#Guthrie highway

[motorcycletowingselangor]

motorbike rescue

Motorbike Rescue during emergencies within Klang Valley , Selangor and Johor Bahru , Call, 014-2458878 / 017-4387101 @motoaidmalaysia

[krispyweiss]

Hardly Strictly Bluegrass Day Two, Golden Gate Park, San Francisco, Calif., Oct. 5, 2024

It was strictly bluegrass to kick off Day Two of Hardly Strictly Bluegrass as the Dry Branch Fire Squad offered stories about HSB founder Warren Hellman and songs of the Civil War and death and Jesus alongside instrumentals on the Banjo stage. There were no amps during the day-opening set that found the quartet playing and singing into shared mics and telling slow-to-develop tales with good humor.

Later in the day, Moonalice would grace the Towers of Gold audience with the second “White Rabbit” of the festival - following Molly Tuttle’s Oct. 4 version - and Tuttle would return with Golden Highway to back Steve Earle for a set that included a surprise appearance from Emmylou Harris on “Goodbye” and a rare festival encore of “This Land is Your Land” to end Oct. 5 in San Francisco’s Golden Gate Park.

As a warm morning turned to a sweltering afternoon that found festivalgoers gathering in shady areas and leaving sun-drenched stretches of grass empty, Jobi Riccio and her rhythm section created a stripped-back, Hejira-era Joni Mitchell/Harris hybrid for the Rooster-farians, as the emcee called those gathered at Rooster stage. Playing during Buddy Miller’s daylong Cavalcade of Stars, Riccio surely earned some new fans.

Showcasing their new How to Make Mistakes LP, Fruition entertained the Swan stage shade-seekers as the quintet with multiple lead singers and multi-instrumentalist members took a a Bandian approach to 21st-century Americana with faux-blood harmonies buttressing ballads like “Still on My Mind.”

Following immediately on the adjacent Towers of Gold, Moonalice - with drummer John Molo, guitarist Barry Sless, singer Lester Chambers, bassist Pete Sears and others - turned in a hugely entertaining and soulful set that included the front-line trio of female vocalists leading the large band through such covers as Marvin Gaye’s “You’re all I Need to Get By” the Grateful Dead’s “Bird Song,” “(Turn on Your) Lovelight” and the aforementioned Airplane number.

Back on the Rooster for the ongoing Cavalcade, former Carolina Chocolate Drop Dom Flemons played bones, harmonica, guitar and quills on traditional songs to demonstrate what being an American Songster is all about. As he performed Elizabeth Cotten’s “Freight Train,” on guitar and “Brown Skinned Girl” on harmonica, Flemons proved himself the rare solo-acoustic performer who could hold a field full of festivalgoers in rapt (near) silence.

But he also had assistance from the Red Dirt Boys - who’d previously played a rich-gumbo show of their own - on original country and western songs from Traveling Wildfire and an old-timey rendition of “Going Down the Road Feeling Bad,” as he danced with rubbery legs of joy. A couple of false starts added to the spontaneous nature of this surprise mini-set.

Carlene Carter provided midafternoon lunchtime country music as the Sound Biteses prepared for Mavis Staples on the Banjo. And she did not disappoint, cooling down the afternoon with such hopeful numbers as “I’m Just Another Soldier,” “Handwriting on the Wall” “Respect Yourself” and “Freedom Highway” as she declared the healing power of music and her gruff, joyful laugh.

“We come to bring you some joy, some happiness, some inspiration - we want you to feel good,” Staples said.

And she made people feel just that though it was disheartening to see the 85-year-old American treasure needing to sit during a portion of her show, which she did not do in Ohio several months ago.

Earle, Tuttle & Golden Highway ended the day with 75 minutes - HSB’s longest performance - and opened with “Warren Hellman’s Banjo.” The show was a little under-rehearsed but a prime example of live music without a net with songs from the Del McCoury-Earle joint the Mountain, a cover of Little Feat’s “Willin’” and perhaps the most-emphatic version of “Copperhead Road” to date.

“This turned out exactly the way I wanted it to,” an exuberant Earle said with a comment that summed up Mr. and Mrs. Sound Bites’ day perfectly.

Read Sound Bites’ HSB Day One coverage here.

10/6/24

[tilbageidanmark]

Dylan, yesterday

[dupreesketchpad]

Young Robert Zimmerman #bobdylan

Artwork by Georges Dupree

[stonecoldpinkerton]

I first heard Bob Dylan on some TV show. I was maybe 10 years old. They used Shelter from the Storm in the episode. What a flawless work of art that song is. I summarily read Bob Dylan's autobiography. It was about his entire life, all his experiences. And yet- and here's the interesting thing- he only wrote about 3 albums that he wrote.

Bob Dylan has many famous albums- The Freewheelin' Bob Dylan, Highway 61 Revisited, Blood on the Tracks, Blonde on Blonde, and more. He only wrote about 3 albums.

He wrote about his first album, the start of his career, the self titled album "Bob Dylan". He wrote about the album he was writing as he was writing the very book, the album "Oh Mercy". And he wrote about his most infamous album, "Self Portrait".

I would have to make a separate post to thoroughly talk about Oh Mercy. What I remember about his first album is this: he explained that he had an interview with someone from the record label. The record guy was asking him "where are you from" "what brought you to New York" etc. They wanted a short paragraph to put on the back of the album.

Bob explains that he came to New York on a freight train. Record guy asks "You mean a passenger train?"

Bob answers, "Freight train." Then, breaking the scene, author-Bob explains he *actually* came to NY on a passenger train.

To most, Bob Dylan was, as Joan Baez described, "the original vagabond, the unwashed phenomenon". The king of the New York folk scene. It had been on the rise with artists like

Tom Paxton

and Peter, Paul and Mary,

Simon and Garfunkel.

But Bob Dylan was the one that really defined it.

Bob Dylan's real name is Robert Allen Zimmerman. He was raised in the south, Missouri. His parents were ethnic Jews and he was raised Catholic. He grew up listening to gospel music, blues, and, famously, Woody Guthrie.

But his music never sounded like he'd been raised on gospel. No, he put tradition in the wind. He was the New York dynamo, Bob Dylan!

The fame wore him out quick. For all his poetry and expression, he never felt understood. His identity was the freight train kid, not the passenger.

Years of wear and tear get to him. I get the sense he resented the people who looked up to him.

And here we get to the meat and potatoes.

Self Portrait.

Rolling Stone magazine put out an issue reviewing it. The cover stated in bold text, "What the fuck is this shit?" Bob released the album knowing it would tank his career. And man, this album is filled with gospel inspired tracks.

The album opens with "All the tired horses". Just go and fucking experience that song. Close your eyes, breath deep, and listen. Really listen.

Self Portrait is, in my mind, the greatest Dylan album.

I used to *think* I understood Dylan. But listening to Self Portrait, for the first time I *felt* I understood Mr. Zimmerman.

Thanks for reading y'all. Keep safe. You're valuable, you have a right to be here, just as much as anyone else. Just as much as the trees and stars. You matter.

:)

[saltlickmp3]

BOB DYLAN LYRIcS AND CRAZY NOVEL LIKE RELATIONSHIP WITH JOAn bAEZ

okay i'm gonna answer this cos i was listening to joan earlier SO (and no i dont know why this is in greentext format just roll with it i'm so sorry) (this is uhh veeeeery very long too)

>1962/3

>some scruffy loser calling himself bob dylan shows up in new york with a guitar and pretty much cosplays as woody guthrie for a bit

>joan baez, who is the same age, made her debut self-titled album at nineteen years old and is well liked by everyone, her music is generally appreciated by everyone on the scene, she has a beautiful voice and strong vibrato and really good at guitar, involved in activism stuff, played with lost of older respected musicians, the whole folksinger package

>but she doesnt really write her own stuff

>bob dylan write copious volumes of material but his performance is uhhhh less than amazing and technical ability has uhm room for improvement

>his debut self titled album flops hard

>scene is pretty small so they inevitably meet

>joan is like lol look at this loser isnt he cute hehe--his songs are pretty good too huh

>she invites him to play with her, they do a bunch of shows together etc and eventually get romantically involved. joan introduces him to civil rights stuff & anti-war stuff & anti nuclear and all that stuff

>bobs stuff was already political but in a sort of abstract way, his work gets a lot more specifically activist-ey in a very powerful way

>they're still doing a lot of shows together-bob is pretty famous on the folk scene at this point, largely because of joan endorsing him pretty much lol, still romantically involved. music press starts paying attention to bob dylan and he releases quite a few albums with famous songs on them. people kinda shit on him for his voice its a whole thing but i really like his voice so whateverr

>but by 1965 music is starting to get Weird, beatles are happening etc, lots of new styles of music, new youth culture, drugs are also happening

>bob releases bringing it all back home - some of these songs have electric band backing, where previous All Bar One of his songs were solo acoustic guitar, vocals, maybe some harmonica. some people are vaguely put out by this but i think most people find it pretty cool

>20th july 1965 bob releases Like A Rolling Stone, arguably his most famous song. it is very electric and a banger and much Much more rock (it was pop then but yknow) than folk. young people go YAY YIPPEE

>newport folk festival 25th 1965 (five days later) bob plays with an electric band (later to be known as The Band) to Outrage from folk purists who thought he was their god etc. someone shouts 'judas' at the stage implying he was betraying folk music by going electric and that guy must absolutely shit himself every time he remember that he did that because goddamn. pretentious twenty-somethings who hadnt even liked folk music before bob dylan get mad at him, old folk singers are mad at him, popular myth says the famously pacifist pete seeger threatened to cut the power cable with an axe. everyone is Big Mad except like a rolling stone goes hard and people who care a bit less about Proper Folk Music think its a banger

>highway 61 revisted comes out and bob dylan is now a major sensation amongst music enjoyer everywhere, like his stuff is really really cool, new and exciting, also decidely Not Folk but like really very cool. bob also starts smoking weed and taking speed b/c ofc he does & if you look him up he looks like twelfth doctor with the sunglasses and the hair and i'm right on that

>joan is still doing traditional folk music mostly. she is less than amused at bob going electric but iirc mostly polite about it. later that year she released 'farewell, angelina' an album of covers of bob's songs. a lot of them are Very Good, all sung with much more skill than bob could ever hope for sorry bob. which is like. Damn Okay Joan Thats A Move but it was probably finished before newport.... idk..........

>england is suddenly like OMG BOB DYLAN????????? at around 1964/65 but it takes a long time for music to get over there b/c the british music industry had a thing about only selling uk artists so american records were special import it's a whole thing. so people are just getting his famous folk stuff riiiight as he changes his mind about that and starts doing rock music instead, though still with a very poetic bent

>on a related note uk albums were often released differenet in north america to 'appeal to american audiences'?? so the version of the beatles rubber soul that inspired bob dylan and like lou reed and Everyone is kinda of.... wrong...... its weird

>bob n joan's relationship is kinda strained at this point, due to musical differences and yknow relationship stuff, not helped by the fact that bob could be a bit of a prick and was also quickly accumulating A Legend around him. not helped by his insanely cryptic and often nonsensical interview responses.

>at some point in the middle of all this bob marries Sara Lownds in secret. no one knows. he doesnt tell joan. he's not With with joan anymore but she didnt know he was literally marrying someone else. apparently sara wasnt really a music person and didnt know exactly why he was so famous.

>1966 uk tour (this is filmed in d.a. pennebaker's DONT LOOK BACK (no apostrophe. cos dont & look & back all have four letters so it fits on a poster and the apostrophe would muck up teh symmetry also they were all really fuckin pretentious)). bob is playing mostly electric sets with The Band (known then as the Hawkes) which was A Choice To Be Sure

>some people love it but all the folk purists think he's awful and bad and terrible boo him offstage etc which is pretty terrible

>he starts taking a lot of drugs. music gets Weirder. he's kinda not doing too good

>joan shows up partway through the tour and its......awkward....... to say the least. he'd kind-of-not-really-ish broken up with her & then got married to someone else but she just inserted herself in there. idk why. the whole of dont look back he's kinda dismissive of/rude to her ngl

>meanwhile his Mythos has built to uncontrollable levels. he doesnt exactly help this b/c he's very clever with words so people would obvious find meaning in his lyrics, and when he spit nonsense in interviews people would often find a method in the madnes yknow?? like he's smart. he's also really weird. but people have started reading WAYYYYYYYYYYYYY too much into EVerything he says and does. like everything. like idek what a modern comparison would be. gaylors have nothing on this shit. understandably he gets pissed off at people asking stupid questions

>joan has a girlfriend at this point also. like yeah in a lesbian way. she says she's straight but she did have a girlfriend her name was kimmy

>blonde on blonde comes out in '66. its his most......... 60s album if you know what i mean. like its lots of drugs and lots of instruments and plays on words and its very good, big double album, he's looking super hip on the cover, songs rumoured to be about edie sedgwick, the whole shebang. the lyrics are inspiration for batshit insane theories for decades to come even though a lot of it likely is just in there cos it sounds cool and rhymes.

>includes the song 'sad eyed lady of the lowlands', which is about sara. joan thinks its about her and says so. bit awkward. its a beautiful song and bob never plays it live, it was recored at like three in the morning and the band didnt know how long it was gonna be etc etc lots of myth

>in november 1966 bob dylan has a motorcycle acciedent near his home in woodstock new york state and is in hospital. music enjoyers everywhere Very concerned. he's okay, and after this more or less disapears from public life for a bit. has a bunch of kids. just chilling in the countryside. does a bunch of jamming with The Band, lives of royalities etc. tries to avoid people mostly. this mysterious disapearance combined with blonde on blonde fuels a lot of theorising by fans which he thinks is stupid

>in just five years bob did more musical innovation than most muscians could ever hope to, and he Never WOuld Have been Famou s WIthout Joan.

>joan is getting even more involved in activist work as the vietman war drags on and on. still doing folk music. she has electric instruments in her stuff eventually but still in a definitively Folk Style. she plays at the Woodstock Festival in 1969, she got married too, doing lots of activism stuff, everyone still really likes her music. 1969 bob relases his country album which most people (bob included) think is kinda trash

>1972 joan releases 'to bobby' (she called him bobby a looooong time after everyone just called him bob). which is. Wow. its uhmmm. well. it's a song beseeching bob to come out of retirement and help out with the anti-war cause. lots of musicians though that is he wrote a good new anti-war song it would really help the cause like he used to in the early sixties. bob was pissed at this like relaly annoyed he though she was being far too presumptuous and i really gotta agree with him there like dude's been through enough.

>1975, bob's been back touring for a year -ish. he decide's he gonna put together the ROLLING THUNDER REVUE which is pretty much him & all his friends who are also folk.country.rock whatever you wanna call it musicians and they go arund a whole bunch of little venues and generally have a good time. lineup includes joni mitchell robbie robertson roger mcguinn emmylou harris, a very cool violin player called scarlett (i think) allen ginsberg the poet who had a gay crush on dylan in the sixties, the blonde guitarist from ziggy stardust AND JOAN BAEZ :D there are like ten people on the stage at once and loads of guitars and various string instruments etc and they redo all these dylan songs in new and exciting ways.

>they film some of it to make this move called Renaldo and Clara. i havent seen it (yet) but its like a semi-fiction semi-documentary film about the tour and also some sort of plotline they string together from somewhere idk. joan is in this film too. from what ive seen there are some uhh. some fairly OUGH scenes, on top of bob n joan singing together on stage all the time. there s clip of bob saying that he n joan could sing together in their sleep. she is still a wayyyy better singer than him but his voice is really good these years and they way they do the songs together is veeeeryyyyy cool. theres a scene in the film where bob says (and i quote) 'it really displeases me that you went off and got married' (OUT OF NOWHERE MIGHT I ADD) and joan says 'you went off and got married first and didnt tell me' and he doesnt really have an answer to that. like GODDAMNIT BOY

>there another scene where there was a bit of a script but joan went off and said something like 'do you know why we never couldve got married?' and bob was apparently bad at improv so he wasnt saying anything and so joan just kept talking going through all the reasons why they never got married and all the issues between them. On Camera. like damn.

>also in 1975 joan's album Diamonds & Rust comes out. the title track is one joan wrote herself and it is Very Clearly about bob and its uhhh a little bit scathing. also very very good. generally regarded as one of her best songs. awkward as you can imagine. 'my poetry was lousy you said' 'we both know what memories can bring / they bring diamonds and rust' 'you burst on the scene already a legend'

Now you're telling me You're not nostalgic Then give me another word for it You who are so good with words And at keeping things vague 'Cause I need some of that vagueness now It's all come back too clearly Yes, I loved you dearly And if you're offering me diamonds and rust I've already paid

LIKE GODDAMN JOAN OKAY

>bob gets divorced from sara in 1976? 77? idk that happens too. i think joan gets a divorce too but not sure.

>theres a bit gap in my knowledge here idk what happens to them specifically after that. like i know a bunch about bob but nothing relevant rn. hes christian for a bit. makes some albums that suck and some that are good. joan still does folk music & mostly covers.

>in 2003 bob releases a memoir called Chronicles Vol. I (supposedly of three but theres only one lol). he talks about joan a bit, how could he not, describes how he was so envious of her when he was 21 and saysing 'she looked like a religious icon, like somebody you'd sacrifice yourself for'. super normal thing to say about your ex ahaha.

>2022 the rolling thunder revue film comes out (its a netflix film but also. internet archive) and they're both interviewed for it. some iconic moments. i think most interviewers sort of stopped asking joan about bob out of politness after a while but obviously she talks about him there thats what the films about. yeagh.

>joan baez like hangs out with lana del ray n stuff now & has books out or her little drawings. she also paints. and bob still tours at 82 (almost 83) years old. and still relreases new stuff. yeagh

ANYWAYS the concise history of Joan Baez and Bob Dylan. sources: dude trust me ahahah no but the source is the 2022 rolling thunder film, dylan's chronicles and around a year of being obsessed with bob dylan. he was my real life old guy blorbo fr.

[no1-pogi-americano]

Bob Dylan, born Robert Zimmerman on May 24, 1941, in Duluth, Minnesota, is one of the most influential and groundbreaking figures in the history of music. Over the course of his career, which spans more than six decades, Dylan has made an indelible impact on the worlds of folk, rock, and popular music, transforming the way music is written, performed, and interpreted. Known for his profound lyrics, distinctive voice, and innovative approach to songwriting, Dylan has earned acclaim as one of the greatest poets of the 20th century, with his work often reflecting themes of social change, personal reflection, and existential questioning.

Dylan’s early life was shaped by his family’s move to Hibbing, Minnesota, where he grew up and developed an interest in music. He was influenced by a wide range of genres, including blues, folk, country, and rock and roll, and by the time he was a teenager, he had started performing in local clubs and bars. In 1961, he moved to New York City with the aim of pursuing a career in music. There, he immersed himself in the folk music scene and became a protégé of folk legend Woody Guthrie, whose influence on Dylan’s early work would be profound.

Dylan’s debut album, Bob Dylan (1962), was a modest beginning, featuring a blend of folk covers and a few original songs. However, it was his second album, The Freewheelin' Bob Dylan (1963), that marked the beginning of his transformation into a cultural and musical icon. The album contained some of his most famous songs, including “Blowin' in the Wind” and “A Hard Rain’s a-Gonna Fall,” which resonated deeply with the political and social unrest of the 1960s. His lyrics, which were poetic, ambiguous, and open to interpretation, quickly earned him a reputation as a spokesman for the youth counterculture and the civil rights movement.

Throughout the early 1960s, Dylan’s music evolved rapidly. His songwriting became more complex, and his lyrics often tackled themes of social justice, alienation, and political activism. Songs like “The Times They Are A-Changin'” became anthems of social change, while others, such as “Masters of War” and “With God on Our Side,” showcased his growing sense of disillusionment with authority and war.

However, Dylan's career took a dramatic turn in 1965, when he famously "went electric." At the Newport Folk Festival, Dylan shocked his folk music fans by performing with an electric band, abandoning his acoustic roots for a more rock-oriented sound. This move was met with controversy and divided his fanbase, but it also opened up new musical possibilities for Dylan. His albums Bringing It All Back Home (1965) and Highway 61 Revisited (1965) blended rock, blues, and folk influences, marking a creative high point with songs like “Like a Rolling Stone,” which is often considered one of the greatest rock songs of all time.

[dreaminginthedeepsouth]

Pete Seeger's banjo "This machine surrounds hate and forces it to surrender"

* * * *

Pete Seeger: 20 Essential Tracks

Remember the folk icon with a playlist spanning his acclaimed career

*

This Land Is Your Land Words and Music by Woody Guthrie

This land is your land, this land is my land From California to the New York island, From the redwood forest to the Gulf Stream waters; This land was made for you and me.

As I was walking that ribbon of highway I saw above me that endless skyway; I saw below me that golden valley; This land was made for you and me.

I've roamed and rambled and I followed my footsteps To the sparkling sands of her diamond deserts; And all around me a voice was sounding; This land was made for you and me.

When the sun came shining, and I was strolling, And the wheat fields waving and the dust clouds rolling, As the fog was lifting a voice was chanting: This land was made for you and me.

As I went walking I saw a sign there, And on the sign it said "No Trespassing." But on the other side it didn't say nothing. That side was made for you and me.

In the shadow of the steeple I saw my people, By the relief office I seen my people; As they stood there hungry, I stood there asking Is this land made for you and me?

Nobody living can ever stop me, As I go walking that freedom highway; Nobody living can ever make me turn back This land was made for you and me.

[whiteshipnightjar]

Does art make a difference?

Aw, sure. Of course there are degrees of extremity to the potential change that art can effect, depending on how many people are able to engage with it. The Beatles made a huge difference in the world. But Henry Darger, Jeff McKissack, Karen Dalton, Pauline Oliveros, Kenneth Patchen – there are so many folks who have made great art and not gotten massively famous for it, yet I think there are all sorts of ways their work informs and shapes other people’s work, and brains, and decisions.

Should politics and art mix?

Well, everything mixes, the New Statesman! That’s like asking if a knee-reflex hammer and a quadriceps tendon should “mix”.

Is your work for the many or for the few?

That’s for the many/few to say. I just crank out the hot jams.

If you were world leader, what would be your first law?

Gravity. I feel like we need to tighten up the constitutional protections that particular law enjoys. It’s a ticking time bomb, if you ask me.

Who would be your top advisers?

Cute angel on one shoulder, cute devil on the other.

What, if anything, would you censor?

Maybe we could all agree to not bust each other’s chops all cut-dang day.

If you had to banish one public figure, who would it be?

Don’t know, banishment might be a little extreme, but I’d sure like to take that Stephen Hawking dude down a notch or two. Right? Are you with me?

What are the rules that you live by?

Basically, “bros before hos”. I feel like if you stay true to that, everything else just kind of falls into place.

Do you love your country?

I love William Faulkner, Dolly Parton, fried chicken, Van Dyke Parks, the Grand Canyon, Topanga Canyon, bacon cheeseburgers with horseradish, Georgia O’Keeffe, Grand Ole Opry, Gary Snyder, Gilda Radner, Radio City Music Hall, Big Sur, Ponderosa pines, Southern BBQ, Highway One, Kris Kristofferson, National Arts Club in New York, Ruth Crawford Seeger, Joni Mitchell, Ernest Hemingway, Harriet Tubman, Hearst Castle, Ansel Adams, Kenneth Jay Lane, Yuba River, South Yuba River Citizens League, “Alice Doesn’t Live Here Anymore”, “Hired Hand”, “The Jerk”, “The Sting”, “Butch Cassidy and the Sundance Kid”, clambakes, lobster rolls, s’mores, camping in the Sierra Nevadas, land sailing in the Nevada desert, riding horseback in Canyon de Chelly; Walker Percy, Billie Holiday, Drag City, Chez Panisse/Alice Waters/slow food movement, David Crosby, Ralph Lauren,San Francisco Tape Music Center, Albert Brooks, Utah Phillips, Carol Moseley Braun, Bolinas CA, Ashland OR, Lawrence KS, Austin TX, Bainbridge Island WA, Marilyn Monroe, Mills College, Elizabeth Cotton, Carl Sandburg, the Orange Show in Houston, Toni Morrison, Texas Gladden, California College of Ayurvedic Medicine, Louis Comfort Tiffany, Saturday Night Live, Aaron Copland, Barack Obama, Oscar de la Renta, Alan Lomax, Joyce Carol Oates, Fred Neil, Henry Cowell, Barneys New York, Golden Gate Park, Musee Mechanique, Woody Guthrie, Maxfield Parrish, Malibu, Maui, Napa Valley, Terry Riley, drive-in movies, homemade blackberry ice cream from blackberries picked on my property, Lil Wayne, Walt Whitman, Halston, Lavender Ridge Grenache from Lodi CA, Tony Duquette, Julia Morgan, Lotta Crabtree, Empire Mine, North Columbia Schoolhouse, Disneyland, Nevada County Grandmothers for Peace; Roberta Flack, Randy Newman, Mark Helprin, Larry David, Prince; cooking on Thanksgiving; Shel Siverstein, Lee Hazlewood, Lee Radziwill, Jackie Onassis, E.B. White, William Carlos Williams, Jay Z, Ralph Stanley, Allen Ginsberg, Cesar Chavez, Harvey Milk, RFK, Rosa Parks, Arthur Miller, “The Simpsons”, Julia Child, Henry Miller, Arthur Ashe, Anne Bancroft, The Farm Midwifery Center in TN, Martha Graham, Alvin Ailey, Jr., Eleanor Roosevelt, Clark Gable, Harry Nilsson, Woodstock, and some other stuff. Buuuut, the ol’ U S of A can pull some pretty dick moves. I’m hoping it’ll all come out in the wash...

Are we all doomed?

If we keep our expectations pretty low I think we might be fine. I mean, we’re definitely all dying at some point. There’s no getting around that. But between now and then, things might start looking up!

— Joanna Newsom for The New Statesman, 2008

[ferylcheryl]

In which James Fitzjames meets James Fitzjames in the afterlife, the portal to which happens to be inside the walk-in freezer of a Bible Belt Taco Bell:

The stranger’s jaw clicks and slides beneath James’ lips, an unnatural looseness.

“No,” the stranger murmurs, ever genial. “I’m ever so sensitive about the old jaw.”

James murmurs acknowledgment, moving instead up toward the ear, crowded round with brown curls. His hair smells freezer-burnt and charred at once. Ah, well. James didn’t smell like violets himself, what with his breath like tarnished copper, the delicate lattice-work of blood about his own hairline. Even the scattering of unquiet holes reopening down his ribs and belly had a smell about them like cheap wine, mashed meat, lead.

But you take what you’re given here, whatever is recognizable as human when it makes its way out of the walk-in: before this it was the waterlogged Norwegian, shaking the crisp-stenched Bering Sea from his furs like a dog. He had an Easter Island sort of face and you could hear the roar as of a great engine at his back as the walk-in door swung shut behind him.

“Has Fred come yet?” He asked. An unpalatable directness about him.

“Fred? No Fred yet. We have had a Frank—handsome, though his chest smoldered. And a Francis is expected, if he ever deigns to put in an appearance.”

The Norwegian was in no mood for conversation. “When Fred comes, tell him I’ve gone on to Buffalo.”

“Where is that? And who might you be?”

“He’ll know where. He knows who.”

Mostly James was a messenger. He met them at the portal, which had been improbably placed inside the walk-in freezer of a Taco Bell cantina just off the highway in Guthrie, Oklahoma, and he passed messages along. Gave directions. Eavesdropped on the living, kept his little lonely journal on napkins.

But sometimes he was blessed with a companion. This stranger had come striding out looking around alertly, smiling genially, and it was—oh, a magnetism so great it almost hurt. A sense of familiarity. They did not even have to speak. As though this were husband, brother: like beneath his naval dress he knew the body he’d find there, the wounds a miraculous echo of his own.

Now the stranger was carefully working James loose of his layers. There in the dingy restroom he did not even care if he saw himself as he was. He could face it.

“You’re the handsomest man I ever saw,” said the stranger, running his hands down James’ gaunt, mottled ribcage. Each bone, each furrow, lovingly mapped out.

“Listen,” he continued. “When we are finished here—I’m famished. Is there food near?”

“Do you like tacos?”

“I’ve no idea what a taco is. I’d like anything.” By now he’d knelt—wincing as though his knees were glass—and laid his palms on James’ open thighs. “You I’d like best of all.”

“Have you always been so charming?”

“Oh, yes. And you so lovely?”

James nods. “Yes, always.”

Ao3 link:

[bluevelvet-redroses]

Blue Velvet & The Goth Song That Was Going To Feature Its Soundtrack

The scene in Blue Velvet where Jeffrey and Sandy slow dance together to the beat of Julee Cruise's hopeful yet heart-wrenching dream pop song "Mysteries of Love" is probably one of the most beautiful scenes in the movie. However, it wasn't the case originally.

In late 1984, gothic dream pop collective This Mortal Coil would release their first album "It'll End In Tears". This Mortal Coil was a collective of artists signed to the alternative music label 4AD in the eighties, and it would mostly cover folk and rock songs from other artists (from Big Star to Talking Heads).

The second track of It'll End In Tears is a cover of Tim Buckley's "Song To The Siren", performed by Liz Fraser and Robin Guthrie of gothic dream pop group Cocteau Twins, who also covered Roy Harper's "Another Day" in the same album.

David Lynch had particularly grown fond of This Mortal Coil's version of Tim Buckley's classic, and it was his favourite song around the time Blue Velvet was filming in 1985. They even rehearsed the dance sequence with This Mortal Coil's cover during the filming of the movie.

However, the rights to This Mortal Coil's cover of Song To The Siren were particularly expensive, something Lynch couldn't afford due to the small budget of the movie.

So instead, Lynch and Badalamenti composed Mysteries of Love with Julee Cruise (who also made the french horn cover of the instrumental for the movie!), giving it a completely different feel than This Mortal Coil's. Instead of something haunting and sad, it gave something heavenly and pure, which only intensified Sandy's prediction.

Lynch finally ended up using This Mortal Coil's Song To The Siren eleven years later in Lost Highway. Though one could say the gothic elements of Blue Velvet are not all gone if we just take a look at Jeffrey's black wardrobe throughout the movie!

Source: Pitchfork's review of Blue Velvet's soundtrack.

[spellucci]

Decisions, Decisions

Thursday, October 12, 2023

It is decision time. Today we need to make a firm, clear, hard, solid, unalterable, set in stone, unbreakable decision about where the weather will be optimal, or at least workable, to see the eclipse. The eclipse track is a two day drive from where we are in Kansas. And those darn weather predictions are not yet firm enough to guide a firm, clear, hard, ..., well, you see the problem.

If we go south, the weather looks more favorable, but is in the wrong direction for the friends we want to visit on Sunday. If we go west, which takes us more in the direction of our friends, the weather is unsettled. We decide to wait until we reach Wichita, Kansas to choose which direction to take.

I'm the meantime, Tim's nephew cooks us a fabulous breakfast. A mound of luscious hash brown potatoes, bacon cooked to perfection in the oven, and scrambled eggs toped with Cholula hot sauce start our day with our mouths happy and our bellys full. Dora had fun playing with Spot, a chihuahua mix. After happy goodbyes, we set the GPS for Wichita and head out.

As we drive, we learn more geography than we had really wanted to know. Head west to Farmington, Albuquerque, or Roswell New Mexico? South to Hobbs, Odessa, or Midland Texas? The weather report that had earlier said Roswell would be clear now says partly cloudy. And the weather report for our original destination of Farmington looks like it is improving. Two Spellmans in our heads. Argh!

We leave the highway and head down a dirt road looking for a place to lunch and collect our thoughts. We stop between a harvested corn field and a dormant oil well. Dora is so full of curiosity for the sounds and smells of the field that she ignores her ball.

We eat leftover Thai red curry and rice from last night. It is still decision time. We are fortified with food and with three different weather reports that favor Farmington. We decide: Farmington it is.

The wind picks up as we head across central Kansas. The National Weather Service has forecast winds of 35 MPH, gusting to 50. The dust clouds the air in every direction. It brings to mind Woody Guthrie's song of the dust bowl era, "Dusty Old Dust."

This is the oil-producing section of Kansas. We wonder how they, whoever "they" is, keep the oil separate from the produce.

U.S. 56 heads west along the plains. The wind is blowing from the South. Hard. The driver has to hold the wheel left just to stay going straight. The speed limit is 65, while the road is a single lane in each direction with a two-foot breakdown "lane." Each time we meet a big rig coming toward us, we slam into its wake, immediately dropping our speed by 2 MPH. As we pass it, we get yanked toward its lane, and have to be ready to re-center ourselves before the next oncoming vehicle arrives. Everyone is shading themselves toward the side of the road. The beeping of the lane keeping assist warning is incessant. It is so nerve-wracking that we abandon the regular two-hour shifts for one-hour shifts or less.

We stop for water in a small town with (not one but!) two public parks that RVs can use. To our right was a deserted fairgrounds and across the street the endless farm fields restarted. The temperature was 86°, although the RV thermometer got up to 106° in the sun. We didn’t pack for hot weather, but the high winds kept us comfortable in tshirts and jeans.

We stopped for the night at a pleasant rest area at the crossroads of two state highways. Tim opened the door and at least a dozen flies came in. Jeanne screamed and Tim hastily retreated from whatever he wanted from the front seat. The rest of the night was split between planning how to minimize opening the doors and swatting flies.

The howling winds continued to shake the RV hard all night long.

[songsofprotestpeacerevolution]

Dropkick Murphys "Gotta Get To Peekskill" feat. Violent Femmes Words by Woody Guthrie.

August 27, 1949. The prominent black singer and actor Paul Robeson, along with Woody Guthrie, Lee Hays and Pete Seeger, were scheduled to give an open-air concert in Peekskill.

Two months before the concert, Robeson had said at the Paris Peace Conference: We in America do not forget that it was the backs of white workers from Europe and on the backs of millions of blacks that the wealth of America was built. And we are resolved to share it equally. We reject any hysterical raving that urges us to make war on anyone. Our will to fight for peace is strong...We shall support peace and friendship among all nations, with Soviet Russia and the People's Republics. The AP put out a fabricated quote before Robeson spoke, it hit the wires in the US as he began his speech. The misquotation stirred rage against Robeson’s perceived Communist loyalties. 

The demography of Peekskill and its neighboring northern Westchester communities was mixed. There were the summer people and weekenders, many of whom were middle-class Jews with left-of-center leanings. On the other hand, there were the year-round residents, mainly working class and conservative, whose resentment, and even open hostility to the “summer people” had been steadily growing.

Local groups in Peekskill had railed against the very idea of the concert as un-American. An August 23 editorial in The Peekskill Evening Star stated that the “illustrious name of Paul Robeson” was “now almost hidden by political tarnish.” The American Legion post in the nearby hamlet of Verplanck, the Veterans of Foreign Wars, the Catholic Veterans and the Jewish War Veterans announced that they would picket the concert. The Peekskill Joint Veterans’ Council called for a peaceful demonstration, as did the Evening Star: “Violence? Absolutely not! Let such tactics remain elsewhere — in the trick bags of the un-democratic…”

During the event, local mobs blocked the entrance to the concert area and harassed concertgoers. The veterans’ groups paraded along the highway. Attackers screamed: “We’re Hitler’s boys — here to finish his job.” A crowd of drunken locals attacked the people who were setting up for the concert.

A little after eight o’clock in the evening, the attackers burned a 12-foot cross on the picnic grounds. They progressed to burning books, sheet music and chairs The performers and concert-goers, arms linked together, sang such songs as “The Star-Spangled Banner,” “God Bless America” and “Solidarity Forever” while trying to defend the concert site, by the time the evening was over, every defender had been injured.

The rescheduled September 4, 1949 concert itself was free from violence,  20,000 made it to the venue and 2,500 trade union members formed a human wall to ensure the concert was not interrupted.

The concert ended at around four o’clock in the afternoon. As cars and buses started to depart, police routed the vehicles through the northern Westchester woods and up a steep, winding road. There, crowds of men and boys were waiting. As if on cue, they hurled rocks at the vehicles. More than 50 buses and countless cars had their windows smashed; at least 15 cars were overturned. 

One car carried Woody Guthrie, Lee Hays, Pete Seeger, Seeger's wife Toshi, and his infant children. Guthrie pinned a shirt to the inside of the window to stop it shattering. "Wouldn't you know it, Woody pinned up a red shirt," Hays was to remember. Seeger used some of the thrown rocks to build the chimney of his cabin in the Town of Fishkill, New York, to stand as a reminder of the incident.

Years later, Pete Seeger would meet a young man who admitted that his father had been a police officer in Peekskill. The young man told Seeger: “You know, that riot was all arranged by the Ku Klux Klan and the police… They had walkie-talkies all through the woods. They had that place surrounded like a battlefield.”

Sources & more info - https://www.historytoday.com/archive/peekskill-riots-1949 https://forward.com/culture/113279/peekskill-riots-1949-westchester-kkk-fascist-attack-jewish-black-attendees/ https://en.wikipedia.org/wiki/Peekskill_riots     

[palilalia]

PAL-077 Kris Gruda LP

"Plays For You"

It's tempting to view guitarist Kris Gruda, a North Carolina resident, as part of a lineage of demented Southern avant-pickers stretching back to Chadbourne, and while that's not false, it's unnecessarily reductive. Gruda is but one particle in a contemporary wave of traveling minstrels plying the

interstates and unnumbered highways of the Deep South, navigating between pickup gigs in urban centers from Asheville to Baton Rouge to Jacksonville to Amarillo, dipping into the free jazz songbook and a bottomless bag of capital-I-improv tropes to play for audiences of 0-50 intrepid listeners (most of them musicians themselves). Against all odds (and despite dismissal by a sea of jaded music "connoisseurs'' who would prefer to devour overpriced reissues than to attend actual performances), these musicians develop an evolving sonic language, unencumbered by dreams of success; nurtured by the promise of social connection, gas money, and the next bag of Beaver Nuggets.

Whether or not Gruda is one of these compulsive road-trippers is beside the point, because (as amply evidenced by his instagram account, @Grudakris) Gruda clearly spends a lot of his time in his car. Kris Gruda Plays for You was recorded entirely behind the wheel under lockdown in 2020-2021, mostly during shift breaks at the kombucha factory. Each track is a separate Instagram post, downloaded and spliced together into two unbanded sides (a la Beefheart's Strictly Personal), and as such, represents an audio verite tour of a musical vision that, amoeba-like, engulfs two worlds separated by a windshield -- the spinning car wash brushes, the passing cop cars, the preacher on the radio.

The cover (Gruda in a hairnet, oozing Waylon's outlaw bit and clutching a stickered acoustic) supplies a little bit of the IG multimedia appeal missing from the audio, but the sound ("without which none of this is possible," states Gruda) supplies an expansive narrative by itself. Each track, from the "Vote him Out" rap to the dual tracks of "Vehicular Sound Collage," is a gem of creative outreach, a stab not only against the claustrophobia behind the steering wheel, but also a rebellion against the forced isolation of the lockdown itself. The politics of Plays For You are Guthrie-direct, speak to individual action, and seek to inspire us to reach beyond our silos and attempt to reconstruct a virtual solidarity we could once access via a physical commons. But I suspect what will resonate most with listeners are the plaintive cries voiced by a canny (and virtuosically played) selection of classics by Coltrane, Kirk, Coleman, and Cherry, tiny scraps that remind us of a once-encompassing musical spirituality that spurred a half-dozen would-be revolutions (and which may someday do so again). Ultimately, the enthusiasm (and massive doses of sheer weirdness) Gruda exudes in Kris Gruda Plays for You lights up a big, friendly highway into the heart of a deeply idiosyncratic and charismatic vision that's a gas to listen to even stripped of its social media spectacle -- so put down your phone and just listen. — Tom Carter

[runningwithcoffee]

"This land is your land, and this land is my land From California to the New York island From the Redwood Forest to the Gulf Stream waters This land was made for you and me

As I went walking that ribbon of highway And I saw above me that endless skyway I saw below me that golden valley This land was made for you and me

I roamed and rambled, and I've followed my footsteps To the sparkling sands of her diamond deserts All around me, a voice was sounding This land was made for you and me

There was a big, high wall there that tried to stop me A sign was painted said "Private Property" But on the backside, it didn't say nothing This land was made for you and me."

Woody Guthrie.

(But was it? That land was taken from those who once called it home.

Progress, by its nature, progresses.

Build on what the great artists of the past created, and always look forwards.)

The kids on TikTok think that just because he was a classic country singer, Johnny Cash was conservative??? My babies he covered a Nine Inch Nails song in his seventies.

Classic country singers (the majority of which came from poor roots) were always talking about how much The Man sucked because they were taking money from poor rural folk. You’re gonna tell me that’s conservative?? Get outta here.

[myindustrialspecialist]

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