The site has suffered from a succession of IT problems over the last few months; they’ve prevented me posting new content as frequently as I’d like.
In order to sort out the problems once and for all – and to take the opportunity to upgrade the site – we won’t be carrying any new material for a while. Please accept my apologies for not using any material you may send for the duration.
The site has a considerable following, so we intend to be up and running as soon as possible. Please keep checking back.
Thanks to all contributors and readers for your support over the years.
See you soon.
Gerry Smith, Editor
Thursday, January 28, 2010
Monday, January 25, 2010
Dylan for Israel!
Thanks to Paul Thomas:
“Bob Dylan is a-coming!
“29/5/10 at Park Hayarkon in Tel-Aviv, Israel!
“I've already offered him somewhere to stay though there should be plenty of room in the Inn or Hilton.”
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You can see Dylan's complete NET 2010 schedule on:
www.expectingrain.com
Gerry Smith, Editor
“Bob Dylan is a-coming!
“29/5/10 at Park Hayarkon in Tel-Aviv, Israel!
“I've already offered him somewhere to stay though there should be plenty of room in the Inn or Hilton.”
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
You can see Dylan's complete NET 2010 schedule on:
www.expectingrain.com
Gerry Smith, Editor
Friday, January 22, 2010
Dylan, Elvis and Andy Warhol: prints ARE still available
Thanks to Emily Airton, Account Executive at Idea Generation:
“I saw your blog post on our Nat Finkelstein exhibition; Nat’s photographs are amazing aren’t they?
“I just wanted to clarify re the red dot – this meant the first print of the edition had been sold; so the Andy, Bobby and Elvis is still available to buy.
“Another bit of trivia for you, Dylan later told Nat that he’d traded the Elvis for Albert Grossman’s couch!”
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
Emily clarified this part of the original version of my Finkelstein review article of 21 January:
“The photograph is available in limited editions of 20 prints in each of three sizes, priced at £575, £475 and £375. (But the display print was bearing the coloured sticker dreaded by collectors - it usually indicates “sold out” - when I visited today.)”
Gerry Smith
“I saw your blog post on our Nat Finkelstein exhibition; Nat’s photographs are amazing aren’t they?
“I just wanted to clarify re the red dot – this meant the first print of the edition had been sold; so the Andy, Bobby and Elvis is still available to buy.
“Another bit of trivia for you, Dylan later told Nat that he’d traded the Elvis for Albert Grossman’s couch!”
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
Emily clarified this part of the original version of my Finkelstein review article of 21 January:
“The photograph is available in limited editions of 20 prints in each of three sizes, priced at £575, £475 and £375. (But the display print was bearing the coloured sticker dreaded by collectors - it usually indicates “sold out” - when I visited today.)”
Gerry Smith
Thursday, January 21, 2010
Dylan, Elvis and Andy Warhol together: iconic new image now available
There can be few more iconic images than a new poster and limited edition print capturing Dylan, Elvis and Andy Warhol in the same photograph.
Selected as the poster for his new exhibition, which has just opened at Idea Generation’s gallery near London’s Liverpool Street station, Andy, Bobby and Elvis 1965 is surely photographer Nat Finkelstein’s career-defining image.
It shows Dylan being presented by Warhol with a copy of his portrait of Elvis as gunslinger, and was snapped when Dylan and the Pennebaker crew called in to The Factory.
The photograph is available in limited editions of 20 prints in each of three sizes, priced at £575, £475 and £375.
Collectors will also want to look at the two other Dylan images in the show - Andy and Bob Dylan, and Dylan In The Dark. Both are available in the same sizes, edition sizes and prices as Andy, Bobby and Elvis 1965.
The prints are numbered, but not signed or framed.
Collectors on a much tighter budget will be more interested in the exhibition poster, incorporating Andy, Bobby and Elvis 1965, and overprinted with: Nat Finkelstein – From One Extreme to the Other 20/01/10-14/02/10.
It’s a beauty. I bought one (£5) and will treasure it.
The rest of the exhibition concerns Finkelstein’s work at The Factory, with the Velvet Underground, as well as his documenting of 1960s US protest movements and American popular culture.
It’s a lovely little exhibition, well worth a visit. And serious Dylan collectors will want to check out the must-have poster and the three limited edition prints.
Thanks to Johanna Moore who alerted me to the show.
Info:
www.ideageneration.co.uk
www.natfinkelstein.com
Gerry Smith
(article revised at 2330 on Friday 22 January, to incorporate clarification by Emily Airton of Idea Generation gallery)
Selected as the poster for his new exhibition, which has just opened at Idea Generation’s gallery near London’s Liverpool Street station, Andy, Bobby and Elvis 1965 is surely photographer Nat Finkelstein’s career-defining image.
It shows Dylan being presented by Warhol with a copy of his portrait of Elvis as gunslinger, and was snapped when Dylan and the Pennebaker crew called in to The Factory.
The photograph is available in limited editions of 20 prints in each of three sizes, priced at £575, £475 and £375.
Collectors will also want to look at the two other Dylan images in the show - Andy and Bob Dylan, and Dylan In The Dark. Both are available in the same sizes, edition sizes and prices as Andy, Bobby and Elvis 1965.
The prints are numbered, but not signed or framed.
Collectors on a much tighter budget will be more interested in the exhibition poster, incorporating Andy, Bobby and Elvis 1965, and overprinted with: Nat Finkelstein – From One Extreme to the Other 20/01/10-14/02/10.
It’s a beauty. I bought one (£5) and will treasure it.
The rest of the exhibition concerns Finkelstein’s work at The Factory, with the Velvet Underground, as well as his documenting of 1960s US protest movements and American popular culture.
It’s a lovely little exhibition, well worth a visit. And serious Dylan collectors will want to check out the must-have poster and the three limited edition prints.
Thanks to Johanna Moore who alerted me to the show.
Info:
www.ideageneration.co.uk
www.natfinkelstein.com
Gerry Smith
(article revised at 2330 on Friday 22 January, to incorporate clarification by Emily Airton of Idea Generation gallery)
Wednesday, January 20, 2010
New Dylan exhibition: confusion on opening date
Thanks to Gordon Macniven:
“Your readers should treat the "6 February" opening (for the new Dylan art show at the Halcyon Gallery) with a pinch of salt.
“The Halcyon's web gives two different dates for the opening (6 and 8 February) but, when I emailed them for clarification, they came back with 13 February!
“Clear as mud.
“Incidentally do we know how much the Christmas album has raised for the homeless?”
(Halcyon web site main entry and press release say “6 Feb”; best advice is to check with gallery before travelling – Gerry Smith, Editor.)
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
New Dylan exhibition – paintings on canvas - opens in London on 6 Feb
Thanks to Johanna:
“I thought this newest exhibition of Bob's artwork might be worth mentioning.
“From my research when I was writing about the Drawn Blank Series, I believe these might include work(s) not included in either of the two hardback catalogues - wondering if they will publish a new brochure for those?”
www.halcyongallery.com/news.php?id=55
“Your readers should treat the "6 February" opening (for the new Dylan art show at the Halcyon Gallery) with a pinch of salt.
“The Halcyon's web gives two different dates for the opening (6 and 8 February) but, when I emailed them for clarification, they came back with 13 February!
“Clear as mud.
“Incidentally do we know how much the Christmas album has raised for the homeless?”
(Halcyon web site main entry and press release say “6 Feb”; best advice is to check with gallery before travelling – Gerry Smith, Editor.)
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
New Dylan exhibition – paintings on canvas - opens in London on 6 Feb
Thanks to Johanna:
“I thought this newest exhibition of Bob's artwork might be worth mentioning.
“From my research when I was writing about the Drawn Blank Series, I believe these might include work(s) not included in either of the two hardback catalogues - wondering if they will publish a new brochure for those?”
www.halcyongallery.com/news.php?id=55
Friday, January 15, 2010
Dylan’s context: American folk music
I’ve long admired Lawrence Epstein’s writing on Dylan on the Best American poetry blog, so I’m looking forward to a new book he’s just announced. Here’s the promo from his website:
Political Folk Music in America from Its Origins to Bob Dylan
Lawrence J. Epstein
Pre-order now on Amazon, Available Spring/Summer 2010
ISBN 978-0-7864-4862-3
[204]pp. softcover 2010
Many American folk singers have striven to leave their world a better place by writing songs of social protest. Musicians like Woody Guthrie, Lead Belly, Pete Seeger, Bob Dylan, and Joan Baez sang with fierce moral voices as they tried to relieve human suffering and transform what they saw as an uncaring society.
But the personal tales of these guitar-toting idealists were often more tangled than the comparatively pure vision their art would suggest. Many singers produced work in the midst of personal failure and deeply troubled relationships, and under the influence of radical ideas and organizations.
This provocative work examines both the long tradition of folk music in its American political context, and the lives of those troubadours who wrote its most enduring songs.
http://lawrencejepstein.com/folk
Gerry Smith
Political Folk Music in America from Its Origins to Bob Dylan
Lawrence J. Epstein
Pre-order now on Amazon, Available Spring/Summer 2010
ISBN 978-0-7864-4862-3
[204]pp. softcover 2010
Many American folk singers have striven to leave their world a better place by writing songs of social protest. Musicians like Woody Guthrie, Lead Belly, Pete Seeger, Bob Dylan, and Joan Baez sang with fierce moral voices as they tried to relieve human suffering and transform what they saw as an uncaring society.
But the personal tales of these guitar-toting idealists were often more tangled than the comparatively pure vision their art would suggest. Many singers produced work in the midst of personal failure and deeply troubled relationships, and under the influence of radical ideas and organizations.
This provocative work examines both the long tradition of folk music in its American political context, and the lives of those troubadours who wrote its most enduring songs.
http://lawrencejepstein.com/folk
Gerry Smith
Wednesday, January 13, 2010
New Dylan exhibition – paintings on canvas - opens in London on 6 Feb
Thanks to Johanna:
“I thought this newest exhibition of Bob's artwork might be worth mentioning.
“From my research when I was writing about the Drawn Blank Series, I believe these might include work(s) not included in either of the two hardback catalogues - wondering if they will publish a new brochure for those?”
www.halcyongallery.com/news.php?id=55
“I thought this newest exhibition of Bob's artwork might be worth mentioning.
“From my research when I was writing about the Drawn Blank Series, I believe these might include work(s) not included in either of the two hardback catalogues - wondering if they will publish a new brochure for those?”
www.halcyongallery.com/news.php?id=55
Monday, January 11, 2010
Dylan/Handel… and Milton, Koestler
Thanks to Martin Schaefer in Basel, Switzerland:
“Concerning Dylan/Haendel, there is an even closer link at the beginning of “It’s Alright Ma” (‘Darkness at the break of noon’):
‘Total eclipse – no sun, no moon, All dark amid the blaze of noon’ –
this is the first line of Samson’s great aria in ‘Samson Agonistes’, the musical rendering of John Milton’s epic poem.
Of course there is an even better argument for Dylan’s being aware of Milton than of Haendel’s music. In Milton, the line goes:
‘O dark, dark, amid the blaze of noon, Irrecoverably dark! total eclipse, Without all hope of day.’
“And then there was Arthur Koestler’s ‘Darkness at Noon’, of course.”
“Concerning Dylan/Haendel, there is an even closer link at the beginning of “It’s Alright Ma” (‘Darkness at the break of noon’):
‘Total eclipse – no sun, no moon, All dark amid the blaze of noon’ –
this is the first line of Samson’s great aria in ‘Samson Agonistes’, the musical rendering of John Milton’s epic poem.
Of course there is an even better argument for Dylan’s being aware of Milton than of Haendel’s music. In Milton, the line goes:
‘O dark, dark, amid the blaze of noon, Irrecoverably dark! total eclipse, Without all hope of day.’
“And then there was Arthur Koestler’s ‘Darkness at Noon’, of course.”
Friday, January 08, 2010
Dylan and George Orwell
Thanks to Rich S:
“That Dylan/Handel link is a good find... I had a similar moment a few days ago and figured I would share.
* “I was reading Burmese Days by George Orwell and came across the line:
’What shall it profit a man if he save his own soul and
lose the whole world?’
* Bob Dylan, in the gospel-era song Ain't Gonna Go To Hell For Anybody:
‘But it don't suit my purposes, it ain't my goal/To gain the whole world and give up my soul’.
* Matthew 16:26:
’And what do you benefit if you gain the whole world but lose your own soul? Is anything worth more than your soul?’
“Note how Orwell alters the biblical line by switching the emphasis of soul and world, a technique Dylan would rediscover some thirty years later.”
“That Dylan/Handel link is a good find... I had a similar moment a few days ago and figured I would share.
* “I was reading Burmese Days by George Orwell and came across the line:
’What shall it profit a man if he save his own soul and
lose the whole world?’
* Bob Dylan, in the gospel-era song Ain't Gonna Go To Hell For Anybody:
‘But it don't suit my purposes, it ain't my goal/To gain the whole world and give up my soul’.
* Matthew 16:26:
’And what do you benefit if you gain the whole world but lose your own soul? Is anything worth more than your soul?’
“Note how Orwell alters the biblical line by switching the emphasis of soul and world, a technique Dylan would rediscover some thirty years later.”
Thursday, January 07, 2010
More on Dylan/Handel
Thanks to “Arja & John”:
“There is one Dylan/Handel connection that came rather belatedly to my mind, and one that comes just a few minutes before the Behold, I tell you a mystery/ The trumpet shall sound passage in the Messiah that you refer to.
“The women’s vocals in the unfinished ‘Hallelujah’ (1981 – on the Between Saved and Shot bootleg) are clearly using Handel’s rhythm for the word ‘Hallelujah’ from the Hallelujah Chorus, even if the notes and chords (minor key) are very different.
“Not that it takes a very intimate acquaintance with Handel’s output to reference the Hallelujah Chorus, and on balance the second of your options (Dylan… is familiar with 1 Corinthians 15, vv. 51-52, the New Testament source) is the most likely.
“This chapter is a key passage in the writings of St Paul (readily accessible online via sites such as biblegateway.com), where Paul talks about Jesus’ resurrection, and the resurrection that awaits his followers.
“Part 3 of Handel’s ‘Messiah’(Part 1 is basically the Christmas story, Part 2 uses primarily Old Testament prophecies to tell the story of Jesus’ suffering, death and eventual victory) turns its focus to the glories that await the believer, and is largely based on this chapter (verses 20-2 and 51-7).
“A lot of Dylan’s writing 1979-81 seems to come directly or indirectly from Paul – examples include Pressing on (from Philippians), the ‘fiery darts’ from What can I do for you? (from Ephesians); and Watered- down love is of course based on the ‘faith, hope and love’ chapter, 1 Corinthians 13.
“The times they are a-changin’ has obviously been a very important point of reference for Dylan for much of his career, often where the sentiments of the original are being challenged (the 1981 performances at e.g. Drammen and New Orleans, or the succession of important ‘change’ songs – Gonna change my way of thinking, Things have changed, I feel a change comin’ on): Ye shall be changed possibly stands in this tradition.
“The lyrics of the born-again albums are much more self-aware and self-referential than I remember noticing at the time – examples include the ‘don’t look back’ line in Pressing on, or the end-of-line ‘conceal’ in When He returns.
“Ye shall be changed (great song, by the way) is following the Slow train coming/Saved pattern of presenting beliefs founded on Biblical texts whilst taking a swipe at his past work.
“There’s no reason why Dylan shouldn’t be familiar with Handel’s work, and Messiah is a masterpiece, with musical and spiritual depths way beyond its most famous chorus.
“I hope you didn’t sleep through I know that my redeemer liveth.
“Thanks as always for a highly entertaining and informative daily contribution to the Dylan world.”
“There is one Dylan/Handel connection that came rather belatedly to my mind, and one that comes just a few minutes before the Behold, I tell you a mystery/ The trumpet shall sound passage in the Messiah that you refer to.
“The women’s vocals in the unfinished ‘Hallelujah’ (1981 – on the Between Saved and Shot bootleg) are clearly using Handel’s rhythm for the word ‘Hallelujah’ from the Hallelujah Chorus, even if the notes and chords (minor key) are very different.
“Not that it takes a very intimate acquaintance with Handel’s output to reference the Hallelujah Chorus, and on balance the second of your options (Dylan… is familiar with 1 Corinthians 15, vv. 51-52, the New Testament source) is the most likely.
“This chapter is a key passage in the writings of St Paul (readily accessible online via sites such as biblegateway.com), where Paul talks about Jesus’ resurrection, and the resurrection that awaits his followers.
“Part 3 of Handel’s ‘Messiah’(Part 1 is basically the Christmas story, Part 2 uses primarily Old Testament prophecies to tell the story of Jesus’ suffering, death and eventual victory) turns its focus to the glories that await the believer, and is largely based on this chapter (verses 20-2 and 51-7).
“A lot of Dylan’s writing 1979-81 seems to come directly or indirectly from Paul – examples include Pressing on (from Philippians), the ‘fiery darts’ from What can I do for you? (from Ephesians); and Watered- down love is of course based on the ‘faith, hope and love’ chapter, 1 Corinthians 13.
“The times they are a-changin’ has obviously been a very important point of reference for Dylan for much of his career, often where the sentiments of the original are being challenged (the 1981 performances at e.g. Drammen and New Orleans, or the succession of important ‘change’ songs – Gonna change my way of thinking, Things have changed, I feel a change comin’ on): Ye shall be changed possibly stands in this tradition.
“The lyrics of the born-again albums are much more self-aware and self-referential than I remember noticing at the time – examples include the ‘don’t look back’ line in Pressing on, or the end-of-line ‘conceal’ in When He returns.
“Ye shall be changed (great song, by the way) is following the Slow train coming/Saved pattern of presenting beliefs founded on Biblical texts whilst taking a swipe at his past work.
“There’s no reason why Dylan shouldn’t be familiar with Handel’s work, and Messiah is a masterpiece, with musical and spiritual depths way beyond its most famous chorus.
“I hope you didn’t sleep through I know that my redeemer liveth.
“Thanks as always for a highly entertaining and informative daily contribution to the Dylan world.”
Wednesday, January 06, 2010
Is Bob Dylan a closet Handel fan?
Fulfilling a long-held ambition, in 2009 I attended London concerts of three of the major works in the sacred music repertoire – Bach’s St Matthew and St John Passions and Handel’s Messiah.
(I’m an eclectic music lover, not a practising Christian.)
Towards the end of Messiah, I was startled out of my slumber – it wasn’t the most engaging performance – by a line which struck me as Dylanesque:
“we shall all be chang’d”
Followed by another verse starting:
“The trumpet shall sound”.
It reminded me, of course, of Ye Shall Be Changed, the Slow Train Coming out-take which saw daylight on Bootleg Series v1-3, and which also mentions a trumpet in the chorus.
How do we explain the striking similarities? Several possibilities:
* Dylan is a closet Handel fan, or at least he’s familiar with Messiah.
* Dylan, like Handel (or, more accurately, Charles Jennens, who assembled the libretto for Messiah), is familiar with 1 Corinthians 15, vv. 51-52, the New Testament source.
* pure coincidence.
If you’re a Bible scholar and are aware of any other Dylan-Handel links, please enlighten the rest of us!
Gerry Smith
(I’m an eclectic music lover, not a practising Christian.)
Towards the end of Messiah, I was startled out of my slumber – it wasn’t the most engaging performance – by a line which struck me as Dylanesque:
“we shall all be chang’d”
Followed by another verse starting:
“The trumpet shall sound”.
It reminded me, of course, of Ye Shall Be Changed, the Slow Train Coming out-take which saw daylight on Bootleg Series v1-3, and which also mentions a trumpet in the chorus.
How do we explain the striking similarities? Several possibilities:
* Dylan is a closet Handel fan, or at least he’s familiar with Messiah.
* Dylan, like Handel (or, more accurately, Charles Jennens, who assembled the libretto for Messiah), is familiar with 1 Corinthians 15, vv. 51-52, the New Testament source.
* pure coincidence.
If you’re a Bible scholar and are aware of any other Dylan-Handel links, please enlighten the rest of us!
Gerry Smith
Tuesday, January 05, 2010
Xmas album: not pushing the boundaries
Thanks to Andrew Robertson in Adelaide:
“Further to Brandon Young’s comments about Christmas in the Heart, I do not think you can compare that album with any of Dylan’s albums of original music.
“Dylan’s reputation – but more importantly, his art – is based on his writing, his original music.
“Other greats in music – perhaps most notably Frank Sinatra and Ella Sinatra – were great arrangers and/or interpreters of music written by others, but that is not Dylan’s claim to fame, nor his consummate skill.
“Is Christmas in the Heart a great CD?
“I am prepared to accept that different people will have different opinions, based on personal taste – but that’s the subjective judgment.
“However I think there is also an objective judgment: no, it isn’t, it’s a Christmas album, it might be the greatest ever Christmas album, but it is not pushing the boundaries of art, as Dylan’s original music does.
“Best wishes for 2010 to all… “
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
Thanks to Brandon Young:
“Hi! I'm a huge Dylan fan. Any album any show, any period. Period.
“People who don't like Dylan's new stuff can just watch "Don't Look
Back" and count themselves with the "Judas!" sayers. History will not absolve them.
“These people have no idea what Dylan is, what his influences are and
therefore why "Christmas in the Heart" is so important.
“I'm 27 and friends who only listen to rap dig the album. Of course these people aren't indoctrinated enough to be critics, who, in our age are in every category (art, literature, morality) out if step with the vast majority of people. There are exceptions.
“I am convinced that history will look back at this album and put on
par with Nashville Skyline, Desire, Time Out of Mind and Love and Theft.
“To the nay-sayers: look into the meaning of these songs; these old
traditional songs. They are mediaeval and identify with an
older, lost secret tradition.
“Rome falls nine times a day. Your job is to notice.”
“Further to Brandon Young’s comments about Christmas in the Heart, I do not think you can compare that album with any of Dylan’s albums of original music.
“Dylan’s reputation – but more importantly, his art – is based on his writing, his original music.
“Other greats in music – perhaps most notably Frank Sinatra and Ella Sinatra – were great arrangers and/or interpreters of music written by others, but that is not Dylan’s claim to fame, nor his consummate skill.
“Is Christmas in the Heart a great CD?
“I am prepared to accept that different people will have different opinions, based on personal taste – but that’s the subjective judgment.
“However I think there is also an objective judgment: no, it isn’t, it’s a Christmas album, it might be the greatest ever Christmas album, but it is not pushing the boundaries of art, as Dylan’s original music does.
“Best wishes for 2010 to all… “
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
Thanks to Brandon Young:
“Hi! I'm a huge Dylan fan. Any album any show, any period. Period.
“People who don't like Dylan's new stuff can just watch "Don't Look
Back" and count themselves with the "Judas!" sayers. History will not absolve them.
“These people have no idea what Dylan is, what his influences are and
therefore why "Christmas in the Heart" is so important.
“I'm 27 and friends who only listen to rap dig the album. Of course these people aren't indoctrinated enough to be critics, who, in our age are in every category (art, literature, morality) out if step with the vast majority of people. There are exceptions.
“I am convinced that history will look back at this album and put on
par with Nashville Skyline, Desire, Time Out of Mind and Love and Theft.
“To the nay-sayers: look into the meaning of these songs; these old
traditional songs. They are mediaeval and identify with an
older, lost secret tradition.
“Rome falls nine times a day. Your job is to notice.”
Monday, January 04, 2010
Olivier Dahan, film director who inspired Together Through Life
Thanks to Martin Cowan:
“Dylan Daily readers who are curious about the work of film director Olivier Dahan (evidently it was his request for a suitable song for his latest movie that inspired the feverish song writing that resulted in "Together Through Life") had the opportunity to see his earlier film about Edith Piaf, shown on BBC4 yesterday.”
(Though I like Edith Piaf’s music, and love Paris, the film wasn’t my tasse de the: trop crasse, a mon avis - GS)
“Dylan Daily readers who are curious about the work of film director Olivier Dahan (evidently it was his request for a suitable song for his latest movie that inspired the feverish song writing that resulted in "Together Through Life") had the opportunity to see his earlier film about Edith Piaf, shown on BBC4 yesterday.”
(Though I like Edith Piaf’s music, and love Paris, the film wasn’t my tasse de the: trop crasse, a mon avis - GS)
Friday, January 01, 2010
Xmas album: mediaeval
Thanks to Brandon Young:
“Hi! I'm a huge Dylan fan. Any album any show, any period. Period.
“People who don't like Dylan's new stuff can just watch "Don't Look
Back" and count themselves with the "Judas!" sayers. History will not absolve them.
“These people have no idea what Dylan is, what his influences are and therefore why "Christmas in the Heart" is so important.
“I'm 27 and friends who only listen to rap dig the album. Of course these people aren't indoctrinated enough to be critics, who, in our age are in every category (art, literature, morality) out if step with the vast majority of people. There are exceptions.
“I am convinced that history will look back at this album and put on par with Nashville Skyline, Desire, Time Out of Mind and Love and Theft.
“To the nay-sayers: look into the meaning of these songs; these old traditional songs. They are mediaeval and identify with an older, lost secret tradition.
“Rome falls nine times a day. Your job is to notice.”
“Hi! I'm a huge Dylan fan. Any album any show, any period. Period.
“People who don't like Dylan's new stuff can just watch "Don't Look
Back" and count themselves with the "Judas!" sayers. History will not absolve them.
“These people have no idea what Dylan is, what his influences are and therefore why "Christmas in the Heart" is so important.
“I'm 27 and friends who only listen to rap dig the album. Of course these people aren't indoctrinated enough to be critics, who, in our age are in every category (art, literature, morality) out if step with the vast majority of people. There are exceptions.
“I am convinced that history will look back at this album and put on par with Nashville Skyline, Desire, Time Out of Mind and Love and Theft.
“To the nay-sayers: look into the meaning of these songs; these old traditional songs. They are mediaeval and identify with an older, lost secret tradition.
“Rome falls nine times a day. Your job is to notice.”
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