#clinton heylin

[alanlicht]

New books: Essay in Bob Dylan: Mixing Up the Medicine, mentions in books by Jesse Rifkin and Sasha Frere-Jones

The new 600-page catalog of the Bob Dylan Archive in Tulsa, titled Bob Dylan: Mixing Up the Medicine, contains an essay by me about Dylan's relationship to improvisation, inspired by an outtake from the 1976 Hard Rain TV special of "Tangled Up in Blue." In addition to scads of illustrations of the archive's holding, the book also has essays from Lee Ranaldo, Richard Hell, Ed Ruscha, John Doe, Greg Tate, Alex Ross, Greil Marcus, Lucy Sante, Michael Ondaatje, Clinton Heylin, and many others. Much appreciation to editor Mark Davidson, and to Michael Chaiken, who commissioned the piece and brought me to Tulsa to spend time at the archive. More info here.

In other book news, I was interviewed fairly extensively about working at Tonic, the now-defunct Lower East Side music club, by Jesse Rifkin for his book This Must Be the Place: Music, Community, and Vanished Spaces in New York City. And my friend Sasha Frere-Jones has some nice things to say about a short-lived band we had together in the late 90s in his memoir, Earlier.

[cliffordthurlow]

I SHALL BE RELEASED

When Bob Dylan in 1967 recorded I Shall Be Released in the basement of the Big Pink, a house rented by Rick Danko close to Woodstock, the title was elegiac and had a double meaning, naturally. The previous summer, on the night of 29 July 1966, Bob almost faced his maker when he skidded off the road on route 212 and crashed the 500cc Triumph Tiger that had taken him across America to see more of…

[tryinginvaintobreathethefire]

For months now I have been making silly little Bruce Springsteen memes to send to my wife and I think it's time I start releasing them into the world.

[poppletonink]

Kat Stratford Inspired Reads

The Bell Jar by Sylvia Plath

Not Here To Be Liked by Michelle Quach

Bad Feminist by Roxanne Gay

Girls To The Front by Sara Marcus

Grunge Is Dead by Greg Pato

The Yellow Wallpaper by Charlotte Perkins Gilman

Taming Of The Shrew by William Shakespeare

This Woman's Work by Sinead Gleeson and Kim Gordon

Ariel by Sylvia Plath

The Girl With The Louding Voice by Abi Dare

The Second Sex by Simone de Beauvoir

Babylon's Burning: From Punk To Grunge by Clinton Heylin

Moxie by Jennifer Matthieu

Daisy Jones and The Six by Taylor Jenkins Reid

[enbysiriusblack]

my vinyl records as marauders:

up your alley by joan jett & the blackhearts- marlene mckinnon

mindsets by joan jett & the blackhearts, rsd black friday exclusive- alecto carrow

i love rock n roll by joan jett & the blackhearts- lily evans

stuff from by brain/my brain after therapy by noahfinnce, double ep- peter pettigrew

saviors by green day- dorcas meadowes

sistahs by big joanie, silver vinyl- mary macdonald

debut album by rolling stones, rsd 2024 exclusive- florence

a day at the races by queen- sirius black

debut album by queen- peter pettigrew

greatest hits of queen- benjy fenwick

diamond dogs by bowie, half speed master- mulciber

rise and fall of ziggy stardust and the spiders from mars by david bowie- lily evans

debut album by david bowie- frank longbottom

electric warrior by t.rex- sirius black

singles going steady by buzzcocks, 45th anniversary edition/half speed master & essay by clinton heylin- james potter

london calling by the clash- caradoc dearborn

faster than the speed of light by bonnie tyler- pandora lovegood

debut album of led zeppelin- remus lupin

greatest hits of suzi quatro- alice fortescue

quatro by suzi quatro- davey gudgeon

transformer by lou reed- barty crouch jr

midnights by taylor swift, moonstone blue edition- andromeda black

piece of mind by iron maiden- emmeline vance

nevermind by nirvana- evan rosier

sound effects death & horror vol. 13- bellatrix black

black velvet by alannah myles, single 7 inch- narcissa black

[kdo-three]

Them - It's All Over Now, Baby Blue (1966) Bob Dylan from: "Them Again" (LP)

Bob Dylan Cover | R&B

JukeHostUK (left click = play) (320kbps)

~or~

Tumblr (left click = play) (320kbps)

Personnel: Van Morrison: Vocals Billy Harrison: Guitar Peter Bardens: Keyboards Alan Henderson: Bass Pat McAuley: Drums

Produced by Tommy Scott

Recorded: @ The Decca Studios in London, England UK during 1965

Released: on January 21, 1966 (UK) in April of 1966 (US)

Decca Records (UK) Parrot Records (US)

Them's 1966 recording of 'It's All Over Now, Baby Blue' is "that genuine rarity, a Dylan cover to match the original." - Clinton Heylin

[therecordchanger62279]

There are countless anthologies of the best Rock journalism available these days, and sometimes I'd swear I've read them all. I just finished The Penguin Book of Rock & Roll Writing edited by Clinton Heylin, and if you are a fan of great music journalism, this is the anthology I'd recommend above all the others. In fact, if you're building a bookshelf for essential music journalism, this should be your first purchase. They covered all the bases here - profiles of the artists, an overview of the history of the music, essays on how the business works, some music fiction, some of the most famous, most often referenced pieces, notable obituaries, record reviews - no stone is left unturned. And while not all of the very best writers are represented - most of them are.

At 670 pages, it's not a quick read, but I had trouble putting it down. Published in 1992, I found the book in the bargain section at some big chain bookstore. I'm sure it cost me less than 10 bucks when I picked it up several years ago. So, I'd bet it's still out there, and cheaper now than it was then.

It often seems the best music journalism has all been written. There are few magazines left, and in most of those the writing leaves something to be desired. But a book like this will satisfy your appetite, and leave you wanting still more. Very highly recommended.

© 2024

[hatingwithfears]

BOOKS READ IN 2022

Here’s the complete list of books I managed to read in 2022.

168 books. 54,494 pages.

Renata Adler- Speedboat

Kendra Allen- The Collection Plate

Jonathan Alter- His Very Best: Jimmy Carter, A Life

Kenneth Anger- Hollywood Babylon

Jason Bailey- Fun City Cinema: New York City and the Movies That Made It

Peter Baker, Susan Glasser- The Divider: Trump in The White House 2017-2021

JG Ballard- The Atrocity Exhibition

Julien Barnes- Elizabeth Finch

Brit Bennett- The Vanishing Half

Charles M. Blow- The Devil You Know: A Black Power Manifesto

Anthony Bourdain- Medium Raw

Anthony Bourdain, Laurie Woolever- World Travel: An Irreverent Guide

Box Brown- Cannabis: The Illegalization of Weed in America

Mariah Carey, Michaela Angela Davis- The Meaning of Mariah Carey

Nick Cave & Sean O’Hagan- Faith, Hope, and Carnage

David Chang- Eat a Peach

Dan Charnas- Dilla Time

Leonard Cohen- A Ballet of Lepers

Lee Cole- Groundskeeping

Teju Cole- Black Paper

Ray Connolly- Being Elvis: A Lonely Life

Brian Contoir- Practical Alchemy

Antoine Cosse- Metax

Charles R. Cross- Here We Are Now: The Lasting Impact of Kurt Cobain

Daniele Cybulskie- How To Live Like a Monk

Travis Dandro- King of King Court

John Darnelle- Devil House

Michael Deforge- Heaven No Hell

Rita Dove- Playlist for the Apocalypse

David Duchovny- The Reservoir

Jennifer Egan- The Candy House

Robert Evans- The Kid Stays in The Picture

Scott Eyman- Cary Grant: A Brilliant Disguise

Nicolas Ferraro- Cruz

Mark Fisher- Ghosts of My Life

Mark Fisher- Capitalist Realism

Johnathan Franzen- Crossroads

Harry Freedman- Leonard Cohen: The Mystical Roots of Genius

Matti Friedman- Who By Fire: Leonard Cohen in the Sinai

James Gavin- George Michael: A Life

Lizzy Goodman- Meet Me in The Bathroom

Andrew Sean Greer- Less

Dave Grohl- The Storyteller: Tales of Life and Music

Joseph Hansen- Troublemaker

Joy Harjo- Poet Warrior

Robert Harris- The Ghost Writer

Noah Hawley- Anthem

Wil Haygood- Colorization: One Hundred Years of Black Film in a White World

Clinton Heylin- The Double Life of Bob Dylan

Andrew Holleran- The Kingdom of Sand

Michel Houellebecq- Serotonin

Sean Howe- Marvel Comics: The Untold Story

Dorthy B Hughes- In a Lonely Place

John Irving- The Fourth Hand

Walter Isaacson- Leonardo Da Vinci

Kazuo Ishiguro- Klara and The Sun

Junji Ito- No Longer Human

Robert Jones Jr- The Prophets

Saeed Jones- Alive at The End of the World

Stephen Graham Jones- My Heart is a Chainsaw

Rax King- Tacky

Stephen King- Billy Summers

Katie Kitamura- Intimacies

Chuck Klosterman- The Nineties

TJ Klune- Under The Whispering Door

Karl Ove Knausgaard- The Morning Star

Hideo Kojima- The Creative Dream

Milan Kundera- Slowness

Wally Lamb- I Know This Much is True

Yiyun Li- Dear Friend, from My Life I Write to You in Your Life

Thomas Ligotti- The Conspiracy Against The Human Race

Roger Lipsey- Make Peace Before the Sun Goes Down

Patricia Lockwood- No One is Talking About This

Ling Ma- Bliss Montage

Stuart B MacBride- Halfhead

Michael Mann & Meg Gardiner- Heat 2

Greil Marcus- Dead Elvis

Mike McCormack- Solar Bones

Jennette McCurdy- I’m Glad My Mom Died

Janelle Monae- The Memory Librarian

Ottessa Moshfegh- Lapvona

Leila Mottley- Nightcrawling

Alan Moore, Melinda Gebbie- Lost Girls

Grant Morrison- The Invisibles

Mannie Murphy- I Never Promised You a Rose Garden

Sequoia Nagamatsu- How High We Go in The Dark

Joyce Carol Oates- Blonde

Joyce Carol Oates- American Melancholy

John O’Connell- Bowie’s Bookshelf

Ryan O’Connell- Just By Looking at Him

Jenny Offill- Weather

Paul Ortiz- An African American and Latinx History of The United States

Hiroko Oyamada- The Factory

Hiroko Oyamada- The Hole

Helen Oyeymi- What is Not Yours is Not Yours

James Patterson- Hear No Evil

Larissa Pham- Pop Song

Brian Phillips- Impossible Owls

Stephanie Phillips- Why Solange Matters

Keith Phipps- Age of Cage

Michael Pollan- This Is Your Mind on Plants

Richard Powers- Bewilderment

Questlove- Music is History

Kristen Radtke- Seek You

Sue Rainsford- Follow Me to Ground

Claudia Rankine- Just Us: An American Conversation

George A Romero, Daniel Kraus- The Living Dead

Karen Russell- Orange World

George Saunders- A Swim in a Pond in The Rain

George Saunders- Liberation Day

Samantha Schweblin— Fever Dream

Leonardo Sciascia- Equal Danger

Mark Seal- Leave The Gun, Take The Cannoli

Seth- Clyde Fans

Alan Sepinwall- Breaking Bad 101

Zadie Smith- Feel Free

Won-Pyung Sohn- Almond

Bob Spitz- Led Zeppelin: The Biography

Elizabeth Strout- Oh William!

J Randy Taraborrelli- The Secret Life of Marilyn Monroe

Herve Le Tellier- The Anomaly

Manjit Thapp- Feelings

Olga Tokarczuk- The Books of Jacob

Jia Tolentino- Trick Mirror: Reflections on Self Delusion

Leo Trezenick- The Confession of a Mad Man

Stanley Tucci- Taste

Una- Becoming Unbecoming

Ocean Vuong- Time is a Mother

Chris Ware- Rusty Brown

WC Ware- Jimmy Corrigan

John Waters- Liarmouth

Peter Weiss- The Shadow of The Coachman’s Body

Missouri Williams- The Doloriad

Antoine Wilson- Mouth to Mouth

Sarah Winman- Still Life

Laurie Wollever- Bourdain: The Definitive Oral Biography

Kenneth Womack- Solid State: The Story of Abbey Road and The End of The Beatles

Hanya Yanagihara- To Paradise

Ed. Jelani Cobb & David Remnick- The Matter of Black Lives

Ed. Sinead Gleeson & Kim Gordon- This Woman’s Work: Essays on Music

[checkyourhead1992]

i've been trying to finish Babylon's Burning by Clinton Heylin but he has such a weird hate boner against the Clash but looooooves Sex Pistols and it's legitimately taking away my enjoyment from reading through it

plus the book is supposed to be a timeline from punk to grunge but i'm nearly at 300 pages into a 600+ page book and he's still on 1979? Two of his other biographies are on my readlist so now i'm reconsidering those.

[alanjporterwriter]

Books Read in 2023 #61 “All The Madmen” by Clinton Heylin.

They often say that there’s a fine line between genius and insanity. By examining the lives and influences of several who walked that thin line, “this book sets out to provide a context for a remarkable series of albums, and for something of a golden age in English rock.”

It’s a great concept for an examination of a short period of time between 1968 and 1975 when English rock produced a series of seminal iconic albums that still resonate today. Unfortunately it sort of fizzles out part way through and the later chapters are a bit of a slog lacking the insights presented early on to support the author’s thesis.

It will remain in the music section of our library however in part for those early chapters, and in part for the discography that I now need to hunt down on vinyl (as that’s the way these albums were made to be heard.)

[bigmacdaddio]

Blood on the Tracks...1975

Classic Album SaturdayBob Dylan / Blood On The Tracks (1975)

Blood on the Tracks is the fifteenth studio album by American singer-songwriter Bob Dylan, released on January 20, 1975, by Columbia Records. The album marked Dylan's return to Columbia Records after a two-album stint with Asylum Records. Dylan began recording the album in New York City in September 1974. In December, shortly before Columbia was due to release the album, Dylan abruptly re-recorded much of the material in a studio in Minneapolis.

 The final album contains five tracks recorded in New York and five from Minneapolis.Critics often rank Blood on the Tracks as one of the greatest albums of all time. Blood on the Tracks initially received mixed reviews, but has subsequently been acclaimed as one of Dylan's greatest albums by both critics and fans. The songs have been linked to tensions in Dylan's personal life, including his estrangement from his then-wife Sara. One of their children, Jakob Dylan, has described the songs as "my parents talking". In interviews, Dylan has denied that the songs on the album are autobiographical

.The album reached No. 1 on the Billboard 200 charts and No. 4 on the UK Albums Chart, with the single "Tangled Up in Blue" peaking at No. 31 on the Billboard Hot 100 singles chart. The album remains one of Dylan's best-selling studio releases, with a double-platinum U.S. certification by the Recording Industry Association of America (RIAA). In 2015, it was inducted into the Grammy Hall of Fame.  It was voted number 7 in the third edition of Colin Larkin's book All Time Top 1000 Albums (2000), in 2003, the album was ranked No. 16 on Rolling Stone's list of The 500 Greatest Albums of All Time, rising to the No. 9 spot in the 2020 revision of that same list. In 2004, it was placed at No. 5 on Pitchfork's list of the top 100 albums of the 1970s

.At the conclusion of his 1974 tour with the Band, Dylan began a relationship with a Columbia Records employee, Ellen Bernstein, which Dylan biographer Clinton Heylin has described as the beginning of the end of Dylan's marriage to his wife Sara.  In spring 1974, Dylan was in New York for several weeks while he attended art classes with the painter Norman Raeben.  Dylan subsequently gave Raeben credit in interviews for transforming his understanding of time, and during the summer of 1974 Dylan began to write a series of songs in a series of three small notebooks which used his new knowledge

:[Raeben] taught me how to see ... in a way that allowed me to do consciously what I unconsciously felt ... when I started doing it, the first album I made was Blood on the Tracks. Everybody agrees that was pretty different, and what's different about it is there's a code in the lyrics, and also there's no sense of time.Dylan subsequently spent time with Bernstein on his farm in Minnesota and there he completed the 17 songs from which Blood on the Tracks was formed—songs which Heylin has described as "perhaps the finest collection of love songs of the twentieth century, songs filled with the full spectrum of emotions a marriage on the rocks can engender

.Before recording the songs that would constitute Blood on the Tracks, Dylan previewed them for a number of friends in the music world, including David Crosby, Graham Nash, Stephen Stills, Tim Drummond and Peter Rowan.  Nash recalled that Stills disliked Dylan's private performance of his new songs; immediately after Dylan left the room, Stills remarked to Nash, "He's a good songwriter ... but he's no musician.

"Initially, Dylan considered recording Blood on the Tracks with an electric backing group, and contacted Mike Bloomfield who had played lead guitar on Dylan's Highway 61 Revisited album. When the two met, Dylan ran through the songs he was planning to record, but he played them too quickly for Bloomfield to learn. Bloomfield later recalled the experience: "They all began to sound the same to me; they were all in the same key; they were all long. It was one of the strangest experiences of my life. He was sort of pissed off that I didn't pick it up." In the end, Dylan rejected the idea of recording the album with a band, and instead substituted stripped-down acoustic arrangements for all of his songs.  On August 2, 1974, Dylan signed a contract with Columbia Records. After releasing his two previous albums, Planet Waves and Before the Flood, on Asylum Records, Dylan decided his new album would benefit from the commercial muscle of the record label that had made him famous, and his new contract gave him increased control over his own masters.

Dylan commenced recording at A & R Recording Studios in New York City on September 16, 1974. Bernstein has stated "the theme of returning ran through the sessions", so "it made a lot of sense to do it at A&R".   A & R Studios was the former Columbia Records "Studio A", where Dylan had recorded six albums in the 1960s.  The musicians quickly realized that Dylan was taking a "spontaneous" approach to recording.  The session engineer, Phil Ramone, later said that Dylan transitioned from one song to another as if they were part of a medley. Ramone noted:

Sometimes he will have several bars, and in the next version, he will change his mind about how many bars there should be in between a verse. Or eliminate a verse. Or add a chorus when you don't expect

Eric Weissberg and his band, Deliverance, originally recruited as session men, were rejected after two days of recording because they could not keep up with Dylan's pace.  Dylan retained bassist Tony Brown from the band, and soon added organist Paul Griffin (who had also worked on Highway 61 Revisited and Blonde on Blonde) and steel guitarist Buddy Cage.  After ten days and four sessions  with the current lineup, Dylan had finished recording and mixing, and, by November, had cut a test pressing of the album. Columbia began to prepare to release the album before Christmas.

Dylan played the test pressing for his brother, David Zimmerman, who persuaded Dylan the album would not sell because the overall sound was too stark. Robert Christgau also heard the early version of the album and called it "a sellout to the memory of Dylan's pre-electric period".  At his brother's urging, Dylan agreed to re-record five of the album's songs in Sound 80 in Minneapolis, with backing musicians recruited by David. The new takes were accomplished in two days at the end of December 1974. Blood on the Tracks was released into stores on January 20, 1975.

[ryanhamiltonwalsh]

MORE BOB DYLAN IN BOSTON IN ‘63 MATERIAL PART TWO –>

First, read the Boston Globe story, then PART ONE, and then you can come back here, champ. ABOVE: Sally Schoenfeld and Joy Kimball, who are about to throw a very important party at their apartment in Cambridge, perform music together on the banks of the Charles River.

MORE on CAFE YANA

Originally on Beacon Street, Yana moved to 50 Brookline Ave after construction of the Mass Pike forced them to abandon their first address.

At some point, Yana’s space became swallowed up into one larger lot, 62 Brookline Ave, where Oliver’s Bar was located—which is the scene of one of the final post-Lou Velvet Underground shows and a very interesting Gram Parsons appearance where a fan gave GP some original lyrics which, incredibly, turned out to be “Return of the Grievious Angel.”

WAS SUZE THERE OR WHAT?

In Clinton Heylin’s latest Bob Dylan book, he writes of the Yana dates, “So where was Suze? She was supposed to meet her beau in Boston, having written to her displaced friend...earlier that month, ‘we’ll probably be in boston (cafe yana) april 19-20 (definitely, not probably).' And yet she was nowhere to be seen.”

But after talking to Yana waitress Susan Bluttman, and considering Suze’s letter to her friend Sue Zuckerman, I think it’s most likely the case that, at the very least, Suze was there for the Friday show at Cafe Yana. Bluttman was insistent her memory was correct and her recall of other verifiable details checked out. I specifically asked if it was just “some woman” with Dylan or definitely Suze. She had zero hesitation: she recalls welcoming the couple to the club and showing them where to go before showtime.

PAUL CLAYTON

Also on the bill with Dylan at Yana was New Bedford native, Paul Clayton, a fascinating person and a musician whose recorded catalog was already quite large by the time he met Bob; check out his album Bay State Ballads or Sailing and Whaling Songs of the 19th Century. Although Clayton approached folk from a scholarly, traditionalist point of view—watch for shades of Clayton in Justin Timberlake’s character in the Cohen Brothers film Inside Llewyn Davis—he also had a wild side with a penchant for drugs, partying, and rambling, and at times, Dylan embraced those predilections with him.

By all accounts, the pair had different kinds of infatuations with each other; Dylan saw Clayton as “traditional song personified, speaking to him in mystic tongues,” as Paul’s biographer Bob Coltman put it, and Clayton not only saw Dylan as the next step forward in folk music, but also a forbidden romantic desire. Many friends who saw the two interact instantly recognized Clayton’s massive crush on Dylan. "His biggest problem,” Clayton friend Patrick Sky told the Globe in 2013, “was that he was gay at a time when it was pretty much illegal.”

At the time of the Yana concerts, Dylan was about a month away from releasing Freewheelin’, including the future classic “Don’t Think Twice, It’s All Right,” which as it turned out, heavily borrowed its melody and many of its lyrics from Paul Clayton’s 1959 song “Who’s Gonna Buy You Ribbons,” which in turn had been based on "Who's Gon Bring You Chickens”—a tune Clayton found collected in a 1923 book titled Eight Negro Songs. It was a similar chain of influence as “Baby, Let Me Follow You Down” except that this time, Clayton’s song publishers would sue Dylan’s publisher over the lift. The matter was settled out of court, but Clayton’s continued poverty compared with Dylan’s steady success and accumulation of wealth did not go unnoticed by the Greenwich Village folkies who knew how it had all gone down. More and more, it seemed that it didn’t matter who actually wrote a particular song, but more who first obtained a copyright.

Dylan and Clayton’s time together was not quite finished yet, though it appears that the two nights at Café Yana were the final live bills they would ever share together as performers.

After one more druggy cross-country trip together, Clayton was placed outside of the inner circle without an explanation. There is one theory that Clayton began to date Suze’s sister Carla in to get closer to Bob, and when Bob’s relationship with Suze ended, it meant that Carla and Clayton also needed to go as well.

Everyone agreed that Dylan’s 1965 song “It’s All Over Now, Baby Blue” was some kind of send-off letter to the folk music world, but select listeners believed it to include specific references to Clayton, including, at times, Paul himself. Tragically, less than two years after Dylan “went electric” at the Newport Folk Festival, Clayton electrocuted himself in his own bathtub. When his personal belongings were cataloged, it was noted that he no longer owned an acoustic guitar, but kept an electric guitar and drums, as he was working on a strange experimental, electric suite of music titled “Gingerbreadd Mindd” which has never been released. Clayton is spoken about reverently in Dylan’s 2011 memoir, but his suicide is not mentioned.

JFK

The following day, Saturday April 20th, President John F. Kennedy spoke at Boston College. Still grappling with the fall out of the Cuban Missile Crisis, Kennedy kept the speech light and focused on the importance of the nation’s higher education system, opening his remarks by declaring “it is good to come back to a city where my accent is considered normal.” I only mention this because a) with Dylan’s late career 20-minute opus “Murder Most Foul” choosing Kennedy’s assassination as its anchor, it’s almost worth noting anytime the two were in relative close proximity to each other (like the same city). Additionally—and this is a longshot—would news of Kennedy in town specifically bring Dylan’s mind back towards the missile crisis, and thus World War III, and perhaps to the point of inspiration for writing “Talking World War III” blues? I have no idea. I’m just spit-ballin’ here.

NOV 2, 1963 @ JORDAN HALL - BLOWN IN THE WIND

Bob Dylan came back for another show in Boston in the fall, and this time, all the listings in the Globe and elsewhere spelled his name right, but unfortunately, they were still struggling with the exact song titles.

SYMPHONY HALL, FREAKING OUT DAVID LYNCH

The following year, the Globe resets Dylan back to zero and claims his Symphony Hall show will be his first in the city. Oh well! In the audience at this show? Director David Lynch! Watch here.

 More on Lynch living in Boston here. The Symphony Hall show setlist here.

JOAN BAEZ

This is a write-up and photo of Baez the night she headlined Donnelly Memorial Theater, Saturday April 20th, 1963, the night before the party in Cambridge where she and Dylan would finally crash into each other.

WAS MEL LYMAN AT THAT PARTY?

I don’t think so! I believe this all happens right before ol’ Mel rolls into town. From AW68 --->

And finally, photos from the post-Hoot party, by Rick Stafford, as printed in the book Baby, Let Me Follow You Down.

That’s all for now. Thanks for reading!

[bigtickhk]

The Double Life of Bob Dylan: A Restless, Hungry Feeling, 1941-1966 by  Clinton Heylin https://amzn.to/3wkzHbh 

https://bookshop.org/a/17891/9780316535212

[johannasvisionscn]

Clinton Heylin weighs in.

[mxdwn]

Bob Dylan Biographer Says Accuser’s Timeline Not Possible

https://music.mxdwn.com/2021/08/18/news/bob-dylan-biographer-says-accusers-timeline-not-possible/

[de-salva]

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