Журнал Лайф готовит большую публикацию о Бобе и даже предлагает на странице фейсбука выбрать вариант обложки.
LIFE magazine working on Bob Dylan book - Check out potential covers
Together Through LIFE: According to a December 12 post on the Life.com Facebook page:
LIFE's editors are working on a special book on Bob Dylan. Which of these four covers is your favorite? Pick your favorite with the "Like" button.
Fans without a Facebook account can check out the four potential covers in the slideshow on the left. However, in order the vote for your favorite, readers must visit the Life.com page on Facebook.
The covers all feature the phrase "Bob Dylan - Forever Young - 50 Years On," and are all from the early to mid-1960s:
Dylan strumming in front of an old chair, in Woody Guthrie mode. Bob Dylan, topical folk singer The Essential Bob Dylan (Really. The photograph was used for a compilation with that name). Already used as the cover of the book, Bob Dylan by Daniel Kramer - A Portrait of the Artist's Early Years. I'd like to see number one as the cover because it's an unusual early shot, but I expect either number three or four to be chosen.
If the bar code is any indication, the "book" (or magazine) will sell for $12.99 in the U.S. ($16.99 in Canada), and is to be displayed until May 11, 2012. (Note to Life.com: Dylan turns 71 on May 24 ... You may want to extend that date.)
Would it be too cynical to think that all four covers will be used, so that collectors will scoop up the entire set?
It's LIFE, and LIFE only ...
(Thanks to everyone who shared the link on Facebook. You know who you are.)
Bob Dylan, Leonardo DiCaprio and Olivia Harrison to participate in Critics' Choice Martin Scorsese tribute
Tomorrow's 17th annual Critics' Choice Movie Awards ceremony just went electric.
The Broadcast Film Critics Association has announced that singer/songwriter Bob Dylan, along with Leonardo DiCaprio and Olivia Harrison (widow of Beatle George Harrison), will participate in Martin Scorsese's Music+Film Award tribute. DiCaprio and Harrison will present the award, while Dylan (who was featured briefly in Scorsese's "The Last Waltz" in 1978 and in depth in the 2005 documentary "No Direction Home") will toast the director with a performance.
Scorsese was announced in December as the second recipient of the award, which was inaugurated last year when it was presented to filmmaker Quentin Tarantino at the 2011 CCMA ceremony. The award honors "a single filmmaker who has touched audiences through cinematic storytelling and has heightened the impact of films through the brilliant use of source and original music."
Scorsese's film, "Hugo," meanwhile, was nominated for 11 Critics' Choice Movie Awards by the BFCA, including Best Picture and Best Director. His documentary, "George Harrison: Living in the Material World," was also nominated in the Best Documentary Feature category.
It's obviously an inspired selection, and a more apt choice for the honor than even last year's recipient, I'd wager. But it all dovetails nicely with Scorsese's work this year. And it will be a real treat to see Dylan offer up what's sure to be a fantastic tribute performance.
What follows is an essay I contributed to the Critics' Choice Movie Awards program in honor of Scorsese's receiving the award:
From the famous bass drum intro of The Ronettes' "Be My Baby" to open 1973's "Mean Streets," to the melancholy intermingling of Dinah Washington's "This Bitter Earth" and Max Richter's "On the Nature of Daylight" to close 2010's "Shutter Island," the films of Martin Scorsese have been as much a musical education as they've been a cinematic one.
Harry Nilsson's "Jump Into the Fire" is forever wedded to images of a strung-out Henry Hill scoping the skies for surveillance helicopters in "Goodfellas." Pietro Mascagni's "Cavalleria Rusticana: Intermezzo" takes on a whole new meaning when laid over a silhouetted, ballerina-like Jake La Motta sparring with the air in "Raging Bull."
There have been times, like this year's collaboration with Howard Shore on "Hugo," when Scorsese has seen fit to work with a film music composer for an original score. And those moments have been no less memorable: I can't ride the streets on a rainy New York night without the building horns and crashing cymbals of Bernard Herrmann's contribution to "Taxi Driver" creeping into my mind. The eerie cry of strings giving way to celebratory synth bells sounding at the end of "The Last Temptation of Christ," meanwhile, never fails to stir a collision of emotions in my heart.
Documenting musicians and their work has been just as integral to Scorsese's explorations on the screen as using their music to further narrative. Beginning with his involvement in Michael Wadleigh's lightning-capturing "Woodstock" in 1970 on through concert films featuring The Band and The Rolling Stones, as well as in-depth studies of towering icons like Bob Dylan and George Harrison, Scorsese's reverence for lyric and melody is as defining a characteristic of the artist as his often celebrated reverence for film.
And now, whether it's Peggy Lee ("After Hours"), Philip Glass ("Kundun"), Van Morrison ("Bringing Out the Dead"), Johann Sebastian Bach ("Casino"), Bob Dylan ("The Last Waltz"), Elmer Bernstein ("The Age of Innocence") or the Dropkick Murphys ("The Departed"), the moments flash as memories of the overall tapestry when we hear the tracks today.
That's the power Scorsese wields as a constructionist, building story with what we hear, as much as with what we see, cementing those moments as classic, instantly and forever.
I was happy to contribute that to the program because, indeed, Scorsese's work with music is very much a part of my cinematic upbringing, as I'm sure it is many others. The two elements are really inseparable.
The 17th annual Critics Choice Movie Awards, hosted by comedians Paul Scheer and Rob Huebel, will air live for the fifth straight year tomorrow on VH1 at 8pm ET/PT. It was announced this week that George Clooney will be on hand to present Sean Penn with the Joel Siegel Award for humanitarianism.
Meanwhile, Ty Burell, Vin Diesel, Kirsten Dunst, Donald Glover, Mindy Kaling, Ben Kingsley, Diane Kruger, Melissa McCarthy, Elizabeth Olsen, Paul Rudd, Maya Rudolph, Jason Segel and Owen Wilson have all been confirmed as presenters.
Отправлено:16.01.12 22:12.Заголовок:Боб с Томом отлично ..
Боб с Томом отлично спелись в туре 86го. А что, удобно: петь в один микрофон, даже не нада подстраивать его высоту друг под друга, как сиамские близнецы или даже два веселых гуся, один серый, другой белый! Кстати, именно тогда в Лондоне на Томин ДР в дрессрум к ним и завалились другие два лохматых гуся на букву ДЖ ну и другой народ какой-то... Отметили славно;) С Джеффом по-другому никак
Отправлено:17.01.12 00:35.Заголовок:А вот это уже страни..
А вот это уже страница настоящей истории брательников.Ребята не забывайте у нас историческая миссия донести до людей правду о создании единственной в мире настоящей супергруппы,так что Алла за тобой рассказка о этом случае.Пойдешь прямо первой полосой на сайте,не всё же мне одному отдуваться.
Отправлено:18.01.12 00:40.Заголовок:Да запросто могу кра..
Да запросто могу красиво всё рассказать и изложить все свои мысли по этому поводу и на первую и на последнюю полосу..., тока не уверенна, что то, что я изложу есть правда Всёж я в последнее время понахваталась всего подряд и здесь, и на ютьюбе (уже не пойму где вымысел, а где нет, особенно начитавшись ютьюбных комментов-рассадник сплетен)))) . Надо с Леной проконсультироваться, она всё ж знатный энциклопедист Тома (на ДВД Running down Том рассказывает про то, как он любит Боба и как ему жутко понравился их совместный мировой тур и что-то про свой день рождения в Лондоне, и это точно до Вильбурисов, надо пересмотреть! (написать перевод????)
Ke$ha, Adele, others cover Bob Dylan songs for Amnesty International
Anyone who ever doubted the transformative power of Bob Dylan's music need only look to Ke$ha.
The irreverent pop star known for singing about brushing her teeth with "a bottle of Jack" turns poignant while covering a song from one of music's great lyricists on the new four-disc "Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International." The project features 75 newly recorded Dylan songs by 80 artists, including Adele, Sting, Sugarland, Elvis Costello, hip-hop artist K'naan and others to support the human rights organization.
Ke$ha is one of the more unlikely stars to contribute to the compilation, released Tuesday. The pop star defined by party anthems like "Tik Tok" and "Your Love Is My Drug" took on Dylan's "Don't Think Twice, It's Alright." As she found herself alone in her bedroom for the first time in months, the words of the song — about a person bidding goodbye to a lover — took on a new, deeply personal meaning. She realized she was saying goodbye to her carefree, former life — before big hits and world tours brought on pressure and priorities. She broke down as she began singing, and the emotion is captured on the record.
"Everything has changed. It's amazing, but there are moments that are incredibly lonely. This caught me at one of those incredibly lonely moments, and it really struck home. There's a line, 'It's a long and lonesome road, babe, where I'm bound I can't tell.' It's tragically relevant," said Ke$ha in a phone interview. "I think these are all positive things for young people to see that you can be strong and you can be irreverent and you can say what you want and you have the freedom of speech, but I've learned that vulnerability is actually an asset. It can be just as much of an asset as strength."
Ke$ha isn't the only eye-popping name on the compilation: Nineteen-year-old Miley Cyrus does a rendition of "You're Gonna Make Me Lonesome When You Go." The project has a wide range of acts, from Maroon 5 to 92-year-old folk legend Pete Seeger, who sings "Forever Young" with a children's chorus. Dylan waived the publishing rights to his entire catalog, and all of the artists, musicians, engineers and others involved in the recording process did everything pro-bono.
Aerosmith guitarist Joe Perry, who recorded "Man of Peace," describes it as "thin ice" to cover an artist as iconic as Dylan, because not only are his songs brilliant, but his performances of those songs have become so revered themselves.
"(Artists like Dylan) know where (the songs) live and breathe and where the heartbeat is. So covering them can be a touchy thing," said Perry, who recorded the Dylan song "Man of Peace." ''Hopefully you don't make it different just for the sake of making it different. I just wanted to kind of reinterpret my take on the song and just have fun singing it."
Legendary country artist and actor Kris Kristofferson considers Dylan a personal friend but says he's been an inspiration and a hero a lot longer than that. Johnny Cash introduced them while Kristofferson was working as a janitor at Columbia Recording Studios in Nashville in the 1960s. At 75, Kristofferson says he has been around long enough to understand and appreciate Dylan's impact on music.
"If you look at pop songs before Dylan, none of them were poetry like his are. He opened up the doors for creative writers and made songwriting to me what it is today," said Kristofferson, who covers "Quinn the Eskimo (The Mighty Quinn)." ''Music was a whole lot different when I was a little kid. Pop music was lifted up as an art form by Bob Dylan."
British pop singer Natasha Bedingfield recorded "Ring Them Bells" in Nashville during her U.S. tour last year. She said she used to listen to it as a kid with her brother and sister.
"To me the song is about freedom, 'Ring them bells for the blind and the deaf, for the innocent,'" she said. "For me it felt quite poignant, particularly for this album, where Amnesty is all about people who are being unjustly treated."
"Chimes of Freedom" is a follow up to Amnesty International's 2007 collection of John Lennon songs performed by major artists, called "Instant Karma," which raised over $4 million for their efforts in Darfur.
"Music has been at the heart of so many movements for change," said Julie Yannatta, who served as the album's executive producer with Jeff Ayeroff. "Music has a way of reminding us who we are at our essence and what we need to do to live together in a better world, and Amnesty is very much a part of that."
The album will be available internationally on Jan. 30.
Bob Dylan tribute album honors Amnesty International too
Bob Dylan has been lauded so often as "the poet laureate of rock 'n' roll" that even the man himself, who for decades protested the notion that he was speaking for anything but his own musical muse, eventually caved and now incorporates the phrase into the voice-over introduction at his own concerts.
This week, a massive new four-CD tribute album, "Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International," amplifies that sentiment with recordings by 80 artists of 75 of his songs that demonstrate his influence not just on his own generation but on several succeeding ones.
The new album, which arrives Tuesday and from which proceeds will benefit Amnesty International's ongoing efforts to free political prisoners around the world, brings together numerous unlikely musical bedfellows: It finds room for 92-year-old folk singer and political activist Pete Seeger and 19-year-old pop princess Miley Cyrus; brash punk-rock band Bad Religion and elegant jazz standard-bearer Diana Krall; indie-rock group Silversun Pickups and chamber music's boundary-bending Kronos Quartet.
And it raises a question, arriving as it does in conjunction with this year's 100th anniversary activities marking the birth of Dylan's preeminent musical influence, rabble-rousing troubadour Woody Guthrie, who also is being saluted by a raft of musicians affected by his deft explorations of social and political issues: Could 2012 become the year that pop music rediscovers its political conscience?
The music of Dylan and Guthrie has been used prominently in "Occupy" protests across this country and at game-changing political uprisings in other countries. And these projects surrounding their work come just in time for what looks to be an exceptionally volatile presidential election year, one that comes on the heels of last year's Arab Spring protests that toppled long-entrenched repressive governments in several countries and helped foment myriad "Occupy" demonstrations in the U.S. and abroad.
Plus, both the Guthrie and Dylan projects tap a broad swath of artists from the pop music world, efforts that will likely draw attention across disparate genres, social and economic strata, gender, race and geographical boundaries.
The pairing of artist and beneficiary for the "Chimes of Freedom" project is a natural: Dylan released his first album in 1962, a short time after Amnesty began lobbying on behalf of prisoners of conscience. Both were informed by the conflicts between forces of totalitarianism and freedom during World War II and the consequent politics of the Cold War. Both found inspiration and validation in the politically minded music of Guthrie as well as that of Seeger, the Weavers and other folk revivalists who came to the fore in the '50s.
Dylan himself started out a Guthrie clone, but quickly evolved into a widely lauded singer-songwriter whose initial exposure came through recordings of his songs by Joan Baez; Peter, Paul & Mary; the Turtles; Sonny & Cher; the Byrds; and other rock and pop acts. "Some of the themes [in Dylan's songs] feel like they were ripped from the headlines," said Karen Scott, Amnesty International's manager of music relations and an executive producer of the "Chimes of Freedom" album. "We are reminded again and again that the quest for freedom, for dignity and for transparency are issues that are longstanding."
A similarly conceived 2007 album, "Instant Karma: The Amnesty International Campaign to Save Darfur," for which a variety of veteran and younger artists recorded songs of John Lennon, has generated more than $4 million for the human-rights organization. "It is creating awareness, getting people to open their eyes and perhaps take a deeper look at what this album is," Scott said. "They're going to keep seeing it, and they'll see their favorite artists posting about it. The hope is that once they hear the music, they'll want to take action."
That's how it is playing out for many of the younger-generation artists represented on "Chimes of Freedom." "When so many people hear your voice, you just feel like it's time to start saying something that should be heard," said Josh Homme, 38, of heavy-metal group Queens of the Stone Age, which recorded a raw, sizzling version of "Outlaw Blues." "I've done so much press over the years. It's great to talk about a new record and it's a beautiful thing to make one, but it's something else to be part of something that helps human rights…. At some point it starts to turn around and you feel like you finally have enough power to do something. If you don't do something to help somebody else, then you're using that power for the wrong reason."
Members of Chicago punk band Rise Against were attracted to "The Ballad of Hollis Brown" — a song that tells the story of a farmer who essentially loses everything. They decided to cover the song because it felt so timely.
"I thought it was a great comment on contemporary society and had a lot of great parallels between the farmers who are losing livestock, farms and crops [in the song] and the world in 2011, with people losing jobs, factory workers being out of work, poverty and income disparity," said Rise Against singer Tim McIlrath, 32. "When you listen to the song, it's almost like the rallying cry of foreclosure in 2011 and what happened to the American dream. It rings so true. That's the sign of a good song — it's timeless."
"Timeless" is a word that comes up a lot when describing Guthrie's songs as well, including "This Land Is Your Land," "Hard Travelin'," "Deportee" and "Pastures of Plenty." As the centennial of his birth on July 14, 1912, this year will see a bounty of activity highlighting his considerable impact, not just in popular music but across social and political strata worldwide from the ripples he started with his music.
Guthrie's legacy will be examined in new books, recordings, a slate of all-star concerts and educational conferences dotting the country throughout the year. The fact that Guthrie's songs have turned up during "Occupy" protests doesn't surprise his daughter, Nora, who is overseeing a broad spectrum of activities marking her father's birth. "I was in Italy and I went into a bar and there's a picture of Woody — in a bar, in Italy," she said. "I asked the bartender, 'Why is there a picture of Woody Guthrie here?' and he immediately launched into this whole long spiel saying, 'He was the fighter for the working people.' This has happened to me so many times in my life.
"That's because it's not about him," Guthrie continued. "He wasn't famous during his lifetime. He wasn't a celebrity. There have always been people who have said things like, 'Wasn't this land made for you and me?' He was just the one to put it in a word, in a phrase, in a verse. He caught it. I don't think any of those things will ever change. It's what people are asking around the country, and asking around the world, from the first tribe to the last tribe."
Kris Kristofferson, who sings the enigmatic "The Mighty Quinn" on "Chimes," recalled first meeting Dylan when he was with Johnny Cash in a Nashville recording studio where Kristofferson was working as a janitor. Without Guthrie, says Kristofferson, there might not have been a Dylan, and without Dylan, there's no understating how differently music might have evolved. "Everything changed with him," he said. "He brought a freedom of expression we never had before. If you look back on music before him, what was in the top 40 or the Hit Parade — there were no songs like Bob ended up writing," Kristofferson said. "And he influenced the Beatles. They weren't the same after they met. It wasn't 'I Want to Hold Your Hand' anymore."
Just as many rock purists looked down their noses when Olivia Newton-John recorded Dylan's "If Not For You" in 1971, some will scoff today at the thought of Top 40 pop artists such as Miley Cyrus (singing "You're Gonna Make Me Lonesome When You Go") and Kesha ("Don't Think Twice, It's All Right") taking a swing at Dylan's music on "Chimes of Freedom." Veteran record label executive Jeff Ayeroff, one of the album's co-producers, isn't among them.
The edict Ayeroff got from Dylan's camp upon opening his song trove for the benefit of Amnesty International couldn't have been clearer. "My assignment was not to be a snob; it was to be creative and to let everybody do it who wants to do it," said Ayeroff, who also shepherded the John Lennon tribute album. "There is no judgment here. We wanted to hear what people could deliver. Miley has spent a lot of time dealing with gay issues, she's young, she has a voice and is coming into her own as a young adult. She's actually very bright, very articulate…. And her godmother is Dolly Parton — you can take it from there."
Martin Lewis, producer of Amnesty International's original benefit event in 1976 and "contributing producer" of "Chimes of Freedom," said, "I really do think there is this political consciousness you can see in the younger artists they've got on the album. There's a sense of them pitching in and picking up a torch that's been handed to them."
New-millennial musicians such as Cyrus, Adele ("Make You Feel My Love"), the Belle Brigade ("No Time to Think") and Jack's Mannequin ("Mr. Tambourine Man") are joining the continuum of pop music activism that for all intents began in 1971 with the Concert for Bangladesh. At that watershed show, George Harrison, freshly out of the Beatles, recruited a slew of musician friends for concerts to raise relief money and awareness for the tiny war and weather-ravaged country north of India. Among the Bangladesh players: Ringo Starr, Eric Clapton, Leon Russell, Billy Preston … and Bob Dylan.
The mass platform for such music, however, has dramatically shifted since radio became big business and fell largely under the control of corporate ownership in the 1980s. But the Internet is leveling the playing field again by offering a potentially high-profile public arena for anyone making music with a message.
"For our 30-year anniversary last year, we put an image of a protester on the cover of our album, 'The Dissent of Man,'" said Greg Graffin, lead singer for SoCalpunk group Bad Religion ("It's All Over Now, Baby Blue"). "Our hope in doing that was, yes, to spark and celebrate the idea of protest in music. Whether or not it catches steam, it's very hard to say. But one thing we've seen in cities across America is young people showing they stand for each other. If we can help inspire that with music, it's a job well done."
Отправлено:10.02.12 17:45.Заголовок:Интевью с Бобом 1965..
Интевью с Бобом 1965 года.
Bob Dylan Interview by Nora Ephron & Susan Edmiston
This interview took place in late summer of 1965 in the office of Dylan's manager Albert Grossman. Dylan had just been booed in the historic Forest Hills concert where he abandoned folk purity to the use of electric accompaniment. he was wearing a red-and-navy op-art shirt, a navy blazer and pointy high-heeled boots. His fact, so sharp and harsh when translated through media, was then infinitely soft and delicate. His hair was not bushy or electric or Afro; it was fine-spun soft froth like the foam of a wave. He looked like an underfed angel with a nose from the land of the Chosen People.
Q: Some American folk singers--Carolyn Hester, for example--say that what you're now doing, the new sound, "folk rock," is liberating them.
A:Did Carolyn say that? You tell her she can come around and see me any time now that she's liberated.
Q: Does labeling, using the term, "folk rock," tend to obscure what's happening?
Q: It's like "pop gospel." What does the term mean to you?
A:Yeah, classical gospel could be the next trend. There's country rock, rockabilly. What does it mean to me? Folk rock. I've never even said that word. It has a hard gutter sound. Circussy atmosphere. It's nose-thumbing. Sound like you're looking down on what is... fantastic, great music.
Q: The definition most often given of folk rock is the combination of the electronic sound of rock and roll with the meaningful lyrics of folk music? Does that sum up what you're doing?
A:Yes. It's very complicated to play with electricity. You play with other people. You're dealing with other people. Most people don't like to work with other people, it's more difficult. It takes a lot. Most people who don't like rock and roll can't relate to other people.
Q: You mention the Apollo Theatre in Harlem on one of your album covers. Do you go there often?
A:Oh, I couldn't go up there. I used to go up there a lot about four years ago. I even wanted to play in one of the amateur nights, but I got scared. Bad things can happen to you. I saw what the audience did to a couple of guys they didn't like. And I would have had a couple of things against me right away when I stepped out on the stage.
Q: Who is Mr. Jones in "Ballad of a Thin Man?"
A:He's a real person. You know him, but not by that name.
Q: Like Mr. Charlie?
A:No. He's more than Mr. Charlie. He's actually a person. Like I saw him come into the room one night and he looked like a camel. He proceeded to put his eyes in his pocket. I asked this guy who he was and he said, "That's Mr. Jones." Then I asked this cat, "Doesn't he do anything but put his eyes in his pocket?" And he told me, "He puts his nose on the ground." It's all there, it's a true story.
Q: Where did you get that shirt?
A:California. Do you like it? You should see my others. You can't get clothes like that here. There are a lot of things out there we haven't got here.
Q: Isn't California on the way here?
A:It's uptight here compared to there. Hollywood I mean. It's not really breathable here. it's like there's air out there. The Sunset Strip can't be compared to anything here, like 42nd Street. The people there look different, they look more like... you want to kiss them out there.
Q: Do you spend a lot of time out there?
A:I don't have much time to spend anywhere: The same thing in England. In England everybody looks very hip East Side. They wear things... they don't wear things that bore you. They've got other hangups in other directions.
Q: Do you consider yourself primarily a poet?
A:No. We have our ideas about poets. The word doesn't mean any more than the word "house." There are people who write _po_ems and people who write po_ems_. Other people write _poems_. Everybody who writes poems do you call them a poet? There's a certain kind of rhythm in some kind of way that's visible. You don't necessarily have to write to be a poet. Some people work in gas stations and they're poets. I don't call myself a poet because I don't like the word. I'm a trapeze artist.
Q: What I meant was, do you think your words stand without the music?
A:They would stand but I don't read them. I'd rather sing them. I write things that aren't songs--I have a book coming out.
Q: What is it?
A:It's a book of words.
Q: Is it like the back of your albums? It seemed to me that the album copy you write is a lot like the writing of William Burroughs. Some of the accidental sentences--
Q: Yes, and some of the imagery and anecdotes. I wondered if you had read anything by him.
A:I haven't read _Naked Lunch_ but I read some of his shorter things in little magazines, foreign magazines. I read one in Rome. I know him. I don't really know him--I just met him once. I think he's a great man.
Q: Burroughs keeps an album, a collection of photographs that illustrate his writing. Do you have anything similar to that?
A:I do that too. I have photographs of "Gates of Eden" and "It's All Over Now, Baby Blues." I saw them after I wrote the songs. People send me a lot of things and a lot of the things are pictures, so other people must have that idea too. I gotta admit, maybe I wouldn't have chosen them, but I can see what it is about the pictures.
Q: I heard you used to play the piano for Buddy Holly.
A:No. I used to play the rock and roll piano, but I don't want to say who it was for because the cat will try to get hold of me. I don't want to see the cat. He'll try to reclaim the friendship. I did it a long time ago, when I was seventeen years old. I used to play a country piano too.
Q: This was before you became interested in folk music?
A:Yes. I became interested in folk music because I had to make it somehow. Obviously I'm not a hard-working cat. I played the guitar, that was all I did. I thought it was great music. Certainly I haven't turned my back on it or anything like that. There is--and I'm sure nobody realizes this, all the authorities who write about what it is and what it should be, when they say keep things simple, they should be easily understood--folk music is the only music where it isn't simple. It's never been simple. It's weird, man, full of legend, myth, Bible and ghosts. I've never written anything hard to understand, not in my head anyway, and nothing as far out as some of the old songs. They were out of sight.
Q: Like what songs?
A:"Little Brown Dog." "I bought a little brown dog, its face is all gray. Now I'm going to Turkey flying on my bottle." And "Nottemun Town," that's like a herd of ghosts passing through on the way to Tangiers. "Lord Edward," "Barbara Allen," they're full of myth.
Q: And contradictions?
Q: And chaos?
A:Chaos, watermelon, clocks, everything.
Q: You wrote on the back of one album, "I accept chaos but does chaos accept me."
A:Chaos is a friend of mine. It's like I accept him, does he accept me.
Q: Do you see the world as chaos?
A:Truth is chaos. Maybe beauty is chaos.
Q: Poets like Eliot and Yeats--
A:I haven't read Yeats.
Q: they saw the world as chaos, accepted it as chaos and attempted to bring order from it. Are you trying to do that?
A:No. It exists and that's all there is to it. It's been here longer than I have. What can I do about it? I don't know what the songs I write are. That's all I do is write songs, right? Write. I collect things too.
Q: Monkey wrenches?
A:Where did you read about that? Has that been in print? I told this guy out on the coast that I collected monkey wrenches, all sizes and shapes of monkey wrenches, and he didn't believe me. I don't think you believe me either. And I collect the pictures too. Have you talked to Sonny and Cher?
A:They're a drag. A cat got kicked out of a restaurant and he went home and wrote a song about it.
Q: They say your fan mail has radically increased since you switched sounds.
A:Yeah. I don't have time to read all of it, but I want you to put that I answer half of it. I don't really. A girl does that for me.
Q: Does she save any for you--any particularly interesting letters?
A:She knows my head. Not the ones that just ask for pictures, there's a file for them. Not the ones that say, I want to make it with you, they go in another file. She saves two kinds. The violently put-down--
Q: The ones that call you a sellout?
A:yeah. Sellout, fink, Fascist, Red, everything in the book. I really dig those. And ones from old friends.
Q: Like, "You don't remember me but I was in the fourth grade with you"?
A:No, I never had any friends then. These are letters from people who knew me in New York five, six years ago. My first fans. Not the people who call themselves my first fans. They came in three years ago, two years ago. They aren't really my first fans.
Q: How do you feel about being booed at your concert at Forest Hills?
A:I thought it was great, I really did. If I said anything else I'd be a liar.
Q: And at Newport Folk Festival?
A:that was different. They twisted the sound. They didn't like what I was going to play and they twisted the sound on me before I began.
Q: I hear you are wearing a sellout jacket.
A:What kind of jacket is a sellout jacket?
Q: Black leather.
A:I've had black leather jackets since I was five years old. I've been wearing black leather all my life.
Q: I wonder if we could talk about electronic music and what made you decide to use it.
A:I was doing fine, you know, singing and playing my guitar. It was a sure thing, don't you understand, it was a sure thing. I was getting very bored with that. I couldn't go out and play like that. I was thinking of quitting. Out front it was a sure thing. I knew what the audience was gonna do, how they would react. It was very automatic. Your mind just drifts unless you can find some way to get in there and remain totally there. It's so much of a fight remaining totally there all by yourself. It takes too much. I'm not ready to cut that much out of my life. You can't have nobody around. You can't be bothered with anybody else's world. And I like people. What I'm doing now--it's a whole other thing. We're not playing rock music. It's not a hard sound. These people call it folk rock--if they want to call it that, something that simple, it's good for selling records. As far as it being what it is, I don't know what it is. I can't call it folk rock. It's a whole way of doing things. It has been picked up on, I've heard songs on the radio that have picked it up. I'm not talking about words. It's a certain feeling, and it's been on every single record I've ever made. That has not changed. I know it hasn't changed. As far as what I was totally, before, maybe I was pushing it a little then. I'm not pushing things now. I know it. I know very well how to do it. The problem of how I want to play something--I know it in front. I know what I am going to say, what I'm going to do. I don't have to work it out. The band I work with--they wouldn't be playing with me if they didn't play like I want them to. I have this song, "Queen Jane Approximately"--
Q: Who is Queen Jane?
A:Queen Jane is a man.
Q: Was there something that made you decide to change sounds? Your trip to England?
A:I like the sound. I like what I'm doing now. I would have done it before. It wasn't practical to do it before. I spend most of my time writing. I wouldn't have had the time. I had to get where I was going all alone. I don't know what I'm going to do next. I probably will record with strings some time, but it doesn't necessarily change. It's just a different color. And I know it's real. No matter what anybody says. They can boo till the end of time. I know that the music is real, more real than the boos.
Q: How do you work?
A:Most of the time I work at night. I don't really like to think of it as work. I don't know how important it is. It's not important to the average cat who works eight hours a day. What does he care? The world can get along very well without it. I'm hip to that.
Q: Sure, but the world can get along without any number of things.
A:I'll give you a comparison. Rudy Vallee. Now that was a lie, that was a downright lie. Rudy Vallee being popular. What kind of people could have dug him? You know, your grandmothers and mothers. But what kind of people were they? He was so sexless. If you want to find out about those times and you listen to his music you're not going to find out anything about the times. His music was a pipedream. All escapes. There are no more escapes. If you want to find out anything that's happening now, you have to listen to the music. I don't mean the words, although "Eve of Destruction" will tell you something about it. The words are not really gonna tell it, not really. You gotta listen to the Stapes(Staple?) Singers, Smokey and the Miracles, Martha and the Vandellas. That's scary to a lot of people. It's sex that's involved. it's not hidden. It's real. You can overdo it. It's not only sex, it's a whole beautiful feeling.
Q: But Negro rhythm and blues has been around underground for at least twelve years. What brought it out now?
A:The English did that. They brought it out. They hipped everybody. You read an interview asking who the Beatles' favorite singer was and they say Chuck Berry. You never used to hear Chuck Berry records on the radio, hard blues. The English did that. England is great and beautiful, though in other ways kinda messy. Though not outside London.
Q: In what way messy?
A:There's a snobbishness. What you see people doing to other people. It's not only class. It's not that simple. It's a kind of Queen kind of thing. Some people are royalty and some are not. Here, man, somebody don't like you he tells you. There it's very tight, tight kinds of expressions, their whole tone of speaking changes. It's an everyday kind of thing. But the kids are a whole other thing. Great. They're just more free. I hope you don't think I take this too seriously--I just have a headache.
Q: I think you started out to say that music was more in tune with what's happening than other art forms.
A:Great paintings shouldn't be in museums. Have you ever been in a museum? Museums are cemetaries. Paintings should be on the walls of restaurants, in dime stores, in gas stations, in men's rooms. Great paintings should be where people hang out. The only thing where it's happening is on radio and records, that's where people hang out. You can't see great paintings. You pay half a million and hang one in your house and one guest sees it. That's not art. That's a shame, a crime. Music is the only thing that's in tune with what's happening. It's not in book form, it's not on the stage. All this art they've been talking about is nonexistent. It just remains on the shelf. It doesn't make anyone happier. Just think how many people would really feel great if they could see a Picasso in their daily diner. It's not the bomb that has to go, man, it's the museums.
Отправлено:20.02.12 10:20.Заголовок:Always Changing: An ..
Always Changing: An Interview with Bob Dylan
Interview by Vojo Sindolic
Bob Dylan and I met for the first time way back in the late Seventies, when I was editor-in-chief of then only Yugoslav rock and roll magazine called Jukebox, and I was often travelling to England and USA to make lengthy interviews with such rock stars and interesting persons like Leonard Cohen, Kris Kristofferson, John Lennon, Patti Smith, Neil Young, and members of rock groups like the Grateful Dead, the Pink Floyd, the Led Zeppelin, the Rolling Stones, etc.
As in all other cases in my literary life connected with the Beat Generation and other related writers, it was the Beats goodwill ambassador Allen Ginsberg who put me in contact with Bob Dylan. Later, which means mostly in the Eighties, Bob Dylan and I met several times, and almost on each occasion I did an interview with him. Usually, we talked about just everything – from politics to religion, from movies to literature. I must say that I never had, not even the slightiest impression that Bob is such a difficult person to talk to, or to approcah to. Maybe the reason lies in the fact that Bob knew and was aware that Allen Ginsberg highly appreciated my friendship and my decades long and successful efforts to translate the works of not only Beat Generation writers (Jack Kerouac, W. S. Burroughs, Gary Snyder, Michael McClure, Lawrence Ferlinghetti, Gregory Corso, etc.) but also the works of songwriters and poets like Leonard Cohen, James Douglas Morrison, Patti Smith, etc.
But, on the other hand, it’s also true that talking to Bob Dylan is the hardest thing to get going. Actually, talking to Bob is always a great pleasure and a big challenge because you never know if he’s going to be very exuberant and on a roll; if he’s really into something, he’ll want to keep talking about it. But it’s hard to get Bob to sit down and actually try anything.
While during the Spring of 2008 I was working on Croatian translation of Sam Shepard’s Rolling Thunder Logbook, in fact Sam’s recollection of Bob Dylan’s famous Roling Thunder Revue Tour in the Fall of 1975. I got news that Bob and his band will be performing only concert in this part of Europe on June 13, in the old city of Varazdin, Republic of Croatia.
So, with some help of my old friends from the States, I managed to get again in contact with Bob and got his agreement to do an interview with him upon his arrival to Croatia.
Well, Bob appeared together with the members of his band. It’s the same band that plays with him for the last few years (Tony Garnier – bass; George Recile – drums; Stu Kimball – rhythm guitar; Danny Freeman – lead guitar; Donnie Heron – banjo, violin, etc.). Some 15.000 people from Croatia, Serbia, Austria, Hungary, Slovenia, Bosnia & Herzegovina and Germany gathered together on a local football stadium in Varazdin, Croatia. Despite rain and bad weather, Dylan and his band played almost two hours and I got impression that he seemed to enjoy himself, took a little bow after most songs and sort of jiggled and bowed a lot at the end looking quite sheepish throughout. Even the selction of songs was quite interesting. For the perfectionists who may want to know what songs Dylan performed that night, here is complete setlist:
Rainy Day Women, Don’t Think Twice, It’s All Right, Lonesome Day Blues, Just Like A Woman, Rollin’ And Tumblin’, Tangled Up In Blue, Things Have Changed, Honest With Me, Love Sick, Highway 61 Revisited, Desolation Row, It’s Alright, Ma (I’m Only Bleeding), Ain’t Talkin’, Summer Days, Ballad Of A Thin Man, Thunder On the Mountain, Like A Rolling Stone
VS: Since I just finished translating Sam Shepard’s book on your famous Rolling Thunder Revue Tour from the Fall of 1975, I immediately want to ask you about your present-day feelings in regard to that tour, but also your movie Renaldo & Clara.
Bob Dylan: Well, Renaldo’s intense dream and his conflict with the present – that’s all the movie’s about. My main interest was not in literal plot but in the associational texture – colours, images, sounds. It’s obvious everyone was acting in that movie for dear life. Nobody was thinking of time. How else? Life itself is improvised. We don’t live life as a scripted thing.
VS: There’s also no sense of time?
Bob Dylan: You’ve got yesterday, today and tomorrow all in the same room, and there’s very little that you can’t imagine happening… What I was trying to do with the concept of time, and the way the characters change from one person to another person, and you’re never quite sure who is talking, if the first person is talking or the third person is talking… but to do that consciously is a trick, and if you look at the whole thing, it really doesn’t matter. In Renaldo & Clara I also used that quality of no-time. And I believe that the concept of creation is more real and true than that which dose have time… The movie creates and holds the time. That’s what it should do – it should hold that time, breathe in that time and stop time in doing that.
VS: What do you think about your performance in Pat Garrett and Billy the Kid? And what about song-writting for the same movie. Obviously, they are two completely different things?
Bob Dylan: I think that Sam Peckinpah had cast me quite intentionally. But, you know, nobody asked me what had been my concept of the soundtrack for the movie. And then of course I discovered that they took my music and they re-laid it, the studio did, behind Peckinpah’s back, so I would write a piece of music for particular sequence, and then the studio afterwards, in post-production, re-edited the whole thing and put that piece of music against another sequence and just completely screwed up what had been my concept of the music and movie.
VS: What about the movie Hearts of Fire?
Bob Dylan: What about it?
VS: How did you get involved in that?
Bob Dylan: The way the script came to me was through someone from the William Morris Agency and that person told me to look at the role of Billy Parker, and that the director Richard Marquand had me in mind to play that part. I stayed drunk most of the time. It was a terrible script and we (actors) had no control over it. I did it for money. I mean, why else would I do it?
VS: Do you still read a lot?
Bob Dylan: Some.
VS: Did you always read a lot?
Bob Dylan: I always read some.
VS: What about your new songs?
Bob Dylan: You know, when I was growing up, I used to listen to Hank Williams, Gene Vincent, Little Richard and all those people. I think they formed my style in one way or another. I can’t help this type of music I play, this is just the kind of type I’ve always played…
VS: I want to ask you few things about your poetical, literary works, not only “songwriting”. Not long before his death, during one of our last encounters, our mutual friend Allen Ginsberg told me something about you that I think is very significant so I want to repeat it to you: “Over Kerouac’s grave [during Rolling Thunder Revue Tour in the Fall of 1975], Bob Dylan told me that it was Mexico City Blues that ‘blew his mind’ and tured him on to poetry in 1958 or 1959 in St. Paul. And I asked ‘Why?’ and he said, ‘It’s the first poetry that talked American language to me.’ So you get a line in Dylan’s Gates of Eden like ‘the motorcycle black Madonna two-wheeled gypsy queen and her silver studded phantom lover’ which comes straight out of either Howl or Kerouac’s Mexico City Blues in terms of the ‘chain of flashing images’. Kerouac’s spontaneous pile-up of words. And that’s the way Dylan writes his lyrics. So poetry’s extended itself in its own lineage afterward into John Lennon, the Beatles, named after Beats, and Dylan, so that it’s gone around the world. And I think after the wave of Whitman and then maybe another wave of Pound, it’s probably the strongest wave of American influence on world literature – the combination of Whitman, the Beats and Bob Dylan.”
Bob Dylan: I don’t know if people have seen me sometime in 1963 or 1964. Anyway, I was singing songs back then. One was a song called Desolation Row. It was, “What’s he singing about?” They didn’t understand what I was singing about. I don’t think I did either. However, I understand now pretty much what I’m singing about. So it must have taken a while for Desolation Row, Maggie’s Farm, Subterranean Homesick Blues and all that stuff to catch on, because it wasn’t accepted very well at the time. I’ve always been prepared for adversity. I was always prepared back then, and now I’m even more prepared.
VS: So to say, is there any real difference between “Improvised poetics” and hard re-workings on some poems? I mean, what is the final result?
Bob Dylan: You can make something lasting. I mean, in order to live forever you have to stop time. In order to stop time you have to exist in the moment, so strong as to stop time and prove your point. So that you have stopped time. And if you succeed in doing that, everyone who comes into contact with what you’ve done – whatever it might be, whether you’ve written a poem, carved a statue or painted a painting – will catch some of that. What’s funny is that they won’t realise it, but that’s what they’ll recognise. My lyrics speak of the inner soul, of private pain, of the self, personal recognition – a private awakening. But people quite often want to be dulled… Don’t wait until it’s too late now. Lotta people wait until they’re old, lotta people wait until they’re at the end of the line. You don’t have to wait that long. Salvation begins right now, today.
Vojo Sindolic was born in Dubrovnik in what is now Croatia. A poet and painter, he has translated the works Gary Snyder, Allen Ginsberg, Jack Kerouac, Gregory Corso, Lawrence Ferlinghetti, Michael McClure, Robert Creeley, and many others.