Exhuming Bob:

Chronicles IX, Pensees 8:

New Morning

by

R.E. Prindle

     The chapter New Morning opens with an interesting comparison.  Bob had just returned to Woodstock after his father’s funeral in the summer of 1968.  The association of New Morning with the death of his father in itself presents an interesting psychological mental state.  A letter was waiting for him from who he considers one of the three great American poets, Archibald MacLeish.  MacLeish was just coming off his Broadway triumph J.B.  In the letter he asks Bob and Sara to call on him in his Connecticut home to discuss a musical collaboration on his new play.  A jewish father dies; a goy ‘father’ appears. 

     As Bob explains, Father Abram is somewhat dull, thinking that an artist must be a painter.  The notion seems to be that Bob is slightly ashamed of his father for not understanding the distinction between pictures and the artistic soul.  Thus contrasting with dull Abram is the brilliant intellectual poet-artist, Archibald MacLeish.  Bob is quickly on intimate terms referring to the Poet Laureate of America as Archie.

     If you’ve never read Poe’s last story Landor’s Cottage you might like to compare that description to Bob’s of MacLeish’s home.  While we never meet Poe’s Landor Bob does introduce us to Archie.  Coming from small town Hibbing Bob seems to be overwhelmed by the splendor of MacLeish’s dwelling place.  Sure sounded good to me.  So as Bob left Abram at the rosy fingered Dawn of his New Morning, MacLeish presents himself as the sun rising above the horizon.  But it’s a Black Sun.  MacLeish does not walk on the sunny side of the street.  He’s dark, as anyone who writes a play commentary on the Book of Job must necessarily be. 

     His new play is called Scratch.  One presumes after Old Scratch, The Devil.  Bob quotes some lines of Archie’s character Scratch, p.124:

     I know there is evil in the world- essential evil, not the opposite of good or the defective of good but something to which good itself is an irrelevance- a fantasy.  No one can live as long as I have, hear what I have heard and not know that.  I know too- more precisely- I am ready to believe that there may be something in the world-someone, if you prefer- that purposes evil, that intends it…powerful nations suddenly, without occasion, without apparent cause…decay.  Their children turn against them, their families disintegrate.

     The strength of the insight is too strong for Bob at that precise psychological moment but Archie has given him a hint of a reality that Bob will realize all too soon.  Perhaps in reference to Abe and Archie Bob meets Frank Sinatra Jr. at the Rainbow Room.  Frank, Jr. nursing one of the same travails as Bob asks him after discussing Frank Sr.:  What do you do when that father turns out to be a son-of-a-bitch.

     Well, yes, you’ve got an identity problem, don’t you?  Bob has always had an identity problem.  What started out bad has taken a turn for the worse.  He wanted to be Bob Dylan but now being Bob Dylan has turned out to be a son-of-a-bitch, a burden Bob…well, just plain Bob, cant’ bear.  He’s learning about this inherent evil of life Archie is talking about.

     If you’ve never experienced what Bob is telling you it will be hard to understand.  I’ve suffered through a mild dose of them blues, enough to  give me understanding, but nothing compared to Bob.  He wakes up and someone is standing in his bedroom watching he and Sara sleep.  That gives you a start.  But if Bob thought he had identity problems what kind of problems does some poor fish have who literally wants to get inside your skin have.  Walk a mile in your shoes like Toby.  Everybody want something from you that you don’t have to give.  And I mean something.  You by your success have emasculated them, Bob’s success.  So they in turn want your dick and balls.  They want ot carry them around in their pocket to give them what they lack.  ‘Hey, you know what I’ve got in my pocket, look, Bob Dylan’s dick and balls.’

     You want to know what emasculation is?  Bob tells you.  The Sheriff of Woodstock tells him that if someone is scrambling over his roof and falls off Dylan will be legally responsible.  That does something to your mind.  The Sheriff tells Bob that if any of these crazies attack him and he defends himself he’ll be the guy going to jail.  That one sends a few synapses seeking new routes through the brain.  That one did happen to me.  Might as well have left the planet, the Sheriff just took your dick and balls.

     Bob is now learning first hand of the evil in Archie’s world.  Damn that’s rough.

     Even then Bob couldn’t make his lyrics dark enough for Archie although, now this is funny, Bob did use them in his album New Morning.  What does that say about a new morning?

     Bob just couldn’t get used to being Bob Dylan.  Being Bob was OK but being Bob Dylan was tough.  They were everywhere.  You couldn’t even run much less hide.

     As Bob tells us he was riding down the highway with Robbie Robertson when Robbie asked him:  ‘Where are you going to take it now?’  ‘Take what?’  Bob asks in return.  ‘Pop music.’  Robbie naively replies.

     Bob is flabbergasted but who can blame Robbie?  For the last six years Bob had been calling the shots, getting booed and selling records, renovating and reinvigorating folk music, taking folk music electric, electrifying rock.  Why shouldn’t Robbie think something mega revolutationary was brewing in Bob’s brain?  Being Bob was easy, being Bob Dylan was damn near impossible.  Those three fathers, Abe, Archie and Frank Sr.  Bob was learning something about the inherent evil of living.

     His new mentor, Archie, thinking perhaps that Bob was Bob Dylan pushes him to sharpen and darken the lyrics to the songs he’s written for Archie.  Bob just like after Blonde On Blonde has taken it as far as it can go.  He opts out on Archie.  Two fathers down but there’s still that Big Guy In The Sky but that Bob will  seek a little farther down the road.

     New Morning was a good chapter.  I could empathize.  Current events are giving me a new slant on the inherent evil in the world too.  Heads up.

Picturing Greil Marcus

July 20, 2008

 

Picturing Greil Marcus

by

R.E. Prindle

What polluted wretches would the next glance show…

Greil Marcus

…using the novel technique of occupying one building, and then, when the police arrived, filing out, only to seize another building, and then another, and another- Berkeley radicals called on their fellows to “Do a Columbia”; not for any reason, not in the face of any injustice or insult, but for the lack of anything better to do.

Greil Marcus

Greil looks down his nose at us.

Greil looks down his nose at us.

 

     Greil Marcus is among us like some IT that came from outer space or conversely like some Creature From The Black Lagoon arising all dripping and encrusted with slime, like some Blob.  And what does he want from us?

     The fellow can’t genuinely be that unhappy.  He was raised by a multi-millionaire San Francisco attorney by the name of Gerald Marcus.  There are some conflicts in Gerald Marcus’ history.  He made big money form ‘good’ causes thereby attaining a certain smugness as a defender of the downtrodden.  Mr. Marcus made his millions representing various farm unions thereby combining greed with ‘benevolence.’

     Using his magnificent income he provided young Greil with what now must be a multi-million dollar home next to Atherton on the Peninsula, one of the most prestigious locations in California if not top of the list.  Upon graduation from high school Greil had a ready made admittance to UC- Berkeley thanks to his father’s prominence in the Boalt Law School of that insitution.

     Thus at the age of twenty-one or twenty-two young Greil stepped out into the world armed cap-a-pie to begin the battle of life.  No deprivation there; who could ask for more?  Indeed, many of us would have settled for less and thought we were doing well.

     Indeed, Amerikka, as Greil has spelled it, showed the fairest of faces to our young hero.  He didn’t even have to get a paying job; he could continue to play supported, one assumes, by his step-daddy’s millions.  Greil went across the big Bay Bridge to San Francisco and took a play job at Rolling Stone Magazine that started up about the time he graduated.  It wasn’t a job that paid a living wage but then Greil had time.  He bummed around Rock journalism for several years building a reputation that the over the years blossomed into what it is now.

The Old Warrior As The Shadows Deepen

The Old Warrior As The Shadows Deepen

     The feast of Amerikka had been spread before him; young Greil had grabbed a plate, knife and fork, and dug in.  Young Greil sat down with a plate heaped with good things before him and began a bitch with every bite.  What he found wasn’t good.  To young Greil the feast was a product of corruption.  He, like his step-father, could accommodate himself to it though as the pay was good.  Greil got himself a fine house in a prime location in Berkeley above the university that many would kill for.  I’m not saying that Greil didn’t.  He didn’t stop bitching though.  Indeed, ‘what polluted wretches would his next glance show…’

     Everywhere he looked his glance fell on pollution, on wretches in the horror of the ‘air conditioned nightmare’ as Henry Miller expressed it.  The air conditioned nightmare!  Let that concept roll around your mind for a while.  Ninety-five degrees in the shade, 100% humidity outside and you’re living in an air conditioned nightmare.  Interesting.  Where I grew up when the heat and humidity hit one ran for the movie theatres with ‘refrigerated air.’  It was refrigerated too.  Go in like melted butter and come out a solid brick.  I didn’t hear anyone complaining about a ‘nightmare’ though.  But then what is is how you perceive it.  And how did Greil perceive it?

     He sought out all the more horrid representations of the most horrid and perverse literature and movies he could find and called it ‘normal.’  He concentrates on this Twin Peaks of David Lynch and its spin off movie Fire Walk With Me.  He even dwells on a novel based on the movie by Lynch’s daughter as though it were serious literature; as though the perversion of the movie and book was the accepted norm.  As though the depression of Lynch was rational vision.

     Indeed, a very deep psychological depression seems to characaterize Greil’s writing.  As Dylan put it, he tries to get you into the hole he’s in.  There is certainly no climbing out of the hole Greil is in.  The more he writes the deeper the hole gets.  Worse still he seems to have no reason for his depression.  He ‘Does the Columbia’ on us not because of any injustice we’ve done him or any insult we’ve offered him but ‘for a lack of anything better to do.’  The man is not to be taken seriously.

     Oh, he does have a deep psychological grievance but it doesn’t have anything to do with us.  It seems that his mother only knew his father a couple days or weeks before his father shipped out during the war and died in that great holocaust.  Greil never knew his father thus causing him to wonder what might have been and throwing him into a deep funk.The Fully Clothed Maja

Over the decades this sense of anomie preyed on his mind.  Gradually he developed a hatred of the Amerikka that had ‘murdered’ his father so senselessly.  He conceived the notion that that the Captain of his father’s ship was an incompetent who had purposely been placed over his father to cause his death.  He developed the notion of the heroism of his father based on nothing but his wishes.  And then one day he learned that a television production about his father’s squadron had been made depicting the manner in which his father’s ship sank.  Terrible storm, huge typhoon.  Under wartime conditions when the ship was improperly ballasted for such a monster the top heavy ship rolled.  The whole fleet suffered terribly.  In those days they didn’t have satellite weather reports that gave advance warning of what was coming.  Weather was weather in those days.  Look out.  Keep your head down.

     So misconstruing the whole situation against the Beast Greil bore a grudge against Amerikka.  I don’t know if that’s the whole reason for his grudge but that form its basis.

     I suppose it’s terrible to lose your biologic father at sea.  I lost mine when three when he and my mother divorced.  I haven’t ever really regretted it though.  People are different but it didn’t bother me.  It would have bothered me even less if someone like Gerald Marcus came along and married my mom.  I might even have considered that a blessing.  I got a real clinker for a step-father.  I’ve got a reason for depression.  Could easily have done without him.  Should have stayed an orphan.

     But rather than try to dig his way out of his hole, Greil dug in deeper.  He wrote weird stuff like Weird Old America, left out the double K so as not to limit the size of his readership.  I can’t tell you what Greil was thinking.  He freehandedly insulted a whole group of people who had little reason to regret their pasts.  I mean, Grandpappy lived in those Kentucky hills where Dock Boggs lived.  That’s my ancestry Greil’s talking about.  And Greil says we were all…well, I don’t know exactly what we all were in his mind but it isn’t good.  I mean, compared to what?  What is Greil comparing us to in which the comparison is so unfavorable?  Himself?  I look around me and I don’t see any people or thing much better.  I’ve been around too.  This Lynch guy and his portrait of ‘smalltown’ Amerikka isn’t all that familiar to me.  I grew up in that environment.  Sure there were nasty things going on but that’s just the way people are.  Small and nasty most of the time.  But they had and have their ideals too.  Those people created a town that was a lot nice than the Twin Peaks Lynch portrays.

Let me see.

Let me see.

     Of course, I haven’t seen what Lynch portrayed because I never saw the show that apparently wasn’t all that popular because it didn’t get that far.  Greil himself says that movie was so horrible that everyone ignored it but him.  He makes it sound so terrible that I have no reason to check it out.

     But Greil revels in that corruption.  Rolls around in it, enjoys it.  He almost shouts for joy that a major slut is elected home coming queen.  He loves it that her father is doing her and then kills her.  That’s how I read it anyway.  So, maybe Greil should do something about his depression.

     I mean, Freud lived and died a hundred years ago; his legacy lives on practiced by a legion of psycho-analysts.  Why not check one out.  Why not step back and look a the life he’s leading.  Running around making people feel bad with his book of murder ballads.

     We all know that stuff goes on.  There are unbalanced men and women out there who do terrible things.  But there are a lot more who are better balanced and don’t do those things.  There are lots of people who work hard to make the world a better place, to make their immediate vicinity a better environment.  There are people who create beautiful gardens and wonderful parks.  There is pleasure and joy in this life.  It’s a struggle to get it but it’s worth struggling for.  Greil should open his eyes and keep some kind of perspective on pollution and cleanliness.

     I can’t imagine someone getting up and delivering the  commencement address that Greil delivered at UC in 2006.  He opens with a positive reference to a perverted Mafia figure who goes to some kind of pervert heaven in New Hampshire, wakes up in the moring to find that the whole world has gone pervert.  Greil calls this the American Dream.   They talk perversion over breakfast.  As Greil wants us to believe, they are free and this is the freedom that Amerikka is supposed to represent before the Weird Old Americans got in the way. 

      I don’t know, Greil, get a life and then get some help. Life doesn’t have to be as weird as all that.

The Profile

The Profile

 

Exhuming Bob IX, Pensees 7:

Into The Lost Land

by

R.E. Prindle

Texts:

Dylan, Bob, Chronicles Vol. I, Simon And Schuster, 2004

Prindle, R.E.   Exhuming Bob, VIII The Walls Of Red Wing, idynamo,wordpress.com 2008

Thompson, Toby, Positively Main Street, U. Minnesota, 2008, reprint from 1971

http://www.hibbing.org/dylan1/story.html  Life In Hibbing: Hibbing Chamber Of Commerce

http://www.interferenza.com/bcs/interw/85-dec.htm  Bob Dylan Is Not Like A Rolling Stone Interview, Spin Magazine, Volume One, Number Eight, December 1985

http://www.interferenza.com/bcs/interw/play78.htm  Playboy Interview: Bob Dylan 1978

http://www.interferenza.com/bcs/interw/66-jan.htm  Playboy Interview:  Bob Dylan  February 1966

                                                                               1940

Abe And Beattie

Abe And Beattie

     In attempting to put together a reasonable facsimile of Bob’s life in Hibbing and Minneapolis, Minnesota and New York City as he mythologized it in his chapter of Chronicles, The Lost Land, I have come to the following tentative conclusions.

     Bob was born in Duluth, Minnesota on 5/24/41.  In 1943 he was taken to Hibbing where he lived from then until graduation from high school in the Spring of 1959.

     Within the concept of normal Bob had a fairly advantaged childhood.  His parents were indulgent buying him anything he wanted while providing adequate pocket cash.  Bob’s family was one of the more important in town both within the Jewish community and the town at large.  In what appears to have been a tight small town social scene Bob either excluded himself or was excluded from the dominant social groups within which he had a right to be included.

     Perhaps Bob’s conception of the Hibbing period could be best interpreted from his favorite movie, Rebel Without A Cause, starring James Dean.  Bob is said to have seen the movie several times.  This was unusual as few people ever saw a movie more than once. He would have been a very impressionable fifteen at the time.   Most of us didn’t have the money while quite frankly few movies, if any, were worth watching twice including Rebel Without A Cause.  I was seventeen when I saw it and while I was in awe I wasn’t submerged.  Of course Bob’s relatives owned the theatres so he got in for free.

     As he set up a Dean shrine in his basement which greatly offended Father Abe we may be justified in assuming that Dean was a controlling influence in his life from the time he saw the movie.  It is of interest that Abe was to remove the Dean shrine from the basement after Bob left replacing it with a shrine to his own son Bob Dylan ne Zimmerman.

     Abe Zimmerman (1911-1968)   worked for Standard Oil in Duluth when Bob was born.  According to the C of C he lost his job in 1943 moving to Hibbing where his wife’s family, the Stones, could help the young couple.  Why Standard Oil should lay Abe off in the middle of the war during a manpower shortage seems to pose a question.  As can be seen from the photograph of Abe and Beattie above borrowed from the Flickr photostream of <drineevar> he was a well set up handsome man.  He appears to be exceptionally self-possessed, sound in the eyes.  Beattie appears to be a haughty high fashion queen which would accord with later facts.

      Abram Zimmerman, for such was his name.  Usually called Abraham, the name on his tombstone is Abram, and his two brothers Maurice and Paul bought the Micka Electric Company in 1943 changing the name to Zimmerman Appliance.  In 1968 Paul Zimmerman told Thompson that they had been in business for twenty-five years which would mean 1943 although the date seems odd.

     According to the C of C Abe came down with polio in 1946 requiring a lengthy convalescence.  The C of C says that the Zimmermans bought Micka’s after his convalescence but if Paul Zimmerman is accurate it would have to have been 1943.  There would be no record of what Abe did for a living then from 1943 to 1946.  As Bob says both his uncles served in the Army it would seem that they bought Micka’s going into the Army shortly thereafter leaving Abe to tend the business.

     Maurice and Paul became President and Vice-President of the corporation while Abe siginficantly assumed the controlling post of Secretary-Treasurer.  Managed the money, paid the bills.

     During the fifties at least Abe spent a fair amount of money on both Bob and Beattie.  Angel Marolt whose family bought the Zimmerman residence after Abe’s death was trying to tell him of Beattie’s several fur coats, diamonds and Cadillac but Thompson says he wasn’t paying attention.

     Thompson quotes Echo Helstrom as saying that the Zimmermans had stores in both Hibbing and Duluth.  Having a customer base of approx. 250,000 makes more sense when one considers the amounts of Abe’s expenditures and the fact that the profits had to be split three ways.

     The C of C describes Abe as a ‘big man’ in town partial to those big thick long cigars.

 

The Dylan Home

The Dylan Home

    The couple had enough money on arrival to buy the large nine room house that Bob grew up in so Abe must have been well paid at Standard Oil before he was laid off.  Both he and Beattie are well dressed in the picture while Beattie is actually overdressed.

     Bob was entrolled at Alice School for his kindergarten year in 1946 at five years of age.  The status of Alice School is unclear.  Perhaps it was closed the following year or consolidated with the Hibbing High complex as Bob was transferred.  Hibbing High housed kindergarten through twelve as well as the Jr. College.  Thompson describes it as a huge and rambling building.

     So from first grade to graduation Bob was with the same group of students.  I sure wouldn’t have wanted to move into town in tenth grade and try to break into that one.  While he wouldn’t have known them all well he must have known the entire student population on sight.  This presents the problem then of why Bob, who was the son of the Big Man in town, wasn’t included in the top social cliques.  Those cliques undoubtedly formed early persisting through graduation.  If Bob was in one he was either forced out early or found it uncongenial to remain for whatever reason.  Perhaps he thought his Jewishness excluded him.  So if something happened we don’t know what it was and won’t; unless Bob tells it’s going to be difficult to trace.

     Growing up in a small town anyone with any ambition looks around and sees very limited opportunities.  Working for his father wasn’t a viable option.  Not everyone wants to be a doctor or lawyer either.  Nuclear Science is OK but a lot of those guys are out of a job now too.  My next door neighbor when I was a kid for one.

     Bob’s mind turned early to music and then to Rock and Roll.  While Rn’R went on to conquer the world and become as respectable as such a spectacle could it was definitely considered discreditible and low class almost volunteer outlawry in the fifties.  At the very least it was ‘pimple’ music.  It took a certain amount of courage to say you liked Elvis Presley.  Pat Boone was set up as his rival and you had better say you liked ol’ White Bucks.  If you don’t think Elvis was considered a social criminal check out a couple of his movie roles like King Creole or Jailhouse Rock.  What was the Colonel thinking?  Clown roles, that’s all Elvis ever got.

      And then Bob chose as his hero and model Little Richard.  People looked at you funny if you said you

Young Bob On Harley

Young Bob On Harley

liked Little Richard!  I mean, Bill Doggett was a respectable Negro with music you could understand, Fats Domino was as lovable as a chubby ten year old but Little Richard!  They hadn’t even created the ghetto he could come out of.  His band might have passed but then he opened his mouth.  If there was ever a direct challenge to middle class sensibilities Tutti-Frutti was it.  Not only was the song incomprehensible it was about queers.  Nobody ever quoted the lyrics correctly, while I’m walking around saying ‘Tutti Frutti, I want Rudy?’  What does that mean?  I hope no one overheard me.  So when Bob gets up, ignoring Pat Boone entirely,  and launches into some screaming vision like Rip It Up or She’s Got It or God only knows what, was the crowd taken aback?  Chuckle, chuckle.

     So Bob having opted for the lifestyle was forced to associate with the hoody crowd or have become a loner.  Besides Colin Wilson’s book The Outsider  had appeared in 1956 that began a cult of The Loner that peopled the early sixties.  These guys, who were by no means rebels but deep thoughtful guys who had a line on the truth denied anyone else and that  penetrated sham and hypocrisy sat alone ever ready to resolve a situation setting things right were highly romanticized fellows.  There were as many Loners in those days as there were Hawkeyes a couple generations later.  So Bob wouldn’t necessarily have been thought of as weird, strange but a Loner.  A Loner was next door to weird and strange.  Thin line if you get my meaning.

     On the other hand the C of C describes the L&B Cafe as a regular jumping Bop Street right there in the heart of Hibbing, Minnesota.  Bands set up and played continuously.  They knew how to party in Hibbing.  The C of C even says there was a radio station in town playing Bob’s kind of music thereby contradicting every other source even Bob.  He says he had to go to Shreveport on the radio waves  to get his kind of music.  In this case I’m betting on Bob.

     The C of C  tells of Bob’s musical debut like this putting the best possible face on it:

Described by fellow students as polite, easy to talk with, and somewhat introspective, it was a total shock when he pushed back the piano bench and stood up to pound the first notes of a song into the auditorium, electrifying the student body.  Kids jumped up, stared at each other open mouthed not knowing what the reaction would be.

     Well, yes, they were electried but did they like it?

Rockin' Bobby Zimmerman

Rockin' Bobby Zimmerman

     According to the C of C, looking back fondly, Bob went over real well with his fellow students.  If you like this version don’t check the other sources as this is at variance with every other known account but then this is the Chamber Of Commerce  speaking.  Up to this point in the C of C account there is no reason for Bob to be as bitter as he is about Hibbing at all.

     A note of interest is the reoccurence of Fourth Street in Hibbing, Minneapolis and New York City.  Quite a coincidence, I knew there had to be some association with Fourth St. in Hibbing.  So far we learn that Bob attended Jewish shule there.  Whether the synagogue was also located there isn’t clear.  The synagogue Bob attended is no longer anywhere at any rate.  Tore it down.  It was in the way.  Had to go.  Even though Bob’s father was the most prominent Jew in town, the President of B’nai B’rith and ADL as well as his business interests, and even though Bob had a mega Bar Mitzvah with four hundred people in attendance some say at the most prominent spot in town, the Androy Hotel, some say at the synagogue, he wished to conceal he was Jewish.  This attitude may have contributed to his renouncing the Jewish fraternity house to which he pledged at UM while also hiding his religion in New York.  The attitude was strange since he seemed to prefer Jewish musicians around him to  the exclusion of goys.

     Bob’s father Abe, was quite frankly a marvelous provider, spending very large sums of money on son Bob, wife Beattie and his second son, David.  When he died in 1968 the house on 7th Ave., now Bob Dylan Ave. was sold.  The owners at the time of Thompson’s visit were the Marolts.  Angel Marolt who was at home when Thompson called offered to show him around.  One thing he learned was that Bob had a clause in the sale’s contract that allowed him to stay in his old room in the Marolt’s house whenever he was in town.  Too weird.

     What quirk in Bob’s mind compelled him to live in other people’s houses?  Perhaps Rebbe Maier back in 1954 impressed on Bob that Biblical scripture presribes that Jews would live in houses they never built.  As an article of religion that injuction is a mind boggler.  One can’t predict how anyone’s mind will interpret instruction.  Bob who functions out of his subconscious very heavily must have accepted such teachings in literal ways.  Rebbe Maier was a definite turning point in Bob’s life.  Imagine getting out of school, going upstairs at a Rn’R cafe to sit before the only bearded man you may ever have seen, dressed completely in black with a black yarmulke perched on the back of his crown intoning things like:  The Jews shall live in houses they never built and then go downstairs to boogie.  Pretty spooky, don’t you think?  And then as Bob says, he disappeared like a ghost.  Let that roll around your brain for little while and see what you come up with.

     Mrs. Marolt was trying to tell Thompson something about Mrs. Zimmerman’s multiple furs, heaps of diamonds, I’m sure all the latest fashions and her own Cadillac.

     Bob was indulged to the extent of apparently more than one motorcycle, a car, lots of amplifiers and electronic gear for his bands, whatever he wanted plus free movie admissions and plenty of pocket cash.  He must have had a large record collection for a kid as he spent his spare time at Crippas record store ordering the odd title.  You can bet Crippas didn’t discount either, charging full bore.  At the time (after 1958)   stereo was 5.98 and mono was 4.98.

     As the profits from a sole Hibbing store divided three ways could not have supported this sort of expenditure, having a store in Duluth could account for it.  It is significant also tha Abram died in June 1968 and the store closed a few months later.  Was the store a losing proposition for the last few years?  Did Bob provide the difference so Abe wouldn’t be embarrassed by going banko?  Then with his father gone there was no reason to support Uncles Maurice and Paul?

     There really is something happening here, isn’t there?

     Also as a petty expenditure for Bob (it would have been huge in my life) according to the C of C:

Almost every day Bob came in after school for his regular snack: cherry pie a la mode and coffee (or Coke.)

     And then to dinner?  No wonder the young Bob had all that baby fat. 

     If Echo bought those hot dogs for Bob and bought his story that his dad didn’t give him an allowance she was had in more ways than one.

     So, Abe was nothing if not a generous father and husband.  Beattie as President of Hadassah as well as a Stone must have made the Zimmermans the most powerful Jews in the syngogue while actually giving she and her husband the means to be petty dictators of the town,  I saw something like this in Eugene, Oregon in the sixties and seventies, or, as the C of C says a Big Man and big people.

     Bob must have a quirk in his mind to misrepresent his childhood so.  He was the Fortunate Son John Fogerty only sings about.

     In Thompson’s interview with Beattie he quotes her:

How can you know you have a genius in your house, when all my time is spent trying to feed him and keeping his clothes pressed.

     In Bob’s story, The Lost Land, Chloe Kiel is shown ironing Bob’s shirts and at the end of the chapter she ‘slaps’ a plate of steak and fried onions in front of him just before he darts out the door to begin the next chapter, A New Morning, just as in the old days when he returned home from school for lunch and was fed by his mother he darted back to school.

     Ironing his shirts and providing free steaks was a signal service for bare acquaintances like Ray and Chloe.

     Chloe comes across as cold and indifferent and indeed there is a tinge of resentment and anger beneath Beattie’s statement.  Motherly, of course, but there.  Still, she doesn’t impress me as any Yiddishe Mama of the Mrs. Goldberg variety.  Whether Bob was a good boy or not he does have an ambivalent attitude toward his parents.  But then he claims that he was really raised by his grandmother, whether Stone or Zimmerman isn’t clear.

     I believe the big change came over Bob with his Bar Mitzvah and I’m not talking puberty alone.  According to the C of C Bob attended Jewish shule during his young years.  This was done after public school hours.  Then in 1953-54 when his Bar Mitzvah was approaching Father Abe sent to Brooklyn, New York to have an ultra-orthodox, almost certainly a Lubavitcher Rebbe, sent to Hibbing to indoctrinate Bob in untra-orthodox teachings.  It can’t be any surprise that when Bob exhibited his Jewish reverence after his Jesus indoctrination with the Vineyard Fellowship he chose to show himslef as a Lubavitcher.  Welcome home, Bob.  The C of C tells it this way:

According to a 1985 Spin Magazine interview by Dave Engel, Bob said it was above the (L&B) Cafe that Rabbi Reuben Maier stayed while giving Bob Hebrew lessons in preparation for his Bar Mitzvah.  The Rabbi and his wife showed up one day and stayed for a year while Bob got ready for his big event .  The article quotes Bob as saying he would learn Hebrew after school or in the evening for an hour, then go downstairs and boogie at the L&B.  After completing his Bar Mitzvah the Rabbi just disappeared.

     In the interview Bob tells it this way:

There weren’t many Jews in Hibbing, Minnesota.  Most of them I was related to.  The town didn’t have a rabbi, and it was time for me to be bar mitzvahed.  Suddenly a rabbi showed up under strange circumstances for only a year.  He and his wife got off the bus in the middle of the winter.  He showed up just in time for me to learn this stuff.  He was an old man from Brooklyn who had a white beard and wore a black hat and black clothes.  They put him upstairs in the cafe, which was the local hangout.  It was a rock n’ roll cafe where I used to hang out, too.  I used to go there everyday to learn this stuff either after school or after dinner.  After studying with him an hour, or so, I’d come down and boogie.  The rabbi taught me what I had to learn, and after conducting the bar mitzvah, he just disappeared.  The people didn’t want him.  He didn’t look like anybody’s idea of a rabbi.  He was an embarrassment.  All the Jews there shaved their heads and, I think, worked on Saturdays.  And I never saw him again.  It’s like he came and went like a ghost.  Later I found out he was Orthodox.  Jews separate themselves like that.  Christians, too.  Baptists, Assembly of God, Methodists, Calvinists.  God has no respect for a person’s title.  He don’t care what you call yourself.

     The C of C knows the Rebbe’s name was Reuben Maier and Bob Dylan doesn’t?  There were enough people in Hibbing to have a temple and shule but they didn’t have a Rabbi?  The Rebbe Maier showed up in time for Bobby Zimmerman’s Bar Mitzvah but what? it was the first Bar Mitzvah in Hibbing’s Rabbiless history?  No wonder four hundred people showed up.  The Jews in Hibbing shaved their heads and worked on Saturday’s?  I presume Bob means they didn’t wear beards but shaved their faces unlike the Lubavitcher in white beard and one of those funny round hats.  I serously doubt there were three hundred or more Jews walking around Hibbing with shaved heads in 1954.

     They took one look at Rebbe Reuben’s weird beard and outre attire and told him to get out of town?  Now that I can believe.  Beards in ’54 were a sign of great eccentricity or a psychotic desire to draw attention to oneself.  But why in ’85 the mysterioso act?  He just showed up to teach Bobby Zimmerman, a complete unknown with no direction home Lubavitcher tales like this:  (actually this is pretty standard esoteric doctrine adapted for Jewish needs)

The messianic thing has to do with the world of mankind, like it is.  This world is scheduled to go for 7,000 years.  Six thousand years of this where man has his way and 1,000 years when God has his way.  Just like the week.  Six days work, one day rest.  The last thousand years is called the Messianic Age, Messiah will rule.

     Essentially what we have here is a variant of Madame Blavatsky’s Theosophy along with a little Hebrew Theology.  If one looks real closely one can see the outline of Sigmund Freud’s notion of the unconscious.

     According to Beattie Bob knew, oh, two hundred words of Hebrew.  So much for several years of shule and a year of intensive training by Rebbe Reuben.

     Whether Bob knows or admits it, it must be true that Father Abram sent for Reuben to instruct Bob in mysteries that Abe thought were essential to his vision of Jewish religion while they were not part of the services of the Hibbing congregation.

     It is possible that Abram brought the Rebbe in on the approval of the congregation who rejected him.  The comment by Bob of working Saturdays may be signficant here.  The Jewish sabbath begins on Friday sundown and continues to Saturday sundown.

     As a Lubavitcher, Rebbe Reuben could not have tolerated working during the sabbath while the congregation found it essential amidst a gentile population.  Likewise beards are an integral part of the orthodox religion so that the congregation  also refused to stop shaving.  The only thing mysterious is why it took Reuben so long to catch on.  Or maybe he had a contract for one year and the year was up.  Of course Bob did need help on those two hundred words.

     So Bob’s upstairs memorizing his two hundred words while the throbbing beat pounds insistently through the floor.  The super patient Reuben and his wife never object.  Bob shortly joins the revelers with his two hundred Hebrew words rattling round his skull, steps up to the mike and begins screaming: I’ve got a girl and her name is Echo.  Hmmm.  Quite an image out there in the Lost Land of Bob.

     Now indoctrinated in quaint antiquarian rites Bob is bundled off to Webster, Wisconsin and Camp Herzl to steep himself in Israeli style Jewish living.  Camp Herzl was conducted as Israel in America so those two hundred Hebrew words came in handy in that surrogate for summer in a kibbutz in the Holy Land.

     The summer sojourns must have set Abram back a handsome fee for the times.  Six to eight weeks of essentially summer boarding school does have expenses.  Abe apparently was deeply religious: in Protestant circles he would have been known as a Fundamentalist nut.  He and Mike Huckabee would have gotten along fine.  One wonders if younger son David was given the same treatment.

     So Bob from 1954 on is definitely the product of two nations.  The world of the Three Hanks as the C of C puts it and this world of Adam, Moses and the Messiah.  Bob was named after Sabbatai Zevi the last acknowledged Jewish messiah in the seventeenth century, his Jewish name is Sabtai.

     As kids we all have a lot to reconcile, begin working out at graduation.  Bob had a double load; he had two Bobs to reconcile.  Personalities wander and widen in those years, Bob made a clean split.  On the one hand he was the twerp Bobby Zimmerman of whom it may be said:  There’s no success like failure while on the other he was struggling to be the super successful Bob Dylan in which he failed to assume the mantle so that failure is no success at all.  At least he made this split off persona’s name mean something.  As a note, it was not generally known Dylan was Jewish until after Blonde On Blonde.

     Thus in his movie Renaldo and Clara he is not Bob Dylan.  Anybody can be Bob Dylan he says, you can be Bob Dylan.  Toby Thompson thought he could be and did a pretty good job of it walking a mile or so in Bob’s shoes.  Sounded just like him.

     As remarkable as it is that Bob realized his fantasy beyond anything he could have dreamed and became the hugely successful Bob Dylan he created an entire new set of problems whose solution eluded him.  Well, you know, there’s something lost and something gained while it’s hard to know whether the gain was worth the loss.  However the money has disappeared from the table.

     The result then is Bob looking backward from 2004 to create a fantasy of how it was in Ray and Chloe’s place on Vestry Street in NYC.  The chapter is approriately titled The Lost Land or possibly Never-Never Land might have been better.  The chapter isn’t a complete fabrication but it is fiction.  Something like the various incidents might have happened but not exactly the way Bob tells it.  The framing story of Ray Gooch and Chloe Kiel is pure fiction however.  They could not possibly have existed.

     Bob tells the whole story of the Lost Land within the reference of Ray and Chloe and their fabulous apartment near Vestry below Canal near the Hudson across the street fromt he Cathedral with its bell tower.  Thompson got it right.

     A troubling aspect of Bob for me is his insistance on bumming other people’s apartments.  This seems to be compulsive behavior.

     Bob was actually voluntarily homeless from January of ’61 to October  or November of the same year when he and ‘roommate’ Suze Rotolo took up digs on Fourth St.  I suspect that Father Abe would have been only too happy to supply Bob with funds to live on Vestry Street if he had asked.  Bob is simply untrustworthy in any of his stories.  As he said of what he learned from folk music:  If you told the truth, well and good; if you told the untruth, well and good also, so in Bob’s mind there are no lies, there is only the truth or untruth both having the same value and whichever is more serviceable at the moment.  You can’t believe him.

     A troubling aspect of Bob’s behavior is his habit of bumming couches in other people’s nests; gaining meaning, as it were, from other people’s lives.  Perhaps that was the way he felt of his life in his mother and father’s house.  Or perhaps as a Jewish outsider in a goyish land it was his attempt to insinuate himself in the main stream much as he appropriated Woody Guthrie’s persona.  Of the houses I have traced they have all been those of goys; he didn’t choose to insinuate himself into the houses of his fellow Jews.  His imaginary hosts Gooch and Kiel are obviously goys.

     The Lost Land then is a mythologized version of his childhood and first few months in New York City.  To my mind Ray Gooch is a combination of Dave Van Ronk, Paul Clayton, Matt Helstrom and his father.  Chloe seems simply to be an idealized notion of his mother.  (Study her picture for a few moments again.)

     As the Gooch frame brackets the period from Bob’s encounter with Gorgeous George to the apartment with Suze Rotolo it must represent a time frame from sometime in ’58 to October ’61.  In October Bob Dylan ceased sponging off others to take up his own apartment.

      The only one in this time frame he knew who had a large gun collection was Matt Helstrom.  The Helmstroms also had a large record collection that Bob listened to.  The couch and apartment undoubtedly belonged to Van Ronk while certain exoticisms of Gooch are characteristic of Clayton.  The library of Gooch may simply be the New York City Library of which the long narrow room would merely describe the stacks.

     The Southern character of Gooch must represent a time after Bob studied the South in the library since there are several references to his Civil War studies.  Gooch himself is a Southerner from Virginia gone North which is a symbol in itself.  This can be symbolically described as Father Abe being a Jew in Gentile America.

     Here then Bob creates or accentuates the more pleasant aspects of his memories in contrast to the very bitter unpleasant memories of the songs.  He tells us a great deal about his dream life but little of its realities.  At this point I am of the opinion that the party of Camilla ( who Bob says he gets to know quite intimately) is another fabrication of the based on a true story variety.

     As Bob would say, folk music taught him that if what you said was true,well and good; if what you said was untrue well and good also.  We may probably construe the Lost Land as both true and untrue while a good folk tale.  Even the title has a fictive quality a la Edgar Rice Burroughs.

     To round off the period back in the C of C milieu of Hibbing:  Bob spent his last summer at Camp Herzl in 1957.  In the summer of ’58 he was running back and forth between Hibbing and Minneapolis.  At that time he would have become familiar with Highway 61.

     In his Junior year of ’57-’58 he took up his relationship with Echo Helstrom.  They were going steady hence were not supposed to be dating others.  As he was in Minneapolis most of the summer he left Echo sitting home alone.  She resented this.  As the Senior year began she told Thompson, she took a revenge on Bobby returning his token in public in the hall at school.  Boy, that hurts.

     The feelings must have been much harder than either Bob or Echo portray them.  A key problem area is did Bob spend time in Red Wing Reformatory on Highway 61 below Minneapolis and if he did what did he do to receive his sentence:  I examine this more fully in Exhuming Bob VIII:  The Walls Of Redwing.

     He says in Chronicles that he was absent from school from some time at the beginning of April of ’59.  He was back at least by the June 5th graduation.  His birthday is May 24th.  After that date he would have been eighteen and subject to adult sentencing.  For what It’s worth he says in his song that no inmate was over seventeen.  I’m suggesting that he spent a month of two at Red Wing returning in time for graduation.  Certainly a Big Man in town like Abe could have arranged the graduation if he couldn’t get Bob off that time.

     The question is what did Bob do?  By the middle of this Senior year it appears that he had been in enough scrapes to be known as a troublesome boy; perhaps living out a Rebel Without A Cause persona.  Father Abe used his influence up to that time to avoid unpleasant consequences for the lad.

     I believe Bob’s song The Chimes Of Freedom tells the story of his crime.  Quite simply Echo set him up.  She obviously was not quite as complacent as she tells it.  See Exhuming Bob VIII:  Walls Of Red Wing.

     Returning home from Red Wing his parents threw a graduation party for him.  Bob was reluctant to attend the party, perhaps with good reason but was persuaded to do so.

     This then leaves a very sketchy account of the three or four months of the summer of ’59 for which Bob provides little information.  In Walls Of Red Wing I place his stint at Red Wing in August but that is probably wrong.  In any event the period from April of ’59 to September of ’59 needs to be explained more fully.

     Bob gives some brief details of his stay at Dinkytown but not much.   A little bit of the John Pankake episode while avoiding the important details of his theft of Pankake’s records.

     Thompson has some good information from Ellen Baker whose father’s folk song collection Bob used extensively.

     Then to NYC and his account of The Lost Land segues into his New Morning.

 

 

    

 

 

 

Exhuming Bob IX

Pensee 6: Bob And Dave

A Review

Dave Van Ronk: The Mayor Of Macdougal Street

by

R.E. Prindle

Dave At Work

Dave At Work

 Texts:

Dylan, Bob  Chronicles Volume One  Simon And Schuster 2004

Thompson, Toby  Positively Main Street  U. Minnesota 2008, reprint of 1971 text.

Van Ronk, Dave  The Mayor Of MacDougal Street: A Memoir  Da Capo Press 2006

     Van Ronk’s memoir published in 2006 becomes part of the ongoing Bob Dylan debate.  A part of the Greenwich Village folk scene of the early sixties Van Ronk little knew how his life would be affected, destroyed, by the arrival of Bob Dylan from out of the West in 1961.

     At the time of Dylan’s arrival Van Ronk was one of the most important, if not the most important, folk singer in the Village.  Thus Bob set his sights to suck out Dave’s substance and cast the empty husk aside.

     On page 211 of the paperback Dylan is quoted at the beginning of Chaper 15:

I once thought the biggest I could ever hope to get was like Van Ronk.  And it’s bigger than that now, ain’t it?  Yeah, man, it’s bigger than that.

-Bob Dylan c. 1964

     Once Dylan learned of Van Ronk on his arrival, it is doubtful that he had heard of him in Minneapolis, he made it his goal to insinuate himself into Van Ronk’s life.  Dylan tells how he began his assault on page 21 of his Chronicles.  The scene takes place in the Folklore Center:

     One winter day a big burly guy stepped in off the street.  He looked like he’d come from the Russian Embassy, shook the snow off his sleeves, took off his gloves and put them on the counter, asked to see a Gibson guitar that was hanging up on the brick wall.  It was Dave Van Ronk.  He was gruff, a mass of bristling hair, don’t give a damn attitude, a confident hunter.  My mind went into a rush.  (My italics.)  There was nothing between him and me.  Izzy took the guitar down and gave it to him.   Dave fingered the strings and played some kind of jazzy waltz, put the guitar back on the counter.  As he put the guitar down, I stepped over and put my hands on it and asked him at the same time how does someone get to work down at the gaslight, who do you have to know?  It’s not like I was trying to get buddy-buddy with him,  I just wanted to know.

     Van Ronk looked at me curiously, was snippy and surly, asked if I did janitor work.

     I told him, no, I didn’t and he could perish the thought, but could I play something for him?  He said, “Sure.”

     I played him “Nobody Knows You When You’re Down And Out.”  Dave then said I could come down about eight or nine in the evening and play a couple songs in his set.  That was how I met Dave Van Ronk.

Bob and Dave

Bob and Dave

     Possibly.  But one learns to take Dylan’s stories with a shaker full of salt.  Bob has a difficult time separating fact from fancy.  The way Van Ronk tells it he was hanging around with a bunch of the boys when someone burst in and said  ‘New guy, come on, you got to hear this.’ and it was Bob.  So Van Ronk would have had an idea who Bob was not that he necessarily would have acknowledged him.  There are some interesting points in Dylan’s narrative which I believe is Bob at his most fanciful.  That he marked Van Ronk for destruction is apparent when he says he looked like he came from the Russian Embassy.  Maybe.  But Bob was a Jew and the Russians were the enemies of the Jews throughout the last two hundred years so Bob was casting him in the role of the enemy.  Then he identifies Van Ronk as a ‘confident hunter.’  Jews usually associate hunting with goys while traditionally despising the practice so Bob is saying that the hunter didn’t know he was being hunted.  And then Bob placed his hands on the guitar as he spoke to Van Ronk indicating that he was appropriating the man’s tool or emasculating him.   Very significant action.

      Bob says Van Ronk was snippy and surly.  Well, maybe but since I think he’s making this up he is casting a character on Van Ronk to make you dislike him.  Besides who wouldn’t appear surly if you placed your hands on the musician’s guitar.  The exchange after that when Dave asked if Bob did janitor’s work was a particular Jewish insult that gave Bob his excuse for hurting Van Ronk.

     Then like a parasite or lamphrey eel Bob latches onto Van Ronk slowly ‘stealing everything that he could steal.’

     When the process was complete and Bob was way bigger than Dave could hope to be Bob then disses Van Ronk off.  As Van Ronk tells it p. 217: Van Ronk:

For myself I consider it fortunate that Bobby and I reached our parting of the ways fairly early.  Shortly after his third or fourth record had come out had gone diamond or whatever, he was holding court in the Kettle of Fish and he got on my case and started giving me all of this advice about how to manage my career, how to go about becoming a star.  It was complete garbage, but by that point he had gotten used to everybody hanging on his every word and applauding any idea that came into his head.  So I sat and listened for a while, and while I was polite and even asked him a couple of questions, but it became obvious that he was simply prodding and testing me.  He was saying things like “Why don’t you give up the blues?  You do  that, and I”ll produce an album on you, you can make a fortune.”  He wasn’t making a lick of sense, and I finally pushed back my chair and said, “Dylan, if you’re so rich, how come you ain’t smart?’  And I walked out.

     So within three years Bob met and surpassed his mentor then trashed him like he trashed everyone and everything else in his life.  Beware of Bob.  To a very large extent MacDougal Street is the story of Bob Dylan within the folk scene of Greenwich Village although within that context Van Ronk tells a rich and rewarding story of the emergence of Folk from 1940 to c. 1970.  A fabulous book with a generous dollop of belly laughs.  I loved the book.

2.

zzzzVanRonk2

     Van Ronk himself never made it.  I first heard of him in 1967 and listened to the Prestige Folksinger album.  There was nothing there.  Van Ronk rasped out all his vocals in a monotonous fashion in that same gargling hoarse voice with nary a variation from song to song.  At that age and time I found the songs uninteresting.  The arrangments didn’t grab me.  The music was about as exciting as the New Lost City Ramblers which is to say a stone bore.

     Van Ronk may have prided himself on his musicianship and it may have been pretty good, I couldn’t care less.  I know few people who listen to records for musicianship and I don’t care to listen to records with those who do.  So Dave was concentrating on all the wrong things.

     There were people running around saying how great he was but I was in the record business and nobody bought his records.  you can foget the Hudson Dusters.  Over the years his legend grew with that of the vanished Folk Scene and I guess twenty-five years or so after the fact he was able to cash in on that basis.

     There is one really great song Van Ronk did though called Don’t Leave Me Here.  I have it on The Folk Box, Elektra EKL 9001.  That’s a really fine four record collection compiled and annotated by THE Robert Shelton.  It has selections from nearly all the folkies of the Greenwich Village scene excluding Dylan.  A terrific collection and a perfect representation of the scene.  Hard to find though; I couldn’t find any copies on a quick search of the internet.

     However the story of Dave’s learning process is vastly interesting.  His history of the folk era, especially the late fifties and the people and personalities make the book a best buy.  But then we get back to Dylan.

     Bob not only wheedled his way onto Van Ronk’s stage but he wheedled his way into his very household appropriating Dave’s couch for his living quarters.  Now comes an interesting conjecture.  In Chronicles Bob says that he met a Ray Gooch and Chloe Kiel with whom he stayed for some time.  Now, Bob arrived in New York in January of ’61 and he rented his apartment with Suze Rotolo in the Fall of that year becoming financially independent thereafter never going back to anyone’s couch.

     So that gives him a maximum of nine months to sleep on all those peoples’s couches.  He says in Chronicles that he first met Van Ronk and through Van Ronk Paul Clayton.  These are two colorful characters.  He then says that through Clayton he met Ray Gooch.  So far, so good.  But then he gives a fairly minute description of the street the Gooches lived on, the building, the apartment and significantly the church across the street.

     Before w go on let us consider an incident from Van Ronk on page 4:

…Bob Dylan heard me fooling around with one of my grandmother’s favorites, “The Chimes Of Trinity,” a sentimental ballad about Trinity Church that went something like:

Tolling for the outcast, tolling for the gay,

Tolling for the (something, something), long passed away,

As we whiled away the hours, down on old Broadway,

And we listened to the chimes of Trinity.

     He made me sing it for him a few times until he had the gist of it, then reworked it into the “Chimes Of Freedom.”  Her version was better.

     Now let’s check into a passage from Toby Thompson’s ‘Positively Main Street’ pp. 210-211:

     But the larger portraits of Ray Gooch and Chloe Kiel are complex and layered with mystery.  Why haven’t we seen them before?  Correct me if I’m wrong, but their names appear in no biography of Bob.  Could they be projectionsof his own divided psyche.  Ray, the competent man of the world, the toolsmith, the gun collector, the would be warrior, and Chloe, the dreamy, slightly stoned performance oriented homebody?  Bob’s not certain whether they are siblings or lovers.  I’m not certain they are real.  Chloe was the heroine of Longus’s second century novel Daphnis and Chloe.   She was an orphan, nurtured by sheep, and is described as ‘a naive lily-white girl” who falls for the youth, Daphnis.  Echo is mentioned in the story.  In my case the apartment Ray and Chloe inhabit on Vestry is a boho Eden, Every hipster’s wettest dream of Manhattan digs.

     The Sunday after reading Chronicles,  a blustery afternoon in New York I took a subway to Franklin Street and walked north then west along Vestry, looking for the building that might have housed it.  Bob describes it precisely, Federal style, facing a Roman Catholic church with a bell tower, on the same block as the Bull’s Head Tavern, below Canal Street, not far from the Hudson River.  The neighborhood hasn’t changed much since the early sixties, but I could find no building that resembled it.  Not the church, not the Bull’s Head Tavern.  Houses disappear, but churches aren’t often torn down.  I wanted to locate that apartment, only because he described it so beautifully.

     So I think it safe to say the whole dozen pages or so in Chronicles is a fabrication.  Bob dreamed it a few times and wrote it down as fact.  A clue lies in the progression  Van Ronk>Clayton>Gooch.  Gooch has a made up quality to it so Gooch is probably a conflation of the personalities of Van Ronk and Clayton.  And possibly the pair are also a sentimental portrait of Abe and Beattie, the mother and father.  Not as they were but wouldn’t it have been loverly if they had been.  Ray’s background also coincides with Bob’s studies of the pre-Civil War era in the South in the New York Library.

     The church across the street reflects Trinity Cathedral in Dublin as in Dave’s song the Bells Of Trinity so that places the story after his stay with Van Ronk.  Note the specified bell tower on the church.  Bob’s not there and neither is most of his early reported life.  I’ll say again anything he says is untrustworthy.  As they say in Hollywood:  Based on a true story.

     The last couple chapters of MacDougal tell of the changes in the Village and performance after 1960 to 1967 when drugs took the scene down.  These are relevant and important chapters as he describes how Dylan’s success caused the failure of the scene.  ‘There’s no success like failure and failure is no success at all.’

     Altogether I give Van Ronk’s Mayor Of MacDougal Street exceptionally high marks, worth a second reading and retention as a reference work.  Positively Fourth Street by Toby Thompson has a place on your shelf also.  I’ll review that after a second reading.  It is well worthy of study, picking up the stray hint and fact here and there.

     Chronicles of course is important to understand what Dave called the convoluted workings of Bob’s mind.  Bob’s an interesting study because he has managed to fool a lot of people all the time and another pack of us for a time.  I tell ya folks if I could live my life over I’d do some serious homework before I began but then even that probably wouldn’t help.

 

Exhuming Bob X:

Lubavitcher Bob

by

R.E. Prindle

There’s something happening here

But you don’t know what it is,

Do you, Mr. Jones?

-Bob Dylan

Bob En Regalia

Bob En Regalia

 

     In 1979 Bob publicly embraced Jesus as his personal savior.  This was widely seen as a conversion to Christianity because Bob went to the Vineyard Fellowship of Tarzana for indoctrination into the Christian mysteries.  He could hardly have learned Christianity from Jewish circles although the Jewish group of Jews For Jesus was already active.  Pharasaic Jews have always despised Jews For Jesus so that may not have been a viable option for Bob.

     While non-Jews may be scandalized by the concept of Jews embracing Jesus there is no reason for them to be astounded.  After all Jesus was a Jew, preaching to Jews in the Jewish tradition.  The early Christian movement was entirely Jewish.  They were Jews of the Jews who had accepted Jesus as the Jewish Messiah.  Christianity became a universal religion only after Paul reconstructed it shedding the practices most repellent to gentiles while the Hellennic  or Greek religion and philosophy was grafted onto the religion which gave it substance and intellectual vigor displacing Semitic stultification.

     There should be little wonder then that Jewish Christianity should resurface  two thousand years later with Bob as its Messiah.

     Bob was uniquely trained for the role.  He grew up in a Christian community dominated by the Hillbilly music on the radio with a large and active Jewish congregation.  His father thought of himself as a Jewish scholar while heading the local chapter of B’nai B’rith and ADL.  His father was covertly ultra-orthodox.

     In 1990 Bob wrote a letter to the editor of a publication called Sister2Sister. (Bob’s Unshakeable Monotheism, Part IV, Scott Marshall http://www.jewsweek.com/ ) in which he said:

…until the entire world believes and obeys the same God, there can be no truth or justice or peace for anyone.

     What that means in the age old Jewish notion that as God’s chosen people they are destined to bring their vision of God to all the peoples of the Earth at which time they will become a nation of priests, the rulers and overseers of all others.  The Supreme People placed between God and humanity as demi-gods.

     The notion did not necessarily occur to Bob in 1990 but was placed in his mind at a much earlier date.  It would always have been present in the synagogue.  Anyone who has ever attended Jewish services will be be struck by the insistence that Jews are to rule the world and all the peoples.  It is the duty of every Jew to further that work.

     Whether Bob had the Messianic impulse before his Bar Mitzvah is the question.  It may have been there in embryo.  In 1954 as Bob was about to turn thirteen his father, Abraham, who obviously believed the proper religious education was lacking in Hibbing sent for a Lubavitcher Rebbe from Brooklyn to come to Hibbing specifically to indoctrinate Bob in the more recondite lore of the ultra-orthodox.  The intensity of the instruction would be virtual hypnosis.  It was at this point, I believe, that the Messianic impulse was fixed in Bob’s mind.

     The indoctrination had devastating results for the young boy’s character and personality.  He went off the rails becoming wild and dissolute.  In searching for a means to spread the message he had received he hit on music and from there it led into folk music.  Folk music had a special appeal because it was a pure expression of the dominant culture.  If one subverted folk music one subverted the culture.

     Thus after being  initiated into folk at Dinkytown near the University of Minnesota Bob left for the Big Apple, New York City.  The Folk scene of Greenwhich Village in New York was a virtual Jewish enclave or colony.  A great many Jews were already doing what Bob set out to do.  Disoriented by his conflicts between his Jewish and Christian education Bob nevertheless set about changing Folk music, discarding the content for Jewish themes while retaining the outer forms.  The Jewish world organization realizing they had something in Bob gave him maximum publicity actually turning him into a messianic figure through television and magazines.

     The stresses of intense fame to his personality and character were terrific almost destroying him.  Bob retreated at the height of his fame in 1966 after having established himself with three terrifically influential record albums.  His mind was now focused and somewhat cleared.  Placing a large Bible in the middle of his living room for easy reference Bob and his band worked and experimented with the Folk and old timey oeuvre of the White Christian hill people.  Once again retaining the forms while stripping the material of the content, he infused Jewish Biblical content which was familiar to the Christian culture into the material.  The immediate result was John Wesley Harding which is a Jewish religious album in tradtional White Christian dress. 

     The result is quite remarkable and on that basis is an astounding work of Jewish genius.  Unaware of what was being done to them White Americans could offer no defense except rejection.  There were quite a few of us who walked away from Bob at that point.  I can’t say that I understood what Bob had done but I felt the insult to my sensibilities.

     Thus, in retrospect, Bob’s so-called Christian period became inevitable as his strategy slowly unfolded in his mind.  There is no conflict with Bob’s intense Jewishness in his combined religious entities, or reclaiming the Jewish Jesus for Judaism.  Nothing could be more natural.

     The preemption of the goi culture for Judaism is the astonishing achievement of little Bobby Zimmerman.  Long after the fact there are still few who get it.

 

Note: The old Jewsweek format has been discontinuted.  The text is no longer available on that site.

 

A Review

Slum Goddess From The Lower East Side

Some Thoughts On The Autobiography Of Suze Rotolo:

A Freewheelin’ Time

by

R.E. Prindle

 

1.

Sandoz The Great

Hoffman Holding LSD Model
Hofman Holding LSD Model

     In 1938 Albert Hofman, a Swiss chemist working for Sandoz isolated LSD-25.  In 1938 young Tim Leary was 18 years old.  It was in 1943 that Albert Hofman discovered the effects of LSD.  Seventeen years after that LSD burt onto the world through the agency of the now, Dr., Timothy Leary, a psychologist with Harvard University.

     LSD was adopted by the Bohemian society and all its offshoots as the appearance of the new chemical Messiah:  Better living through chemistry as the slogan was.  Its use quickly spread through the folk music community of Greenwich Village in New York City.

Timothy Leary Is Dead

Timothy Leary Is Dead

Goodbye Tuli. Died 7/12/10

     In 1923 a fellow by the name of Tuli Kupferberg was born and his partner Ed Sanders came along in 1939 a year after I did.  Kupferberg and Sanders were poets who became influenced by the folk scene forming a band sometime in 1964 originally called the Village Fugs, later the Village was dropped and they became simply the Fugs.  In 1965 they released their first LP on Folkways.  Now, cut one, side one was little number entitled Slum Goddess From The Lower East Side.  Sort of OK as a song, funny, as were a lot of Fugs songs.  Like Dylan they searched for social significance rather than write trite love songs.  Unlike Dylan you could easily understand the meaning of the lyrics.  Slum Goddess was one and then there was a song that many of us thought significant in the social sense back in those days entitled:  Boobs A Lot.  ‘Do you like boobs a lot?  Gotta like boobs a lot.’  As I said deep and intense meaning.  This was followed by a song eulogizing jock straps.  ‘Do you wear your jock strap?  Gotta wear your jock strap.’  So the Fugs were with it.

     At some point after 1965 the Village Voice decided to run a feature depicting some East Village lovely as the Slum Goddess From The Lower East Side.  Suze Rotolo had the dubious honor of being selected as the very first Slum Goddess.

     To what did she owe this honor?  Well, she was famous on the Lower East Side for being featured on the album cover of Bob Dylan’s second LP, The Free Wheelin’ Bob Dylan.  She was at that time, 1962, I believe, Bob’s girl friend or, at least, one of them, perhaps the principle one but one can’t be sure as Bob had others as ‘part time’ girl friends.

     Thus one has to go back to the summer of 1961 to discover how Suze Rotolo began her odyssey to become the very first Slum Goddess.  Suze tells her story in her autobiography issued in May of 2008 called A Freewheelin’ Time.  It is a bitter sweet story not lacking in charm.  Bob was born in 1941 while Suze was born three years later.  All the disparate elements in our story born at separate times were slowly moving to a central focal point in New York City from 1961 to 1965 or so.

     Suze and Bob were of that age when freewheelin’ seemed possible while the psychological social moment was about to congeal and then vanish before it could be realized as psychological moments do.  Some catch the golden ring as it come around, some don’t.  Bob did, Suze didn’t.

     Suze was born in Queens, over there on Long Island, as a red diaper baby.  In other words in the romanticized Communist parlance her parents were Communists when she was born.  She was brought up in the faith.

     Bob described her as a libertine dream or some such epithet.  I’m not sure Suze saw herself in the same way.  I think she expected a little more of Bob than to be his sex toy.  As a Communist she should have had a more freewheelin’ attitude.

     Suze seems to have been brought up completely within the Red religion much as a Christian might be a Catholic, Methodist, Lutheran or as Jew in whatever stripe of Judaism it might be.

     She edged into race agitation at a young age.  She met Bob when she was seventeen while she had been working for CORE  (Congress Of Racial Equality) for  a couple years before that.  She would have been fifteen or sixteen.  Whether she had sexual experiences with the Africans she doesn’t tell us.  In her search for a raison d’ etre for her life she found herself in Greenwich Village in the Summer of ’61 where she met the twenty year old Bob Dylan just in from the Iron Range of Minnesota.  They were mutually attracted, quickly forming a sexual relationship.

     Bob as everyone knows was and is Jewish.  He came not only from a Jewish background but from an orthodox background.  Hibbing, Minnesota, his hometown, had a Jewish population of about three hundred families with their own Jewish establishment and synagogue.

     According to Beattie Zimmerman, Bob’s mother, Bob was a good boy who attended services regularly while investigating the nature of the various Christian churches.  As a mother Beattie’s version of things must be interpreted through the eyes of mother love.

     Father Abe was not only a practising Jew but the President of the Hibbing chapter of B’nai B’rith and its terrorist arm the Anti-Defamation League.  In addition Beattie, Bob’s mother, was the President of the Women’s auxiliary, Hadassah.  So Bob isn’t just Jewish but comes from a very committed Jewish background.

     As the President of the Hibbing chapter, Father Abe would have attended statewide gatherings in Minneapolis, regional meetings wherever they were held and possibly if not probably national meetings in NYC and elsewhere.  Now, within the international Jewish organizations heavy hitters attend various levels of meetings where they meet and learn something of the various local and regional people.  Thus, it may be assumed that Abe Zimmerman as a name at least was known on the national Jewish level.  Kind of the Jewish Who’s Who, you know.  Bob says that he had contacts to help him when he got to New York.  Those contacts would have come through Father Abe while being part of B’nai B’rith and ADL.  Bob wasn’t entirely alone out there.

     Bob’s Jewish name is Sabtai after the last acknowledged Jewish Messiah, Sabbatai Zevi.  There have been many that filled a Messianic role since Zevi not least of which was Sigmund Freud and possibly Albert Einstein.  Bob may have been encouraged to take the role for himself.

     At any rate when Bob approached thirteen and Bar Mitzvah time Abe brought in a special Rabbi from Brooklyn to instruct Bob.  Now this is really signficant.  He was probably a Lubavitcher or ultra-orthodox Jew.  When Bob publicly expressed his Judaism after his Christian stint he chose to do so as a Lubavitcher.  Very likely that was no coincidence.  Having received his crash course in orthodoz Judaism Father Abe next sent his son to a Zionist summer camp for ‘several ‘ weeks for each of four successive summers ending at the age of seventeen.  This would have the effect of introducing him to young Jews not only of the region but from around the world while at the same time estranging him from his fellow Hibbingites giving him his strange cast of character.

     Camp Herzl was named after the originator of Zionism, Theodore Herzl.  the camp with a spacious hundred and twenty acres is located on a lake near Webster, Wisconsin.  Herzl is not your basic summer church camp but a national and international gathering place where young Jews from around the US and the world can meet and get known to each other somewhat.

     The camp is conducted exclusively for Jews along Jewish lines eliminating as many goyish influences as is possible.  At least when he was seventeen Bob was playing the Wild One showing up in a mini biker cavalcade.  One may assume that many national and international Jewish figures made appearances over the four years to both instruct, encourage and look over the upcoming generation.

     The post-war years were very traumatic for the Jewish people.  The death camps of the Nazis dominated their minds.  They were psychologically devastated and unbalanced looking for Nazis under their beds before they went to sleep at night.  One may safely assume that Bob and his fellow campers had to watch extermination movies over and over lest they forget.

     The State of Israel was founded in 1948 while the first of Israel’s successful wars occurred in 1956.  The ’56 war was a seminal event bolstering the spirits of the Jews turning them aggressive as they now believed they could fight.  After ’56 they began to come out of themselves.

     For whatever reasons as Bob entered high school his personality began to disintegrate.  Perhaps he had to cease being Bobby Zimmerman to become what his people expected of him which was a probable religious leader who then became Bob Dylan.  As always Bob would combine two cultures, Jewish and Goyish.

     After an extremely rocky year in Minneapolis where Bob shed the remnants of his goody goody image of Hibbing he became the dirty unkempt Bob Dylan of his rush to fame of the Folk years.

     Thus as Bob and Suze met in the Summer of ’61 they were both searching for something to be.

Part 2.

Why Do Fools Fall In Love?

Just We Two

Just We Two

     The question now that Suze and Bob have gotten together is to sort out the various accounts of what happened.  Bob says everyone has gotten it wrong.  However his own account in Chronicles I is no more factual than the accounts of his biographers and commentators.  Suze doesn’t provide us with much more clarity.  While Bob tells it like he wanted it to have been Suze on the the one hand protects her memory of what she wants to keep as a beautiful memory while glossing over her own actions at the time to keep it so.

     Bob goes through the romantic notion of constructing their bed with saw, hammer and nails.  This is a charming story and I’m embarrassed to say I took him at his word.  You simply can’t.  Chronicles came out four years ago so Suze has had plenty of time to read it and mull over Bob’s ruminations.  Thus she must be aware of Bob’s story of the bed.  She says it was an old bed the landlord left from another tenant.  Another beautiful tale of Bob’s down the tubes.

     Suze rather unflatteringly depicts Bob as a rouster and fairly heavy drinker.  She was offended that Bob, who was posing as Bob Dylan, not yet having officially changed his name, didn’t level with her and confide that Dylan was a pseudonym that looked better on a marquee while his real name was Zimmerman and that he came from Minnesota rather than being an orphan from New Mexico.  Coming home one night, as Suze tells it, Bob, stumblingly drunk, dropped his ID and she discovered the truth as she picked it up.  Even then she had to drag the truth out of Bob.

     These problems mounted up.  There was immediate hostility between Bob, Suze’s mother and her sister Carla.  The mother seems to have instinctively seen through Bob, while I’m sure Carla soon learned that Bob was doing her sister wrong.

      As we know from Chronicles Bob had other ‘part-time’ girl friends, pick ups and whatever.  As the folk crowd was a fairly tight knit group even if Suze didn’t want to hear the obvious Carla who was employed by the Folklorist, Alan Lomax, could hardly have been unaware that Bob had a laissez faire attitude toward romancing the girls.

     Indeed, Bob’s understanding of Suze was that she was his Libertine belle.  As a libertine therefore he could hardly have believed fidelity was a necessary condition.  I don’t know if Suze considered herself a Libertine but as a Communist both fidelity and jealousy were forbidden by the dogma so speaking consistently with the belief system neither mother, Suze nor Carla had grounds for complaint.   Nevertheless both mother and Carla wished to separate Bob and Suze.

     Bob records his side of the conflict in his song Ballad in Plain D.  In his usual high flown language Bob says in his song:

“The tragic figure!” her sister did shout,

“Leave her alone, goddamn you, get out.”

All is gone, all is gone, admit it, take flight.

I gagged twice, doubled, tears blinding my sight.

My mind it was mangled, I ran into the night

Leaving all of love’s ashes behind me.

     Within a few months he was married to Sara who he kept waiting in the wings.  Subsequently he tried to keep Sara and his growing family in Woodstock and the Slum Goddess Of The Lower East Side out on the side.  Suze, apparently not quite as Libertine as Bob supposed, declined the honor.

     Just as Bob blithely romanticizes his early NY years in some sappy Happy Talk that belies his songs and what nearly everyone has written about him so Suze adopts a near virginal girlish pose.  Her story of how she left for Italy and her true blue yearning for the perfect love of Bob who sent those charming letters purloined from old country songs is also belied by the various biographers.  To hear Suze talk she never looked at a boy in Italy and certainly never dated one let alone kissed or petted.  Yet by her religious Communist ideology that would have been no sin, even would have been a virtue.  In fact she did have an Italian boyfriend who was apparently dropped down the memory hole at autobiography time.

     When she did return the road of romance was much more rocky than she lets on.  Carla who stayed home where she could watch Bob was privy to his doings which were much more libertine than anything he accused Suze of.  He had to have slept with Liam Clancy’s live in somewhere in there.  He’s accused of being a womanizer and you can’t be a womanizer without a lot of women.  So whatever Carla knew it was somewhat more than an earful and I’m sure that between Carla and her mother Suze heard it all.

     Suze out of respect for this young love which, after all, must still occupy a sacred spot in her life never expresses but the mildest resentment of Bob but letting her sister speak for her she says that ‘she (Carla) felt I was better off without the lyin’ cheatin’ manipulative bastard.’  Right on all counts I’m sure except for the last although as Bob claimed to have no parents Carla could justly so surmise.

     At any rate if Suze couldn’t make up her mind her mother and Carla could.

     Ballad In Plain D again:

Beneath a bare light bulb the plaster did pound

Her sister and I in a screaming battleground,

And she in between, the victim of sound,

Soon shattered the child ‘neath her shadows.

—–

The wind knocks my window, the room it is is wet.

The words to say I’m sorry, I haven’t found yet.

I think of her often and hope whoever she’s met

Will be fully aware of how precious she is.

     And then Bob married Sara and ruined her life.

     While Suze and Bob talked marriage there is no reason to take that seriously; he talked marriage with Echo too.  I don’t think Bob had any notion of marrying aouside his faith.  The mother is the culture carrier; Bob is firmly within the Jewish culture so there could have been no chance that he would have taken other than a Jewish wife.  Even then he may have married only to fulfill the commandment to be fruitful and multiply.  Once he had fulfilled that duty he broke the marriage apart.

3.

The Slum Goddess

I'm Leaving Town Tommorow

I'm Leaving Town Tommorow

     Suze was now a young woman of twenty or twenty-one alone adrift in New York City.  While she and Bob were having their tempestuous romance the times they were a changin’.

     Tim Leary, up in harvard, had embraced psychedelics.  Once in love with LSD he wanted to share his love with everyone.  He became the High Priest of his psychedelic religion.  I can recommend both his autobiography and his volume of reminiscences: High Priest.  The latter is a spectacularly well written book if tending toward tediousness.

     Leary’s experiments attracted the dark angel of the Hippie years, Allen Ginsberg.  Ginsberg also attached himself to Dylan tying the Beat and Hippie decades together.  Vile man.

     Bob had introduced Suze to Marijuana and what else I don’t know, perhaps LSD.  He himself was into the pharmacopeia also undoubtedly dabbling in heroin although if he did he is still an addict or was successful in kicking the habit after his retreat from fame in ’66.  That whole thing about the motorcycle accident may have been just rehab.  He sure needed it.

     As Bob notes the effect of LSD on the Greenwich Village folk scene was to turn people inward destroying any sense of community.  Suze then was attempting to navigate this terra nova.  Along with turning people inward, LSD, the drug scene, turned the scene sexually rasty in ways even the Communists couldn’t have imagined.  The Pill coming along at this time certainly was as influential as LSD in changing sexual mores.

     Suze, if aware of this, makes no mention of it in her auto.  The Fugs released Slum Goddess in 1965 although they may possibly have been playing it around the Village for a year or two earlier.  The Slum Goddess is not a savory woman.

     That Suze was selected as the first Slum Goddess strikes my sensibilities as a negative compliment.  Her presentation of it implies a souring experience.  Shortly after her selection she chose to withdraw from Village life.  She gives as the reason that her earlier relations with Bob caused upleasant curiosity and that was certainly true.

     The scene turned absolutely rotten after 1968 when between drugs, profound negativity and the progressing degradation of the Hippie movement anyone with any sense of dignity was driven out.

     Suze must have been one of us for she left the scene behind.  There are few today who choose to remember it.  As for me, life is life, there it was and there was I.  I was who I was; je ne regret rien.  I hope Suze doesn’t either.  Bob?  He just stays on the bus and doesn’t get off.  Reality can be such a drag.

Forget About Yesterday

Forget About Yesterday

 

Conversations With Robin

June 19, 2008

 

Conversations With Robin

Robin Mark and R.E. Prindle

Conversations continued from Post:  Lipstick Traces Part IX: Greil Marcus

 

     OK, OK, OK.  I’m getting it, took a while.  STONE.  Everybody must get stoned.  What’s your mother’s maiden name, Bob?  Stone.  Right.  Dylan might be tongue tied.  I certainly was.  Still am to a certain extent.  But, I think one place to start is the religious conflict he had to endure.

     His father, Abe, was a fundamentalist religious weirdo.  Just because one is Jewish doesn’t mean you can’t be as religiously weird as Mike Huckabee.  For Christ’s sake, Bob believes the Bible is literally the word of God.  Somebody recorded his rants between songs and published them.  Don’t have the book as yet but I’ve read a couple of exerpts.  I already know all that crap.  Spent much youthful time among the Nazarenes and other weird outfits.  They had me for a while but I threw them off.  The taste still lingers though.  Bob apparently hasn’t.  God, how can anyone believe that crap.

     Beattie in Thompson’s book say Bob sampled the various churches as well as attending Jewish sabbath.  Yes, I can believe that.  So he’s got a father who’s king of B’nai B’rith and ADL and a controlling mother who’s quieen of Hadassah.  As if this isn’t enough when he turns thirteen his old man straps him to the torture rack, pries his eyelids open with toothpicks and bombards the poor little bastard with Lubavitcher bullroar. 

     And then…and then, they send him off to be preached Zionist poppycock for a month or two every summer for four years.  I can’t tell you how much I hated church camp.  I mean, I can, but maybe later.

     Apart from the religious issue then we have the personalities of Abe and Beattie.  I got a vaguely uncomfortable mother feeling about Beattie from Thompson’s Main Street.  I wouldn’t say I didn’t like her but I probably would have been very respectful and kept my distance if she had been the mother of my best friend. 

     So then, how does Bob tell her and Abe how he feels?  Can’t just speak right up to his parents, who can?  Consider the successive titles:  Bringing It All Back Home and Highway 61 Revisited.  Like all artists Bob can combine several different influences into one song or even one line.  Highway 61 is nowhere near Hibbing which is situated North of Duluth so if Highway 61 figures in anywhere it’s down at Redwing or perhaps the run back and forth to Minneapolis.

     It is mere coincidence that Highway 61 continues to the Mississippi Delta.  Has nothing to do with Bob’s thoughts.  He can’t express himself plainly so he has a couple accusatory poses photographed looking straight at Abe and Beattie and goes into rants like ‘God said to Abraham…’

     All that’s possible.

     I’ve been reading on Bob’s religious odyssey in Restless Pilgrim: The Spiritual Journey Of Bob Dylan by Scott M. Marshall and Marcia Ford and also Marshall’s solo piece from the web on Jewsweek.  Very enlightening stuff.  Sounes and Heylin could have blended it into their biographies and given some sense to his later years.

     The guy actually believes the Bible stuff literally.  When he says:  God said to Abraham… he means it.  He thinks it actually happened.  I spent a lot of time with those people in my yout’.  Been there, done that.  No thank you.

     I am getting clearer on why I thought the Middle Period was so entrancing though.  Still don’t forgive myself but I was there so I suppose I had to go through it.

Exhuming Bob IX

Chronicles I

Pensee 5

by

R.E. Prindle

Younger Pete Seeger

Younger Pete Seeger

     Larry Sloman has an interesting interview with Mike Bloomfield in his On The Road With Bob Dylan of 1978.  It takes up twelve pages- 286-297- of the 2002 Revised Edition.

     Mike Bloomfield was, or course, the White Southside Chicago Blues guitarist who rose to fame as the lead guitarist of the Paul Butterfield Blues Band.  Butterfield’s LP East-West was one of the seminal records of the sixties.  If you’re hip and don’t know the record, you should take care of that as soon as possible.

     The interview is interesting in a number of ways.  Bloomfield who was a Jew ‘hanging out with ‘the niggers’ on the Southside as he puts it, has a rather surprising attitude toward Blacks and opinions on Dylan.

     Born in ’43 Bloomfield was two years younger than Dylan thus his mind was more malleable to the propaganda of the fifties as he turned fifteen only in ’58, graduating, if he did, in ’61.  The tremendous persecution indoctrination and conditioning of the mid to late fifties in the Jewish community would likely have influenced his mental state more profoundly than Dylan’s.

     The Jewish community has always been affected by the Negro mental situation.  A low down Jew in his own community was frequently designated a ‘nigger’ often carrying the nickname of Nig or Big Nig.  Sloman, also a Jew, repeatedly refers to himself as the ‘nigger’ of the tour while designating Ronee Blaklee as his female nigger counterpart.

     While not having enough information to diagnose Bloomfield’s mental state nevertheless since he abjured the White world for the Black world of the Blues it would seem that he interpreted the intense Jewish indoctrination as meaning that since the world hated the Jews only because they were Jews that the Jews were no better than the ‘niggers’ and that he should go live with them.  The psychological conditioning young Jews went through in the fifties was just horrid in the effects on their psyches.  Really crazy stuff.

     So, while feeling no better than the Blacks Bloomfield at the same time recognized his separateness, difference and apparent inferiority.

     This was certainly different than the image being projected to the equally impressionable youth of America who through musicians like Bloomfield reverenced the Negro.  In fact Bloomfield was a perfect catalogue of prejudices if one looks at it that way.  Another way of looking at it is that having had close contact with the various cultures he had a clear idea of their characteristics as compared to the Jews and Whites.

Mike Bloomfield

Mike Bloomfield

     Still, at Newport he was scandalized by Peter Seeger’s behavior.  Quite clearly Bloomfield was not your typical White Liberal.  p. 291-292:

     To play with anyone at a folk festival, I would have plugged my guitar into Pete Seeger’s tuchus, really man, and put a fuzz tone on his peter.  You know what fucking Pete Seeger was doing?  He brought a whole bunch of schwartzes from a chain gain to beat on a log and sing schwartze songs, chain gang songs, and he was doing that, can you believe this guy?  Here’s a white guy, got money, married to a Japanese woman, beating on a log with schwartzes singing ‘All I hate about lining track, whack, this old chain gang gwine break my back,  actually saying ‘gwine’, whack and Seeger’s doing this and he’s pissed off at us for bringing electric guitars to the fucking folk festival!  He brings murderers from a schwartze prison to beat on a log!  Oh, I couldn’t believer how fucking crazy it was!

     Schwartze italicized in the original, of course, is Yiddish for nigger.  The above is terrific scene painting that represents  about how probably 90% of America at the time would have perceived the scene.  Seeger was a Liberal Commie Red American living this incredible fantasy life in which he was the star of his own movie in which there were no consequences while the plot is perpetually arranged  to suit his convenience.

     This was the beginning of the period when White Americans believed themselves in control of the destinies of the people of the world.  Kennedy had just created the Peace Corps under whose auspices raw youths with no worldly experience were sent out into the world to supposedly tell forty and fifty year old men and women that they were doing everything wrong and these mere kids were going to tell them how to do it right.  I can’t tell you how the concept boggled my mind.  Seeger married to a Japanese while calling these Negros cons to Newport to play chain gang songs is actually treating these people as though they were his toys.  The arrogance of this Liberal so-called peace-loving, people-loving creep is amazing.

     As Bloomfield says, Seeger came unglued over the violation of his fantasy when electricity was introduced into his rural pre-Civil War fantasy while idolizing Negro murderers that he had had released from prison for the weekend.  Imagine, for his convenience without any regard for the feelings of the prisoners he had done that.  Then he has them perform a scenario where they are beating on a hollow log as caricatures of themselves of a century earlier singing railroad songs that hadn’t had any relevance for at least fifty years.

     Obviously Bloomfield while he had some fantasy that he was a psychological nigger who was at home on the Southside still longed to be Uptown with the White folks.  Hence he is so scandalized that Seeger, a man with money, in other words, while Seeger didn’t have to play with schwartzes was actually, and here Mike’s incredulity is palpable, singing Negro dialect like ‘gwine’ and going whack.

     I mean, in Seeger’s incredible movie life he’s got a Japanese wife and everything, bank account.  If he tires of that fantasy he dumps her and marries a – whatever, whoever the film running through the sprockets of his mind fancies.  I mean, the guy’s got a long lead between second and third out on the grass and nobody’s even running him down.  Bloomfield is completely flabbergasted.

     And then Dylan is toying with him and he does know that.  Dylan comes to Chicago right after the first album, Bloomfield grabs his guitar, just like in Crossroads, intending to cut Dylan down which he can do with ease and cutting is done everyday in Chicago so it is legit.  Dylan must have blanched with fear knowing Mike could do it.  Now, remember this is an intra-Jewish thing.  Rather than risk embarrassment Bob abases himself and charms Mike into believing they are friends.  Deceived, Mike lets Bob off.

Dylan At Peak

Dylan At Peak

     Now safely back in New York Dylan calls Bloomfield to ask him if he wants to play on Highway 61, the most vengeful record ever recorded.  Bloomfield accepts showing up in the enemy’s camp at Woodstock.  Now Dylan insults Bloomfield and strips him of his dangerous skills.  Bob says:  ‘I don’t want you to play any of that B.B. King shit, none of that fucking blues I want you to play something else.’  so we fooled around and finally played something he liked, it was very weird…’

     So Bob makes himself superior by taking away Bloomfield’s identity (I had to change their faces and give them all brand new names) but he takes the trouble to actually teach Bloomfield the songs because he is going to need him.

     I have to give Bob credit for being an improvisational genius.  At the Highway 61 session he and Mike are the only guys who know what they’re doing while the other musicians are keying to them.  The result in my estimation is sensational.  As a musician Bloomfield didn’t think much of it but as a listener without those kinds of professional prejudices the result is astonishing.  To be sure the sound is not as tight as a Johnny Rivers record but that is its genius.

     Bob assumes that Bloomfield knows he is now Bob’s shadow or guitar player.  When Mike goes with Butterfield Bob feels rejected.  When Bob’s feelings are hurt Bob gets revenge.  A number of years later Bob asks Mike to play on Blood On The Tracks This time he doesn’t need Mike so harking back to their first encounter in Chicago he roars through the songs in one tuning so fast Bloomfield can’t keep up.  Bob has cut Bloomfield as Mike had meant to cut him.  Bob walks out, king of the Crossroads.  Bob has ‘proved’ himself the better musician.  End of that story.  Bloomfield ODed a few years later.

     At one point Sloman asks Mike ‘What was he like?’  pp. 286-287:

     “There was this frozen guy there,” Bloomfield says.  “It was very disconcerting.  It leads you to think, if I hadn’t spent some time in the last ten or eleven years with Bob that were extremely pleasant, where I got the hippie intuition that this was a very, very special and, in some ways, an extremely warm and perceptive human being, I would now say that this dude is a stone prick.’

     Bloomfield then describes Dylan in conjunction with Neuwirth and Albert Grossman holding themselves aloof from others while indulging in savage put downs of anyone and everyone.  Bob in fact was a stone prick.  The question is why?

     After this introduction to the problem , in Pensee 6 I will return to the root of the problem built around Bob’s reverence for Mike Seeger.

 

Exhuming Bob IX:

Chronicles Vol. I, Pensees 4

by

R.E. Prindle

 

     The gist of Chronicles is how Bob became a songwriter.  As an auto-biography of his life he is telling us nothing but as to his intellectual development he is telling us a lot.

      I find the Lost Land chapter the most interesting in the book.  Bob goes back and constructs little dioramas to illustrate the changes he was going through.  The chapter is kind of a literary version of Salvador Dali’s picture, The Persistence Of Memory.  What is visible has to be reconstructed and interpreted.  In the interpretation lies the interest.

     Bob is interested in telling us how he became Bob Dylan while wanting to give his impression of people and events.  He recalls a concert by Bobby Vee who was riding the crest of his popularity while Bob was a mere nothing waiting in line.  He seems to want to prove to us that Vee really did know him from back in Dakota thus verifying the fact that he did play with Vee’s band.  Bob sent in his name and Bobby Vee actually came out to talk to him.  The situation is reversed now, Bob is something and Vee is a has ben but Bob still has a place in his heart for him.  Touching story.

     And then he tells his Ricky Nelson story.  Bob seemed to think more highly of Rick as singer than I did.  Time has softened my attitude to Rick as well as his song ‘Garden Party’ that I have always liked.  As Bob said Ricky mentions him in his song- ‘there was Bob Dylan in his Howard Hughes disguise’- or words something like that.

     Rick’s song, I think, gave Bob the idea for the story he tells of Camilla Adam’s party.  It is actually two parties, the one at Comill’as and another at Alan Lomax’s that Bob loosely joins together around the persona of Mike Seeger.  It’s interesting.  Bob introduces the party thusly:  p.62

…then something immediate happens and you’re in another world, you jump into the unknown, have an instinctive understanding of it- you’re set free.  You don’t need to ask questions and you always know the score.  It seems like when that happens, it happens fast, like magic, but it’s really not like that.  It isn’t like some dull boom goes off and the moment has arrived- your eyes don’t spring open and suddenly you’re very quick and sure about something.  It’s more deliberate.  Its more like you’ve been working in the the light of day and then you see one day that its getting dark early, that it doesn’t matter where you are- it won’t do any good.  It’s a reflective thing.  Somebody holds the mirror up, unlocks the door- something jerks it open and you’re shoved in and your head has to go into a different place.  Sometimes it takes a certain somebody to make you realize it.

     Mike Seeger had that effect on me.

     So the rambling account of the Bob’s next few pages is going to be a story of how Mike Seeger put Bob’s head in a different place.  It’s going to happen at Camilla’s ‘Garden Party’ combined with Alan Lomax’s affair.  Did this party really take place or is this a dream sequence Bob builds up to explain the change he’s going through?  The population of the party strikes me as improbable but then I have attended very few celebrity parties and don’t feel I can put myself forward as a judge.

     Bob doesn’t tell us when these two melded parties built around Mike Seeger too place but as most of the stories in this essay take place in the winter- baby, it was cold outside- it must have been before 1963.  Bob arrived in NYC in the winter of 1960.  In relation to Harry Belafonte he does say:  ‘I’d be making my professional recording debut with Harry, playing harmonica on one of his albums called Midnight Special.  That album was recorded in ’62 so if that was still in the future as Bob makes it sound the intellectual development he’s taking about probably took place in the winter of ’61-’62.  He bagan dating Suze Rotolo in the summer of ’61 so the part-time girl friend he was with, Delores Dixon, must have been the part of the time he wasn’t with Suze.

     There were a lot of Folk people there but Bob says they all gave him the cold shoulder except for Pete Seeger.   p. 64

     I saw a lot of people here that I’d meet again not too far off, a lot of the folk community hierarchy, who were all pretty indefferent to me at the time and showed very little enthusiasm.  they could tell I wasn’t from the North Carolina mountains nor was I a very comercial, cosmopolitan singer either.  I just didn’t fit it.

     So if not outright rejection there was probably a feeling of you don’t have to pay attention to that guy, he ain’t goin’ nowhere.  So here we have the nucleus of Positively Fourth Street.  p. 64

     They didn’t know what to make of me.  Pete Seeger did, though, and he said hello.

     So, who among the multitude had the prescience to recognize the genius of Bob Dylan and said:  Hello.  That was enough for the moment for the boy in the sheepskin coat and motorcycle boots.

     An then Bob runs through a list of attendees:  Harold Leventhal the famous Folk manager, Judith Dunne a choreographer, Ken Jacobs the filmmaker, Pete Schumann a puppeteer, Moe Asch from Folkways, Theodore Bikel, Harry Jackson the artist, Cisco Houston.

     A whole slew of authentic labor agitators, not those phony bigwigs who went to Pureto Rico to party hearty.  Irwin Silber of Sing Out!,  There were a lot of Broadway and off-Broadway actors too, a lot of musicians and singers, Erik Darling, Lee Hayes, Sonny Terry and Brownie McGhee.  Mike Seeger of course but also the creme de la creme Harry Belafonte.  Quite a gathering which makes me believe that Bob is romancing a little.

     Bob was knocked out by Belafonte.  He eulogizes over Harry.  For myself I never really cared for Belafonte.  Harry was from New York City.  born in ’27 so he’s about eighty now.  Still kicking.  He went to live with his grandmother in Jamaica for four years when he was from eight to twelve then returned to New York City.  Studied to be an actor but first drifted into singing, picked up a folk repertory from Huddie Ledbettor who he apparently knew.  He had a hit in 1953 with Matilda and in 1954 released his LP Mark Twain of which the title song became a hit.  Harry also did a number of Leadbelly tunes like the slave songs Bring A Little Water, Silvie and Jump Down, Spin Around.

     The lyrics in the latter baffled me for decades.  In one of those classic mishearings I heard:

Jump down, spin around

Pick a bale of cotton.

Jump down, spin around,

Pick a bale of hay.

          I could never figure out the connection between cotton and hay.  Then one day I realized, or read the lyrics, I forget which and learned the last line was ‘pick a bale a day.’  Ah, made more sense.

     I didn’t understand what it was about Belafonte I didn’t like until a while ago when I subjected myself to another hearing of the first double Carnegie Hall record of ’59.  Then I knew why.  Harry treated his vocal styling from an art song point of view.  He sang Folk but through a glass darkly.  (Finally got that old saw in.  Thank you Harry.)

     He was fighting the image of the Negro as an inarticulate lout so he over compensated.  He actually mocked the English of the English on the LP, his hatred flowing out.  So he sounds like he’s performing in Porgy and Bess or like John Raitt in Oklahoma or Carousel.  Stilted.

     If one compares the records of Belafonte to those of the Scotch Folk singer Lonnie Donegan, he began his ascent at the same time, the contrast is startling.  Donegan sings as a man of the people giving the songs, same songs, a meaning and value that Belafonte fails to do.  Compare both men’s rendition of Bring A Little Water Silvie.  Belafonte sounds like he’s singing for a soundtrack of Seven Brides For Seven Brothers or something.  Lonnie Donegan sounds like he’s out there in the fields asking Sylvie to bring him a little water as he picks his daily bale of cotton.

   All the difference in the world- Lonnie Donegan is the greatest who ever rode the Rock Island Line.

     It bothers me that Bob doesn’t seem to know Lonnie.  He wasn’t that big in the US but he was huge in Britain.  You might possibly know him from the song Does The Chewing Gum Lose Its Flavor On The Bedpost Overnight.

     Of course Harry made it big when he made his sentimental Journey back to Jamaica to exhume a repertoir that really struck home.  Day-O (The Banana Boat Song) made it for him.  Then his acting career revived.  He was billed as the Negro Presence which is what Bob seems to referring to here.  Every effort was made to make Harry the Black Hero, before Poitier, transcending any Whiteness.  As popular as he was he never really caught on.  Carmen Jones, a Black takeoff on the opera Carmen was his big movie.  He not only sang like but acted like John Raitt.  The movie might have done alright at the box office, I don’t know, I didn’t think much of it and I knew it was my duty to like it too.

     That would have been 1954, the year of Brown vs. the Board Of Education, just at the time Eartha Kitt, also born in 1927, burst on the scene singing the fabulous C’est Si Bon.  Ran us right up the wall.  I always couple Belafonte and Kitt in memory.  Would have been a dream marriage, like Eddie Fisher and Elizabeth Taylor.

     Having written a great eulogy for this major influence in his life, Bob compares Belafonte with Gorgeous George.  He then gets to the crux of this story, the life changing event.  He moves immediately on to Mike Seeger.

     It was getting late and me and Delores were about to leave when I suddenly spotted Mike Seeger in the room.  I hadn’t noticed him before and I watched him walk from the wall to the table.  When I saw him my brain became wide awake and I was instantly in a good mood.  I’d seen Mike play previously with The New Lost City Ramblers at a schoolhouse on East 10th Street.  He was extraordinary, gave me an eerie feeling.  Mike was unprecedented.  He was like a duke, the knight errant.  As for being a folk musician, he was the supreme archetype.  He could push a stake through Dracula’s black heart…

      Bob rambles on, he’s got enthusiasm for Mike.  Bob’s eulogy of Mike Seeger exceeded that of Belafonte by a factor of 10, but he doesn’t say Mike could knock anybody out with one punch, his ultimate accolade that he uses for Harry..  Bob muses:

The thought occurred to me that maybe I’d have to write my own folk songs, ones that Mike didn’t know.

     And so the epiphany.  Bob knew he could never come close to equaling Mike Seeger as either a folk singer or instrumentalist..  He left the field of folksinger to Mike and apparently still feeling inferior having written some well received folk style songs he escaped Mike’s shadow by adding electricity.  There was no way Mike could go there.  And there Bob got bigger than any hundred or thousand Mike Seegers.

          

     

   

 

Exhuming Bob IX

Chronicles Vol. I

Pensees 3

by

R.E. Prindle

 

     …I needed to get my own place, one with my own bed, stove and tables.  It was about time.  I guess it could have happened earlier, but I liked staying with others.  It was a less of a hassle, easier, with little responsibility- places where i could freely come and go, sometimes even with a key, rooms with plenty of hardback books on shelves and stacks of phonograph records.  When I wasn’t doing anything else, I’d thumb through the books and listen to records.

     Not having a place of my own was beginning to affect my super-sensitive nature, so after being in town close to a year I rented a third floor walkup apartent…

Bob Dylan, Chronicles Vol. I

     Yes. Bob’s super-sensitive nature needed his own bed.  He and Suze Rotolo were an item soon after he met her in July of ’61.  He had to give up the the comfort of other people’s books and records in other people’s digs.  He needed his own privacy now.

     Suze would be an important influence in his life.  She came from a long line of Communist agitators.  She was not only Red to the- but was working for- CORE there in New York City.  Bob wasn’t writing much as yet since his major influences hadn’t come together.  While Bob doesn’t mention all those old C&W records as a songwriting influence he nevertheless has always written within a Country and Western context.  Guthrie, his first attested major influence rose from a C&W milieu.

     From being an apparent pauper, one reason Suze’s mother didn’t like him, Bob suddenly had the affluence to rent an apartment while being able to furnish it, even buying a used TV.  He and Suze moved in.  Suze is putting out an autobiography this month (May, 2008) so we’ll see if we can see what Bob saw in the girl.

     As a Communist lass working for CORE Suze must have talked up Civil Rights and other Reconstruction views a bit so we may probably accurately assume that she influenced Bob’s songwriting direction when he gets his songwriting attitude organized here in a paragraph or two.

     Bob came from small town Mid-West Hibbing.  I do know where that’s at.  While he was interested in records there was no indication he was ever interested in any other cultural areas.  He doesn’t seem to have evidenced any interest in the varied cultural life of New York City before he met Suze.  He was no habitue of museums although he does tell us he haunted the library where he read newspapers- those from 1855 to 1865.  No news like old news.

     His mind had been little prepared for what Suze had to show him.  Mid-West small towns can be stifling and that’s no joke.

     As Bob says:  I began to braoden my horizons, see a lot of what the world was like, especially the off-Broadway scene.  Then he mentions Le Roi Jones’ (Amiri Baraka) and the Living Theatre play, The Brig.  Bob may have seeen those plays with Suze but he didn’t see them within the time limits of his story so they could have had no influence on his songwriting development at this time.  Dutchman and The Baptism of Jones that he mentions were first performed in 1964 as was the Living Theatre’s, The Brig.  It is interesting that Jones’ The Bapstism is described as anti-religious when Jones turned Moslem and became Baraka shortly thereafter.  Baptism must have been more anti-White.

     Jack Gelber’s The Connection was made into a movie in  ’62 so he could have seen the play within this time period.  I couldn’t find any time period for the play but it ran for over two years.  I didn’t come up with anything for the Comedia Del Arte.

     The Brecht-Weil show drew a blank but as he seems to have been knocked out by the song Pirate Jenny that may have influenced his song When The Ship Comes In,  while he gives it prime importance as an influence that formed his skills  he must have seen that sometime in the Fall of ”61 or the Spring of ’62.

     He and Suze did visit the artist hangouts she was familiar with while broadening Bob’s horizons by trips to MOMA and the Metropolitan.    Bob probably saw Picasso’s Guernica at MOMA where it was on display at the time.  Bob developed a real interest in painting during this period.

     So, we have the book thumbings from his freeloading days, the records, Suze and her art influences and then when John Hammond signed him he gave Bob an acetate of the first Robert Johnson album, which didn’t sell for beans I might add.  The first Robert Johnson LP was released in 1960 so I don’t understand why Bob was given an acetate unless it was just lying around and Hammond picked it up or else acetates were a sop to new signees who had just been contractually screwed.  You think managers are bad, try record companies.

     Johnson was a revelation for Bob.  He saw something in the LP which only a few people ever have.  I’ve listened to it a couple of times and I’m with Dave Van Ronk.  So What?  There’s nothing to the vocals and he’s obviously a beginner on guitar.  It’s not that he’s inventive he just doesn’t know how to play.

     The story Bob tells is that a teenage Johnson is hanging around some Blues heavies and they shoo him off.  Johnson then meets a supposed guitar wizard nobody’s ever heard of who teaches this very receptive student mega volumes of guitar lore so that Johnson returns to the Blues heavies a year later to knock their socks off with his virtuosity.  As Van Ronk says:  ‘…oh that lick’s from here, this one’s from there; that song is a reworking of another and so on.  Greil Marcus quotes Johnson’s lyrics extensively in his Mystery Train.  Wow!  I guess too much of nothing can be a good thing.

     But anyway Bob learned three or four times as fast from Johnson as Johnson learned from the old coot who taught him.  Bob was up and running within three months.

     However Superbob the Songwriter wasn’t ready to step forth from the phone booth yet, there was something else lacking, what was it, something or other.  That’s it, in French, l’ autre.  Bob had discovered that he was someone else.  I know where that’s at too; I’ve been called somethin’ else a couple times I can remember.  So Bob was somewhere between Bob1 and Bob2.  The transition from Bobby Zimmerman to Bob Dylan had to be completed.  Bob picked up a copy of Arthur Rimbaud.  The book fell open in his hands and the words ‘Je suis un autre’ floated up before his eyes and were sucked into his soul.  Bob too realized that he had or was un autre.  Now Bob was ready to rock and roll.

     This is a pretty story and I like it.  I like it a lot.  It might even be true, I’m sure I don’t know and maybe Bob isn’t real positive.  Anyway the songs began to roll out.  John Hammond who had seen only a couple when he suspicioned there might be more in Bob’s head so  he sent the underaged lad to be signed by Lou Levy.  Songs were in the air I guess and Albert Grossman had his radio tuned to Bob’s brain and must have heard them.  Like a vulture spotting a dying man from several thousand feet in the air the eagle eyed Albert, and that is not meant as an insult, descended on Bob and scooped him up.  Wish I’d been there with the gift of gab, a shovelful of chutzpah.   A dream of a life time and Albert split it in two to come up with Bob and Peter, Paul And Mary.  The Fearsome Foursome.

     Although Bob was to have difficulties with Albert in later years when Albert’s cut was growing larger than Bob’s he seemed to have been welcome at this time.  Peter Yarrow says that without Albert Grossman there wouldn’t have been a Bob Dylan and this may be God’s own truth.  So how much did Bob really owe Albert?  But like The Colonel and Elvis a manager seems to inevitably believe the whole belongs to him.  The manager’s cut just seems to get larger and larger while the artist he’s working over gets to lick the plate.  But, those problems were in the future and as Bob’s songwriting skills matured Albert got him much more money than he could have gotten otherwise.