Part 2 Tarzan And The Lion Man

 

Themes And Variations

The Tarzan Novels Of Edgar Rice Burroughs

#18 Tarzan And The Lion Man

Part 2 of 10 parts

by R.E. Prindle

Doubles And Insanity

First published on the ezine- ERBzine

 

Sometimes I feel like I’m dreaming.

-Tarzan

Penguin Dictionary Of Symbols p. 306

Doubles:  In every culture artists have depicted double-headed creatures, SERPENTS, DRAGONS, BIRDS, LIONS, BEARS and so on.  This is due neither to mere love of ornamentation nor to some Manichean influence, the creatures so depicted all have a bipolarity, both benign and malign, and this is described in their individual entries in this dictionary.  It is very likely that it is this double aspect of the live creature which is suggested by its depiction with two heads. For example, the lions strength symboizes both sovereign power and a consuming lust, whether it be for justice, or for the exercise of absolute authroity in a bloodthirsty tyrant.  Similarly, ribbons or wreaths depicted round a person’s head may symbolize, if they form a CLOSED circle, confinement in difficulty and misfortune, but if broken, release.

Sometimes duplication serves merely to re enforce and redouble the meaning attached to one of the POLES of the symbol.

Traditonal religions generally thought of the soul as being the double of the living owner, able to leave the body at death, in dreams or through magical practices, and to return to the same or some other body.  Mankind thus provided its own self-portrait in duplicate.  In any case, instances of hysterical or schizophrenic duplication of personality are well known to psychotherapy.

German Romanticism endowed this notion of a person’s double (Doppelganger)  with tragic and fatal overtones….It may sometimes be our complement, but it is more often the foe with whom we are lured to fight….In some ancient traditons, meeting one’s double is an unlucky occurrence, and is sometimes even a presage of death.

—————

 

Edgar Rice Burroughs

Lion Man is overwhelmingly a novel of doubles or duplicity.  The number of things doubled is bewildering.  I deal only with the most obvious here.  The reason Burroughs concentrates on doubling, I believe is because he discovered the double meaning of the terms of the contract he signed with MGM.  He was stunned by the duplicity.

On p. 154 Burroughs comments on duplicity such as he found at MGM.  Remember he names them BO or Stinky studios in the novel.

Tarzan was suspicious.  He saw a trap, he saw duplicity in every thing conceived by the mind of man.

Thus having been betrayed Burroughs is now alert seeing doubling or duplicitness everywhere.

St. John, the illustrator of the book also picked up on the aspect of doubling.  This novel was so extremely important to Burroughs, he even issued it on his birthday, September 1st, 1934, that he asked St. John for something different for a jacket illustration.  St. John concentrated on the Obraoski/Tarzan doubling, producing a Janus like cameo of Tarzan/Obroski facing in opposte directions.  As in the Penguin definition representing both characters of the Lion Men Tarzan and Obroski.

In this case the two faces represent the earlier cowardly Bureroughs who has to die and the strong masterly Tarzan figure Burroughs wishes to be.

Thus, before considering the story it would be fruitful to examine ERB’s use of doubling and confusion of reality, or in other words craziness, madness or insanity.

It is obvious that when ERB is passing rhough a period of extreme stress Tarzan loses his memory and/or doubles- that is to say splits his personality in a hysterical or schizophrenic way.  At this point in his life Burroughs is enduring the stress of sexual conflict – the change in affections from Emma to Florence- as well as the extreme stress of having lost control of his creation and actual alter ego to MGM as representatives of his Judaeo-Communist enemies.  In point of fact, as Burroughs may have realized, the battle, even the war, was lost.  As MGM’s 1936 movie Tarzan Escapes, indicates Tarzan/Burroughs had been captured.  Hence the tenuous grasp on sanity in this book.

In Burroughs’ mind and in fact he had been trapped by duplicity, itself a form of doubling.  When Tarzan, having climbed the Stairway To Heaven finds the front door standing open he scents a trap but as his intention was to enter anyway he enters.  He is now only in the antechamber of fate, he could still back out.  He notices six doors of which Door #3 is standing open.  He does try the other five doors but they are locked.  Entering Door #3 he begins the descent down a dark stairwell.  He encounters another door.  Rather than checking the door first he merely enters to have the door click shut behind him.  The wall is smooth, there is now no way out.

This scene may well be a fictionalized account of his negotiations with MGM.  The Studio, perhaps representing Door #3 was offering him a contract which no other studio, doors 1,2,4,,5,6 was willing to do.  Granted not everyone can spot a sterling opportunity that is staring them in the face but it does seem odd that no other studio was interested in a proven character.  After all Twentieth Century-Fox was working Charlie Chan movies hard and doing well.  But all doors were closed to Burroughs/Tarzan except Door #3, MGM.  Not a bad thing on the surface of it as MGM was far and away the best studio in Hollywood.

So Burroughs entered into negotiations with MGM in the same manner as Tarzan descended the dark staircase in which he couldn’t see very well, i.e. Burroughs didn’t understand the clauses.  Like Tarzan ERB didn’t exercise caution and while the door snapped shut trapping Tarzan so Burroughs signed the contract which he represented as the prison Tarzan found himself in.

The reader may find the above farfetched but remember the first third of the story is an account of MGM’s Trader Horn expedition that he ridicules.  This book is about MGM.

Before dealing with the main doubles of the story let’s consider the story within the story- a form of doubling itself.  We have God on Earth doubling God in Heaven.  This becomes the source of many jokes.  Stress or no stress Burroughs doesn’t lose his sense of humor.  God’s castle is known as Heaven thus doubling Heaven.  The Stairway to Heaven doubles Jacob’s Ladder thus calling to mind the biblical story.  Tarzan then doubles Jacob.  That’s just part of sly old Burroughs’s humor.

God himself has created a parallel universe doubling England, London and the Thames.  Thus the gorilla plateau is called England while they live in London on the Thames River.  Thus a doubling of Africa and an island off the coast of Europe.

Just as God in Heaven in the biblical story created Man so God in this story has hybridized gorillas into a new species of gorilla men.  The hybrid gorillas are doubles of both gorillas and men while God is a double of man and Gorilla.

In this dizzying array of doubles the gorillas are not just a doubling of men but a doubling of the fifteenth century court of Henry VIII of England.  They have been altered by the use of deathless genes  or, atually, DNA, which was unknown to Burroughs at the time but the nature of which he dimly perceives.  The DNA has been inserted or spliced into the genes of the gorillas, thus the gorilla Henry VIII is actually, Henry VIII.  The Fifteenth century is doubled in the twentieth century while the political scene of the twentieth duplicates that of the fifteenth.  ERB may here be influenced by Mark Twain’s The Mysterious Stanger with his notion of ascending and descending staircases of time.

During this phase of the story within the story Tarzan is actually himself while posing as, or doubling, Stanley Obroski thus actually being self contained twins; in other words the personality formerly split between he and Stanley Obroski is reunited with Tarzan dominant.  Thus Tarzan redeems Burroughs’ former shamed self.  At this moment Stanley is dying of fever and when he does the double disappears leaving Tarzan or Burroughs then undivided.  The dead body of Obroski is shipped back to the States while Tarzan remains in the jungle.

The story within the story is a stunning achievement whose genius has gone unrecognized.

b.

The most obvious examples of doubling is in the main characters.  As incredible as it may seem not only are Tarzan and Stanley Obroski so close they can’t be told apart but so are the female leads Naomi Madison and Rhonda Terry.

I’m sure there are doubles I’m missing here but even Tom Orman, the Dirctor, is a double of himself when he’s under the influence of alcohol.  Drunk he becomes a different Tom Orman than when sober.  Obroski himself is two people.  An errant coward when he has time to think he become ferociously brave when his back is against the wall and there is no time for reflection.

Naomi Madison who has become a prima donna or an artiste was at one time a waitress in a cheap restaurant which role she is forced to assume again which is another form of doubling.  In this joke Naomi is an insult to Irving Thalberg’s wife, Norma Shearer, whose early career is duplicated.

Also this movie Tarzan is a doubling of the literary Tarzan so both Obroski and Tarzan are doubles of Johnny Weissmuller who played the MGM Tarzan.  As Burroughs suggests in this novel he was half out of his mind from the terrific stresses.  The stress did produce however a terrific novel.

It would seem that Burroughs was Tarzan and Obroski as twin aspects of his own Animus while Naomi and Rhonda represented the twin aspects of his Anima.  Naomi obviously represents Emma while Rhonda is an extension of La of Opar combined with Florence.  Naomi disappears from the story apparently replaced by Balza, The Golden Girl, while Burroughs marries Rhonda to Orman.

As regards the doubling of Tarzan who is actually a double of Burroughs himself, Bibliophile David Adams has emphasized that Tarzan usually views from above so that it might be the time to look into this aspect of the character.  In Lion Man Obroski is captured and held prisoner by Rungula, chief of the Bansuto.  this whole scene of Obroski with the Bansuto is one of the numerous variations of the theme of Burroughs humiliation by John the Bully.

Burroughs was plagued with the dream, as he notes the dream frequent among dreamers, of going naked in public.  It is a frequent dream because multitudes of people have suffered similar humiliation as his.

ERB has Obroski stand before Rungula who demands his clothes, in other words his defensive and offensive armor, that without which Obroski is exposed defenseless to the world, he loses his ‘front.’  John had symbolically stripped young ERB.  Burrughs describes his humiliation in excruciating detail as Obroski does a virtual striptease.  First his shirt on down until Burroughs makes a joke of his gaily printed boxer shorts.  While the Bansuto would not have understood the signficance of the shorts ERB takes a certain pleasure in humiliating himself further.  To cover rhis nakedness Obroski pleads for the proverbial fig leaf and is given a skimpy dirty g-string.  Thus when he is led out for torture he fights the Bansuto naked but in a Tarzan guise.  Heck, Tarzan, who is not civilized in the jungle, walks around naked anyway.  Although the natives themselves are naked Obroski is civilized while they are savages.  Having been subdued Obroski is lain before Rungula.  By this time Tarzan is in a tree, apparently planted there for his convenience.  He looks down on Obroski in amazement to see a replica of himself.  p. 104:

In the light of a new day Tarzan of the Apes stood looking down upon the man who resembled him so closely that the ape-man experienced the uncanny sensation of standing apart, like a disembodied spirit, viewing his corporeal self.

What Burroughs is describing here is the splitting of the personality.  He may have the correct psychologically sequence, first the stripping of the armor- i.e. emasculation, and then the disembodiment, the dissociation of the mind and body.  The mind unable to deal with the reality seems to leave the body rising above and looking down on the humiliation of his poor self.  This theme runs all through Burroughs work although this is his most exact and detailed description.

Obroski has been led out to be tortured to death and eaten by Rungula the cannibal chief.  Usually Tarzan is placed in an arena to fight one or more wild beasts.  In a normal confrontation Obroski is a coward which is to say he is unable to defend himself.  In other words his subconscious mind has been conditioned to accept the dominance and authority of hte oppressor.  In still other words in a state of terror his subconscious had been accessed to accept certain hypnotic suggestions.  But, with his back to the wall his instinct of self-preservation overrules the hypnotic suggestion and he fights like the proverbial cornered rat.

In this instance he used his full potential to fell a whole battalion of Rungula’s men, performing authentic Tarzanic feats like lifting men above his head casting them among his foes.  At the time Tarzan is looking down at him he has finally been subdued lying at Rungula’s feet.

You know whre I’m going , don’t you?  Right.  that street corner in Chicago where John the Bully confronted young ERB.  Burroughs didn’t fight like a berserker though, he ran.  (Chief Run-gu-la?) But that was when he split his personality being able to look down on his corporeal self like a disembodied spirit.

As the Penguin Dictionary says:  Instances of hysterical or schizophrenic duplication of personality are well know to psychotherpy.  There are many examples of this phenomenon.  Here are a couple to show how it works.

When a person is enduring an unbearable situation in which he is powerless to resist, rather than believe the situation is happening to him he does split off a psychological projection of himself as a disembodied spirit who sympathetically views his now alter ego’s humiliation.

For instance when Jean Genet, the author and playwright was at the Mettray Reformatory he was caught out by a gang of homosexuals and gang raped.  As the rape progressed, escape being impossible while becoming so unbearable for him, to retain his sanity he split off a projection, a disembodied spirit, if you will, that floated above the scene.  Thus Genet was able to actually observe his rape without participating in it.  As he watched he muttered ‘Poor Jean, poor poor Jean.’  Thus the mind provides a somewhat feeble defense but one that allows one to keep one’s sanity after a fashion.  Of course the hypnotic suggestion  from this terrifically shameful event caused him to relinquish his will to the oppressor, part of the deal to keep one’s sanity.  Genet’s character was changed for life; he became a homosexual who had no will to resist that of men while becoming an active agent in his future degradation.  He was always able to rationalize his actions so that they seemed right.

I will use my own experience as a second example.  In kindergarten the elite group forced a confrontation with me in which they lost and looked bad.  Circumstances removed me to a different school before they had a chance to relaliate on me.   But then in second grade I was returned to that school.  At that point they were waiting for me.  This situation is more analogous to Burroughs than Genet but all three involve a rape of the mind which is what emasculation is.

The general conclusion is that my and Burroughs situations are normal, they happen to everyone.  Perhaps.  And everyone reacts in their individual way but everyone reacts.  A few years later and I would have been able to handle this situation without a problem as would have been true with Burroughs.  Remember with Burroughs however that while John the Bully only threatened him in 1884-85 fifteen years later in a similar to identical situation he had his head broken thus reinforcing the original situation.

In my case the situation formed my central childhood fixation as did Burroughs’.  My subconscious was opened to admit certain hypnotic suggestions which were fixed in my subconscious.  It then closed but refused to allow me to remember which of course is why the situation became a fixation, or suggestion I could not refuse to observe.

At recess in the second grade a group of, shall we say, twelve formed a semi-circle around me.  Like Burroughs I am compelled to make excuses for myself.  For the previous year I had been shuttled between foster homes and thus I had no support or defense.  I was alone.  In kindergarten the boy, the leaderof the pack, had ordered two new kids, the first Negroes in the school, to sit on the sandbox and not move during recess.  I took the Blacks’ side offering to fight the leader.  He, standing at point, declined combat stepping back into the support of his crowd gathered behind him.  That was his mistake.  He and his crowd had realized this.  Now in the second grade the boy still refused to challenge me individually.  Now they formed a semi-circle around me while their leader stood at keystone, still enveloped by his gang so that, I presume, they could fall on me if I resisted.

They all beamed hatred and contempt at me.  I was unable to resist the projected hatred of the boys and girls while at this date having only the vaguest or no notion of what I was guilty of, I was ordered to take a step forward which to my eternal shame I did.  In midstep I was ordered to stop and stay in that suspended step throughout recess.  To my shame, I did.  He said:  You’re going to have to be our nigger now.  The shame killed my personality, my identity, my ego.  I assumed the role of ‘nigger.’  Terror opened the way to the subconscious and the suggestion, you are a nigger, among others was entered.  Like Jean Genet a projection of myself arose above to say something like:  Poor kid, poor poor kid.’

The suggestion was so horrific to me that I immediately forgot it or, perhaps since that ego died the incident was not part of the life of the survivor.  The memory was accepted and encysted in my subconscious what Freud and Jung would call the unconscious.  I not only forgot the situation but I forgot the faces and names of the kids involved.  I could not remember them from that day forward although I could talk to them as though I did know them.

The consequence was that I had to do what I was told to do by nearly anyone.  Much the same as Burroughs who wrote a medieval story, of which he knew nothing, at the suggestion or command of Metcalf and wrote Son Of Tarzan which he later regretted, and Tarzan And The Ant Men at the suggestion or command of Bob Davis.  Buroughs became a variation of the dependent personality as did I.

On the one hand my conscious mind understood the proper means of defense but as I began to do so my subconscious mind overruled or shoved my conscious mind aside and obsequiously obeyed.

This plight was only changed when I succeeded in integrating my personality in the year of around forty-two.  That is to say the subconscious contents of my mind centered around the cyst of my central childhood fixation was made manifest to my conscious mind allowing the subconscious to be integrated into consciousness.  Where the ‘Id’ was ‘Ego’ shall be, as Freud put it.

Burroughs in  Lion Man at fifty-eight is describing the same situation as that experienced by Genet and myself but in a different way.  Like myself and Genet he would have been easy to direct.  So at that age he had not yet exorcised that particular demon.  As ERB kills Obroski off in this novel assuming both identities while discarding that of Obroski, returning the corpse to Hollywood, becoming solely Tarzan of the Apes one wonders if he succeeded in integraing his personality at that point.  That is what he is describing.

His experiences with John The Bully, the splitting of his personality explains why Tarzan observes from above rather than as a participant on the ground. In Lion Man perhaps agitated by the movie duplicate of the literary Tarzan he brought the situation of John the Bully to consciousness. Rungula the Bansuto taking John’s place while the aspect of Tarzan or his split off alter ego watches from above while Obroski fought like a berserker on the ground but was overcome by numbers or in the John situation, size.

Thus Tarzan spies on the safari from the trees by day while walking rhough the camp at night.  Having dealt with his humiliation in some way in Rungula’s village, when Orman and West are threatened by a lion Tarzan plummets from his tree to kill the lion on the ground then without a word vaults back into the tree.  Orman and West mistake him for his lookalike Obroski.  Thus we have the beginning of the reuniting of the split personality which will continue in the Heaven of the gorilla god.

Burroughs was under such extreme stress from both his sexual desires and the MGM betrayal that he must have felt half mad.  While he and Rhonda are captive in Heaven he says:  Sometimes I think I must be dreaming.  A statement that seems to be out of character for the Big Bwana.  The scene might be interpreted as ERB’s Anima and Animus being imprisoned while on one level God might represent MGM.

Tarzan comes into contact with Stanley Obroski which Tarzan finds amusing and lets them do.  Both women pinch tmeselves to see if they are dreaming or mad as well they might.  Tarzan rejects Naomi which must have confused her as she and Obroski were in love with each other.  Having ditched Naomi Tarzan/Obroski goes back for the wise cracking Rhonda.

Then too Burroughs actually describes Tarzan as a madman at one point.  This would be tantamount to describing himself as mad.  Indeed the whole novel centers on mad or insane happenings.

The madness or insanity would be an aspect of Tarzan’s viewing from above as a disembodied spirit.  The splitting off of the aspect from his and ERB’s personality would be the result of the extreme stress of the moment that produced the feeling of dizzying  madness.

Burroughs handling of the stress in what I consider a very extraordinary novel is abolutely masterly.  I can’t think of a finer science fiction story that the story within the story of God’s in his Heaven and all’s wrong with the world.

ADDENDUM

David Adams who had an advance copy of this piece brought up the point that perhaps Tom Orman in his drunken state was a comment on Emma’s drinking problem.  A scenario instantly suggested itself.

Imagine Orman in his drunken state as a personification of John Barleycorn.  Imagine sweet sober Naomi as Emma in her sober state and Obroski as Burroughs in his non-Tarzan, actually Obroski state.

John Barleycorn claimed Emma as his own as Orman claimed Naomi.  Barleycorn is a jealous man and won’t tolerate Burroughs as a lover of Emma.  So the couple have to sneak a moment or two when John Barleycorn isn’t around.  In other words, when Emma is sober.

As Burroughs fictionally represents the situation Obroski/Burroughs is visiting Naomi/Emma in her tent.  they appear to be in love and accord.  Orman is drunk in his tent and isn’t expected to be abroad.  Then Obroski hears the drunken Orman approaching the tent.  Unable to stand up to Orman Obroski obsequiously flees.

So in real life Burroughs and Emma are getting along fine until Emma hits the bottle conjuring up John Barleycorn.  ERB can’t compete with the bottle while Emma becomes verbally abusive under the influence just as Orman used the lash on bearers while drunk.  ERB can’t take it so like the bearers he vanishes into the night.

I think it may be a viable scenario although obviously ERB’s version of the truth.

End of Part II.  Part III, The Source follows.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A Review

Themes And Variations

The Tarzan Novels Of Edgar Rice Burroughs

#18 Tarzan And The Lion Man

Part one of ten parts

by

R.E. Prindle

First published on the ezine-ERBzine

Preface

     As has been seen 1931 was a very eventful year for ERB.  The viewing of Trader Horn was a seminal event in his life.  The movie became a major influence on his next Tarzan novel- Tarzan And The Leopard Men.  As has been noted, in April he signed the contract with MGM.

     Reports vary but it appears that he may have sold the movie rights for the first film for twenty-two thousand dollars plus a five week employment contract at a thousand dollars a week.  It is fair to assume that ERB spent his five weeks on the MGM lot in Culver City.

     During that period of time he obviously attended conferences with Irving Thalberg so his descriptions of the ‘Boy Wonder’ are taken first hand.  One imagines that he became acquainted with the Director Woody ‘One Take’ Van Dyke.  I like to think they hit off with ERB getting some first hand accounts of Africa that showed up in Lion Man.  As he had a copy of Van Dyke’s privately printed Horning Into Africa in his library it would seem obvious that Van Dyke presented him with a copy.  Thus ERB had a fund of first hand information lacking in his earlier novels.

     One also imagines he met the African stars Mutia and Riano when they visited Hollywood.  They would have been the first Africans he had met.  There is a world of difference between Africans and American Negroes.  Perhaps for these reasons his Leopard Men varies somewhat from his usual hidden civilizations formula.

     And also he would have met his script writing counterpart Cyril Hume.  His new partner one might say.  And coincidentally Johnny Weissmuller and Maureen O’ Sullivan.

     One is astonished at the speed with which MGM signed Burroughs, developed a script, found actors for Tarzan and Jane, made a movie and released it a bare ten months later.  What orgzainization.!

     We know that ERB watched the result with sinking heart and bitter remorse for signing the contract.  The MGM version of his creation was the antithesis of his own.  Rather than a literate, cosmopolitan Tarzan at home both in the jungle and the capitols of Europe and cities of America the MGM Tarzan was a feral boy who wasn’t even a lord, let alone  the lord of the jungle.

     Our Man had just finished Tarzan And The City Of Gold  when he viewed the movie.  Now with his brain reeling in shock it would be a year before he got out his reply.

     In my estimation it would be his last great Tarzan novel.  The Big Bwana had been emasculated.  But the greatest of the Tarzan novels was the result.

     ERB also made it a Hollywood novel, perhaps as trenchant a criticism of the film capitol as his 1922 effort The Girl From Hollywood.   He ridiculed the whole thing.  MGM, Thalberg, the African expedition, the movie Tarzan and in a closing chapter Hollywood itself.  In his pain and hurt he drove himself to heights he had never before attained.

     Stunned by the duplicity of MGM his novel is a story of duplicity, of doubles and more doubles until one has doubles coming out one’s ears.  The story within the story, the double of the story itself, of God in Heaven but all wrong with the world is a masterpiece of imaginative fiction that transcends even the exploits of his Martian creation, Ras Thavas.

     As Leopard Men was permeated with sexual desire with a hint of madness, Lion Man is deeply involved with madness, insanity and a complete feeling of unreality.  As Tarzan says:  Sometimes I think I must be dreaming.  Yea, verily, brothers and sisters.  This story is one of dreams and nightmares but a dream of a story.

1.

     In the novel Burroughs had two major objectives: 1.  To ridicule and humiliate MGM and 2.  To show them how to use all new material in a much more imaginative way than Cyril Hume had.  Hume is probably ridiculed as both the writer Joe in the foreword and the scenarist Pluant in the Hollywood afterword.

     There can be no mistake that the introductory story refers to the Trader Horn expedition while Burroughs includes a planning session with Milt Smith/Irving Thalberg in his MGM/BO office.  Let us look at the introductory chapter carefully.

     There can be no doubt that Burroughs was included in such sessions concerning the movie Tarzan, The Ape Man so that the chapter ‘In Conference’ is an authentic snapshot of how business was conducted.

     The opening sentence is:  Mr. Milton Smith, Executive Vice President In Charge Of Productions was in conference.  There is no doubt that here Burroughs is referring to Irving Thalberg.  Burroughs goes on to describe Thalberg’s actions which were considered peculiar by everyone in Hollywood.

     Mr. Smith had a chair behind a big desk, but he seldom occupied it.  He was an imaginative dynamic person.  He required freedom and space in which to express himself.  His large chair was too small; so he paced about his office more often than he occupied the chair, and his hands interpreted his thoughts quite as fluently as his tongue.

p9.  Smith was walking around the room, acting out the scente.  He was the girl bathing in the pool in one corner of the room, and then he went to the opposite corner and was the Lion Man.

     That doesn’t sound unfriendly or hostile to me but as ERB has already identified MGM as BO (Body Odor) or Stinky Pictures Louis B. Mayer, MGM’s president, may have taken all ERB’s comments from then on as intended insults.

     In point of fact ERB’s descriptions of Smith/Thalberg seem to be accurate.  Thalberg was the subject of Scott Fitzgerald’s unfinished final book The Last Tycoon.  The novel was made into a movie of the same name in 1976, the last movie directed by Elia Kazan.  Thalberg is portrayed exactly as Burroughs depicted him.

      The conventional mind seems to be unable to grasp the idiosyncrasies of genius.  The genius of Thalberg was that he was able to visualize the film in the manner Burroughs describes, alsmost as the author.  Had he failed he would have been merely weird but as he was the greatest and surest producer of the studio era the seeming eccentricity becomes an attribute of his genius.  As a writer of genius I think ERB saw Thalberg that way; how the latter of MGM interpreted ERB’s remarks may have been less generous.

     The director, Tom Orman’s character is quite similar to that of Woody Van Dyke although as the physique of Orman is opposite that of Van Dyke it is clear that Orman is intended to be more fictional.  The name Or-man can interpreted as Gold-man from the French Or which translates as gold.  As Goldman ERB may have been slamming the Jews.  ERB was less than careful in that respect in the novel.  In the last chapter ERB definitely characterized Abe Potkin as a Jew placing his conversation in dialect.  By Abe Potkin ERB may have been referring to Louis B. Mayer.  The introduction of Clayton to Abe leaves this open to conjecture.  p. 186:

     This is Mr. Potkin, John Clayton, Abe Potkin, you know,  (italics mine)

     If ERB did ridicule both Thalberg and Mayer or was perceived as doing so then he was definitely asking for trouble.  Fighting the Law in Hollywood as it were.

     Like Van Dyke who had been called in to relieve director Robert J. Flaherty on a behind schedule film White Shadows On The South Seas in which Van Dyke was successful so Orman had been called in to complete a picture being shot in Borneo.

     Just as Van Dyke was then assigned Trader Horn on location in Africa so now Orman is assigned to make the biggest African picture ever in the Ituri Rain Forest.

     ERB probably met Van Dyke in the summer of ’31 on the MGM lot.  It would seem that the two men hit it off as Orman is as well treated as Lion Man allows.  It  is to be presumed that Van Dyke presented ERB with a copy of his privately printed Horning Into Africa  at that time.

      The rest of the chapter is joshing around in a light hearted banter that was characteristic of this type of conference and introducing the members of the cast thus establishing the nature of their characters.

     A detail of interest is the following quote.  p. 8:

     “And are we going to shoot:” inquired Orman, “fifty miles from Hollywood?”

     ‘No, sir!  We’re going to send a company right to the heart of Africa to the -er-ah- what’s the name of that forest, Joe?’

     “The Ituri Forest.”

      “Yes, right to the Ituri Forest with sound equipment and everything.  Think of it, Tom!  You get the real stuff, the real natives, the jungle, the animals, the sounds.  You ‘shoot’ a giraffe and at the same time you record the actual sound of his voice.”

     “You won’t need much sound equipment for that, Milt.”

     “Why?”

     “Giraffes don’t make sounds; they’re not supposed to have any vocal organs.”

     “Well, what of it?  That was just an illustration.  But take the other animals for instance; Lions, elephants, tigers- Joe’s written a gret tiger sequence.  It’s going to yank them right out of their seats.”

     “There ain’t any tigers in Africa, Milt,”  explained the director.

     “Who says there ain’t?”    

     “I do,”  replied Orman grinning.

     “How about it, Joe?”  Smith turned toward the scenarist.

     “Well, Chief, you said you wanted a tiger sequence.”

     “Oh, what’s the difference?  We’ll make it a crocodile sequence.”

     In this instance ERB is spoofing himself.  Over the years he had all kinds of complaints for faunal inaccuracies.  The tiger bit probably hurt him the worst.  He had written a great tiger scene for the first Tarzan novel that had to be changed from the All Story magazine version to the book version.  ERB finally gets a chance to exorcise his frustration over that one.  He was also criticized for having deer in Africa, Bara the deer, of which there are none.  He first tried to bull his way through by saying he just wanted Bara the deer there.  He gave in by Tarzan The Invincible  and spoke of Bara the antelope.  This also apparently proved unacceptable as in Leopard Men he speaks of Wappi the antelope, while the name Bara disappears completely.  In the joke about the giraffe voice he is showing off knowledge while venting a little steam.

     Thus he sets the scene for the first stage of the novel, the penetration of the film company into the Ituri Rain Forest.  I found this sequence as well handled as any movie version might have been.  ERB doesn’t try to follow Van Dyke’s narrative but creates his own story based on Van Dyke’s.

     I have no doubt that there are references in this introduction and throughout the book to real people and real incidents that have gone over my head.  I have located what I can with my present knowledge but I’m sure the novel is loaded with many others.

Go to:  Part 2:  Doubles And Insanity

Exhuming Bob IX

Chronicles I

Pensee 5

by

R.E. Prindle

Younger Pete Seeger

Younger Pete Seeger

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

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

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

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

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

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

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

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

Mike Bloomfield

Mike Bloomfield

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

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

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

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

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

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

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

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

Dylan At Peak

Dylan At Peak

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

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

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

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

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

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

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

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

 

Exhuming Bob IX:

Chronicles Vol. I, Pensees 4

by

R.E. Prindle

 

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

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

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

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

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

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

     Mike Seeger had that effect on me.

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

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

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

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

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

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

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

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

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

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

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

Jump down, spin around

Pick a bale of cotton.

Jump down, spin around,

Pick a bale of hay.

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

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

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

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

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

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

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

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

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

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

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

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

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

          

     

   

 

Edgar Rice Burroughs And The Lost Cause

by

R.E. Prindle

     Edgar Rice Burroughs was a man of his times.  He was a concientious observer and interpreter with a prodigious memory.  He seems to have had the remarkable faculty of being able to compartmentalize nearly everything he learned in his mind.  When he writes his sources are nearly transparent when you know the sources.  Of course the more you’ve read the novels the easier it is to see his influences.

     Underlying, perhaps, its whole intellectual structure is his understanding of the Civil War and Reconstruction.  His father was a veteran of the GAR.  One imagines that his father sometimes talked to him of his experiences although not necessarily so.  How he integrates this understanding into his personal psychology is interesting.  I have attempted to point out in my last few essays that Burroughs felt as though his early expectations in life of what was to be were destroyed at some point in his youth changing the direction of his life from success to failure.  The story of his subsequent life then was the attempt to regain this lost status. 

     In the terms of the Civil War the triumphant North represented his personal defeat while the defeated South with their Lost Cause represented his life after the loss of his expectations.

     He is fairly open about this mentioning his three favorite books The Prince And The Pauper by Mark Twain, Little Lord Fauntleroy by Frances Hodgson Burnett and The Virginian by Owen Wister.

     Prince begins as Burroughs began.  Then in a sort of nightmare the Pauper who is a twin of the Prince shows up and the two identical lads exchange places, the Prince becomes the Pauper and the Pauper become the Prince.  In the end the Prince regains his rightful position.  The attempt to regain that position is the story of Burroughs’ life.  Twinning also become an important part of the plotting of the Tarzan books.

     In Fauntleroy the Prince lives a humble life after his father dies but then come back into his own.

     The Virginian, of course, must have been part of the Slaveocracy dispossessed by the Civil War then trying to find his place in the world

     While slavery enters into the issue it is not part and parcel of the Lost Cause.  The South today stil talks of Southern civilization as opposed to Northern civilization.  Both civilizations thought of the Negro in the same way but in adopting Negro slavery the slave owner thought of the Negro as another form of livestock intermediate between an animal and Homo Sapiens.  To put it bluntly the Planter saw the Negro as an intelligent ape.  Hence there was no more guilt to be associated with working the Negro than there was in working a mule.  They were both livestock.

     Thus while the North was commercially rude and crude the Southerner- The Virginian- was courtly and mannered.  The Negro livestock created a situation for such a civilization to exist.  The Civil War destroyed this situation so very pleasant for the Slaveocracy.

     So what was lost by the emancipation of the slaves was not only so much livestock but a whole conception of life.  This conception of life was the Lost Cause.  Thus Burroughs having also been deprived of his early paradisical expectations was able to identify with the Lost Cause but not necessarily with the freed Negro.

     With emancipation the whole relationship to the Negro changed.  He was no longer something of value that had to be understood and used but a competitor who had to be baffled.  The Southern Planter like John Carter and Tarzan was clearly the superior White man in pre-Civil War times and he retained that status during Reconstruction and the Jim Crow era because of his superior talents- what today would be called White Skin Privilege.

     Tarzan was an alter ego of Burroughs but John Carter was not although he may have had some relationship to ERB.  It is more likely that Carter was based on Burroughs’ ideal of what his father might have been.  It is noteworthy that Carter loses his preeminence in the Martian novels after 1913 and the death of Burroughs’ father.

      Ronnie Faulkner in his recent article in Erbzine Volume 2177 makes the comment:

     When Burrughs’ heroes brought change its purpose was conservative- “to restore a lost order, to put a rightful prince back on the throne.”

     This is a perceptive observation but the purpose wasn’t conservative in the political sense.  The purpose was to right a Lost Cause or in  other words “to restore a lost order”, that order that existed in Burroughs’ childhood, “to put a rightful prince back on the throne’, that is, Burroughs himself.  The whole corpus is saturated with the Prince and the Pauper theme.

     The problem of the Negro remains.

     In the God Of Mars the Holy Therns who are White undoubtedly represent the Planters of the slaveocracy.  In American politics from the early days the South was dominant in politics.  This was aided by the slaves being counted as three-fifths of a voter but with votes being voted by the Planters.  Not the Whites but the Whites who were Planters.  The Planters were but a very small portion of the Southern population with the Blacks and poor Whites or White Trash as we were unkindly spoken of by both the Planters and the Negroes while being equally controlled by the Planters.  We po’ White Trash were forced to fight and die in the Planter’s war.

     In the same way the Therns from their center in the South of Barsoom controlled both the North by religious means and the Black First Born.  As in the popular representation of the Civil War the Blacks were the cause of the destruction of Joel Chandler Harris paradise, the wonder land of Disney’s Song Of The South.

     The First Born of Barsoom or the Southern Negroes successfully took on the Holy Therns and destroyed their hold over them and the people of Northern Helium.

     As in the South where Planters were compelled to accept their defeat and mingle with the Negroes they did the same on Barsoom.

     Emancipation solved one problem but created a few others.  The North sought by Reconstruction to place the Negro over the White.  While slavery was wrong the placing of the White above the Negro was seen as right.  That Burroughs so believed is prove by both John Carter and Tarzan.  John Carter became the Warlord of Barsoom or Supreme Commander while Tarzan was the Lord Of The Jungle, the arbiter of African fates.

     Whatever one thinks of Thomas Dixon Jr. he was the spokesman for the Lost Cause.  He wasn’t the only one who wrote Reconstruction novels.  Equally successful was a writer by the name of A.W. Tourgee.  Tourgee wrote, among others, two very successful novels:  A Fool’s Errand By One Of The Fools and Bricks Without Straw.  He wrote from a carpetbagger and Northern point of view; the Negroes were poor benighted heathen while the Whites were merely benighted but the Negroes were superior in most respects to the Whites.  Tourgee was a successful carpetbagger.  Writing beginning in 1880, three years after Reconstruction ended he preceded Dixon by a few years.  Dixon most likely was writing in reaction to Tourgee.

     Tourgee’s novels enjoyed a longish vogue so that Dixon’s and Tourgee’s would have been competing for the popular favor.  The war was over and different sentiments took precedence favoring the point of view of Dixon.

     While the North rather hypocritically tried to force Negro equality or even supremacy on the South they maintained separateness of the species in the North.  While the Negro was given the franchise in the South he was unable to vote in the North.  So that while there seemed to be sympathy for the Negro species there was little or none for the Black individual.

     This was more or less the reverse of Burroughs’ dilemma.  He honored the manhood of the Black individual but he denied it to the African species.  I don’t believe there can be any denying of this; thus Tarzan is The Lord Of The Jungle, a jungle god, the Big Bwana, the arbiter of African destinies.  It is important that Tarzan was seen as a god compared to the Africans.

     So in real life Burroughs chose Dixon over Tourgee.  I’m sure he knew of both.  While the carpetbagger pushed the superiority of the Negro in a society that no longer cared about Blacks, the war being over, Dixon advanced the interest of the White species against the African species while the Lost Cause resonated in Burroughs’ soul as it does today in any person who feels that they have been deprived of their birthright in life.

     Oddly Burroughs had only the third volume of Dixon’s Reconstruction trilogy – The Traitor- in his library.  Perhaps because John Carter’s tomb seems to be based on the tomb in the The Traitor.  There can be little doubt that the latter was the inspiration for the former.

     In The Traitor the tomb had been sealed from the ouside but there was a secret entrance to the tomb and once inside the tomb an underground passage led from the tomb to the old manse.  Of course, Carter’s tomb was sealed with the latch being on the inside.

     In 1907 William A. Dunning published his Reconstruction: Politcal and Economic which furthered the Lost Cause view and set the tone for scholarship until Du Bois published in 1935. 

     So, in  a way the South had risen again as the Southern view of the struggle gained preeminence.  The high water mark for the attitude was the filming of Dixon’s trilogy as The Birth Of The Nation by D.W. Griffith in 1915.  Political winds then turned in favor of the Blacks again.  A last salvo was fired by Claude Bowers in 1929 in his successful Reconstruction history, The Tragic Era.  Bowers’ book dealt not so much with Reconstruction as with the politics of the era that Mark Twain depicted as The Gilded Age of which Reconstruction was a part.

      Bowers book was answered in 1935 by W.E.B. Du Bois in his Black Reconstruction In America 1860-1880.  This book successfully downed the Dunning hypothesis.  The racial tide now swung in favor of the Blacks with any critics discredited and silenced as bigots.  Just as Dixon and Dunning were successfully attacked during the twenties and thirties suffering total defeat at the end of the latter decade so were any dissident voices.

     The pro-Negro point of view continued to gain strength as the century advanced.  In 1988 Eric Foner published his Reconstruction: America’s Unfinished Revolution that has become the standard view.  Today Reconstruction as the unfinished revolution is expected to be completed by the next Presidential election.  Thus it is believed that the Lost Cause will disappear forever while according to Ronnie Faulkner Burroughs will become the apostle racial integration.

A Review

Reconstruction:

Foner, Du Bois, Bowers

by

R.E. Prindle

Bowers, Claude:  The Tragic Era, 1929

Du Bois:  Black Reconstruction In America:  1860-1880, 1935

Foner, Eric:  Reconstruction:  America’s Unfinished Revolution 1988

     While race, or species, is the cental problem of Reconstruction none of the above writers bothers to really examine the issue.

     On the one hand the United States was settled by the highest exemplars of human development at that time.  The evolutionary nature of the European settlers was unfolding at a rapid rate that was to blossom in the nineteenth century although still at a relatively low stage of development.

     Added to this species of Homo Sapiens was the infusion of diverse African species fresh from the jungles of Africa.  The African peoples are believed to be the first Homo Sapiens to evolve.  They had been in Africa for 150,000 years or more and had attained no indigenous level of civilization.

     Not all African peoples are the same age.  For instance, the Bantu peoples who came into existence in the Sahel near Ubang-Chari are an obvious Negro-Arab hybrid.  The hybrid developed about 1000AD spreading South and East across the continent.  The Bantus drove the indigenous Bushmen before them eventually forcing the remnant into the Kalihari desert.

     The West Africans may be the stock on which the Arab was grafted.  Now, the anthropologists tell us that at some point the previous hominid strain evolved into Homo Sapiens I, which is to say the Black African.  But, they don’t tell us, nor are they capable of it, exactly what separates the Last Hominid Predecessor from Homo Sapiens.  We don’t know what those indicators are.  Either the Last Hominid Predecessor has disappeared without a trace or the Bushmen may be the LHP or even the West African.  Certainly there are marked differences between the African and the Semite, Caucasian and Mongolid.  The difference is of an intellectual character as well as a number of physical ones, which is to say, genetic.

     No one will deny the physical differences, they are maintained to be merely cosmetic.  It is in the intellectual field we encounter resistance.

     Science has given ample proof that there is a difference in mental capacity between Africans and Caucasians, Mongolids and Semites.  There is an emotional problem with the Biblically oriented because the bible says God created man whole and entire apparently  from nothing and The Declaration Of Independence of the United States says that:  ‘We hold these truths to be self-evident, that all men are created equal…’  The authors provided no evidence of this.

     So we have the statements of men against the scientific evidence of nature.  I opt for science and nature.

     The European discovered America, that they found a continent that they didn’t know was there and invaded it or settled it depending on how you choose to see it.  Following the scientific approach of Darwin I understand that the Europeans invaded the continent driving the earlier settlers before them in the exact same way that one species of bird, for instance, supplants another.

     The Europeans had not yet developed the notion of free labor the way they would in the nineteenth century so they brought indentured White ‘servants’ over who were in fact, slaves.  Shortly thereafter a sea captain unloaded a cargo of Africans as laborers who became chattel slaves.  Over a period of decades the Africans displaced the Europeans as slaves but not before extensive interbreeding as both species were used as field hands.

     In Darwinian terms then, as a competing human species Europeans displaced the Native Americans, or Indians, while at the same time introducing the various African species which by the time of the end of slavery and  Reconstruction would enter into competition with the Caucasians for possession of the  continent.  The difference in species was an irreconcilable difference, an either-or situation.  This is the tragedy of the United States of America and the Western Hemisphere.

     Africans were always a signficant portion of the population of the United States, moreso in the South but they were not inknown in the North where they were treated little differently than in the South.  Edgar Allan Poe records an instance of Negro slavery in Pennsylvania that was not all that unusual.

     Prior to 1793 the ratio of Black to White was much smaller but in that year Eli Whitney invented the cotton gin.  This invention opened the black lands across the South from the coast through Mississippi, Louisiana, Arkansas to Texas to cotton cultivation.  Black lands does not refer to Negroes but to the soil.

     Thus from 1793 to 1860 the importation of Africans increased greatly.  The African population skyrocketed.  At the time of the Civil War Du Bois estimates that 10% were African born.  That is one in ten.  The percentage born to mothers from from Africa and first Generation Africans must therefore represent a full 25% of the African population.  Thus, at the time of Emancipation at least one Negro in four can be said to be African in culture.

     Indeed, Mark Sullivan (1874-1952) in his wonderful multi-volume popular American history, Our Times, recalls the charm of the Africanisms of the Negro that had disappeared by the turn of the century.

      Contrary to common belief the number of slaveholders in the South was relatively small.  Non-slaveholders outnumbered slaveholder by a considerable margin.  Also contrary to common belief Whites, Blacks and Indians all owned slaves.  As one progressed from East to West conditions became more barbarous.  Relatively benign in the East by the time one reached Louisiana where the majority of Black slave owners domiciled, according to Du Bois, slaves were actually worked to death, the owners then buying replacements.  Although it was denied and covered up Kentucky and virginia bred Africans for sale to the Deep South.

     There are those who say that slavery was a dying institution that would have disappeared on its own.  Whether it would have or not I see little to indicate such a development.

     The plantations could be huge affairs of a hundred thousand acres or more; self-contained cotton growing duchies.  Having the economic power the Planters controlled politics.  The much larger non-slave owning White majority was despised by both Planters and Blacks while being bent to the will of the Planters.  It is interesting to watch Du Bois twist and turn trying to explain why it was right for the slaves to despise the ‘po’ white trash.’

     The Planters built up a very pleasant situation for themselves on the backs of both Blacks and Whites.  ‘Oh, Darkies, how my heart grows weary’, Br’er Rabbit, Br’er Fox and that sort of thing.  Disney’s Song Of The South really cranked out the Blacks.  The Planter-Black alliance against the Southern Whites has evolved today into the Liberal-Black alliance against ‘Whiteness.’

     At the time the Planters had abundant opportunity to study the Blacks.  They came to the conclusion, without using the term, that the Africans were a different species, since corroborated by science.

     Thus, when Reconstruction began we had two species competing for the same territory.  The species were inherently unequal.  Equality of intellect could only be obtained by education, if at all.  In addition, as I noted, fully 25% or, one in four, had but recently been removed from the African jungles.  The remaining three quarters had been in the state of slavery for generations.  They were thoroughly cowed.  Any hope of freedom they had was hundreds of years old.  They were in a body illiterate.  Indeed, it was against the law to school them.

     As Du Bois points out because of its historical relation to the French Caribbean, Haiti, Louisiana had the largest group of educated and cultured Blacks.  Indeed, the early cultural history of New Orleans is worthy of study.  There were things going on there that weren’t going on in other places.

     At one stroke then in 1863 the bonds of the community were broken apart and this Black population nearly equal in size to the Whites, in some places exceeding it, was placed on a political parity by Northern bayonets.  Truly a second Civil War in the South between Blacks and Whites was the only possible result  and that’s what Reconstruction was.  The first result as Eric Foner says was the Unfinished American Revolution.

2.

         The argument of Du Bois depends on the character of the Negro.  That it is both wrong to enslave another and that the introduction of the Negro into the Americas as the greatest error of all goes without saying.  The point is that we have at least two Homo Sapiens species competing for the same land.  The differences are irreconcilable and can only be solved by the elimination of one or the other.  The problem as an evolutionary one is beyond reason.  No amount of good will can resolve it.  Tor those who haven’t thought this situation through that statement may sound strong but the current New Abolitionist movement is dedicated to the genocide of Whites.  That simple fact cannot be denied.

     Du Bois, who writes as a Black apologist and not an historian, has , or ast least displays, absolutely no psychological understanding of the participants.  He believes he is an excellent historian but I’m not prepared to allow him that without a grasp of psychology.

     In his view which he shares the opinion with Liberals that the Negro is by nature an inoffensive, happy-go-lucky fellow who wouldn’t harm a fly.  Why, during the war didn’t he stand by the Missus and the kids while the menfolk were off shooting the Negroes who had joined the Yankee war machine and made it work?  According to Du Bois the war couldn’t have been won if those Negro soldiers hadn’t joined up.

     Supposing that Blacks in the heart of the South did remain quiescent,  Does that mean it was because they were happy and contented or does it mean they were waiting for the results before stirring? Actually the Southern states were the only place Africans in the world were so quiescent so we have to look for other reasons than good natured joviality.

     Earlier in the century nineteenth century when a majority population of Africans revolted against a small minority of Whites in Haiti the Africans slaughtered the White males while retaining the White females as sex slaves.

     In Jamaica where the small minority of Whites couldn’t control the large majority of Africans, Africans escaped to the hinterlands where they formed their own district and carried on guerilla warfare from there.

     Their earlier African heritage had been no different than the Africans of the South.  Tribal wars of extermination were the sole constant of African life.  Tribal centers rose and fell.  Livingstone and others discovered burnt over ruin after burnt over ruin, formerly populous lands entirely deserted.

     In today’s Africa Robert Mugabe of Zimbabwe has completely demolished the civilization Whites had built up.  One of his first acts upon taking office was to attempt the extermination of the Matabele Zulu over a hundred and fifty year old grievance.

     Now that the Africans in South Africa have been granted power over the Whites they are committing genocide against them while dismantling the civilization the Whites built up.  They simply cannot sustain it.

     In the United States today the Blacks of New Abolitionism are calling for the disappearance of Whiteness now that the United States’ ‘unfinished revolution,’ as Foner expresses it, is rushing to its conclusion.  Unless the Whites of America wake up Whiteness will disappear and the unfinished revolution conclude in their destruction.  In other words, in the Darwinian sense the African species of Homo Sapiens in competition with the White Homo Sapiens species will eliminate them completely.  Human abilities to speak and reason mean nothing compared to the forces of nature, especially when those forces go unrecognized.

     Thus the major weakness of Du Bois’ thesis is that he fails to understand, or at least state, the causes of irreconcilable differences.  African people are not as he describes them.  Nor are Whites.

     Bowers makes it more clear that from the White point of view the battle between Whites was the great tragedy.  From that point of view the whole purpose of Reconstruction was to reconcile the Whites without any reference to Africans.  The Africans were an unpleasant reality that cvould be disposed of in only one way and extermination was too horrible for the Whites to contemplate while, as we have seen, it wasn’t for the Africans of Haiti and isn’t for the Africans of today not only in Zimbabwe and South africa but in the United States of America.  New Abolitionism means the genocide of Whites.

     Bowers wrote in 1929 with popular success so that Du Bois’ volume seems to have been conceived in answer to Bowers.  Bowers takes a pessimistic view of the capabilities of Africans while Du Bois stoutly defends their abilities.  One is led to believe that there was no public edcuation in the South before the war while the bulk of the Whites were as illiterate as the Africans by Du Bois.  The Africans in their desire for learning then organized the entire public school system generously including Whites who promptly segregated the schools.

     A.W. Tourgee in his novel Bricks Without Straw that Du Bois refers to constantly has an interesting passage in which this notion apparently began and persists to this day.  Bricks Without Straw p. 127:

     As they rode away the two representatives of antipodal thought discussed the scenes they had witnessed that day, which were equally new to them both, and naturally enough drew from them entirely different conclusions.  The Northern man enthusiastically prophesied the rapid rise and miraculous development of the colored race under the impetus of free schools and free thought.  The Southern man only saw in it a prospect of more “sassy niggers,” like Nimbus, who was “a good enough nigger, but mighty aggravating to the white folks.”

     With regard to the teachers, he ventured only this comment:  “Captain, it’s a mighty pity them gals are teaching a nigger school.  They’re too likely for such work- too likely by half.”

      The man whom he addressed only gave a low, quiet laugh at this remark, which the other found it difficult to interpret.

Over the succeeding century and a half the Africans seem to have lost their zeal for education while being less cpable of it than the Northern man thought.  No miraculous development of Africans has ocurred.  The facts seem to be that the average intelligence as measured by IQ testing of the African species is fifteen or twenty points below that of the Whites while being even higher in Africa where the Africans have not come into direct contact with Western Civilization.

That this fact is true can be seen by the institution of Affirmative Action.  Blacks have access to equal education but in order to get ‘equalization of results’ the Liberal reactionaries have essentially given Africans a fifteen to twenty point handicap and then declared results equal.

I wonder what Tiger Woods would thinks about Affirmative Action in golf were his opponents  given a ten or fifteen point handicap?

The Liberals tacitly acknowledge the unbridgeable gap in intellectual capabilities between the two species by the institution of Affirmative Action.

Thus, following the defeat of the South, Northern troops were garrisoned in the South to establish equality on the point of a bayonet which was the only way it could be done.

Both Bowers and Du Bois point out the hyprocrisy of the North forcing recial equality on the South when they denied such equality to Africans in the North.  The hypocrisy was stifling.  While the North insisted on the enfranchisement of the Africans in the South there were very, very few places in the North where Africans were allowed to vote.

Du Bois repeatedly refers to Tourgee’s (with a soft G) Bricks Without Straw in corroboration of his view.  I have since read Bricks Without Straw which I found a good novel and historically valuable but my reading of the story doesn’t produce the same results as that of Du Bois.  It seems that there is more than one way to approach the story.

Tourgee was a carpetbagger who went South to make his fortune.  While I have faith that his representation is accurate he still describes two different species, as in the above quote, competing for the same space within the framework of the recent past.  If he is speaking his own thoughts through the mouth of the Captain then if he were alive today he would have to admit his error.

The Africans were still a freed people with a two hundred year history of subjection. There was no way they could function in a free society.  The situation was impossible.   Ante-bellum laws had made it a crime to school slaves so that according to Tourgee not one African in a thousand could read or write.  Du Bois in his depiction of the African’s eagerness for education places the figure much higher.  It is difficult in the circumstances to understand how the millions of Africans in the black belt of the Cotton Kingdom could have gotten even a smidgeon of education.  It was against the law.  Laws are wonderful things, watch out for them.

Even freed it is impossible to believe that many adult Africans could learn to read or write.  Education requires the pliable minds of the young.  It takes real determination to learn to read and write as an adult which very few have.   To be law abiding can be criminal under certain laws.  Witness the lawful Nazi society.

Bowers gives a feel for the conflict between the species with atrocities on either side.  Du Bois takes the position of the poor suffering amiable negro who was harassed and brutalized by the Whites while patiently relying on the courts for justice.  Remember he believes this the Negro nature.

Bowers is closer to the truth but that is irrelevant.  As Foner says this was the beginning of America’s  unfinished revolution.  Reconstruction was the first phase followed by the counter revolution of the Jim Crow period.  That period ended, to use a convenient date in 1954 with the Supreme Court decision in Brown Vs. The Board Of Education.

Thus the African revolt renewed into the present time.  The candidacy of Barry Dunham-Obama signifies the completion of Foner’s unfinished revolution.  If elected the Liberal-African combine will begin in earnest to eliminate Whiteness in America.  The genocide of Whites which has already commenced and is fairly well advanced will be prosecuted in earnest.

Open your eyes and actually see what is happening.

 

Exhuming Bob IX

Chronicles Vol. I

Pensees 3

by

R.E. Prindle

 

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

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

Bob Dylan, Chronicles Vol. I

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

—–

     He influenced…even Muhammed Ali, Little Richard, Liberace, and numerous other figures in both sports and entertainment.

—–

     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

 

1.

Bob And The Radio

 

Haunted By Old Memories

     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.

———-

     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.

 

I Thought I Was Alone But The Past Was Just Behind

I Thought I Was Alone But The Past Was Just Behind