising how thick the smoke had become.
It seems like the world has always needed a scapegoat --someone to lead the charge against the Roman Empire. But America wasn't the Roman Empire and someone else would have to step up and volunteer. I really was never any more than what I was -- a folk musician who gazed into the gray mist with tear-blinded eyes and made up songs that floated in a luminous haze. Now it had blown up in my face and was hanging over me." -- from Bob Dylan's
new autobiography, Chronicles
, with a brief interview
, via Newsweek
The closest I ever got to the sound I hear in my mind was on individual bands in the 'Blonde on Blonde' album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up.
Bob Dylan 1978
Blonde On Blonde
--Seven mixes, four or five covers, four or five women, some missing photographs
and one leather coat... (story within)
Bob Dylan Live at Newport, 1965: Maggie’s Farm. 10 MB Quicktime mp3
and historic moment,
that began a legendary year of touring
, stolen moments of which are available in several sometimes bootlegged formats
.Sometimes, perhaps revised
, stories differ
at what happened
, and, now, post
enough, He appears at Newport
again this Saturday
Without Harry Smith I wouldn’t have existed!
… I put Harry Smith with the three most dear to me GRAND INTELLIGENCE!! Allen Ginsberg, William Burroughs, Harry Smith…These were sharp motherfuckers… and heavy… talk about heavy!!
Harry Smith, a central figure in the mid-20th-century avant-garde, was a complex artistic figure who made major contributions to the fields of sound recording, independent filmmaking, the visual arts, and ethnographic collecting. Along with Kenneth Anger, Jordan Belson, and Oskar Fischinger, Smith is considered one of America’s leading experimental filmmakers. He would often hand-paint directly on film creating unique, complex compositions that have been interpreted as investigations of conscious and unconscious mental processes. Smith began as a teenager to record Native American songs and rituals. He is best known for his Anthology of American Folk Music, a music collection widely credited with launching the urban folk revival.
The Anthology is the focus here, but Harry Smith, the artist, avant garde film maker, polymath, musicologist and quintessential hipster must be mentioned, too. Details Within