Conversations With Robin Page 4.

Conversations between R. E. Prindle and Robin Mark

Concerning certain musical questions.

 

     Robin:

     Sorry to be so remiss but I was really involved with writingt Exhuming Bob 23 a and b:  Bob, Andy, Edie and Like A Rolling Stone.  I got them up a couple days ago and then I was really exhausted.

     I think they’re really good work, real Sherlock Holmes stuff.  The feud between Dylan and Warhol with Edie Sedgwick as their pawn is very important althougth Dylan has been very effective in shuffling it under the carpet.

     I’ve always been amazed that no one came after Dylan because of the savage badgering he and Neuwirth put people through during what was apparently his Acid phase.  Anent that I’ve always been suspicious of the back wheel of his bike locking up, obvious sabotage to me.  Of course the reuslt would be flying over the handle bars that did happen.  A probable result of that would be damage to the head neck and/or back with a very good chance of being paralyzed from the neck down much as Christopher Reeve did from his horse jumping accident which was also contrived.

     Who would take that exact means to attempt to paralyze Dylan, I don’t think murder was intended.  Warhol is my first choice.  In addition to other humiliations Dylan publically insulted him in both Stone and Street using motorcycle imagery.  Of course, it is now clear that chrome horse refers to a motorcycle so the line reads:  You used to ride on a bike behind your diplomat…. Warhol had a bike and was Edie’s ‘diplomat’ so stripped of an obscure term the meaning is clear-  Edie and Andy.

     In Street Dylan sings:  You know you’d like to see me paralyzed…so the bike accident is prefigured in the imagery of the two songs that have references to Warhol.  If and when you read Part b of Bob And Andy the inference that Warhol’s crew were the perpetrators will become more evident.

     That was hard work pulling all those details together but rewarding.  Still, I’m going to have to take a week or so to recover.  Research goes on of course.  I think next I’ll tackle Exhuming Bob 24:  Bob, Jack and Allen.  I’ll start working on the ton of the period some.

     Part of Elvis’ problem was that the ton shifted so dramatically after he was drafted.  He began his career in the post-war ton of the late forties and early fifties actually causing the shift or, at least, abetting it.  Then he was removed from the flow for two crucial years.  when he came back the Kingston Trio had already shifted the ton toward the Folk genre that made Dylan possible but made Elvis an anachronism.  While I don’t believe Elvis was part of any Illuminati type thing earlier or later it is quite possible that some such sort of conspiracy found him a useful tool.  Of course, Parker, who was in the country illegally, could easily be manipulated to betray his and ‘his boy’s’ interests.

     By the time of the return from the military Presley’s career was obviously being directed by Hollywood.  So, who was getting what from mismanaging Elvis’ career?

     Just thoughts.