Dylan pretended to take no notice of the camera, while Russell promised to keep his lips sealed in regards to anything he heard. After shooting the widely-known, famous folk legend again in and at his height of success, Russell admits he never became a Bob Dylan fan.
Praise Be to Nero’s Neptune – John Hughes on Bob Dylan
You must be logged in to post a comment. Bob Dylan before the fame: rare photos of a struggling folk singer emerge after 30 years gathering dust By Jacinta Rets News Bob Dylan. Tags: bob dylan s bob dylan 60s bob dylan photos young bob dylan. Leave a Reply Cancel Reply You must be logged in to post a comment. The back of the book - something the reviewers have strangely failed to notice - provides a meticulously compiled, page discography, including, inter alia, recording details and some analysis of every single song recorded at the basement sessions.
One or two minor facts are missing e.
As to Marcus' actual discussion of Dylan songs and performances, the first chapter offers a kind of prologue to the Basement Tapes, re-treading familiar ground the Newport Folk Festival and the so-called 'electric sellout' ; otherwise, the main substance lies in his close analysis of just four of the basement songs: 'Lo and Behold! For this handful of songs, his interpretations of the lyrics and evocation of the music arrest and convince.
He reads the musical mosaic of 'I'm Not There' with remarkable tellingness 'Garth Hudson continues decorating the circle of the tune Instead, Marcus takes the reader on a tour of some of the obscurer and dustier backroads of American popular music. Those willing to follow the trail will discover, Tom Sawyer-like, a treasure-trove of obscure and fascinating information.
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We learn about Harry Smith's 'Anthology of American Folk Music', an idiosyncratic but crucial five-LP set described as 'the founding document of the American folk revival' p. While all this material is not ostensibly or directly about Dylan, it is hardly irrelevant to him either, if one views his work as one more manifestation, however individual, of a deep-rooted, authentically popular tradition.
In his preface, he asserts that in the alchemy of the basement laboratory there is 'an undiscovered country, like the purloined letter in plain sight' p. The reference uncredited in text or index is to Edgar Allan Poe's tale 'The Purloined Letter', where the detective Dupin tracks down the stolen letter in the purloiner's house, on open display but turned inside-out - visible yet invisible at one and the same time.
He is obviously talking about the 'invisible republic' - a presence at the very centre of America that is both there yet not there, ignored by the great majority yet beating at the deep heart's core. The purloined letter analogy suggests something which someone has stolen: I would guess that a vital word is absent, it may be deliberately, from Marcus' surface discourse, and I suggest that word is 'community' - a notion which may be uncovered, in multiple and contradictory manifestations, as we follow the twisting trail of his argument across the book's prairie.
That conundrum runs through US history and culture, through Walt Whitman and Mark Twain to today's conflicts over minority rights and campus free speech, and can scarcely be said to have been resolved today. Marcus quotes the famous address of John Winthrop, the first governor of Massachusetts, made on shipboard in even before his voyaging contingent of Puritans had reached the New World. The community they would found, said Winthrop, would be 'as a City upon a Hill'; these words, says Marcus, laid the foundations of 'the wish and the need for utopia in the American story' p.
But in an ideal community, how much elbow-room is there for the dissident individual?
Puritanism pushed American society in the direction of conformity to communal values; the frontier and the Wild West pulled in the opposite direction, towards the unchecked, anarchic individualism of the outlaw. The radical movements of the s - the student revolt, the anti-war protest movement, the folk revival itself - were, for all their desire to stop history in its tracks and create the perfect society tomorrow, not immune from the strains of that two-way pressure. Nor was the early songwriting of that movement's temporary icon and standard-bearer, Bob Dylan.
Marcus charts certain key moments of Dylan's trajectory over the decade - his public role as protest apostle, his perceived apostasy into rock'n'roll at Newport '65, his post-accident retreat from the rostrum into the basement. Nonetheless, out of Marcus' comments both on Dylan and on the older tradition behind him, I believe such an analysis can be constructed, and this I shall now attempt. This was the movement that for a time co-opted Bob Dylan as its spokesman-in-chief, and then turned away in horror when he went electric Marcus relates the anecdote, true or not, of Pete Seeger and Alan Lomax at Newport trying to cut through the power-cables with an axe - p.
Three decades on, Marcus is less than tender with the folk purists; for all their undoubted utopianism, and despite the great and necessary achievements of the civil rights campaigns, he sees the movement's revolutionary vision as ultimately conformist, a blueprint for a imaginary free society of identical, identikit liberated citizens: 'in the face of the objective good that was the Grail of the folk movement, there could be no such thing as subjectivity Rather, life One may surmise that the 60s folk radicals, despite the libertarian aspects of their discourse, at bottom subscribed to a purified vision of the perfect society that bears at least a distant family resemblance to the rule-governed Salem of the Puritans or the repressively virtuous Boston captured by Nathaniel Hawthorne in 'The Scarlet Letter'; Marcus, indeed, at one point explicitly describes the self-styled guardians of folk as 'Puritans Marcus believes that Dylan, in his avatar of folk troubadour, encapsulated those values more eloquently than anyone else - until he quite soon realized the limits of that vision, and moved on.
He says of Dylan's early protest songs: 'they were pageants of righteousness A return to the texts will, though, serve to confirm his point. Dylan is here singing out for progressive youth against reactionary age, in lines like 'your sons and your daughters are beyond your command' 'The Times In these songs, the individual scarcely exists: 'I' is subsumed into the revolutionary mass of 'we'. Examination of the use of pronouns in the most famous songs confirms this.
We may conclude that this group of songs does, indeed, also stand for the triumph of community over the individual. History offered more than one road, and more choices than the communitarian radicals imagined. According to Marcus, there was a truer, older American folk tradition, and the road back to it snaked through the bushes and briars of the untamed, anarchic, irreducible individualism of the pre-war likes of Dock Boggs.
Marcus, introducing this unsung singer-hero to a readership few of whom will have heard of him, places Boggs firmly under the banner of nonconformity.
He quotes the man himself: 'I felt that I'm just as good as the other person. We's all borned equal. Came into this world with nothin', we go out with nothin'. We all supposed to have the same chance, under our Constitution, in this world. And God give us that, too. Because some person has got a big bank account, fine home, and a lot of the world's goods, it don't make him no better than me, nary a bit better'n me' p.
Marcus sees this stance as 'locked into a strain of American individualism', by which 'to be a citizen, Boggs had to stand for himself' pp. Individuality also, however, means the sensation of difference; and difference can mean both defiance and danger in a country where - and here Marcus quotes D. Wide Screen , 2 , June: Assange, J. Julian Assange: the Unauthorised Autobiography.
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Invisible Now: Bob Dylan in the s - Dr John Hughes - Google книги
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