Exhuming Bob Part IX: Chronicles Vol I: Pensees 2
April 26, 2008
Exhuming Bob
Part IX
Chronicles Vol. I:
Pensees 2
by
R.E. Prindle
I rather admire Bob’s method of integrating his life into history. He makes himself part of the unfolding plan of historical development. As some very ancient fellow once said: The unexamined life is not worth living. Having posted the rather narrow parameters of his story- that of his signing by Lou Levy and his subsequent redemption of the contract- he fits in most of his intellectual development to the time of the redemption of the contract.
He does this in an interesting way. In Chaper 2, The Lost Land, an interesting title in itself, gives the feel of prehistory, he begins by describing how like some insect he burrowed into the nest of Ray Gooch and Chloe Kiel where he lived in parasitic comfort.
The path to Ray and Chloe’s door is interesting. First he met Dave Van Ronk, through Van Ronk he met Paul Clayton and through Clayton Gooch and Kiel. Bob is going to suck off Van Ronk and Clayton to a very large extent also. Bob describes his hosts as quite eccentric, one might almost say, weird. As a foreign body in the cocoon he even studies them dispassionately, clinically, one might say. As one species of another.
As with the other people he attached himself to they had a terrific record collection and what appears to be a large very eclectic library. While Bob appreciates the library one feels that he believes the selection of books as odd and weird his hosts. The library apparently formed the basis of his adult education as he thumbed the books. This is really the first step in how Bobby Zimmerman became Bob Dylan the songwriter. Remember he has only a year or so before his career is fairly launched and he no longer has any use for people like Ray and Chloe. Both appear to have been queintessential Bohemians- or Bohos in brief.
In this environment Bob provides us with this biographical sketch. P. 28
I was born in the spring (5/24) of 1941. The Second World War was alreadey raging in Europe, and America would soon be in it. The world was being blown apart and chaos was already driving its fist into the face of all new visitors. If you were born around this time or were living and alive, you could feel the old world go and the new one beginning. It was like putting the clock back to when B.C. became A.D. Everybody born around my time was a part of both. Hitler, Churchill, Mussolini, Stalin, Roosevelt- towering figures that the world would never see the likes of again, men who relied on their own resolve, for better or worse, every one of them prepared to act alone, indifferent to approval, indifferent to wealth or love, all presiding over the destiny of mankind and reducing the world to rubble. Coming from a long line of Alexanders and Julius Caesars, Ghengis Khans, Charlemagnes and Naopleons, they carved up the world like a really dainty dinner. Whether they parted their hair in the middle or wore a Viking helmet, they would not be denied and were impossible to reckon with- rude barbarians stampeding cross the earth and hammering out their own ideas of geography.
I don’t necessarily agree with the interpretation but one might ask what its intellectual background is. As bob was writing at the age of 53 of a period he didn’t remember and probably hadn’t formulated his opinions by 1959 he is projecting subsequently obtained knowledge back on his birth as falsified Persistence of Memory. I admire that. One has to have order in one’s life.
Actually if one has read more than somewhat in certain areas the intellectual foundations are more than apparent. Bob was born Jewish and for four years after his Bar Mitzvah- turning 13- he attended a Zionist summer camp for a month or month and a half in those summers.
There was a synagogue in Hibbing but it isn’t clear that Bob regularly attended services or was very observant. As an illustration of what being Jewish means let me cite an ad for the new cable channel called Shalom. This is the first all Jewish channel. In the ad or blurb a man is discussing his Jewish education. He says that they tell you that you will attend a goi school where you will learn to be an educated man. And then you will also attend this other school where you will learn what it means to be a Jew. The man says that he already knows what it means to be a Jew- You suffer. You suffer.
Thus at Camp Herzl- the Zionist Camp- Bob spent four summers learning to suffer as a Jew. Bob didn’t mention Camp Herzl in his book.
Now, Jewish teaching is that only Jews can rule a just world. Only Jews are cultured and learned, all others are like ignorant bulls in a china shop- mere barbarians. The last phrase In the quote from Bob is that the goi leaders were- rude barbarians stampeding across the earth and hammering out thier own ideas of geography. This is the exact opposite of how Jews imagine that they would be managing things.
the notion is that only Jews are capable of creating a just sane society. This notion hasn’t proven out well in post-WWI Russia, Hungary, and Central Europe or today’s Palestine but facts don’t disturb the notions of ideologues. We know that Bob is an Israeli citizen and it appears he follows the Party line. Can’t help himself, really, that was the way he was educated on the Jewish side.
Then, on pages 27 and 28 bob finds it important to mention Adolf Eichmann. Now, Bob only has 300 pages to work with here so we may assume he has selected only very key items to discuss. One could easily write 300 pages without mentioning Eichmann. I’ve written close to 3000 pages of autobiographical fiction and I don’t believe Eichmann has come up once. Nevertheless Bob writing of the time at the age of 53 has this to say:
(Ray worked) also an Omaha slaughterhouse on the kill floor. Once I asked him what it was like. “You ever heard of Auschwitz?” Sure I had, who hadn’t? It was one of the Nazi death camps in Europe and Adolf Eichmann, the chief Nazi Gestapo organizer who’d managed this, had been put on trial recently, in Jerusalem….His trial was a big deal. On the witness stand Eichmann declared he was merely following orders, but his prosecutors had no problem proving that he had carried out his mission with monstrous zeal and relish. Eichmann had been convicted and his fate was now being decided on….The State of Israel claimed the right to act as heir and executor of all who perished in the final solution. the trial reminds the whole world of what led to the formation of the Israeli State.
Spoken like a true Israeli patriot. There is no need to defend Eichamnn, the disposal of the conquered belongs to the conqueror without the legal hocus pocus of a trial. Did anyone believe that the Nuremburg Trial wouldn’t find the defendants guilty? Why the charade? There was no exonerting evidence that was going to be considered. The Israeli State was not even in existence during the Second Wrold War so by what right does the State of Israel act. None. Their own will. Be honest, they wanted to kill this guy, that’s all. They weren’t even one of the conquerors. They had nothing to do with the defeat of the Axis.
So what does the trial of Eichmann mean? The Israelis violated all international law by abducting an Argentine citizen without authority or extradition. If Eichmann was a thug the Israelis were no less so. Did they feel they had an overriding grievance? Bully for them. If they’re interested I’ll send a list of mine which I feel no less passionately.
And then the State of Israel has appointed itself to act as heir and executor of all who perished. That’s a convenient right to assign oneself. I, The Jury as Mickey Spillane said. What a convenient right. It doesn’t square with justice but then who among them are objecting. The Jews were self-righteously against capital punishment in all the other barbaric countries of the world. But…they would make an exception in Eichmann’s case. As time would show they would make a lot of exceptions. Assassination became there mode of operations.
As I say there is no need to defend Eichmann, if you want to kill him, kill him. No one will object, but to set aside all the rules, all the laws that separate civilization from barbarism seems a bit extreme. It does make one question one’s sincerity.
The trial does fit within the time frame of the novel though, so Bravo! Bob.
After that little moriaistic lesson for us all Bob brings us up to date on some of his musical influences, which were all excellent and then acquaints us with the foundation of his literary and intellectual education as provided by Ray and Chloe.
He says he did little reading as a kid. He also says he was not much of a student. One gathers then that the talk of the biographers about Bob being on the honor roll was a figment of Mother Beatttie’s imagination. She was apparently telling them of the Bob she wished Bob had been instead of the Bob that was. Primarily his own reading considted of Edgar Rice Burroughs, Luke Short and H.G. Wells.
Good influences all. Luke Short was also my favorite Western writer, him and Ernest Haycox. Of course I remember not a shred. The choice of H.G. Wells is probably represented by Seven Science Fiction Novels of H.G. Wells. His reading or Wells probably consisted of The War Of The Worlds, The Island Of Dr. Moreau and The Invisible Man. The other four didn’t get read very often but I have come to really appreciate The Food Of The Gods and In The Days Of The Comet. I’m a big Wells fancier myself having read about 90% of a very large corpus, some of it two or three times. At Bob’s age however I was only familiar with the volume Seven Science Fiction Novels Of H.G. Wells.
Edgar Rice Burroughs is my forte as my essays on I, Dynamo and ERBzine will attest. So both Bob’s and my own influences closely mesh. It is of interest to note that having read Tarzan Bob married a Black woman and installed her in Tarzana. Burroughs of course founded Tarzana naming it after Tarzan. Cute.
Bob goes on to discuss items he read in Ray’s library. Ray was a pretty interesting reader. Bob really fell through the rabbit hole when he moved in with Ray and Chloe.
I don’t feel the need to run through what he read, the reader can check it out himself if he wishes, but Ray provided Bob with a nagnificent foundation in a very short time. I am impressed that Bob found Honore de Balzac a great writer. Damn, that Bob does have an unerring nose for the best in both records and literature. Balzac is one of my favorites too although I’ve only read about twenty volumes of the immense corpus Balzac called the Human Comedy. If you want to read a really stunning story, a novelette, get The Girl With The Golden Eyes and have your life changed. Too bad Bob got confused by being forced to try to combine a liberal education with a Jewish one. I’ve got a Jewish one too, acquired late however, but I scrapped it as useless.
Exhuming Bob: IX Chronicles I: Pensees
April 25, 2008
Exhuming Bob
Part IX
Chronicles I: Pensees
by
R.E. Prindle
It has been four years since Chronicles appeared. Plenty of time to think about it. I reread it recently and may read it again while I’m writing this.
If you listen to the bitter denunciatory songs and read the various biographers of Bob’s life as it appeared from the outside one is astonished at the Happy Talk quality of the auto. We don’t even have an auto-biography here or even a memoir actually: what we have is a series of autobiographical essays that are more or less centered on the theme of how Bobby Zimmerman became Bob Dylan.
Bobby Zimmerman is telling the story but he’s not really mentioned by name. Bob was impressed by Rimbaud’s ‘Je suis an autre’ which translates I am someone else. In that sense it seems as if the ‘autre’ is talking about Bob. So the ‘autre’ is sort of an unnamed narrator. Bob carefully details the experiences that led to the transition from Bobby to Bob.
The key points are not those of either the songs or the biography. For instance no biography has mentioned Bobby Zimmerman’s close encounter with Gorgeous George. The experience seems to have centered Bobby’s life. I’m sure most people are too young to have even heard of Gorgeous George. Gorgeous flamed across the skies during the fifties.
Bob may have seen him on TV as early as 1951 when his family got their TV. Only ten at the time it would have been a major experience. According to Steve Slagle writing at:
http://.wrestlingmuseum.com/pages/bios/halloffame/georgebio.html
In a very real sense, Gorgeous George single handedly established the unproven new technology of television as a viable entertaining new medium that could reach literally millions (of) homes all across the country. Pro wrestling was TV;s fisrt real “hit” with the public- the first programs that ever drew any real numbers for the new technology, and Gorgeous George was directly responsible for all the commotion. It was a turning point for Wagner (Gorgeous George Wagner), wrestling, and the country itself. Gorgeous George was probably responsible for selling more television sets in the early days of TV than any other factor.
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He influenced…even Muhammed Ali, Little Richard, Liberace, and numerous other figures in both sports and entertainment.
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He grew his hair out so it was long, could be curled and pinned back with gold plated bobby pins, and dyed it platinum blond. He wore elegant robes, dubbed himself “The Human Orchid” and was always escorted by one of his male ring valets (Geoffrey or Thomas Ross) who would spray his corner of the ring, as well as George’s opponents, with disinfectant and perfume.
No kidding, George was something else. That spraying bit brought a vocal response from the couches of America. He didn’t necessarily make you want to be like him but what he’d done was so phenomenal you wanted to do something to get that effect. Other phenoms like Mickey Mantle, Liberace and Little Richard captured that supernatural something, that aura, that charisma without being much themselves as was the case with Gorgeous George.
So you can imagine the effect on Bobby Zimmerman when George entered the arena as Bobby was playing and virtually acknowledged the kid’s existence. I mean, you could live a lifetime and never have that happen to you. And out of a lifetime of happenings the event was so fixating Bob chose to give it a central part in his essay.
The book begins and ends with Lou Levy, a song plugger, appropriately enough. Bob had been sent to Levy by John Hammond, his record producer, to be signed and sent to Lou Levy again by Albert Grossman, his manager to be unsigned. So the story Bob tells in his novel fits into a space between his signing and unsigning. By novel’s end, did I say novel, Bob Dylan is poised to step onto the world stage, Folk Music’s version of Gorgeous George.
In between he gives the details of the formation of Bob Dylan the songwriter. But it’s all Happy Talk; nothing bad happening . In contrast to Ballad In Plain D lamenting his breakup with Suze Rotolo which is almost too bitter why, all that happened was they came to an intersection, Suze turned left and Bob kept on going. That’s all there was to it, the inevitable going of different ways. Well, OK. Maybe at this stage in his life Bob wants to do the gallant thing. So, if these are just a series of impressionistic essays no problem. I thought Barefoot In The Park was good movie too. Bob’s got an OK story. Nice novelistic touch, but if this is supposed to be a memoir or autobiography the rendering is fully inadequate. Given the songs and the versions of the biographers I can’t believe it. The tale is woefully inadequate. Bob does call these chronicles although they aren’t that either. I thought I was buying an auto-biography; I really wanted more. Where’s the beef? as the saying went.
However Suze did have an infuence on Our Man. Bob doesn’t mention the political influence apparent in the songs and dwelt on by the biographers though. Suze introuduced him to the art world, the avant garde theatre. One of what he considers his major influences, Brecht-Weil, came through her. Bob makes it sound like this was an exotic world and one to which he didn’t return when he and Suze, not so much as broke up but, went their separate ways. He gives the impression that he was an outsider looking in to Suze’s world. Nice, but not that nice. Maybe his lack of appreciation had something to do with the drawing apart.
But, hey, life was blissful. He moved in on Fred Neil at the Cafe Wha; much as he tells it in Talking New York, who was useful but Bob had eyes on the Gaslight and Dave Van Ronk. He met Van Ronk, the story is worth dwelling on, moved in on him, gained access to the Gaslight through Van Ronk and never entered the Cafe Wha’ or one assumes spoke to Fred Neil, again. Bob doesn’t look back.
Bob also moved in with Van Ronk and his wife Terri. He moved in with several people but first he made sure they had large record collections and libraries. Bob made good use of both so that he became conversant with books and authors, recording artists. Happy talk, life was good. So, one has to ask, where does Positively Fourth Street and its bitter taunting tone enter in? Not in this novel.
His apartment on Fourth Street where he lived with Suze was blissful too. It was all great, except for maybe Suze’s mother. Then John Hammond discovered him, signed him to Lou Levy. That brought the attention of Albert Grossman, exit Lou Levy, end of story.
But by then Bobby Zimmerman was the eseential Bob Dylan and the great adventure was about to begin.
I enjoyed the book. It was a good novel. I even learned some things about Bob Dylan. Bob clarified the provenance of his born again last name. Came from Dylan Thomas just like we knew all along. There was an awful lot of stuff left out and a lot just skimmed over. For instance it seems that Bob left high school in early Spring which would mean that he didn’t graduate. He talks of playing with Bobby Vee in the Summer of ’59 yet he also says that he went down to Minneapolis in early June and hung around Dinkytown and U. Minnesota for the whole Summer. So, there is some mixed up confusion from, say, April to August that is very vague.
These were medium good essays but far short of having any real auto-biographical substance. Didn’t really tell us too much of nothin’.
I will certainly buy Vol II when it comes out but I suspect it will be about 300 pages of Happy Talk about his most productive period possible edging into his ‘Middle Period’ and the Rolling Thunder Revue. Or perhaps it will mainly concentrate on his ‘protest’ years with forays elsewhere. If the volume is as superficial as this one however I’ll not only abandon the happy talk but be a little disgruntled.
Exhuming Bob VIII The Walls Of Red Wing
April 10, 2008
Exhuming Bob
VIII
The Walls Of Red Wing
1.
Bob And The Radio
It seems like most of Bob’s biographers are English. This poses certain problems as they try to write about things that they are not familiar with. Radio and music are two of them.
As regards the two it is very important to fix Bob’s age in the years of the fifties. He graduated high school in the last year of the fifties- 1959- at the age of eighteen. That means he began high school in 1957. That also means he attended Junior High from 1953 to 1956. Born in 1941 that means he was twelve in 1953.
There was no Rock and Roll in 1953 especially in Hibbing. It takes a lot of years for modern times to penetrate such outposts. I am three years older than Bob. My birthdate is two days after Bob’s so when he had just urned 12 I had just turned 15. My brother is the same age as Bob. The first true Rock and Roll song I remember was Bill Haley And The Comets. Shake, Rattle And Roll was OK but Rock Around The Clock was thin for me. Haley was pioneering but unsatisfying.
Things stayed that way pretty much until 1955 when RnR broke loose. Now, I was probably as much into records as Bob was. The town in mid-State Michigan that I grew up in was probably not too different from Hibbing although larger. Like Bob I went to an all White high school.
The only records I heard before Rock that were interesting were Hillbilly records after 1954 called Country and Western. They became ashamed of Hillbilly and wanted to dignify the genre. Country which is apparently thought to have a great deal more dignity than Hillbilly became the first half and Cowboy songs where dignified by Western becoming the second half. Wolfman Jack speaking of his station in the area around Shreveport said that they played both kinds of music- Country and Western. There is a rather sharp division there for those who have the eyes to see it.
Things stayed that way for me pretty much until 1955 when RnR broke loose. That was probably Elvis doing Heartbreak Hotel which played John to the Jesus of Be-bop-a-lula by Gene Vincent. Vincent faded quickly but Be-bop-a-lula strikes me as the actual birth of teenage rock and roll. It was backed by Woman Love which was even as great as the A side. Actually I think it was intended as the A side but the B side became the hit.
I didn’t really get into records until about 1955, mainly because there weren’t any records that merited getting into. I was then a Junior which put Bob in the eighth grade. If he says he was listening to all those downstream radio stations in eighth grade maybe he was but I tend to doubt it. That seems a little early but, may be.
Now the early to mid-fifties was a time of real diversity in pop music. Not only diverse but the hostility of not only old people but half of my class toward rock and roll was quite pronounced. Everything was done so suppress ‘moron’ or ‘pimple’ music. Ministers proclaimed it the devil’s music and a Communist plot. Might have been something to both charges but if there was it made no difference to me. And there really wasn’t much of rock and roll until late ’55 early ’56.
Big Band was still tailing off. The Dorseys had a big hit with the swing song So Rare as Rock took off. The male quartet, Four Lads, Crew Cuts, Hi Los were very popular, lots of big hits. Mitch Miller produced many excellent folk flavored records- The Bowery Grenadiers, She Wore A Yellow Ribbon. Hank Williams songs were crossing over into pop performed by guys like Guy Mitchell. Even Marty Robbins, country itself, scored with A White Sport Coat And A Pink Carnation. Heylin may make fun of ‘Poor People Of Paris’ and songs of that ilk but they were at least equally as popular as RnR. Jim Lowe’s Green Door. Couldn’t be better. After all Pat Boone ran neck and neck with Elvis for a number of years. No kid at the time would have turned up his nose at such songs. Napoleon XIV They’re Taking Me Away, Ha Ha. Leroy Anderson has always been a favorite of mine- Syncopated Clock and others.
Of course in late ’55 and into ’56 Black ‘pop’ acts like Bill Doggett, Little Richard and Fats Domino -Chuch Berry- began to score. I recently bought a book by Cousin Brucie the New York Jock of the era; I never even heard of half his so-called classics. Where I was and where Bob was we never heard any real Black music nor would I , for instance, have listened to it. I tuned into Detroit Black stations a couple times and tuned out just as quickly. To put it politely, it was foreign sounding. Chicago was another country. So whatever Brucie and Alan Freed thought they were doing they were doing it in a major metropolitan area. It never reached the hinterlands. There was stuff that never even reached New York City. I’ve heard it and know why.
Bob and his family got a TV in 1951. That was kind of early but then his dad ran an appliance store. We only got our TV in 1954 so TV made an impact on me but more negligibly than on Bob. I was surprised that Bob doesn’t ever mention Dick Clark and his American Bandstand which should have been very influential in the life of Junior high kids in ’55 and ’56. High schoolers in ’57, ’58.
It should also be pointed out that there was little programming for TV in those years and fewer channels. For instance in Oakland, California where I was in 1958 there were only two of the three major networks on TV and there was barely enough advertising to support them.
If more than two channels could be pulled in in Hibbing I would be surprised. One of them carried Ed Sullivan because Bob saw Johnnie Ray on the Ed Sullivan show in ’53 or ’54. Heylin is mistaken in calling Bob on that one thinking Dylan could possibly confuse Johnnie Ray with Johnnie Ace.
Johnny Ray’s act was as outre as they come. It was so astonishing one could only gawk. All the other singers at the time tried to be sophisticated, cool, or whatever you want to call it. Ray was so emotionally unrestrained that he was psychotic. His song was ‘Cry.’ ‘When you sweetheart sends you a letter of goodbye, you’ll feel better if you let your hair down and cry-y-y.’ And Ray did just that right there on Ed Sullivan’s stage. He sobbed and moaned, leant over backwards until he doubled up then fell on the stage floor and sobbed from there. J. Geils went even crazier but by that time it was old hat. When Ray did it the first time your eyes just popped, you stopped breathing, looked around the room in wonder and pointed silently at the screen. That’s what Bob remembers. It was not Johnny Ace.
So that’s an approximation of the musical background we grew up with. Bob was picking this up three years before me at the same time. As a punk kid I can’t gauge his reactions accurately. If I’d known him at the time I would have thought he was a little moron. That was what I thought of my brother, a totally out of it kid, it didn’t matter what he liked or didn’t like.
We were all, those of us record literate, dissatisfied with our local radio stations. I don’t know if I was really dissatisfied but I knew or heard that there was more out there. Duluth was about the same size as my town so there would have been several local stations for Bob including Hibbing’s sole radio station. But, they would have been nothing compared to the down river mega blasters.
For the benefit of English readers the area between the Rockies and the Appalachians called the Mississippi Valley is an enormous flat area fifteen hundred miles wide by fifteen hundred miles long, give or take a mile. That means that a radio signal can travel unimpeded if it is non-direction over the whole expanse. After six o’ clock in the evening in those days a lot of stations shut down so there was less interference for the 24 hour stations. There was only one non-directional mega blaster tha I know of and that was XERB in Del Rio, Texas. The studio was in Del Rio but the transmitter was across the Rio Grande in Mexico. Mexico didn’t regulate it’s stations so their wattage was unbelievable. At the time Wolfman Jack began his career they were blasting 250,000 non directional watts from across the river from Del Rio. Since I presume any readers are interested in this sort of thing Wolfman Jack does a fabulous telling of the history of XERB from ‘Goat Glands’ Brinkley to the present in his no less fabulous autobiography. The Wolfman’s slipped by unnoticed but it is well worth seeking out.
Strangely to my ear Bob is never mentioned in the same breath as Del Rio. XERB must have come in clear as a bell straight up river to Hibbing.
Bob merely talks about Shreveport, the home of the Louisiana Hayride. This is also the area that the Wolfman got his start. I believe he talks about Gatemouth and that he patterned his act on his. I could get Shreveport but I didn’t like it as well. Besides I was probably off to the side of the signal and it didn’t come in as well. I listened mainly to Del Rio, Wheeling, West Virginia, Waterloo, Iowa and WCKY Cincinatti, Ohio. C for Cincinatti and KY for Kentucky just across that particular river. Those were all pure country stations especially Wheeling. If Bob didn’t get them they may have been directional off his band.
At any rate for all his talk of listening to Black music when people mention items in his record collection they’re usually country. Webb Pierce was of course tops. Bob also listened to a fair amount of Hank Snow. He owned Hank Snow Sings Jimmie Rodgers but he doesn’t seem to have had any of Rodgers records themselves. He apparently listened to those over at Echo’s. Rodgers requires a certain taste but if you have it he can’t be beat.
My impression from listening to Bob is that he had a lot stronger country background than Rhythm and Blues. I can’t believe there was too much R&B up there on the Iron Range.
And then he got those Leadbelly records for his graduation. Heylin may think it was spelled Lead Belly but I never heard that anywhere but in Heylin’s biography of Bob. Bob and I must have heard Leadbelly together for the first time in different places. Just for background I was in San Francisco in ’59 in the Navy. There was a record store down on Market St. specializing in Folk, Blues and Jazz. Some really obscure stuff. Don’t know how he sold enough to stay in business. Didn’t actually, when I went back the store was gone.
That was where I was introduced to groups like the New Lost City Ramblers and Bob Gibson and people like that and of course Leadbelly. Leadbelly was already legendary to me perhaps from Seeger and the Weavers. Huddie Ledbetter, his real name, was the most godawful stuff I ever heard up until that time. Since then, of course,…but why go into it. The songs were transcribed from worn out 78s onto a 10″ LP and not only was there nothing but noise but even with sound quality it would have been just hideous moaning. Bucklen was right; it wasn’t great, it was only OK. It always amazed me that people who wouldn’t listen to Hillbilly because it was ignorant would go gaga over stuff like Leadbelly.
So, anyway, that was pretty much Bob’s musical background until he showed up at U. Minnesota.
2.
Bob’s Social Status
It is necessary to reconstruct to some extent Bob’s social status and his relationship to Echo Helstrom. Bob has a very deep seated psychotic reaction to his childhood in Hibbing. It is something that almost seems to grow with time. He had a real sense of rejection. This is not an uncommon situation of course but Bob had the uncommon talent to impose his psychosis on the world, a psychosis he has never been able to resolve.
This pyschosis is a difficult thing to work out. I have to combine my thinking here with an email correspondent whose initials are RM. The complete file of correspondence which is more than two hundred pages long can be found on the Lipstick Traces Part IX post on I, Dynamo if you want to read through it. RM has a real stream of consciousness writing style but she is extremely well read in the area of Dylan and Presley while having very good ideas.
The work is a matching of known details as reported by the biographers and an analysis of the lyrics of Dylan’s songs. The biographers seldom agree on the exact details while Heylin and Sounes seem to borrow extensively from Scaduto and Shelton. The general outline seems to be clear.
Bob”s early childhood seems to have been relatively happy but then the turning point in his life seems to have been his Bar Mitzvah. Rather this is so or not by the age of fifteen his sense of rejection and resentment had been firmly established in his mind.
Much is made of the so-called ‘anti-Semitism’ in Hibbing and its few Jews. Actually Hibbing had a fairly large Jewish population for its size and they were very influential. Nadine Epstein and Rebecca Frankel wrote an article for Moment Magazine, August 2005, titled: Bob Dylan; The Unauthorized Spiritual Biography. Moment is a Jewish magazine that doesn’t publish online so you’ll have to go to the library to download a copy of the article if you want it.
The two authors describe Hibbing thusly:
Hibbing’s downtown stands as a monument to its once vibrant Jewish community. “Every single store except for the J.C. Penney’s was owned by Jews,” recalls Neil Scwartz, 53, who grew up in Hibbing and is now a cantor in Chattanooga, Tennessee. A glance at the 1942 Hibbing City Directory confirms this observation: Hyman Bloom owned the Boston Department Store, Jacob Jowolsky operated Hibbing Auto Wrecking, Nathan Nides owned Nides Fashion Shop, sold insurance and lent money. The first Avenue Market was owned by David M. Shapiro, Jack and Israel Sher ran the Insurance Service Agency and Louis Stein was the proprietor of Stein’s Drug Store. The Edelstein- Stones owned a string of movie palaces, including the local drive-in and the Lybba Theater on Howard Street, named after Bob Dylan’s maternal great-grandmother Lybba Edelstein, who came to the United States from Lituania in 1902.
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By the 1970s, most of these businesses were gone. “When the mine closed and the miners lost their jobs, people were forced to move, and so the Jews who owned the stores lost their customers,” says Steve Jowolsky, 45. One of the handful of Jews remaining in Hibbing. Jowolsky runs his family’s scrap yard.
So Bob grew up in a town perhaps divided by a religious and social barrier. The Jews who owned the businesses and the goys who patronized them may have been resentful. There must have been inevitable conflicts which is probably why Bob didn’t like to be identified as a Jew.
The critical point is that after his Bar Mitzvah at thirteen for the next four years he attended a Zionist summer camp- Camp Herzl in Webster, Wisconsin. The Camp was and is a large 120 acre summer camp. There it seems that the Jewish youth of Minnesota and, actually from around the country and world, met and became acquainted so that Bob had extensive Jewish connections in Minneapolis-St. Paul the home of U. Minnesota.
There is some mystery concerning Bob’s Bar Mitzvah. For non-Jews, a Bar Mitzvah is a coming of age ceremony for men. If you’ve read your Golden Bough by J.G. Frazer you’ll know that when a boy was young he passed his time with his mother and the girls but when passing into puberty he was taken from the women by the men and underwent a born again ceremony to become a man going to live with the men. An example Frazer uses is that of passing through a rolled up cowhide symbolizing rebirth as a man. The story of Achilles in the women’s quarters is a coming of age of ‘Bar Mitzvah’ story.
In Bob’s case it is said that as there was no Rabbi on the Iron Range a Rabbi was brought in from Brooklyn specifically to give Bob a crash course in Judaism for his Bar Mitzvah. The mission having been accomplished the Rabbi was put back on the bus for Brooklyn.
This is a strange story. Shelton tells us that there was a synogogue and Rabbi in Hibbing while Duluth with a fairly large Jewish population had four. Certainly the several dozen Jewish families in Hibbing educated their sons for Bar Mitzvahs without resorting to each individual parent bringing in a Rabbi from Brooklyn, New York.
If the Rabbi was actually brought in then something else was going on.
Now, Bob’s Jewish name is Sabtai, that is he was named after Sabatai Zevi the last great Jewish Messiah. This says something about Abraham Zimmerman’s state of mind. A sect was founded on Zevi’s death in the seventeenth century that flourished as a signficant portion of Judaism in the eighteenth and nineteenth centuries and continues to this day. Freud was of this particular Jewish persuasion. So must have been Abe Zimmerman.
If the story is true then the reason for rejecting the local and Duluth Rabbis must have been the the Sabbatian or Frankist Rabbi was essential to Abe Zimmerman’s conception of the religious education he wanted his boy Bob to have. The sect was centered in Brooklyn. Thus Bob’s adolescent and pubertal mind was clouded at thirteen with a concentrated infusion of Sabbatian-Frankist, possibly Lubavitcher, lore. Bob was now well on his way to his fabled ‘mixed up confusion.’ He had to reconcile extreme fundamentalist Jewish religion with a Country and Western goi outlook. This is what makes the guy really interesting.
Then on top of his Frankist crap he began to spend several weeks at the Zionist Camp Herzl. I interpret several to mean four to six, so that would be a large chunk of the summer separating him from the social life of Hibbing. Obviously his father wanted to immerse him in some fairly intense Jewish nationalism and religion. Theodore Herzl is of course the originator of Zionism which is a nationalist Jewish movement.
Bob attended four consecutive summers beginning in 1953. No person is independent of their environment. The Jews had become very distraught as a people after WWII. For some reason they projected Nazism on Americans and were very fearful that Americans were going to create an Auschwitz for them here. When McCarran built camps in 1953 for a possible Communist roundup the Jews felt sure it was for them. By coincidence Bob began attending Camp Herzl in that year.
As an example of the Jewish paranoia William Paley who owned CBS was so fearful that an attempt at extermination was near that he devised a plan to ‘save’ as many Jewish performers as he could. Thus he incorporated a number of Jewish musical and comedy stars as businesses and sold shares in their careers to prominent gois. TV emerged shortly after the war thus for ten years or so there was a long parade of Jewish performers down to Red Buttons who were given TV shows to provide a return for their investors thus ‘securing the lives’ of the performers. Jack Benny was a difficult act for them to program but once they did he amply rewarded his investors who had bought into him. I believe Benny was the last of the packages. So for all those years the performers were merely on salary when they could have been raking in the coin less the paranoia.
So that is the Jewish environment Bob was living in I am not Jewish but my wife is. Growing up in the fifties she was indoctrinated in the notion that everyone hated the Jews and were out to kill them. This affected her psychology profoundly but her reasoning was why woud anyone want to be something everyone hated when you didn’t have to be. She consequently rejected religion entirely, so there was no religious incompatibility between us as I from my side also rejected religion.
So Bob began his several week visit to Camp every summer in this environment. They don’t show extermination camp movies on TV like they used to but you may be sure Bob was given a steady diet of them every summer. Boy, they used to piss me off.
Before his Bar Mitzvah it is said that he was a friendly outgoing guy but became withdrawn and solitary in his high school years. I have little doubt that his religious training was responsible for it. If his father considered himself somewhat of a Jewish scholar as represented by this Hasidic or whatever Rabbi from Brooklyn then this added to Bob’s feeling of separation from what is described as almost wholly a Catholic environment. I would have felt stranger than he did.
Thus, while Red Wing may have precipitated a crisis in his psychology it was merely the icing on the cake, the straw that broke the camel’s back, etc.
3.
Bob And Echo
Bob entered high school in 1956 at tge age if 15, At 15 he would have been fully aware. Little Richard would have burst on him in ’55 when he was either 14 or 15. Apparently Little Richard’s seeming lack of inhibitions made a tremendous impression on the already inhibited Bob. Richard hit at about the same time as the movie Rebel Without A Cause. The movie and its star, James Dean also blew Bob away. He saw it several times. He saw it at 14 I saw it at 17. I loved the movie but I was unimpressed by Dean. I saw the movie with a bunch of friends and while I was in awe they appeared to be in shock. This was serious stuff. Of course I fell in love with Natalie Wood while I was repelled by the bug-eyed Sal Mineo.
What spoiled the movie for me was Dean himself. It didn’t take me long to realize that he was an adult playing a ‘juvenile’ role. In his most famous scene, rolling the milk bottle over his forehead and actually drinking out of the bottle offended my so much I can’t explain it. He looked old there, at least 28, and he actually looked ancient in the scene in the police station. I may be the only one that ever thought that though.
Now, Heylin misunderstands the chicken or emasculation contest at the end of the movie. To set the scene properly America was just emerging from the Depression. Parents were still virtually paralyzed by their memories of the pre-war years. Teenagers were just beginning to be able to afford cars. The gut was full on Saturday nights but most were driving the family car.
For those that had cars the exhilaration was fantastic. That was the golden age of customization. Cars were lowered in the back, dual exhausts were put in, cars were souped up so that for a few years kids had cars that could outrun the stock models of the cops. Wow! Hey! John Dillinger never had it so good. Pretty Boy Floyd would have thought he was in heaven.
So, you’ve got the hot wheels and all that power so what do you do with it? You invent the game of Chicken. That Hollywood thing on the Pacific Palisades if it ever happened in real life was only possible because of the location on the Palisades.
The idea everywhere else was for two cars, two drivers to face each other from maybe three or four blocks away then floor the beast, accelerating all the way head on at each other. The first guy to swerve lost and was the chicken. Thoroughly emasculated. Some guys chickened out early some didn’t. I watched a few of these and thought I’d never seen such craziness. I hadn’t up to that time, but since…
So the idea in Rebel on the Palisades was not to jump out as close to the edge as possible which was so crazy some movie guy would have had to have invented it but to drive as close to the last stopping point as possible before hitting the brakes. I mean, this was so stupid. So the winner went well behond the stopping point and his car went over the cliff with him in it. Who’s going to get into a chicken contest and try to jump out of a car going sixty or seventy miles an hour? Kids are crazy but I hope there’s a limit. Although, I don’t know, I once played Russian Roulette with a loaded gun. Three rounds. I don’t like to admit it but you can’t change history.
So at this point Bob and Abe came into direct conflict. If Abe couldn’t understand Dean you can imagine Little Richard’s effect on him. So here his wonderful Hasidic Jewish kid is entering high school and flushing himself down the goi toilet. The conflict must have been intense. Apropos of parental conflict that was so intense it led to his disowning him. I read somewhere that his mother Beattie was the model for Visions Of Johanna. Bob’s own words but I can’t remember where I read it.
So Bob began what appears to be the three most action packed years of his life. Leaving the tenth grade shortly shortly after his sixteenth birthday Bob pestered his dad for a motorcycle now that he could get a license. Not a scooter either but a big machine. Harley. No Hondas. So at the incredibly young age of sixteen Bob got himself a big bike. Bob’s dad must have been a very indulgent father. You can ride a bike up on the Iron Range for only a few months a year. Bob went to summer camp between 10th and 11th too so he really didn’t have much time to ride it. But somewhere in there he met Echo Star Helstrom.
Echo impresses me as a tough chickie from the other side of the tracks. she apparently impressed others that way too.
Scaduto quotes one Linda Fuller:
Bob was considered one of the tough motorcycle crowd. Always with the black leather jacket, the cigarette in the corner of his mouth, rather hoody. And Echo with her bleached hair and vacant look; That’s mostly how I first noticed him, running around with this freaky girl hanging on the back of his motorcycle, with her frizzy white hair flying and her false eyelashes. It was shocking to me. I tried not to be narrow minded, but I thought that crowd was a bunch of creeps. We used to laugh at the sight of them on the motorcycles. They used to zip through town and it was funny to see them.
The thing is motorcycles were taboo because motorcycle guys were automatically bad. I had to stay away from them. They were terrifying, Bob with his big boots and his tight pants.
Then Echo chips in:
(Bob) didn’t fit in with the bums. I knew the real bums. All my friends were the wrong-side-of-the-tracks people, the dropouts, and Bob didn’t fit in with them. He didn’t fit in with anyone in town, really.
So here we have the portrait of a Nowhere Man posing as a Bad Motorcycle, acting a screamer on stage but quiet and withdrawn in the classroom and school. Almost a manic depressive.
Without meaning to cast aspersions on Echo she was what we would have called ‘cheap’. She knew the real bums, they were all her friends. The Fugs could have written their song ‘Slum Goddess From The Lower East Side’ about her.
When she first met Bob she said she thought he was a ‘goody goody.’ Must not have been on his bad motorcycle with those boots and tight fitting pants; one of those directly opposite of ‘cheap’ or hoody, not one of the bums. Echo would have seen Bob as ‘upper class’. Echo was probably going to put Bob on. That he went for her must have seemed too good to be true.
Probably Bob moved in on her and meant to pick her up for a cheap thrill or whatever then found to his delight that the girl knew every rock, R&B and Country song in the catalog. Bob wanted to impress her with his own musical chops so on their ‘first date’ they break and enter the Moose Lodge so Bob can cavort on the piano. Didn’t even have to think about it, he flipped out a knife forced the lock and they were inside. Easy as pie. Must have done it a time or two before somewhere, don’t you think? The story comes out in different variations in the biographers. Either Bob or Echo sprung the lock with either his knife or her knife or she with her own knife. In any case they both appear to be experienced housebreakers. This is important.
And now we have a minor problem. Bob told Echo that he didn’t have an allowance so she ponied up for the hotdogs and cokes. Yet at the same time Abe bought Bob a motorcycle that would have been expensive while requiring gas and lots of maintenance. Bikes never run right. Abe seemed to to give Bob enough money for that. So through October or whenever the snow began flying Bob is driving Echo around with her frizzy bleached blonde hair blowing in the wind.
None of the biographers handle the details of these years carefully so I am reconstructing and attempting to arrange the chronology to fit with the details in the time frame.
Now, Abe and Beattie are watching the apple of their eye get wormy right before their eyes. Neither Beattie nor Abe had any use for Echo. Being respectable middle class people they were horrified that Bob was running around with such a cheap trick. Abe was horrified to see his son ‘defiling’ himself. At some point in Bob’s young life Abe told him that it was possible for a son to become so defiled his parents would reject him but possibly God would lead him back to the path of righteousness. These are very strong words and Bob must have strayed from the path for Dad to have expressed himself to strongly. But I don’t think he mentioned this fact to Bob just yet, although Bob’s behavior would get worse. So bad that it is not impossible that his dad may have essentially had him committed for psychiatric attention.
According to Heylin Beattie did let out that Bob was ‘away’ for a couple months in the summer of ’59 that was a cause of intense embarrassment to her. One report says that he was sent to a reform school or clinic in Philadelphia while another says that he spent the summer in the house of detention of Red Wing Reform school down on Highway ’61. Highway ’61 revisited, you see. As there are no references to psychiatric treatment in the songs I am going to pursue the Red Wing side of it of which there are many references and a clear paper trail in the songs.
As Bob entered the eleventh grade he and Echo were evidently quite serious or at least Echo thought they were. At some point they committed themselves to going steady and Bob gave her his ID bracelet to wear. ID bracelets were popular at this time. I wore one for several months in my senior year, maybe even to the end, I can’t remember. They were a little silver plaque with your name on it. Kind of like a wrist watch without the watch.
For what it was worth they talked of marriage even choosing babynames. Given Bob’s later fecundity they should have chosen several.
In the eleventh grade Bob also launched himself as a band with a somewhat mixed reception. Well, it wasn’t really mixed, it was more a form of rejection. He not only got booed for the first time, but laughed at.
The question here is how did it affect his reputation in Hibbing. If your fellow students laugh and boo your act that has to result in a certain amount of contempt in the halls. People have to make snide comments. So Bob really had to develop a thick skin. This would have set him in good stead for his world tour a few years later.
I smiled when in his autobiography he tells of how Ricky Nelson was booed when he tried to change his style. He wryly commented that he and Ricky had something in common. Hurt like hell though.
And then comments must have been made to his parents. Already sensitive about his relationship with Echo Abe and Beattie must have begun consulting friends for psychiatric recommendations. People don’t understand; they didn’t understand me either but like Bob I ignored them and kep on bopping along. Of course Abe and Beattie belonged to the sub-societal Jewish set also. So they must have taken redoubled abuse from that quarter. Synagogue must have been unbearable in those trying days.
Nevertheless Bob was calling unfavorable attention to himself. Not only was he ‘getting’ it from Echo through the eleventh grade but we are led to believe that he was succeeding quite well with numerous maidens with shelf like breasts.
Always indiscreet Bob couldn’t conceal his activities from Echo. Echo claims that she was faithful to Bob over this year long romance. I can’t quite believe that of a girl who knew all the bad boys in town but she may actually have given Bob her heart. Faithful or not this is a very serious situation for when you have given your heart to someone they have it with them and it’s not always that easy to get it back.
That Echo was hurt to the quick is evident by the manner in which she broke off the engagement. She chose to do it publicly by handing Bob back his bracelet in the halls at school. Makes a boy shudder just to think of the ignominy.
May have hurt Bob as much as anything in his life.
However, and this is serious, Echo felt like a woman scorned. Scorning women is serious business which I know from experience. I wouldn’t recommend it to boy or man, young or old. They don’t leave the matter where you think they should and Echo was not going to be satisfied with merely humiliating Bob in school. She didn’t get adequate satisfaction from that.
Now we’re at the end of the eleventh grade. According to the biographers Bob had been after Abe to get him a car. Abe couldn’t resist his son. Really, now, Bob had an affluent boyhood in addition to getting laid enough to be the envy of the school. This guy did a lot better than I ever did on both counts. If Bob expects sympathy from me for having a tough childhood he can forget it.
Between eleventh and twelfth grades Bob had a car that he used to drive down to Minneapolis several times that summer. In one account it was a ’50 Ford with the metal showing through the paint and according to Sounes it was a pink convertible. No ’50 Ford was ever pink while anyone living in the Minnesota winters would have to be crazy to buy a convertible but I merely report what the biogrpahers say.
Cars are even more expensive than motorcycles. Even if mileage was low and gas was cheap dollars were less plentiful back then. Since Bob hasn’t done a lick of work yet Abe must have had an open handed attitude. Wait a minute, it is said that Abe sent Bob out to repossess TVs which must have been about this time. Tough job.
In fact Bob was costing Abe a lot of money. The report is that Bob was riding down the street on his motorcycle and a kid ran into the street and bounced off the bike. Must have given Bob the idea for his ‘accident’ a few years later. Did he really have that famous fall from his bike? I can’t say but I’m waiting for further developements before I make up my mind.
If Bob was dangerous on a bike that was nothing compared to Bob in an automobile. There are reports of more than one accident but the worst one cost Abe four thousand dollars to make good. That one tested Abe’s notions of defilement.
Four thousand dollars in 1958 was a chunk of money. You could still buy paper back books for from twenty-five to fifty cents each that now cost 7.95 and 8.95. Calculate four thousand dollars to that ratio. In the Navy in the same year I was making two thousand dollars a year. I was twenty-five years old before I topped four thousand dollars a year.
So Abe forked over a sum. Besides which Bob would definitely have been cited perhaps arraigned in court. He may have been facing a jail sentence if Abe hadn’t bought the plaintiffs off. Bob was becoming known at least as a wild man in the rather small Hibbing legal environment.
4.
The Chimes Of Freedom
But it’s hard lookin’ in and you can’t see out.
Dylan- Cold Irons Bound
During the summer of ’58 when Bob was spending so much time down in Minneapolis doing god only knows what Echo was stewing home alone. That was equivalent to being ignored and when you’re going steady. Naturally a girl wants vengeance but the question was how to get it. Echo would have known a lot more about Bob’s reputation in Hibbing than he did. Bob may have been oblivious to the outside world paying attention only to what was going on inside his head. The appearances are that he was probably thought of as a troublesome lad. Proabably a lot of people would have liked to have seen him take a fall, go to jail. I think it probable that Echo arranged that fall.
It probably didn’t take much to get Bob to go around with her a bit in the Fall of ’58 so he would have thought that everything was alright and he’d gotten away with things. The evidence from his songs that we’ll get to here in a bit is that Echo lured him into breaking and entering. My surmise is that she had arranged for them to be caught and caught they were.
As we know from the Moose Lodge Bob was an adept at breaking and entering. One can’t say that he was suspected of other such breakins for sure but his reputation was such that he had to be taught a lesson.
From appearances I would say that he was caught, tried and sentenced sometime in the late Winter of ’58-’59. The question is when did he serve his sentence?
My original thought as expressed here was in the Summer of ’59 but as he would then have been an adult of eighteen he would have been too old for Red Wing where the top age was seventeen.
In Chronicles I Bob says he left home in early Spring of ’59. Based on that slender hint I’m going to suggest that he was in Red Wing from Possibly March 25th 1959, released on his birthday of May 24th or the day before.
Thus he was back in Hibbing in time for graduation. His reluctance to attend the large party his parents got up may have been from shame just as the party may have been to welcome him back to acceptance. His reluctance was overcome and he is said to have had a great time at the party. So, awaiting further information I am inclined toward the last two months of his senior year.
As we have seen Abram Zimmerman and his fellow Jews were powerful in the city so that it is possible that In order to let Bob finish school his father may have pleaded with the Judge and he was allowed to serve perhaps a two month sentence in July and August of ’59 just before he began U. Minnesota. His senior year was when he fell off the honor roll according to his mother. It was probably at this time that a mortified Abe advised him that he could defile himself to the point that his parents would renounce him.
After having extricated Bob from all previous difficulties so that Bob may have thought he was Bobby Teflon Bob may have held his father responsible for his having to do time at Red Wing.
At any rate Bob graduated in June of ’59 collected his Leadbelly records, spent a couple two or three weeks as a busboy in Fargo then returned to do his time out on Highway 61. This esay will stop at his possible release from Red Wing. And now for the evidence from Bob’s songs to give credibility to the above scenario.
The actual breaking and entering for which he was arrested and sentenced is recorded in his song The Chimes Of Freedom. Bob had a way of clothing things in words that made common place events ethereal. Chimes of Freedom is one of those. The song seems to record the breakin in a stream of high flown metaphors.
The first line: Far between sundown’s finish an’ midnight’s broken toll, means literally well after sundown that in Winter in Hibbing would probably be 3:30 in the afternoon and between midnight something happened late during that interval. That’s pretty clear just confused by language.
What happened was: We ducked inside the doorway, thunder crashing. In other words the ‘we’, who I asume to be Bob and Echo slipped the knife into the lock and sprung the door. The excitement of the moment made each noise sound like thunder crashing. In other words Bob is describing his psychological state of mind.
Then he has the nonsense phrase ‘As majestic bells of bolts…’ That is literally meaningless but gives a sense of his heightened sensibilities. ‘…struck shadows in the sounds seeming to be the chimes of freedom flashing.’ more emotional tension and atmosphere. This was a key moment in Bob’s life and he’s making the most of it. Bob wrote this in ’63 or ’64 some four or five years after the incident.
And then he goes into a flight of self-pity comparing himself and Echo to loners against the world.
Flashing for the warriors whose strength is not to fight
Flashing for the refugees on the unarmed road of flight
An’ for each and every underdog soldier in the night
An’ we gazed upon the chimes of freedom flashing.
There you go. That sounds heavy and coming from the speakers backed by the emotional wailing voice, howling harmonica and flailing driving guitar rhythm it sounded then and sounds now like there’s meaning there that isn’t transparent but in fact there isn’t any deep meaning. Bob has just generalized his break in emotions. One hears the tone of voice and listen to the music and gropes for what isn’t there.
Bob goes on like this through six long verses as he milks the tale for all it’s worth. Actually the first four lines of the second verse if you know the story are quite well done:
In the city’s melted furnace, unexpectedly we watched
With faces hidden while the walls were tightening
As the echo of the wedding bells before the blowin’ rain
Dissolved into the bells of the lightning
In so many words he’s saying that the authorities are closing in and that he and Echo are about to be caught as the ‘walls close in.’ If he and she were attempting a reconciliation that ended as the wedding bells dissolved as the authorities arrested them- in other words, the lightning.
And then four more lines of self-pity:
Tolling for the rebel, tolling for the rake
Tolling for the luckless, the abandoned and forsaked
Tolling for the outcast burnin’ constantly at the stake
There’s a neat little description of Bob’s situation in Hibbing as he sees it. Jim Stark the Rebel Without a Cause. Bob obviously considered himself a rake. Luckless is obvious and writing four years later he realized that he was abandoned and forsaken by Echo. He ignores his own actions that led her to forsake him. And then the eternal outcast burning at the stake.
Another couple verses follow that go on in the same vein; then Bob comes to the climax of his story.
Starry eyed and laughing as I recall when we were caught
Here Star reflects the Echo of the first verse and indentifies his companion as Echo Star Helstrom so that she would know he was talking to and about her. This is for world wide consumption. This is unimagined success, laying your complaint before the whole world. But, Bob doesn’t explain that he and Echo were caught in the act of breaking and entering.
So now he and Echo are apprehended by the authorities; caught in the act:
Trapped by no track of hours for they hanged suspended
So they became so involved in their crime- starry eyed and laughing- that they lost track of time. Remember Charlie Starkweather and Carol had just committed their crimes a little to the West so the authorities would have been on edge.
As we listened one last time an’ we watched with one last look
Spellbound an’ swallowed ’til the tolling ended.
Yes, now like Jim Stark of Rebel Without A Cause Bob is down at the jailhouse coming down. He’s been busted and busted good. His dad can’t get him off and the Judge gives him his time in Red Wing. I imagine that his father may have negotiated terms that let Bob down as easy as possible such as allowing him to graduate and do his time in the summer or possibly an easier task of negotiating with the school to allow Bob to graduate.
Echo apparently skated out of there but Bob for the rest of the year was a convicted criminal as the whole school sneered at him. I don’t think there was any question that Bob was set up. Echo was the agent but there must have been others involved or else they probably wouldn’t have been caught, unless Bob turned all the lights on.
The crime created what seems to be an undissolvable bond between Bob and Echo. R.M. has followed Bob’s career whereas I signed off at John Wesley Harding so she pointed out the 1997 song from Time Out Of Mind called Cold Irons Bound. This song appears to be an ode to Echo and Hibbing.
I would guiess that for the remainder of the school year she snubbed Bob refusing to acknowledge his existence. Bob expreses this snubbing as a metaphor in Cold Irons Bound:
I went to church on Sunday and she passed me by
My love for her is taking such a long time to die
And then Bob records his feelings fresh as green grass nearly forty years after as the cops drove him down Highway 61 to Red Wing.
In waist deep, waist deep in the mist
It’s almost like, almost like I don’t exist
I’m twenty miles out of town, in cold irons bound.
Yep. Echo got him good. You can be sure she was standing out of sight when they put Bob into the car for the long drive down to Red Wing and relishing every moment of it. Hell hath no fury like a woman scorned. She might not be finished yet. They wait and wait and plot and plot.
My own corroborating experience that I have recorded in my novelette, The Angeline Constellation on reprindle.wordpress.com, check it out if you’re interested, it’s a good story, 100 pages, confirms Bob’s. I got off light at the time although I’m not anxious to give Ange a second chance.
Briefly the romance took place when I was in the tenth grade. Ange other than making my life miserable in the background could find no opportunity, or if she did I’m unaware of it. There is one incident in my life sort of like Bob’s that I’m not sure of but if she planned it it misfired and didn’t come off satisfactorily.
But I went into the Navy in ’56 returning on leave in the summer of ’57. Ange was, if not waiting for me, quick on her feet. I ran into a girl I had known right after Ange who Ange turned against me. I saw her on leave and asked her out being haughtily, coldly and, dare I say, insultingly refused. Well OK, no problem. Then she must have mentioned that she saw me to Ange. Ange came up with a plan immediately. This girl then asked me to go to a party. Well, after having been told what I could do with myself one would have thought I would have said: No thanks. I’ll never be that dumb again.
I went to this party. She insisted I wear my Navy uniform. I don’t get that. I was not allowed to escort her to the party but was to meet her there. Yeah, well, I’m not so easy now. Of course, I’m not so young either.
At the party I was plied with booze. I didn’t drink at the time. I had never even had a bottle of beer. So I got schnockered pretty quick. I mean stumbling drunk. The hostess kept pouring. So Ange went to this woman who hosted the party and a number of her girl friends, I don’t remember any guys at this party, to set me up and be done. Ange stayed out of sight until I was pretty drunk then she came out of the back of the house to gloat at my back. She doesn’t know to this day that I knew she was there and I saw her. But I did.
Now drunk and sick it was time to leave. I asked for a ride but was refused. I asked for my hat but was again refused. So there I was stumbling down the street a sailor without a hat, in undress. You can be sure Ange was following my progress and laughing bitterly. Bad enough but the next day it gave my stepfather, a drunk, with who I was on bad terms a chance to scorn me. So four years later a scorned woman wreaked some revenge. And that is the way it works. Watch your step.
You can bet that Echo stood gloating out of sight as they put Bob in the car and drove down the side of the gaping pit toward Highway 61 and Red Wing. I believe that’s how Bob’s little drama may have worked out.
5.
He’s In The Jailhouse Now
I used to know a guy named Rambiin’ Bob,
Who used to steal, gamble and rob,
He thought he was the smartest guy around.
Well, I found out last Monday,
They arrested Bob last Sunday,
They got him down (on Highway 61) in the can.
He’s in the jailhouse now.
Immie Rodgers
The question is was Robert A. Zimmerman ever at Red Wing Reformatory for Boys? On the one hand we have the evidence of his songs and his actual statement to the NYC journalist Al Aronowitz that he did time at the prison. On the other hand we have the claim of the Minnesota Department of Corrections that Bob Dylan never served time at Red Wing. Of course Bob Dylan didn’t. There was no Bob Dylan in existence in the Spring or Summer of ’59.
The DOC however declines to say whether a Robert Allen Zimmerman did time. And then there is the competing claim that Bob was under psychiatric care in Phildelphia at the same time. Still no records. There seem to be no references to this latter option in the songs so I do not consider it a viable option.
Certainly the key piece of evidence is the song The Walls Of Redwing. The song was first copyright in 1963 so it was possibly written in 1962 which would be roughly three years after the event. Unlike the very heavy metaphors Bob uses elsewhere Walls was written in plain English as though the terror was still on him.
There are those that say the song didn’t require direct experience to write, that it is just generalized stuff that could be filched from movies or whatever but both R.M. and I agree that the allusions are too personal, reflect actual experiences, than to be just a story.
I’ll reproduce the lines here. These are taken from the Bob Dylan website:
The Walls Of Red Wing
Oh, the age of the inmates
I remember quite freely,
No younger than twelve,
No older than seventeen.
Thrown in like bandits
And cast off like criminals
Inside the walls,
The walls of Red Wing.
From the dirty old mess hall
You march to the brick wall,
Too weary to talk
And too tired to sing.
Oh, it’s all afternoon
You remember your hometown
Inside the walls,
The walls of Red Wing.
Oh, the gates are cast iron
And the walls are barbed wire.
Stay far from the fence
With the ‘lectrified sting.
And It’s keep down your head
And stay in your number,
Inside the walls,
The walls of Red wing.
Oh, it’s fare thee well
To deep hollow dungeon,
Farewell to the boardwalk
That takes you to the screen.
And farewell to the minutes
They threaten you with it,
Inside the walls,
The walls of Red Wing.
It’s many a guard
That stands around smilin’,
Holding his club
Like he was a king.
Hopin’ to get you
Behind a wood pilin’
Inside the walls,
The walls of Red Wing.
The night aimed shadows
Through the cross bar windows,
And the wind punched hard
To make the wall siding sing.
It’s many a night I pretended to be sleepin’,
Inside the walls,
The walls of Red Wing.
As the rain rattled heavy
On the bunk house shingles
And the sounds in the night,
They made my ears ring.
‘Til the keys of the guards
Clicked the tune of the morning,
Inside the walls,
The walls of Red Wing.
Oh, some of us’ll end up
In St. Cloud Prison
And some of us’ll wind up
To be lawyers and things,
And some of us’ll stand up
To meet you on your crossroads,
From inside the walls,
The walls of Red Wing.
Bob at eighteen would have been the oldest boy there so he could watch them more or less as an outsider. Bob is obviously the one who is going to meet us at our crossroads where he intends to take his pound of flesh. His whole career is one of wreaking vengeance on somebody.
I’ve never been in prison but I have been in the Orphange and the Navy. While not jails or prisons they are similar enough so that I have some understanding of the experience. Altogether I spent five years out of my first twenty behind fences under the control of men and women but little different than prison guards.
I know many of the things Bob is talking about and my understanding of the lyrics is that Bob was there and knows what he is talking about from first hand experience.
I would never lie to a journalist about being in prison whose very job is to broadcast tidbits about celebrities. Or maybe Bob would claim that it was only ‘hophead’ talk and not to be taken seriously. If it were me I wouldn’t even let it be known I knew what hophead talk was. Bob told so many tall stories he could compulsively slip in an occasional truth without expecting to be believed. The difference is that none of the rest of the tall stories found their way into his songs.
The song was so painful and personal that he never released it at the time. It was eventually released in the Bootleg Series. R.M. who has followed the playlists says that Bob only sang it in public one time. That one time was in New York when had flown his parents out to a Carnegie Hall concert. However Mike Bloomfield who saw Bob in Chicago says he was singing the song that time.
Remember that, if Abe had disowned him, Bob had disowned his parents. He claimed in New York to be an orphan maintaining that dodge. People were very surprised to learn that his parents were still alive. So, with his parents in the audience, singing, one imagines directly to them, he recited the Walls Of Red Wing. I don’t understand exactly why he held them responsible. There are some things even a father in a small town can’t fix. In looking over his career I don’t think Bob even knew the meaning of restraint. He seems to have believed that whatever he wanted or wanted to do should never be denied.
The effect of his being restrained and constrained in Red Wing was devastating to Bob’s mind. And Red Wing was forever linked in Bob’s mind with Echo. R.M. points to You Ain’t Goin’ Nowhere written at Woodstock, copyrighted in 1967, as an example. Two verses, the first and the second, are relatively clear:
Clouds so swift
Rain won’t lift
Gate won’t close
Railing’s froze
Get your mind off wintertime
You ain’t going nowhere.
Whooee ride me high
Tomorrow’s the day
My bride’s gonna come
Oh,oh are we gonna fly
Down in the easy chair.
Incarcerated in July and August Bob’s thoughts turn to wintertime when he will be free, in the meantime R.M. thinks he believes that Echo is going to relieve the tedium of his imprisonment by visiting him- his bride, but she’s punishing Bob like Bob punished her. He put her in a psychological prison and now as a prelude to a psychological prison she has him in a real prison and she is going to let him rot there.
The feeling was translated into words in the song Steel Bars copyrighted in 1991:
In the night I hear you speak
Turn around, you’re in my sleep
Feel your hands inside your soul
You’re holding on and won’t let go.
I’ve tried running but there’s no escape
Can’t bend them, and (I know) I just can’t
break these…
Steel bars wrapped all around me
I’ve been your prisoner since the day you found me
I’m bound forever, till the end of time
Steel bars wrapped around this heart of mine.
So Bob is learning the hard way inside the walls, the walls of Red Wing.
I don’t care
How many letters they sent
Morning came and morning went
Pick up your money
And pack your tent
You ain’t goin’ nowhere.
So apparently Mom and Dad sent letters but nobody would pay the visit Bob so desperately needed.
As R.M. points out visiting hours were in the morning so that the morning came and the morning went and Bob’s hope of a friendly face went on being frustrated. As for those letters they could have stuffed them.
And then in 1968 in a show of bravado Bob wrote a demand letter to Echo, possibly, in the song Nothing Was Delivered:
Nothing was delivered
And I tell this truth to you,
Not out of spite or in anger
But simply because it’s true.
Now, I hope you won’t object to this,
Giving back all of what you owe,
The fewer words you have to waste on this,
The sooner you can go.
Perhaps Bob thought he could bully his way to freedom. but he couldn’t. Echo didn’t have to listen.
And so Bob left Red Wing at the end of his term, the die was cast for the rest of his life. He ‘tried running but there was no escape.’ ‘He thought he was alone but the past was just behind.’
Echo had trapped him behind the walls of a psychological Red Wing.
Finis.
Exhuming Bob VII: Blowin’ In The Wind
March 26, 2008
Exhuming Bob VII: Blowin’ In The Wind
by
R.E. Prindle
It is commonly believed that Bob’s protest catalogue of the early sixties is related to the Civil Rights Movement. It is further believed that Bob changed his direction or emphasis beginning with Another Side. I’m going to suggest that there is only one side of Bob and that that is continous from 1961 through 1966 after which a discontinuity did occur.
I recently viewed a video of Bob performing with Joan Baez. The video was undated and did not identify the performance but was of the period when Bob wore the napkin on his head. The video is a performance of Blowin’ In The Wind at the beginning of which Bob dedicates the song to Hibbing, Minnesota. He couldn’t or wouldn’t have done that unless the song applied. It follows then that Blowin’ In The Wind has nothing to do with the Civil Rights Movement but to Bob himself. I never understood at the time how people could relate the song to Negroes but they did.
The character may have been projected on it by the expectations of the time perhaps even taking Bob by surprise. Then perhaps encouraged by Suze Rotolo he was able to convert his resentments against Hibbing and U. Minnesota into Civil Rights ‘anthems.’
Even such songs as Masters Of War and Only A Pawn In The Game can be converted into reflections of Hibbing. The masters of war would be enemies in Hibbing while his being arrested and sent to Red Wing would make him only a pawn in their game.
Even James Meredith at U. Mississippi can be converted to the experience of Bobby Zimmerman attempting to morph into Bob Dylan at U. Minnesota.
In an exchange on Lipstick Traces IX correspondent RM and I have worked out an interlocking set of songs relating to Echo Helstrom’s betrayal of Bob and the subsequent term spent at Red Wing Reformatory. I will try to write this up soon.
While Bob first puts his complaints in song from 1961-66 he merely shifted the emphasis from John Wesley Harding on when he added his current complaints to his repertoir.
In any event it is now possible to interpret his catalogue from 1961-66 as one unit addressing one set of problems. Of course William Zanzinger does pose a problem but one may be able to find his counterpart in Hibbing if one can find the necessary information.
If Bob ever gets around to Vols. II and III of his autobiography I rather imagine he isn’t going to go into much detail on this matter. We would rather find the answer on the pages of his autobiography than blowin’ in the wind.
Exhuming Bob VI Ramblin’ Jack Elliott And Bob Dylan
February 21, 2008
Exhuming Bob VI
Ramblin’ Jack Elliott And Bob Dylan
by
R.E. Prindle
I had the privilege the other night of viewing The Ballad Of Ramblin’ Jack Elliott which was filmed by Jack’s daughter. A little on the lengthy, repetitive side, could have used a judicious edit or two, but a very
creditable and enjoyable effort. She is to be commended.
The movie helped to put into perspective Bob in his relation to both the New York folk scene and Elliott himself. Both Jewish their careers have had great similarities from childhood to the present. Currently they are running parallel with the money going into Bob’s pocket.
Both have aspired to be cowboy or Western singers and both have succeeded. Elliott in his Ramblin’ Jack role and Bob in his Texas Bob Dylan persona. Both have tried to efface their Jewish heritage actually modeling their faces along cowboy lines. In the movie the transition from the Jewish face of Jack’s youth to his current cowboy face is readily apparent.
Elliot was born Adnopoz and Dylan was born Zimmerman.
There appears to be some real hard feelings towards Bob by Ramblin’ Jack. The cause is not far to seek.
Elliott was himself a disciple of Woody Guthrie as is Dylan. The difference is that Elliott had a ten year start on Dylan. Thus while Dylan was still in high school Ramblin’ Jack was over there in London town recording those records on Topic that would show up in Minneapolis in 1960. At that time the succession of Guthrie-Elliott-Dylan began, at least in Bob’s mind. If anybody else didn’t know what difference did that make? Already making a model of Guthrie Bob added Elliott and stole copies of the Topic records from a fellow named John Pankake and Bob was off to the races or at least New York City. By one of those strange coincidences, genuine in this case, Bob arrived in the Big Apple from the West at the same time that Elliott’s ship from London town docked New York City from the East. East met West so to speak. Now Bob not only had Elliott’s records to practice from but the living model himself. Ramblin’ Jack was living the exact life that Bob wanted to lead so Bob moved right in on him to learn everything he could.
When Jack left America’s sunny shores he was a nobody. He arrived in England just as the great Lonnie Donegan was introducing the Skiffle craze. Jack snapped right in there like the interchangeable part of an automobile. They liked him. They liked everything about him. Made him so comfortable he invited his friend Darrel Adams to come over and sing with him. Darrel did. They made one of those Topic records together that Bob stole from Pankake.
Well, to make a long story shorter those recordings found their way from London town to New York City making Jack a celebrity in the burgeoning New York folk scene. Jack was a hero. Bob got close to him. In one scene Bob is on stage telling Darrel Adams in the audience that he has a record of Darrel and Jack’s. Thus no further proof is needed that Bob stole Pankake’s records and wouldn’t give them back.
Over the course of a few months Bob studied Jack’s act and by the end of those months he was a Ramblin’ Jack Elliott in a Bob Dillon disguise. I never realized how completely Bob became Jack until I saw the movie.
At the time Jack didn’t think much of Bob’s stealing his act but over time he seems to have developed hard feelings towards Bob. He was real resentful in the movie. Did an interesting but bitter version of Don’t Think Twice It’s Alright. Were you listening Bob?
The fact of the matter is both Bob and Jack knew where they were going and they were going to different places by the same route. Bob wanted to be a star and Jack wanted to ramble. So while this single persona in two forms was a star ramblin’ round the world the other side was an irresponsible troubador ramblin; his serendipitous way round the highways and byways of Americky.
They both got what they wanted so there’s no reason for Jack to be bitter about the boy he called his ‘son.’ The only one with the right to be bitter is John Pankake who lost those great Topic records. But nowadays who’s ever heard of John Pankake?
Exhuming Bob 5: Texas Bob Dylan
January 27, 2008
Exhuming Bob 5: Texas Bob Dylan
by
R.E. Prindle
While much is made of Bob’s Blues interests and his Folk career the truth is that Bob’s big musical influences were Country & Western. He apparently embraced Robert Johnson after 1961 attempting to make him a major influence while giving himself Black roots and credentials that were then needed. But when he talks of the pre-1959 period he invariably invokes the great C&W artists of the late forties and early fifties.
Hence in this photo in what may be his last persona he has returned to his true C&W roots. This is probably the Bob Bob has always wanted to be. As you can see he has abandoned any Jewish identity in favor of a forties and fifties Western recording star. Not so much the Hillbilly or Country aspect as that of the singing Cowboy. Perhaps he is also recalling his early sixties adulation of Ramblin’ Jack Elliott.
Here he emulates Slim Whitman- the mustache- Elton Britt, Ernest Tubb the Texas Troubadour, Hank Williams or any number of artists before the Nudie Suit Of Lights came into fasion in the fifties.
Note the attention he has taken to remolding his face in the attempt to eliminate Jewish characteristics. The tight thin lips, the steely eyes. A remarkable and successful effort at becoming what he has always, apparently, wanted to be.
The photo is taken from the Rolling Stone issue of May 3-17 2007 without permission. If they object I’ll have to remove the post.
Exhuming Bob 4: Boulevards Of Broken Dreams
January 26, 2008
Exhuming Bob 4:
The Boulevard Of Broken Dreams
by
R.E. Prindle
…the confused, accused, misused, strung out ones and worse…
I got mixed up confusion
Man, it’s killing me.
Bob Dylan
I walk the street of sorrow
The boulevard of broken dreams…
You laugh tonight and cry tomorrow
When you behold your shattered dreams…
Here is where you’ll always find me
Always walking up and down
But I left my soul behind me…
Harry Warren
The Boulevard Of Broken Dreams
With each day of waiting
I love to pretend
One more tomorrow
And my waiting will end.
I’m waiting and watching
for ships that never come in,
I wonder where they can be.
after Jack Yellen
I’m Waiting For Ships That Never Come In
Everything’s Broken Down
Larry Hosford
I received a couple comments on With One Hand Waving Free from R.M. that brought some thoughts I have into focus. RM has a good understanding so I will incorporate some of her thoughts into this essay.
First, let’s deal with ‘multi-culturalism.’ Multi-culturalism is merely twenty-first century racism. If a separate cultural identity is being jealously maintained then this is done in oppostion to all other cultures; it is a form of exclusivity. Yet such cultural exclusivity is considered a sin if not a crime in the West. How to reconcile such an obvious contradiction?
The first law of ‘culture’ is that two or more cultures cannot occupy the same territory at the same time. Race and culture can be made synonymous for this purpose. The less or least tolerant culture will eventually drive the more or most tolerant culture out. This is a law. Thus to be tolerant is a one way ticket to oblivion.
In that sense tolerance will be made to seem to be intolerance. Thus for the last few centuries until very recently England had been praised for its extreme tolerance. Jews, Huguenots and whatever found a refuge there that delivered them from persecution. That was when the immigrants were relatively few and the English culture dominant. In the last few decades England has been all but swamped by Negroes, Moslems, Jews and whatever. The Moslems although coming from different countries and races are culturally united through the intolerant Moslem religion. Now that the immigrants are numerically strong enough to bully the ‘tolerant’ English the English are now described as intolerant monsters. Quite a change in the perception of them even though the English themselves have not changed. They do insist on the Common Law, their cultural norm, rather than adopting Moslem Sharia law as the Moslems insist. The grossly intolerant Moslems then will subject the tolerance of the English and Moslemism will prevail in England. Thus two cultures cannot coexist in the same space, one must eliminate the other.
The Moslem method of subjection is the same today as it was in the year seven hundred when they subjugated a large part of the world. The congeries of nations they thus created forced a temporary ‘tolerance’ on the Moslems. They had to ‘tolerate’ other cultures to maintain order. But they relentlessly forced intolerance in their dominions gradually imposing a culturally sterile Moslem uniformity on society that succeeded in quelling ‘diversity’ by the thirteenth century or so when a certain idiot maintains that ‘something went wrong.’ Nothing went wrong. The Moslem religion finally achieved its goal.
Now multi-culturalism is being forced on the West. There is no multi-culturalism in the East. China and Japan are as homogeneous as you can get and likely to remain so. There is little change in South-East Asia and apart from the continuing Hindu-Moslem conflict in India, none there. Africa is being occupied by the Chinese so that Africans in Africa will be all but eliminated.
So, this is the nature of multi-culturalism; a form of racism by which the tolerant will be exterminated by the intolerant. One may be view the process as a declared but non-shooting war.
The intolerant are being aided by Western ‘Liberals’ who are deliberately and legally disarming the less tolerant Westerners in favor of the intolerant. Liberals have actually passed laws making it a criminal offence for Westerners to defend or propagate their own culture or criticize anyone else’s.
This process has gone much further in Europe and the British dominions including Canada. The US is still protected by its Constitution but that is under attack. Thus in the Multi-Cultural Wonderland dissent is still possible. I do dissent. And I will speak my mind. I will not be tolerant of my own destruction or those of the West.
As an All-American Boy I have grown up sharing in all these cultures as my own while not being a part of any of them. I am as Jewish as a Jew, as Black as an African-American. As Rebel as any Southener and as Puritan as any New Englander. They are all my cultures. I can mix and match any symbols and being a free American boy, America means freedom, I can say and do as I please. I do and will.
In point of fact I was excluded from all cultures by being in an orphanage. I am probably closest to the Puritan heritage but neither it nor any other has any special meaning for me. I am outside them all as an observer. So, I’d appreciate it if you weren’t defensive about your own cultural hangups. That’s the way it is friends: If you don’t like the reflection, don’t look in the mirror. I am a camera.
In her first comment RM gives a general discussion of the record business. As it happens I was in the record business for fifteen years between 1967 and 1982. I know something about records and musicians. Musicians are at the bottom of the entertainment hierachy. They have no, or little, status. During the sixties and seventies they broke the bounds of the records labels and were able to dictate terms to the labels. This was an anomaly and it didn’t last too long before the labels regained control.
Musicians are generally considered offensive by movie and TV people. They aren’t invited to many genteel parties. To a very large extent this opinion is merited. Witness all those stories about rock and rollers busting up hotels and being just generally rude and offensive. Sad but true. Just study those movies of Dylan and his entourage in London’s prestigious Savoy Hotel. Bob should be embarrassed.
Musicians are the ‘abused, confused, misused’ type of person Bob so unerringly identifies in his songs. Bob was one too. Consider his first rock song: Mixed Up Confusion. Relate it to The Chimes Of Freedom a couple years later. I do not exclude myself from this group so don’t get hostile.
The record industry above all others draws the type to it. There is something about the direct mental connection between the sound on the disc, in the grooves, and the mind that allows the listener to incorporate the lyrics into his identity. All the lyrics heading this essay are part and parcel of my mental makeup also. Some of the type have talent and skills but most don’t. Bob obviously was highly talented by no less psychotic for all that.
For myself I owned and operated a medium sized record store chain from 1967 to 1982. Until about 1979 I listened to everything issued. I suppose I heard thousands of LPs at least once. Some dozens of times. I occasionally met various artists. I was familiar with the record scene in LA and San Francisco. I dealt with tens of thousand of customers. I think I know the dreamy record type.
Without exception they have a broken down psychology. Consider songs like Broken down, second hand Rose, Here Comes The Rain, It’s Raining In My Heart, the talented but overlooked Larry Hosford’s Everything’s Broken Down. In my experience with record store employees their attitude was: If it ain’t broke, break it. And they did. I spent fifteen years dealing with broken people and I didn’t like it.
Bob was broken, probably still is. The part of his songs I identified with from 1964-66 was the broken down images of his ‘greatest’ work. All those put down songs were answered in my soul as I walked up and down the street of broken dreams. He spoke my own frustration and rage. I thought at the time the vicious put downs of Positively Fourth Street was Dylan at his best and I still do but I can’t bear to sing along anymore. The instrumentals he devised were pure genius. In fact I would give him higher marks as a composer than I would as a lyricist.
It scarcely needs pointing out but after Blonde On Blonde his pure rage was spent. He had apparently put down everyone he wanted to put down. His direction changed.
So what I am interested in here is the cause of his breaking down and subsequent rage. His biographers give scant clues when they assess his childhood. For the present we are compelled to guess from various clues scattered throughout his lyrics directed at unknown people and his comments.
In my estimation his put down songs are directed at people from Hibbing who he obviously feels put him down. Bob projects that rejection onto his New York scene.
One must rely on reports but it seems that everyone in New York was unusually supportive of this stranger from Minnesota. People seem to have gone out of their way to be supportive. They fed him didn’t they? They offered their couches, they let him play their records, read their books. In fact, they educated him to Bohemian standards. Bob didn’t get there by himself. Bob couldn’t have written those songs without that education that they gave him for free, from the goodness of their hearts.
A complete greenhorn when he arrived, within the very short space of two years he was a star. Nothing at 19, by 21 he was on his way. Life wasn’t that good to me and yet Bob sees no reason to be thankful for his good fortune. To my taste the music that gave him his start is detestable yet Robert Shelton, a very influential music critic for the NYTimes, the most influential newspaper in NYC and America, gave Bob a glittering review that his fellow folk singers wondered about at the time while being no less a source of wonder today.
John Hammond at CBS, one of the three largest labels in the US, a very experienced judge of talent, apparently saw something in the caterwauling Dylan that I’m sure I wouldn’t have seen, signing Bob to a recording contract. Any contract young Bob got would have been a wonderful contract even if he had worked gratis. Once again as with Shelton, Hammond’s associates were set wondering. Hammond’s Folly they called it.
So what exactly did Bob have to complain of about his reception in NYC. Nothing that I can see. From what I gather from his biographers his hero Woody Guthrie even accepted him. Why then all those bitter diatribes against his fellow folksingers in NYC? Quite simply, Bob was projecting. He’s not talking about the present, he’s talking about the past although he puts his lyrics in the present. We have to go back to Hibbing. He’d only been absent from Hibbing a little over a year when he hit the Big Apple so all his antecedents were very fresh in his memory. If RM is correct it was exactly at this time that he wrote his song The Walls Of Red Wing. The shock of his incarceration was searing his mind.
In Hibbing we have two influential formative processes. One, the interaction between Bob and his classmates and the other between Bob and his father. The latter is especially important. I am weak on being able to judge father-son relationships because I never had a father. From I’ve seen of father-son relationships I have absoltutely no cause for regret. I consider it a psychological trap I miraculously escaped.
One thing is clear from the biographers, Bob did not run with the In Crowd of his high school class. He obviously suffered rejection thus he visits rejection on everyone in his songs from ’64-’66. All those songs are meant to show that he’s the one and they ain’t. ‘Sooner Or Later One Of Us Must Know’, ‘There’s something happening here and you don’t know what it is, do you?’ Sour grapes. Even when they know they don’t care. You’re still you and they’re still them and they’re still in control of the social structure. You’re still on the outside and nothing’s changed except, of course, you’re famous.
Those of us who learn, learn the hard way. Unfortunately that is the only way. If you don’t know let me tell you. What’s done is done.
As the Persian poet, Omar Khayam put it:
The Moving Finger writes; and having writ,
Moves on: nor all thy Piety nor Wit
Shall lure it back to cancel half a Line,
Nor all they Tears wash out a Word of it.
Here’s the hard part- that’s just the way it is and the way it must stay. If you can’t deal with that, too bad. Bang your head against the wall until you die. Who cares? Hard and mean, but true. What did they used to say? You’ve got to be cruel to be kind? It’s all over now, Baby Blue. Don’t forget it; learn from it. But don’t you grieve no more. However it may go on raining in your heart.
One can’t know what happened to Bob but I suspect it happened early, probably before Junior High. When his biographers discuss his childhood he is always in the company of outsiders. So Bob became broken down at an early age.
Probably in an effort to win his classmates approval he chose to become a rock and roll musician. It worked so well when he was four performing Accentuate The Positive for his family why wouldn’t it work at sixteen with his classmates? Well, it didn’t. What he wanted to play they didn’t want to hear and what they might have wanted to hear he wouldn’t play. It was his way or no way. They booed him roundly but he didn’t care. Strangely Bob recreated the exact same scenario on his world tour. He was not only booed in the metropolis of Hibbing but he was booed around the world. Didn’t care, but how many people can say that? Very unusual personality.
Undismayed back in Hibbing he was undismayed around the world. I can understand his continued playing against the boos but that doesn’t mean it didn’t break his heart. The miracle is Bob Zimmerman went on to become Bob Dylan. You can listen to him turn into Bob Dylan on Another Side. Before that he’s Bob Zimmerman trying on the name Bob Dylan.
So, I think we can assign all those put down songs to his rejection back in Hibbing even though he’s singing Positively Fourth Street to his NYC coterie.
Probably Bob thought that whatever form the initial reaction took to his rejection back in Hibbing was that he had been a victim of a form of theft. Something valuable had been stolen from his personality, his self-respect. This is completely understandable. But as something was stolen from him, in vengeance he became the thief. Thus, if Bob wants an answer to his question: Why must I always be the thief: the compulsion can be found in whatever this childhood incident was.
I suspect Bob began small pilfering from that age, whatever year it may have been. As he was definitely sentenced to a Reformatory for a crime commited in the twelfth grade I have to believe he was caught stealing items of sufficient value for him to have been brought before a court where he was convicted and received a sentence.
It seems unlikely that as a first offender he would have been given time in a reformatory therefore it seems likely that he must have been arrested a couple times before and let off with a warning. That’s the way it was back then before they put you in jail for first offence jay-walking.
That Bob was not averse to breaking into other’s property is made clear by Howard Sounes story of Echo Helstrom’s jimmying the lock of the Moose Lodge. That Bob was not particularly careful is evident by the fact that having broken in Bob banged away at the piano and sang. After making an unauthorized entry that would seem foolhardy. Bob wasn’t just a kid either. That occurred sometime in the eleventh grade.
I suspect these earlier crimes were all thefts. As he was not a good thief, seemingly always being caught, he must have wanted his thefts to be discovered much as he himself was aware that something of value had been stolen from him. The last theft for which the judge thought he had no choice but to give Bob time must have been a good one, perhaps a burlary or store break-in. The crime may have been committed weeks or a couple months before graduation so Bob was allowed to finish school before serving his sentence in the Summer of ’59. Worst summer of Bob’s young life. Worse than church camp. This much is certain, he was in a reformatory for a couple months in the Summer of ’59. The question is where, and how does Father Abraham fit in?
Bob seems to have had a difficult relationship with his father. When that began and whether it had anything to do with his Judaism is the question. There most certainly is a conflict in Bob’s mind between his Gentile cultural identity growing up in Hibbing amongst Gentiles and his Jewish cultural identity imposed on him by his family and probably most especially by his father. Thus in later life Bob would first become a born again Christian, then revert to Judaism, and a fundamental Judaism at that, then form a compr0mise between the two that he is evidently following today. His autobiography, Chronicles Vol. I, wasn’t involved with religion that I remember. I’ll have to read it again.
As I read the biographies Bob was relatively ignorant of the tenets of Judaism as of his Bar Mitzvah at 13. In a situation that I would consider extraordinary a Rabbi was flown in especially for him just prior to his Bar Mitzvah to indoctrinate him and then returned to wherever he came from shortly after. I don’t know, seems like Abraham was really concerned that Bob understand his relationship to Judaism. They would have had to pay the Rabbi. It would be interesting to know Bob’s reaction to this event.
For myself I was forced to attend church through Junior and Senior High which I deeply resented, even hated. I can control myself if I am forced to enter a religious edifice today, that mainly because I am a real trooper who does his duty, but there wouldn’t be any need for anyone to push it too hard. I could break out cursing. Oddly I’ve been in everthing from Catholic Churches to Jewish synagogues over the years. What did I ever do to anybody?
Also in subsequent years Bob attended a religious summer camp called Camp Herzl. Whether he was compelled to or not I don’t know but in my case I was compelled to attend those accursed church camps. If there is anything in my religious background I care to take back it is those few weeks spent there. Absolutely hated it. It would be interesting to know how Bob enjoyed the experience.
Now, Bob tells us that his father Abraham at one time told him that it was possible for a son to become so defiled himself that his father and mother would disown him. Bob doesn’t tell us when or under what circumstances his father told him this. Was it a sort of admonition Abe thought every father should tell his son at, say, ten, or possibly at his Bar Mitzvah, or was it something Abe told Bob just before the authorities took Bob away for his sojourn at the reformatory- possibly even, probably Red Wing? Certainly his departure would have been as horrific an occasion for his father as it was for Bob.
So here’s the crux of the father problem. RM in her comment described Abraham a ‘passive-aggressive’ but clearly abusive father. RM says that an old girlfriend said that Bob seemed quite afraid of his father but she didn’t know if he hit him or not. RM seems to think Abe did but I’m not so sure but as we’ll see there is evidence that points to the fact that he may have.
A statement like ‘I’m not so sure the truth will set you free’ may sound innocuous enough but who knows how many lectures lay behind it or how they pertained to it. Enigmatic at best, what religious truth was Abraham trying to convey to young Bob? Not so clear to me. I’ve known some pretty nutty religious types in my time, just because Abraham was Jewish doesn’t mean he wasn’t a nutty religious type, and some of them were quite terrifying. I mean, de Lawd gave them verbal instructions and they heard it. A statement like a boy may become so defiled his parents would reject him is enough to set any boy shaking especially as Bob had already been rejected by his classmates. If a kid isn’t secure in his parents estimation who is he secure with? To me that statement was a terrific threat.
Defiled? Defiled? Bob might ask himself, I must be defiled but am I that defiled yet? I mean, why tell me Dad? I mean, do you want me to leave now? Crap like that going on for seventeen years or so would make you afraid of any parent. I could learn to hate a guy like that.
Judging from appearances Bob’s subsequent life seems to have been to determine how defiled he could be before everyone would turn away from him. What kind of test would it be? Getting drunk at midday and collapsing in your own vomit in the middle of the Minnesota campus? Was that enough? No. Bonnie Beecher didn’t deny him; she showed her love. The question there is how it is Bob collapsed where Bonnie would likely be? Coincidence? Nah. It wouldn’t taken too much to know her class assignments and be in the the appropriate place. Maybe planned, maybe not. We won’t know unless Bob tells us.
Bob’s whole career from that point on seems to consist of tests to see how much others will endure before they disown him. I mean, think about it. What kind of character does it take to offend his fans with noise you know beyond doubt they don’t want to hear, to go on doing it when you know they are going to go on booing you unmercifully? Bob did this around the world and was booed round the world. Amazingly his fans didn’t desert him but continued to show up if for no other reason than to boo him. Bob wasn’t too defiled for his fans, was he? They continued to accept anything he did.
Of course he lost a few of these contests. Suze Rotolo for instance. Bob was just too much for her mother and sister if not Suze herself. Otherwise the boy forced the world to take him on his own terms. Defilement was the issue between him and his dad. Bob seems to have won that particular defilement issue too.
Did he do time at Red Wing or not? RM and I both think he did. I agree with RM that the lyrics to Walls Of Redwing sound like authentic although very generalized experience. The Minnesota DOC (Department Of Corrections) says on one of their websites that Bob Dylan was never incarcerated at Red Wing. Maybe not. But if Bob Dylan wasn’t how about Robert Zimmerman? There is not doubt however that he was incarcerated somewhere. Wherever that was records must exist.
I believe that if one has the key all Bob’s lyrics ’64-66 will be found to be autobiographical. Why should Bob be different than any other writer? All writers are autobiographical. What else can they be? Thus in relation to Red Wing if RM doesn’t have the right slant the song has to relate to Bob’s life in some way, and some way that goes back to before he left Hibbing. The title Highway 61 Revisited has to have that exact meaning. Bob is revisiting Highway 61 whatever meaning the phrase has for him. RM’s understanding of the following lyrics seems brilliant to me whether it turns out Bob did his time at Red Wing or not. Remember it is certain that he did time somewhere, that is not the question. If the song does not physically describe Red Wing then the ‘country club’ in Philadelphia must.
Oh God said to Abraham, “Kill me a son”
Abe says, “Man you must be puttin’ me on.”
God say. “No.” Abe say, “What?”
God say, “You can do what you want Abe, but The next time you see me comin’ you better run.”
Well Abe says, “Where do you want this killin’ done?”
God says, “Out on Highway 61.”
RM goes on: Red Wing is DIRECTLY on Highway 61 separated only by a barbed wire fence. Thus, Bob may have experienced his incarceration as a form of psychological death for which he held his father, Abe, responsible. Highway 61 as I see it has no signficance otherwise. The Civil Rights stuff going on in the South couldn’t possibly have figured largely in Bob’s imagination besides it had nothing to do with killing a son.
Consider also these lines from Chimes of Freedom:
Condemned to drift or else be kept from drifting
Tolling for the searching ones, on their speechless, seeking track
For the lonesome hearted lovers with too personal a tale
An’ for each unharmful, gentle soul misplaced inside a jail
As we gazed upon the chimes of freedom flashing.
Starry eyed and laughing, as I recall, when we were caught…
I think those lines can be related back to Highway 61 and the crime for which the ‘unharmful gentle soul’ Bob paid. The last line would imply that he and Echo? were caught together. That sounds like a burglary or break-in.
Another word on possible influences for Highway 61.
While both Folk and Pop music were important to the era, equally as important, possibly more so, were the Comedy records. The late fifties and early sixties were the golden age of comedy LPs. The three most important were Bob Newhart, The Smothers Brothers and Shelley Berman. These three were huge. Trailing behind them were Mort Sahl, Lenny Bruce, Lord Buckley, Allan Sherman, Jose Jimenez and a couple others.
Newhart and the Smothers would have have had the most direct influence on Bob at this time. Both artists did monologues or dialogues of an historical nature. The Smothers Brothers were, of course, a comedy Folk act. Overwhelming in their appeal. We were all blown out of the saddle by these comedy records that seemed so nouveau and groundbreaking that they could easily be seen as the Chimes of Freedom flashing. Thus the first verse of Highway 61 can be seen as a comedic takeoff on God, Abraham, and Isaac a la Newhart or the Smothers.
After the first and obviously key verse that deals with the Son and father, Abe, Bob cobbles some historical verses together. Mack the Finger (Knife) and Louie (XIV) the king. Verse two deals with Jesse James:
He asked poor Howard where can I go
Howard said there’s only one place I know
Sam said tell me quick man I got to run
Ol’ Howard just pointed with his gun
And said that way down Highway 61.
As we all know Bob Ford was the dirty little coward who shot Mr. Howard, the name Jesse James was living under at the time. I think we can chalk Highway 61 up as an attempt to emulate the Smothers and Newhart along with Bob’s other needs. Think about Desolation Row as a comedy routine.
If one does want to really understand the early sixties it is essential to be familiar with Newhart, the Smothers and Shelley Berman. Still good stuff too.
Bob would have been released from the reformatory just in time to leave for U. Minnesota. One can only imagine his state of mind as he left for Minnesota as the defiled son. He began by testing everyone. As a nobody there were few who would put up with his antics. We can’t be sure how far he would go with his antics or exactly what he would have done. If the scene with Bonnie Beecher is any indication he had pretty wide parameters to work within. He claimed that in New York he hustled, that is sold his behind as a male prostitute. Did he? I don’t know but having consciously established himself as a liar or teller of tall tales he could tell any preposterous truth and not be taken seriously. Thus he would be able to get such things off his chest while being disbelieved. Hustling would probably be a form of defilement that would offend his father. He told the journalist Al Aronowitz that he had done time in Red Wing. Why would anyone tell stories that were reputation destroyers?
Testing people is one thing, of course, but would a guy who puked all over himself and lay down in the middle of campus balk at hustling in NYC? You tell me.
Through ’66 Bob exhibited all the characteristics of the man walking up and down the boulevard of broken dreams. Everything in his life was broken down. He was apparently filthy and unkempt. Many people refer to his complete lack of hygiene. They use such emphatic terms as Bob must have been avoiding soap and water. Hygiene, he didn’t have any.
Except for the brief honeymoon period with Sara after his acident he always affected a bum or hobo like character. He even called his recording studio, Rundown Studios. The pain lived on in his heart as a steady downpour. He made his environment reflect the shambles in his mind. He had mixed up confusion and man it was killing him. He built a multi-million dollar house and then made it look like a junkyard.
He made one attempt to escape the Boulevard. There is some question as to the seriousness of the motorcycle accident. There seems to be evidence that he wasn’t seriously hurt if hurt at all. I think that after Blonde On Blonde his initial torment was spent. At best Grossman was working him so hard, setting up the next grueling tour that as Bob said if he had gone on it would have been the death of him so he opted out, took some much needed time off to recover.
During the brief period of recuperation he seems to have calmed down somewhat. If the photos of Elliot Landy are accurate evidence,
http://www.landyvision.com he seems to have cleaned up his act trying to be the good country squire for Sara. The photos look as though he were bathing and wearing clean clothes. It couldn’t last. His inner devastated compulsion urged him on. At some point he must have decided how much defilement Sara would take before he could drive her away.
Lord, how he tried that woman’s soul. Bob was shameless beyond belief. She finally threw in the towel when she came to breakfast to find Bob eating with another woman.
In the divorce proceedings she claimed she was in fear of her physical well being, that Bob had offered her physical violence. It is quite possible that after years of drug and alcohol abuse Bob’s decency was so lowered that he did offer her violence. Perhaps he was then visiting the violence on her that RM thinks his father dealt him. Perhaps he was only trying to see exactly how much defilement she would take before checking out. Perhaps Bob merely wanted Sara to be as defiled as himself so that they would be equals.
Bob cruelly shattered the poor woman’s life. After standing by him through terrific emotional abuse Bob had the audacity to remonstrate ‘But people in my family just don’t get divorced. Chutzpah on a stick. Didn’t he even care what the effect on his children would be? Hard to feel sorry for ya, Bob.
Bob punished himself to the tune of many millions of dollars. It must have hurt so good. Balm for a wounded soul. Not satisfied Bob had another brief marriage bestowing additional millions on that wife. These sexual adventures compelled him to work non-stop to support his various establishments. It isn’t cheap being Bob Dylan. A life style was forced on him that required vast sums, perhaps millions a year to maintain.
Thus Bob laughed tonight and cried tomorrow when he beheld his shattered dreams, but no matter how defiled Bob was he was holding his own in the war. Everything was still broken down, rundown, second hand Rose but then for the psychological type, Only A Hobo, there’s a certain pleasure in that.
End.
e
A Review: Exhuming Bob 3: Weird Old Greil Marcus
January 17, 2008
A Review
Exhuming Bob 3
Weird Old Greil Marcus
by
R.E. Prindle
We have a very interesting phenomenon here. Greil Marcus is technically a non-fiction writer. I don’t know if I can fully agree with that. I think I would classify him as a fiction writer using a non-fiction base. I always have the feeling of reading a novel. That’s not bad but it’s not non-fiction. This is nowhere more evident than in his amusing The Old Weird America.
The interesting thing is that he has managed to convince his readers that his personal vision of Al Capp’s Dog Patch is in reality true, or factual. Yes, I’m afraid Greil’s vision of America falls into the Anglo-Saxon baiting genre I noted in my essay Exhuming Bob 2-2: Detourning The Folks. In this effort Greil continues to make a specific minority of people look goofy damning the whole people in the process.
In this respect he is reminiscent of the movies of Adam Sandler and Steven Seagal. Both of these Jewish actors, Greil is Jewish of course, constantly put down non-Jews in their movie roles. In Fire Down Below Seagal goes into the hills of old Kaintuck to show the Anglo-Saxon Hillbillies how to stand up for theyselves.
Part of Greil’s success is that the majority of his readers seemingly are as unfamiliar with country music as he is. As I pointed out in Exhuming Bob 2-2 the majority of White Americans despise, to use the old and correct term, Hillbilly music.
That is what the performers on Harry Smith’s Anthology Of American Folk Music are. In a country of, shall we say, unusual ethnic musics it is difficult to understand why Hillbilly music should be considered quintessentially weird. Actually I’ve already explained it in Bob 2-2 but we’ll ignore that. Certainly the Country Blues of the Blacks, which is not so distant from Hillbilly, the Blacks had to learn somewhere and where closer than their Southern roots, is virtually unlistenable music. It take a lot of good will toward Negroes to sit through that stuff and that goes for the majority of Black Gospel.
The Klezmer music of Greil’s own Jews is some of the least listenable stuff available. If you want weird try Klezmer music of Weird Old Judaism. I could go on but I won’t.
The problem with greil’s reverence for Harry Smith is that he lacks background while having no real appreciation for the music. It’s too weird. Some of my ancestors came down from the hills of old Kaintuck so I was raised on Hillbilly music. I know most of the tunes of Harry’s Anthology without ever having heard the records. I mean, this stuff used to be played on the radio. Back in 1950 there wasn’t really all that much else to play. Heck, even guys like Hank Snow and Webb Pierce were just getting started. The great Hillbilly recordings of the fifties were still in the future. The world of the LP hadn’t even been thought of yet. 45 RPM records were introduced only in 1949 although they caught on fast. I remember the first spindle I ever saw with amazement yet. You just bought a spindle to connect to your radio. Amazing innovation. Unlike 78s, 45s didn’t break when you looked at them.
So, really, as far as Hillbilly went back then there wasn’t much else to listen to other than the stuff Harry collected. Patsy Montana’s I Want To Be A Cowboy’s Sweetheart could easily have made Harry’s collection if it had fit his particular psychosis. I mean, really, the guy was straining it, booze, drugs and all; living on the same street Greil Marcus would live on. That could unsettle an intellect…or two.
By the time Greil got hold of Harry’s compendium he was four or five times removed from the music, maybe more. He never talks about remembering Lonnie Donnegan so I don’t know if he knows him but Lonnie sang a lot of stuff as ‘weird’ as anything Harry Smith ever collected. I’ll even go on record as saying that old Lon was the greatest recording singer who ever lived. Yes, Sir, I would say that. He was that good.
Greil has Bob down in the basement mixin’ up the medicine at Big Pink which he surely was. Now, Bob goes back musically almost as far as I do.
He grew up in the same kind of semi-rural backwater. I mean, Little Jimmy Dickens held down the quarter hour Hillbilly show at noon right after the farm report on our local station. Little Jimmy was definitely Harry material if he had fit Harry’s psychosis. Little Jimmy sang such humorous, but ain’t they true, though sad songs, rueful actually, such as Take An Old Cold Tater And Wait and Sleepin’ At The Foot Of The Bed. I’ve been there done both those things so I didn’t think they was so weird. I knowed how it felt.
Having access to the same kind of midwest mega blaster radio stations that I had I’m sure Bob didn’t need Harry’s memorable compendium to give him any roots although he sure goes on like he did. Still, I think anyone who could sing Accentuate The Positive at four didn’t need Harry to give himself much help. There’s musical stuff going on in Bob Dylan’s mind that he cain’t even remember. I mean, that there boy’s got roots, roots down below the roots where they don’t even show and there ain’t nobody can never convince me other wise. Weird Old Bob they usta call him. Weird Old America. Weird Old Greil Marcus. Weird Old…well, just plain weird and old. I’ve been to both places and I’ll take weird over old. There, I said it and I ain’t sorry for it either and I ain’t goin’ ta ‘pologize to nobody neither. Don’t ask.
So, in point of fact bob’s got some weird old stuff running ’round his mind mixed in with the cocaine or whatever. Bob had seen a lot of movies. Weird Old Cinema, read some Weird Old Books. Weird old American stuff. Weird Old Jewish stuff; Bob was just into weird I guess. Sounds like it some times if you listen real close.
Greil locked onto this weird thing and began to run with it. Tom Wolfe did it lots better though. What was it the Tangerine Flake something or other. I can see the influence of Wolfe on Greil even if it’s not there. Remember that piece about the stock car driver? Compare that with Greil’s handling of Dock Boggs. There’s some real similarities there or I ain’t as weird as I usta be. Still just a Hillbilly boy though. You knowed that though didn’t yuh. I always like it in those hillbilly sharecropper movies when you can tell you’re dealing with real rural types when they say ‘knowed’ even though they look like they have a luxury apartment on Wilshire Blvd. I knowed that when I fust seen him. Yes, Sir, I did.
Greil creates this novelistic atmosphere out of his material but he doesn’t have the feel of the material. What did Bob say? Everything is phony. Actually Bob portrays himself as a better hick in Chronicles Vol. I. Some his book is OK.
So, really, I think Greil should have written after a couple of hours of reading Tom Wolfe. While the glow lasted he might have turned out some hot stuff; wouldn’t sounded any more authentic but the heat would have covered up the lack of authenticity.
Kandy Kolored Tangerine Flake Baby was pretty flashy but its a lot harder to do than it looks, even Tom Wolfe couldn’t keep it up but when he was hot he was hot like with that Hillbilly stock car driver. Loved it.
Even though Greil has made a terrific impact with Weird Old America very successfully detourning the image of Anglo-Saxon America in the direction he wanted it to go I’m afraid I’m going to have to give him his second C. If he had wanted to be more convincing he should have gone back to them hills of old Kaintuck and immersed himself in the culture for a weekend and made it his own. They got some snappy new modern motels now although yu can still find the old cabins if yu really want to do it up authentic.
End.
Exhuming Bob 2-2 Detourning The Folks
December 24, 2007
A Critique
Exhuming Bob 2-2
Detourning The Folks
Greil Marcus has written of detournment extensively especially in his Lipstick Traces. The French word means hijacking, rerouting or diversion, or in other words changing the direction of the flow or meaning. Thus one strips an object of its familiar values and replaces them with others but leaves the object intact. In a conflict of cultures the question becomes who will assign the values or meanings to objects and words.
I will use as a starting point for my purposes here H.L. Mencken of the twenties. The values into which immigrants migrated were those of the Anglo-Saxons. From the immigrant viewpoint the Anglo-Saxons detourned their languages and cultures attempting to replace them with English and Anglo-Saxon values. The inevitable result was that immigrants felt that they had been devalued and demeaned. So it is no wonder that having recovered some balance by the end of WWII they fought back by attempting to detourne Anglo-Saxon culture in their favor.
This is nowhere more apparent than between the Jews and Angl0-Saxons. No matter whether you place the conflict between the Old Dispensation or the New Dispensation the Jews always view themselves as a separate, independant and potentially dominant culture. Hence the drive is always first for autonomy and then detourning the host culture to reflect Jewish laws and customs, hopefully making Hebrew the official language. To Jews, like Greil Marcus and Bob Dylan then ‘freedom’ means the replacement of the Anglo-Saxon law and culture with Jewish law and culture with the Jews as arbiters of the fate of what become essentially subject peoples. The Jews can never be ‘free’ no matter how unrestrained they may be so long as they are subject to others legal and social systems. This is the central problem the United States and the West refuse to face. The same is true of the Semitic Moslems. It is the purpose of Moslems to detourne Western culture for a Moslem Culture. It is quite simple.
By the time H.L. Mencken was making his rise Anglo-Saxon pride was at its maximum. I haven’t been able to determine whether Mencken was Jewish but he allied himself with the Jews making common cause with them. The approach naturally was to defame Anglo-Saxonism. Mencken naturally chose the least sophisticated Anglo-Saxons to represent the whole. Thus he went to the mountain folk of Appalachia and the hill country all along the Line. He began to ridicule these people as representative of all Anglo-Saxons. I mean, he was mean; he was vicious; his Jews caused a huge fuss for much less criticism or in their terms- defamation.
Expanding the arena, using these rural folk as their model the Communists then picked up on these people with the least possibility of education as the example of Anglo-Saxonism. In 1932 and 1933 following Mencken’s example Erskine Caldwell, a Communist writer, published two mammoth best sellers, Tobacco Road and God’s Little Acre. These books were especially mean and vicious making Mencken look laudatory in comparison. Perhaps using Mencken and Caldwell as inspirations a Jewish cartoonist by the name of Al Capp created the L’il Abner comic strip in 1934. This strip also ridiculed Anglo-Saxons but in a less demeaning manner that not only didn’t offend the majority but actually pleased them. There were some few of us who saw through the sham but there was nothing obvious enough that the majority could see.
Capp would be convicted on a morals charge late in his career that effectively ended his influence. The motif was carried forward on television in the series Archie Bunker.
Now, the Anglo-Saxons used to represent the whole were the custodians of the Folk music that was so revered by the New York City Jews of the late fifties and early sixties. So you actually have Jews imitating Hillbillies.
The vilification the Mountain Folk endured actually shamed the city Anglo-Saxons causing a dichotomy in their character. They rejected the Mountain Folk as representing all Anglo-Saxons. This is made quite clear in Caldwell’s novel when his urban relative throws his rural cousins out of his house and tells them to never come back. Something like a son testifying against his father. The Liberal-Conservative split was given a difinitive form.
The Mountain Folk formed what Greil Marcus calls the Weird Old America. After the Roosevelt administration was elected and the New Deal was established as a continuation of the Wilsonian New Democracy Jews flooded back into Washington as under Wilson.
During the twenties as radio became a reality and recording technology became more widespread and available a number of Mountain Folk and/or White Trash as they were alternately known, recorded their distinctive music in their own voice. Nor was this music ill received, many of the recordings were huge sellers according to the standards of the times while some like Jimmie Rodgers and the Carter Family became very successful recording acts. Thus what was known as Hillbilly music until 1954 came into existence. For whatever reason whoever controls these things thought the term Hillbilly was insulting so the various rural flavored musics were grouped under the term, Country and Western. Hicks are hicks to me whatever you call them, Hillbilly or Country, I’ve been called worse. Having ancestors that came down from the Kentucky hills I have no objection to my Hillbilly ancestry.
The Anglo-Saxon dichotomy was such that those who were shamed by Communist efforts had an extreme aversion to Hillbilly or Country music that they considered ignorant while professing to admire the Blues simply because it was performed by Blacks even though the intellectual content was well below that of Hillbilly music.
Nevertheless the Hill Folk were the custodians of the old English folk traditions. Folk music was then separated from Hillbilly music and approved on that basis. Thus after the Roosevelt administration was installed in an effort to counter the Depression certain cultural programs were developed. One involved the attempt to preserve the quaint customs and music of the Hill Folk and the rural Blacks. These two peoples were treated as anthropological specimens on the same level as Tobriand Islanders and others.
The New Deal of the Roosevelt administration was a direct continuation of Wilsonian New Democracy. It was as though they’d never been gone. With the creation of a huge new bureaucracy Jews came flooding back into Washington as they had in the two Wilson administrations. In many if not most cases these people were the ones sent out to deal with our homegrown anthropological specimens as Superior to Inferior. Sort of a domestic Peace Corps. Yes, they did profess to revere the music of these simple folks.
So Folk Music always had an honored place in Anglo-Saxon cultivated circles perhaps spurred to some extent by the ‘field’ recordings of the New Dealers. Folk played a prominent part in popular music from the end of WWII on. Foremost practioners of the genre were the Almanac Singers and their successors The Weavers.
A key member of both groups was Pete Seeger. Pete was both Jewish and Red. This was a bad combination during the post-war anti-Communist reaction. While making hits of a number of Leadbelly songs under Seeger’s guidance The Weavers had a major success with the Jewish melody Hava Nagila. It was a catchy tune. I liked it.
Capitalizing on this success The Weaver’s under Seeger’s guidance concocted a ‘folk’ tune called Song of the Sabra celebrating Jewish ‘pioneer’ efforts in Israel. Apparently the Sabras were some kind of hobo outfit that sat around campfires and ate stew a lot. Thus the effort to detourne American Folk Music began. The Song of the Sabras was so egregiously promotive of Israeli/Jewish interests that the song caused a big reaction. If I remember correctly it was staged at least once on a TV version of the Lucky Strike Hit Parade. That’s where I got the camp fire bit as Pete roasted his weeny and sang. Whether it was an extra or supposedly in the Top Ten I can’t remember.
Somewhere about then Seeger and The Weavers were found to be subservice giving a bad name to Folk Music as long as the genre lasted in 1966 or ’67. The Weavers disappeared from the air waves. However at least one member would be instrumental in guiding the musical direction of the Kingston Trio.
Folk music continued strong between the demise of The Weavers and the emergence of the Kingston Trio both as popular music and ‘purist’ Folk. The greatest of them all was Lonnie Donegan who had a successful career in the US and a tremendous impact on the British scene from England to Australia as Skiffle Music. Josh White, Odetta, Harry Belafonte, Terry Gilkyson and the Easy Riders among others, one might add Mitch Miller, had many memorable folk tunes competing equally with Rock and Roll if not its superior. If one considers the Presley Sun recordings objectively they also can be seen as Folk or highly influenced by Folk. After all Elvis was known as the Hillbilly Cat.
The Kingston Trio with their Tom Dooley that was an actual sensation in 1958 sort of broke the taboo against Folk music although the Kingstons were plenty subversive. The great Chad Mitchell Trio emerged at this time also as an even more politically subversive group but also with a popular sound and enough bite to defuse Dylan’s claim to have introduced serious lyrics into popular music. The Chad Mitchell Trio is probably running neck and neck with the Kingstons as my favorite folk groups although Terry Gilkyson along with the Pozo-Seco Singers are right behind them. The old Seekers from Australia are hot stuff too.
So that brings us up to Grossman’s Gate of Horn in Chicago of ’58 and the founding of the Newport Folk Festival in ’59 as well as Dylan’s entry into the New York Folk Scene in ’61.
3.
After WWII the Jews had introduced the raw form of multi-culturalism designed to replace the Anglo-Saxon model of society with the Jewish. With the election of the Irish Catholic John F. Kennedy it appeared that the Anglos had been defeated.
The next phase of the Jewish program was put in place. The thing was to detourne or hijack American culture.
Detourning Folk music was part of it. The study of Dylan concentrates on the New York City East Village group that was virtually Jewish with its specific outlook. Actually the Folk scene was very diverse and different in its emphasis in each locale. Bob would focus the entire Folk movement in himself.
Boston with the Mel Lyman family and Jim Kweskin Jug Band, Geoff and Maria Muldaur was quite different from NYC. The strictly commercial LA scene with Randy Sparks’ New Christy Minstrels had its own flavor. In San Francisco Jerry Garcia, Robert Hunter and others had credentials that easily matched those of Dylan. The whole San Francisco Sound was Folk based.
The top bands like Kingston Trio, Chad Mitchell Trio and semi-pop groups like the Brothers Four and the Christy Minstrels really carried the banner for folk.
And then there was the Country or Hillbilly faction that was considerable. Great old tunes like Jimmy Brown The News Boy were Country smashes. Hank Snow recorded a passel of old Folk songs like Nobody’s Child. New murder ballads appeared for people who like that sort of thing that were fabulous like Snow’s Miller’s Cave and Lefty Frizzell’s dazzling The Long Black Veil. It would be years before it was known that Veil was newly written and not an old Hillbilly song. If you compare the Kingston’s Tom Dooley with Frizzell’s Long Black Veil you can’t tell the difference.
A word about Harry Smith’s Anthology Of American Folk Music that Greil Marcus and Bob Dylan revere so much. The collection is a very small selection of songs culled from a huge mass of material that just happened to fit Harry Smith’s personal psychosis. Anyone going over the same mass of material could select an entirely different selection of songs that reflected their own personal outlook and would be just as ‘authentic.’ I mean, I heard The Cuckoo and I Wish I Was A Mole In The Ground over the radio decades ago as a kid. I was signally unimpressed. I never called in to hear either again. So as far as being some authentic voice of America I rather think the collection reflects Jewish and Communist ideals.
What is the message exactly of ‘I wish I were a mole in the ground, I would burrow until I brought that mountain down.’
It that isn’t a call to detournement I don’t know what is. So Harry Smith is Harry Smith and welcome to him but I have my own agenda.
So Dylan left his old life behind to begin a new life in New york City but with an old agenda. His secret agenda was to detourne American culture. Of course the word ‘detourne’ was unknown in America at that time. I have to thank Greil Marcus for adding that very useful word to my vocabulary.
Bob started out detourning Woody Guthrie. Within a couple months he had hijacked Woody’s life. Clinton Heylin believes that even the Guthrie persona was second hand having been detourned from Jack Elliot who had of course detourned it from Guthrie. Boy, there was another stone bore I never could listen to, Ramblin’ Jack Elliot.
Dylan more or less confirms this in his Chronicles Vol. I. I’m copying a quote from Chronicles as noted by Jim Kunstler in his excellent review of Bob’s memoir:
http://www.kunstler.com/mags_dylan.html
Quote:
“You’re trying hard, but you’ll never turn into Woody Guthrie,’ (John) Pankake says to me as if he’s looking down from some high hill, like something has violated his instincts. It was no fun being around Pankake. He made me nervous. He breathed fire through his nose. ‘You’d better think of something else. You’re doing it for nothing. Jack Elliot’s already been where you are and gone. Ever heard of him?’ No, I ‘d never heard of Jack Elliot. When Pankake said his name it was the first time I’d heard it. ‘Never heard of him, no….’ Pankake lived in an apartment over McCosh’s bookstore, a place that specialized in eclectic, ancient texts, philosophical political pamphlets from the 1800s on up. It was a neighborhood hangout for intellectuals and Beat types, on the main floor of an old Victorian house only a few blocks away. I went there with Pankake and saw it was true, he had all the incredible records, ones you never saw and wouldn’t know where to get. For somone who didn’t sing and play it was amazing he had so many….Pankake was right. Elliot was far beyond me….I sheepishly left the apartment and went back out in the cold street, aimlessly walked around, I felt like I had nowhere to go, felt like one of the deadmen walking through the catacombs. It would be hard not to be influenced by the guy….He was overseas in Europe, anyway, in a self-imposed exile. The US hadn’t been ready for him. Good. I was hoping he’d stay gone, and I kept hunting for Guthrie songs.”
Unquote.
Of course the US hadn’t been ready for Elliot. One Guthrie was one too many. Who needed a Guthrie detourned by another Jew? Let the English have Elliot. But that didn’t stop Bob from detourning both Guthrie and Elliot when he got to the Big Apple. He followed Elliot around studying and copying his mannerisms. Elliot should have painted on his guitar the slogan: This machine kills copycats.
Well, no matter Bob learned his error when he learned another Guthrie copycat wasn’t needed in NYC but Bob had mastered a style, a persona on which he could build. That was more than he had had before.
Pete Seeger and the Jewish busybodies were busy fomenting discord in the South. Already knee deep in the Big Muddy Seeger was encourging others to write political diatribe songs. The path was clear and Bob met a girl named Suze Rotolo. Rotolo worked at CORE. She then encouraged Bob to write ‘politically relevant’ songs. Well, what are you going to do but go with the flow, swim with the current? Bob didn’t like the topical songs though. You have to give him credit for good sense there. He wrote literary style lyrics that talked around the political issues without dealing with them directly.
Now there were songs that other voices could sing.
As a lyricist Bob was not a tunesmith so he merely borrowed tunes from old ballads and other people. In other words he detourned Anglo-Saxon folk tunes grafting on Jewish sensibilities. Heylin gives a perfect example in an exchange Dylan had with Martin Carthy in England. Carthy showed him the old English ballad Greensleeves. Bob dutifully learned the song. Then he went away for a few weeks. When he came back he collared Carthy and played him Greensleeves. Here’s your Greensleeves he said. Then he played the tune set to the words of Girl From The North Country. Thus he detourned tune after tune to his own Jewish sensibilities.
Now things were heating up on the Jewish revolutionary front. The so-called Free Speech Movement was being launched at UC Berkeley.
As I mentioned Jews could never be ‘free’ so long as they were merely part of a dominant other culture. So ‘Freedom’ meant to them detourning the dominant culture so that their own law and culture was supreme. Freedom for the Jews meant slavery for everyone else. Thus we have Greil Marcus in the bleachers cheering his heart out at Free Speech rallies for ‘freedom.’ There were many of us in the bleachers much less enthusiastic. But then we weren’t Jewish and we weren’t clear as to what was going on.
Dylan as a Jew came to Berkeley to play where he was received as a hero by his fellow Jews. Both must have been aware of what they were doing. Jerry Rubin was the sparkplug whether Greil Marcus slyly disagrees with him or not.
The revolt at Berkeley soon spread to Columbia and the rest of the Ivy League and across the country where it meshed with Mao’s Cultural Revolution.
Dylan himself progressed from his political associations to Another Side of Bob Dylan in which he worked out his own personal problems in a Jewish social context in highly symbolic language. The lyrics are complex, poetical and not easily understood. the concept of ‘Freedom’ plays a prominent role.
4.
Freedom as the idea of a complete lack of constraints developed in the latter half of the twentieth century. Prior to this ‘freedom’ meant to be free so long as your own freedom didn’t conflict with the freedom of others. Latterly it has taken the meaning that others be damned so long as one can do what one wants. This entails the related notion: consequences be damned. Consequences won’t be damned so if one does the crime one must do the time. I suppose the notion is that if you can run fast enough you can avoid the consequences. I don’t know if one can but some have done a very presentable job of it. Mao was one, Dylan is another. Of course there was that one little incident at Redwing that didn’t work out too well but since then it has been fairly smooth sailing for Bob and he may leave the building without suffering too many serious consequences.
Now, in order to be free one has to dominate everyone else. If one is obligated to an other then one isn’t free according to this latter day interpretation of ‘freedom.’ In that sense in the entertainment industry Frank Sinatra was as free as anyone has ever been. The man need only place a call to anyone elses wife and she would leave her husband’s bed and run over and give Frank a blow job and there was nothing the husband could do about it. This is no joke. Sinatra could have anyone beaten up with impunity. When he was offended by President Kennedy, Kennedy was shot. There are those who maintain Frank had a hand in it. Never been proven but there are reasons to so believe. Frank Sinatra had ‘freedom’ while he escaped the most serious consquences dying in bed a very old man. Alone and despised perhaps but then one can’t escape all the consequences.
So while limiting himself to a field in which he could be successful Bob has perhaps been the most ‘free’ of the Rock ‘n Rollers. He never took on Frank however and if he had he would have discovered the limits of his ‘freedom.’ Although Albert Grossman may have limited Bob’s ‘freedom’ somewhat I find it interesting that Bob came out at least even in his brush with the current Hollywood hard-on, David Geffen.
Now, Bob wasn’t so free that he could achieve his goals without leaning on or being dependent on others. However to compensate himself he destroyed, trashed whoever and whatever he had used as stepping stones to achieve his ‘freedom.’ In the pursuit of his freedom he became a very vicious and nasty man.
There is no reason to believe that at the 1965 Newport Folk Festival he wasn’t trashing the whole Folk scene that he had used to get him to the launching pad of his Rock ‘n Roll dream.
The arguments about how or who brought Folk Rock into existence may well be interminable. The fact is that both Folk and Rock at the time were stagnant. Whether the music died in that corn field in Iowa in 1959 or not the big labels had pretty well tamed the music of the fifties. Columbia had separated Dion from the Belmonts and had him singing standards to syrupy instrumentals. Ruby Baby was his last great effort before Columbia detourned him. Safe teen acts and emasculated falsettos dominated the airwaves . By late 1963 and early 1964 the Folk ethic had worn out as Folk groups dressed in loden green pull overs and sang like the Brothers Four. Even the emasculated and detourned version of Michael Row The Boat Ashore couldn’t prop up Folk for long.
So musicians had to be searching for something different if not new. Folk Rock was as new as anything while the electric blues served as different. Thus as the middle sixties came in one had Folk Rock, the electric blues and rough sounding garage bands like the Seeds. Oh yes, that was another development temper tantrum teenagers screaming ‘I don’t want to be like anybody else.’ Not to worry.
Folk rock would have or did develop without any real help from Bob. He already had electric recordings out so that if he didn’t want to stick it in their ear he could have done an acoustic set at Newport and let his electric side take its natural course.
I’m not so sure even then that electricity was the problem. Personally I welcomed the electric Bob. I was glad to see him leave the Folk stuff behind. I was on the West Coast but I didn’t run into many or any people who were emotionally involved. Even Greil Marcus doesn’t seem to be put out by the change.
I think you had to be emotionally invested in Bob the protest singer. When that fellow in Manchester cried out Judas I would have to think that his problem wasn’t an electric guitar but the fact that Bob seemingly betrayed the political stuff he had been singing. He had pandered to the protest crowd and now he wasn’t letting them down easy. He was turning his back on them. Rathr than being the standard bearer of spokesman for the generation that he had let them believe he was he now trashed everything they believed in. They had given him his and now he didn’t need them anymore.
His whole career was based on trashing his believers. Not that I understood any of this at the time. I didn’t even know about it and if I had I wouldn’t have cared.
Positively Fourth Street was his ‘kiss my ass’ song to all those Folkies he had used and abused and now abandoned.
An interesting aside that could use closer examination was his visit to Carl Sandburg in 1964. All the biographers assume that Carl Sandburg snubbed Bob because he hadn’t heard of him. Maybe, I can’t say but it is significant that Sandburg was a folksinger himself or, at least, he sang folk songs. While Bob and Greil are enthusiastic about Harry Smith Sandburg himself had published his American Songbag in 1928 and then followed it up in 1950 with a new collection. Unless he was brain dead in ’64 there is little reason to believe he hadn’t maintained his interest in folk into the sixties and kept up with it.
After all the Christies were doing a number of songs from the 1928 Songbag so Sandburg must have experienced great satisfaction that everything he had been hoping for had come to pass. I don’t know his singing style, and he did publicly perform the songs, but I suspect it was more Christy style than the cacophony of Bob.
I don’t think it improbable that he in fact knew exactly who Bob Dylan was, had probably heard him on record and/or the radio and fully detested him, so that when he opened his door and found Bob Dylan, let us say the folk devil himself, standing there he just froze. It would be nice to know exactly what was said. I think it unlikely that he would have been familiar with Paul Clayton but as Clinton Heylin suggests if he had dropped the needle into the groove there is little doubt which record would have been played through.
If Sandburg had shown any preference for Clayton at all for any reason, manners for instance, there is little doubt that that sealed Clayton’s fate with Bob.
If It’s All Over Now Baby Blue was a put down of Clayton which seems likely then the odds are that it was resentment over something that was said or done at Sandburg’s is the reason.
That would have been added to the fact that Bob had stolen a couple tunes from Clayton that required the trashing of the man in ’64 to cover up the evidence. One can’t hold it against Bob that Clayton committed suicide, after all, we’re all big boys here, but he must certainly have contributed to a deteriorating mental state.
The trashing of Joan Baez also at this time doesn’t require further comment in this place. Suffice it to say that Bob had taken hers to keep with his and now it was her turn for the circular file. It is hard to believe Bob didn’t enjoy what he was doing amidst the flashing gongs on the road to ‘freedom.’
In ’66 Bob’s mind broke. He had what used to be called a nervous breakdown. In his terms a motorcycle accident. There was a long recovery period of several years. I certainly don’t hold the nervous breakdown against him. He was pushing too hard. Even if he had been straight he would have become distraught, but under the influence of what all his biographers agree were monumental amounts of drugs washed down with quantities of alcohol it is a wonder if not a miracle that he lasted as long as he did. Apparently he was driven to complete the sound in his head and vomit out all his rage accumulated up there in the North country before he cracked.
When he went down he went down hard but in pleasant enough circumstances.
Why he came out isn’t clear unless it was to trash his fans. It didn’t take much for me to catch on back then but then on the first hearing of Blonde on Blonde I realized he’d ridden his board all the way to shore. From there he would have to start all over again while he would never catch a wave like that again.
Bob still had a lot of past to bury though.
He achieved this in spectacular fashion in 1975 on his Rolling Thunder tour as an overseer on his very own Maggie’s Farm. The tour mayby be considered as a vision of Plantation Bob. And he was a sadistic overseer too.
As Heylin points out the shows were over four hours long while Bob may have been on stage only a few minutes to a half hour or possibly a little more. Thus his cast of characters were slaving on Maggie’s Farm while Maggie or Bob showed up from time to time to make sure his darkies were singing as they slaved. A very good joke. If you step back and look at it the gig is pretty transparent.
Now, Dylan asked people if they were for it. As the only ‘free’ man in the group Bob had no trouble in getting his victims to come on board his ship that had just come in. The performers couldn’t have been paid much if at all. The payroll and expenses of such an extravaganza couldn’t have been recouped at all. If there was any money left over it went into Bob’s pocket.
Bob reached way back in the past to bring Ramblin’ Jack Elliot aboard. Bob owed Elliot a lot so the old man had to be trashed. McGuinn was brought along because he had traded on Bob’s talent or else had done such sparkling versions of Bob’s songs that he had made Bob look bad.
Phil Ochs wasn’t allowed to come along not because Bob had pity on his fragile mental state but simply because Bob didn’t owe him anything. If he had had reason to trash Ochs you may be sure he would have.
One may guess that he was already finished with Sara, his wife, as he not only allowed her to come along to witness his degenerate behavior but actually cast her as a prositute in his movie Reynaldo and Clara. One just doesn’t allow the mother of one’s children much less a woman one respects to play a prostitute. I find it unforgiveable while Sara took him for much much more than thirty-five million if Heylin and Sounes are correct which is pretty good wages of sin.
As if that wasn’t enough Bob brought along his old inamorata Joan Baez to confront his wife, Sara. Gratuitously cruel and unnecessary so I suppose Bob was attempting to trash his entire pre-1975 past. Like a snake shedding his skin he was attempting to begin a new existence.
Here his Frankist upbringing rose up to bite him because you can’t pour out that quart and half of evil. As Bob said you can change your name but you can’t run from yourself. Bob wasn’t released and one can never be released, only the truth can set you free. You have to come to terms with yourself and acept things as they were and are. Even then your freedom is conditional; at best you are only out on parole. You can’t trash reality.
End of Exhuming Bob 2-2
Exhuming Bob 2: With One Hand Waving Free
December 19, 2007
A Critique
Exhuming Bob 2:
With One Hand Waving Free
by
R.E. Prindle
TEXTS
Scaduto, Anthony: Bob Dylan 1972
Shelton, Robert: No Direction Home 1986
Heylin, Clinton: Behind The Shades Revisited 2000
Sounes, Howard: Down The Highway 2001
Marcus, Greil: Articles and Essays.
Prindle, R.E.: Essays
Come on, give it to me,
I’ll keep it with mine.
-Bob Dylan
Time to tackle a few basic assumptions. For instance what is the conception of freedom as entertained by Bob Dylan and latterly his alter ego, Greil Marcus. Both are Jews so freedom must be examined in the context of the Jewish understanding of the term and contrasted with the Gentile understanding.
With the emergence of the supremacy of cultural differences in the United States made stark by the doctrine of Multi-culturalism such a definition seems to be demanded. Cultural expectations are quite different. What is freedom for Jews is not freedom for others. My concept of freedom differs markedly from that of Dylan, Marcus and their fellow Jews.
As is pointed out by both Sounes and Heylin Dylan’s given Jewish name is Sabbatai. That means that his father was probably of the Sabbatian-Frankist Jewish sect. This sect holds that the messiah can never come until the Jews have expelled all the evil from their souls. Therefore they should commit any and all crimes in the effort to purge their souls of evil. In other words apparently according to Frankist beliefs there is, oh, about a quart and half of evil in a Jew which once that is poured out their souls will be purged of evil.
In his 12/30/04 review in Rolling Stone of Dylan’s Chronicles Vol. I Greil Marcus quotes Dylan recollecting a saying of his father:
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“My father,” Dylan writes of Abraham Zimmerman, “wasn’t so sure the truth would set anybody free”- and those words sound down through the book.
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Marcus goes on to say:
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This isn’t just the stiff-necked Jew turning on Jesus pronouncing that “the truth shall set you free.”
Unquote.
Thus we are led to the core of the issue. If the truth won’t set you free, what will? This seems to be an internal Jewish problem as at the time Jesus is quoted he was merely an itinerant Jewish prophet speaking solely to his fellow Jews as a Jew while demanding recognition as a prophet.
It is often forgotten that prior to Paul’s universalizing of the teaching of the Jew, Jesus of Nazareth, the Jesus cult was confined to the Jews.
The Jewish Jesus cult only became Christian after it was grafted on to the Greek Kyrios Christos cult and therefore became Christian through the association with Aryan Greek religious thinking. Christos means merely the Expected One, the same as the Jewish term Messiah and the Moslem Mahdi. Who are you going to believe, right?
So, the question is what Truth did Jesus have to offer to his fellow Jews that would set them free and free from what? This seems to have been a problem that Abraham Zimmerman was pondering. As he was most likely a Frankist the struggle would have been between expelling the quart and half of evil by committing it while rejecting ‘the truth’ as expounded by the Jewish would be prophet, Jesus of Nazareth.
The Jews reacted violently to Jesus and his message causing his death, then persecuting his following attempting genocide on them. So whatever ‘truth’ Jesus sought to impart to his fellow Jews was thoroughly rejected.
Symbolically Dylan whose personality was divided between the goiish world of Hibbing and the Jewish world of his father speaks of ‘dancing with one hand waving free.’ Which hand?
There is quite obviously a terrific conflict going on in Dylan’s mind from then to now. Not only was his father probably a Frankist but Bob was sent to a Jewish summer camp over several years. This was Camp Herzl. Theodore Herzl was the founder of the Zionism that captured the Jewish identity in the twentieth century. Bob attended those camps in the decade or so after the realization of the Nazi extermination camps. He must therefore have been indoctrinated with the paranoia of post-war Jewry. When he is described as ‘plenty Jewish’ he obviously endured heavy indoctrination with the endless showing of heaps of dead bodies being pushed around with bulldozers.
So then, ‘one hand waving free?’
As Jesus’ message to the world was that God so loved the world that he gave his only begotten son this notion was in conflict with the traditional Jewish notion that God so loved the Jews exclusively that he made them his chosen people. The plea of the Jewish prophet Jesus of Nazareth to his people may well have been to come out of the isolation of their chosenness to join the rest of humanity and become ‘free’ of a ridiculous prejudice. This the Jews refused to do choosing to eliminate the messenger instead.
Abraham Zimmerman obviously understood this but chose the Frankist approach rather than the Jesusite. As Greil Marcus so aptly noticed he seems to have been successful in passing this notion on his son. Bob himself, it seems to me, has lived his life in the most represhensible manner running roughshod over everyone, indulging his evil impulses.
A key issue that Heylin emphasizes is what happened in the summer of ’59? This was the summer of Bob’s graduation and a year before he spent the summer in Colorado. The period seems to have been one of extreme psychological turmoil as Bob’s Jewish persona took over his life.
It seems pretty obvious that Dylan committed some crime around his graduation for which he was sent to the Redwing Reformatory of Minnesota. Heylin accepts Beatty Zimmerman’s explanation that Abraham for some reason voluntarily sent Bob to a reformatory in Pennsylvania. This makes no sense to me. As we know Bob committed more than one theft in the year after he began at U. Minnesota. I think it more likely that he appropriated something of someone else in Hibbing and ‘kept it with his.’ What it could have been must have been pretty serious to send a first time offender to the reformatory for a couple months expecially at the age of 18.
It seems possible if not probable that the offence was not Bob’s first and that he had been let off with a warning on earlier offences. At any rate Bob wrote a song concerning the walls of Redwing. It would seem likely that he was familiar with them from the inside.
If so he didn’t learn his lesson as he took to theft at Minnesota. It is also interesting that he also sang ‘why am I always the thief?’ The Pankake record theft at Minnesota was a most ill-considered and egregious theft as the material ‘kept with his’ led directly to him. Bob continued his thefts in Colorado where when the police were called, according to Sounes, he went into a real panic. The panic may have been caused by the fact that if the Minnesota police history became known, as a second offender and an adult, he may have been facing a more serious sentence and that in the men’s prison rather than the boy’s reformatory. Realizing he had outworn his welcome Bob skipped back to Minnesota.
When Pankake was tracking Bob down he discovered that a lot of people were looking for Bob. Why would they be looking for him? Either he owed them money or they too were missing something that Bob was ‘keeping with his.’
Whether Dylan actually wanted to go East to meet Woody or whether the times were changing enough that it was opportune for him to skip Minneapolis requires further investigation but it is probable that it was time to move along.
His mental turmoil was such that people posted an unwanted sign upon their hearts whenever he came around. Heylin quotes Bonnie Beecher concerning an incident that would have made me want to leave the planet. Apparently in mid-day Bob got so drunk that he collapsed in the middle of a campus sidewalk soaking in his own vomit. Beecher was more than a good friend to him in helping the besotted boy to his feet. When Dylan later described his song Like A Rolling Stone as pure vomit his mental state in both instances must have been the same.
At any rate at this point Dylan took his problems to New York City where he began to live out the most improbable of fantasies although in an almost 100% Jewish milieu.
2.
Go to: Exhuming Bob 2-2 Detourning The Folks



