Happy Birthday To You-
By Lester Lannon
I am devoted to a local
folk station WUMB which is run out of the campus of U/Mass-Boston over near
Boston Harbor. At one time this station was an independent one based in
Cambridge but went under when their significant demographic base deserted or
just passed on once the remnant of the folk minute really did sink below the
horizon.
So much for radio folk
history except to say that the DJs on many of the programs go out of their ways
to commemorate or celebrate the birthdays of many folk, rock, blues and related
genre artists. So many and so often that I have had a hard time keeping up with
noting those occurrences in this space which after all is dedicated to such
happening along the historical continuum.
To “solve” this problem
I have decided to send birthday to that grouping of musicians on an arbitrary
basis as I come across their names in other contents or as someone here has
written about them and we have them in the archives. This may not be the best
way to acknowledge them, but it does do so in a respectful manner.
Click On Title To Link To YouTube's Film Clip Of Bob Dylan Performing "Like A Rolling Stone".
DVD REVIEW
No Direction: The Legacy Of Bob Dylan, Bob Dylan, Dave Van Ronk, Joan Baez, Pete Seeger and many other commentators, directed by Martin Scorsese, PBS Productions, 2005
Over the past several months or so I have spent some time going over the musical influences back in the early 1960’s that had an effect on my political development as I was growing up, or that just caught my ear. Not surprisingly many of those same musical influences still resonate today. Of those early 1960’s influences none probably was greater than that of Bob Dylan, no only because he had a different sound but because his super-charged protest-oriented lyrics ‘spoke’ to me. That Dylan could only go a very short distance along that political protest route that others, including myself, had to travel does not negate the important of that influence.
As this very well-done almost four hour in-depth Martin Scorsese documentary makes abundantly clear I was not alone in feeling that influence. Others also felt that Dylan ‘spoke’ to them, if not as the voice of the “Generation of ‘68” then for a moment. I have previously reviewed a number of Bob Dylan’s early albums (“The Free-Wheelin’ Bob Dylan”, “The Times They Are A-Changin’”, “Bringing It All Back Home”, etc.) in this space as I believe that those albums reflect both the prime period of his musical influence and, when future generations begin to ask their versions of the social questions posed by the 1960’s, will be the music they will be pressing to learn 100 years from now.
This documentary is also formatted to reflect fully on that above-mentioned shared underlying understanding of Dylan’s career and place in the folk/rock pantheon. The structure of the film also reflects the now standard method of doing a film documentary. Plenty of clips of Dylan’s childhood, youth, the early days in the burgeoning folk scene in Greenwich Village in the early 1960’s and plenty of clips of early performances up until that decisive period in 1965 when Dylan decided to move in another direction combining his still thoughtful but by then more personal lyrics with an electric guitar (and band to back that sound up). That changeover gets full attention by having clips of the breakthrough Royal Hall concert interspersed through the film. The film thus has its central focus on this switch-over that is a part of what made Dylan so controversial and upsetting to traditional folkies back in the day.
Additionally, this film also has something that is not always the case with biographic documentaries; the subject himself holding forth on the meaning of it all. Most times that would not necessarily be a revelation as such efforts are usually unproductive. Here, however, the notoriously private and generally unresponsive (to interview questions, at least) Dylan contributes his take on what is bound to be used as a primary source for “the first draft” of his effect on popular music in the late 20th century. Although Dylan generally responded to the interviewers questions here I would argue that for whatever purposes he told no more than we already knew or what he wanted told. Not unusual in the famous but a little maddening here for those, like this reviewer, who happen to be serious looking at the question of “the meaning of the 1960’s. But, so be it.
Fortunately another feature of theses types of documentaries helped out on that question. The film is heavily seeded with comments, performances and anecdotes by many of the performers still standing and other interested parties of the early 1960’s who personally knew Dylan or had something of interest to say about the times. The list of “talking heads” (to the good here, I usually use this phrase with a little tongue-in cheek”) brought into this production formed a veritable who’s who of those in or around that folk scene at the time.
Most informative of this crowd, not surprisingly, were the late folk historian, Dave Van Ronk, and the, as of this writing, very much alive Pete Seeger who not only performed music but made it their business to know and keep the folk tradition alive. Van Ronk was especially informative about the competitiveness of the early folkies mainly the male ones, as Joan Baez was conceded on the female side to be the “queen of the hill”, to see who would become “king of folk”. He also had interesting comments about the commercialization of folk music and the dreaded “selling out to mainstream culture”. By Van Ronk's account backed up by other sources I have run across as well, Dylan was intensely interested in that battle. Seeger was strongest on the transition, of which he was a seminal figure, of the folk tradition from the older 1930’s Great Depression ‘lefties’ like Woody Guthrie, Josh White, Cisco Houston and Lead Belly to the new kids on the block.
Others of note along the way include the afore-mentioned Joan Baez, at one time also Dylan’s girlfriend, with some very insightful comments giving us the “skinny’ of what it was like actually living with such a whirlwind and about the strains on their relationship (and her psyche) of her direction toward more political involvement, and his away from such activity. Liam Clancy (of Tommy Makem and The Clancy Brothers) and Maria Muldaur (most noted then for her key role as singer in the Jim Kweskin Jug Band) add some spice to the conversation. There are many others who have something to say about particular events but of that crowd I would select John Cohen (of “The New Lost City Ramblers”) as most informative about the history of what was going in those times and the schism between the ‘purists’ and those who wanted to ‘sell out’ for filthy lucre. Again, Cohen is not a surprising choice, as “Lost City” spent much time on tracing the folk traditions (and it included Mike Seeger, Pete’s half- brother so you know they were interested in history).
Others have, endlessly, gone on about Bob Dylan’s role as the voice of his generation (and mine), his lyrics and what they do or do not mean and his place in the rock or folk pantheons, or both. After viewing this documentary it still seems hard to believe now both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). The well-known English Royal Hall performance or that equally well-known three song folk/rock set at Newport in 1965 hardly seem worth getting steamed up about now. It is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 (although this incident gets a full airing by all parties) to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.
Note: Although I do not usually spend much time looking through special features sections of DVDs here there are several extras well worth looking at. They include some early performances by Dylan both highlighted in the documentary and others that did not make the cut. Additionally, a number of the “talking heads’ that are heard in the documentary , including Liam Clancy and Maria Muldaur, do renditions of some Dylan’s songs.
The Times They Are A-Changin'
Come gather 'round people
Wherever you roam
And admit that the waters
Around you have grown
And accept it that soon
You'll be drenched to the bone.
If your time to you
Is worth savin'
Then you better start swimmin'
Or you'll sink like a stone
For the times they are a-changin'.
Come writers and critics
Who prophesize with your pen
And keep your eyes wide
The chance won't come again
And don't speak too soon
For the wheel's still in spin
And there's no tellin' who
That it's namin'.
For the loser now
Will be later to win
For the times they are a-changin'.
Come senators, congressmen
Please heed the call
Don't stand in the doorway
Don't block up the hall
For he that gets hurt
Will be he who has stalled
There's a battle outside
And it is ragin'.
It'll soon shake your windows
And rattle your walls
For the times they are a-changin'.
Come mothers and fathers
Throughout the land
And don't criticize
What you can't understand
Your sons and your daughters
Are beyond your command
Your old road is
Rapidly agin'.
Please get out of the new one
If you can't lend your hand
For the times they are a-changin'.
The line it is drawn
The curse it is cast
The slow one now
Will later be fast
As the present now
Will later be past
The order is
Rapidly fadin'.
And the first one now
Will later be last
For the times they are a-changin'.
Copyright ©1963; renewed 1991 Special Rider Music
Blowin' In The Wind
How many roads must a man walk down
Before you call him a man?
Yes, 'n' how many seas must a white dove sail
Before she sleeps in the sand?
Yes, 'n' how many times must the cannon balls fly
Before they're forever banned?
The answer, my friend, is blowin' in the wind,
The answer is blowin' in the wind.
How many years can a mountain exist
Before it's washed to the sea?
Yes, 'n' how many years can some people exist
Before they're allowed to be free?
Yes, 'n' how many times can a man turn his head,
Pretending he just doesn't see?
The answer, my friend, is blowin' in the wind,
The answer is blowin' in the wind.
How many times must a man look up
Before he can see the sky?
Yes, 'n' how many ears must one man have
Before he can hear people cry?
Yes, 'n' how many deaths will it take till he knows
That too many people have died?
The answer, my friend, is blowin' in the wind,
The answer is blowin' in the wind.
Copyright ©1962; renewed 1990 Special Rider Music
Like A Rolling Stone
Once upon a time you dressed so fine
You threw the bums a dime in your prime, didn't you?
People'd call, say, "Beware doll, you're bound to fall"
You thought they were all kiddin' you
You used to laugh about
Everybody that was hangin' out
Now you don't talk so loud
Now you don't seem so proud
About having to be scrounging for your next meal.
How does it feel
How does it feel
To be without a home
Like a complete unknown
Like a rolling stone?
You've gone to the finest school all right, Miss Lonely
But you know you only used to get juiced in it
And nobody has ever taught you how to live on the street
And now you find out you're gonna have to get used to it
You said you'd never compromise
With the mystery tramp, but now you realize
He's not selling any alibis
As you stare into the vacuum of his eyes
And ask him do you want to make a deal?
How does it feel
How does it feel
To be on your own
With no direction home
Like a complete unknown
Like a rolling stone?
You never turned around to see the frowns on the jugglers and the clowns
When they all come down and did tricks for you
You never understood that it ain't no good
You shouldn't let other people get your kicks for you
You used to ride on the chrome horse with your diplomat
Who carried on his shoulder a Siamese cat
Ain't it hard when you discover that
He really wasn't where it's at
After he took from you everything he could steal.
How does it feel
How does it feel
To be on your own
With no direction home
Like a complete unknown
Like a rolling stone?
Princess on the steeple and all the pretty people
They're drinkin', thinkin' that they got it made
Exchanging all kinds of precious gifts and things
But you'd better lift your diamond ring, you'd better pawn it babe
You used to be so amused
At Napoleon in rags and the language that he used
Go to him now, he calls you, you can't refuse
When you got nothing, you got nothing to lose
You're invisible now, you got no secrets to conceal.
How does it feel
How does it feel
To be on your own
With no direction home
Like a complete unknown
Like a rolling stone?
Copyright ©1965; renewed 1993 Special Rider Music
CHIMES OF FREEDOM
Words and Music by Bob Dylan
1964 Warner Bros. Inc
Renewed 1992 Special Rider Music
Far between sundown's finish an' midnight's broken toll
We ducked inside the doorway, thunder crashing
As majestic bells of bolts struck shadows in the sounds
Seeming to be the chimes of freedom flashing
Flashing for the warriors whose strength is not to fight
Flashing for the refugees on the unarmed road of flight
An' for each an' ev'ry underdog soldier in the night
An' we gazed upon the chimes of freedom flashing.
In the city's melted furnace, unexpectedly we watched
With faces hidden while the walls were tightening
As the echo of the wedding bells before the blowin' rain
Dissolved into the bells of the lightning
Tolling for the rebel, tolling for the rake
Tolling for the luckless, the abandoned an' forsaked
Tolling for the outcast, burnin' constantly at stake
An' we gazed upon the chimes of freedom flashing.
Through the mad mystic hammering of the wild ripping hail
The sky cracked its poems in naked wonder
That the clinging of the church bells blew far into the breeze
Leaving only bells of lightning and its thunder
Striking for the gentle, striking for the kind
Striking for the guardians and protectors of the mind
An' the unpawned painter behind beyond his rightful time
An' we gazed upon the chimes of freedom flashing.
Through the wild cathedral evening the rain unraveled tales
For the disrobed faceless forms of no position
Tolling for the tongues with no place to bring their thoughts
All down in taken-for-granted situations
Tolling for the deaf an' blind, tolling for the mute
Tolling for the mistreated, mateless mother, the mistitled prostitute
For the misdemeanor outlaw, chased an' cheated by pursuit
An' we gazed upon the chimes of freedom flashing.
Even though a cloud's white curtain in a far-off corner flashed
An' the hypnotic splattered mist was slowly lifting
Electric light still struck like arrows, fired but for the ones
Condemned to drift or else be kept from drifting
Tolling for the searching ones, on their speechless, seeking trail
For the lonesome-hearted lovers with too personal a tale
An' for each unharmful, gentle soul misplaced inside a jail
An' we gazed upon the chimes of freedom flashing.
Starry-eyed an' laughing as I recall when we were caught
Trapped by no track of hours for they hanged suspended
As we listened one last time an' we watched with one last look
Spellbound an' swallowed 'til the tolling ended
Tolling for the aching ones whose wounds cannot be nursed
For the countless confused, accused, misused, strung-out ones an' worse
An' for every hung-up person in the whole wide universe
An' we gazed upon the chimes of freedom flashing.
MASTERS OF WAR
Words and Music by Bob Dylan
1963 Warner Bros. Inc
Renewed 1991 Special Rider Music
Come you masters of war
You that build all the guns
You that build the death planes
You that build the big bombs
You that hide behind walls
You that hide behind desks
I just want you to know
I can see through your masks
You that never done nothin'
But build to destroy
You play with my world
Like it's your little toy
You put a gun in my hand
And you hide from my eyes
And you turn and run farther
When the fast bullets fly
Like Judas of old
You lie and deceive
A world war can be won
You want me to believe
But I see through your eyes
And I see through your brain
Like I see through the water
That runs down my drain
You fasten the triggers
For the others to fire
Then you set back and watch
When the death count gets higher
You hide in your mansion
As young people's blood
Flows out of their bodies
And is buried in the mud
You've thrown the worst fear
That can ever be hurled
Fear to bring children
Into the world
For threatening my baby
Unborn and unnamed
You ain't worth the blood
That runs in your veins
How much do I know
To talk out of turn
You might say that I'm young
You might say I'm unlearned
But there's one thing I know
Though I'm younger than you
Even Jesus would never
Forgive what you do
Let me ask you one question
Is your money that good
Will it buy you forgiveness
Do you think that it could
I think you will find
When your death takes its toll
All the money you made
Will never buy back your soul
And I hope that you die
And your death'll come soon
I will follow your casket
In the pale afternoon
And I'll watch while you're lowered
Down to your deathbed
And I'll stand o'er your grave
'Til I'm sure that you're dead
Once Again Haunted By The Question Of Questions-Who Represented The “Voice” Of The Generation Of ’68 When The Deal Went Down-And No It Was Not One Richard Millstone, Oops, Milhous Nixon
By Seth Garth
I have been haunted recently by various references to events in the early 1960s brought to mind by either seeing or hearing those references. First came one out of the blue when I was in Washington, D.C. on other business and I popped in as is my wont to the National Gallery of Art to get an “art bump” after fighting the dearies at the tail-end of the conference that I was attending. I usually enter on the 7th Street entrance to see what they have new on display on the Ground Floor exhibition areas. This time there was a small exhibit concerning the victims of Birmingham Sunday, 1963 the murder by bombing of a well-known black freedom church in that town and the death of four innocent young black girls and injuries to others. The show itself was a “what if” by a photographer who presented photos of what those young people might have looked like had they not had their precious lives stolen from them by some racist KKK-drenched bastards who never really did get the justice they deserved. The catch here, the impact on me, was these murders and another very disturbing viewing on television at the time, in black and white, of the Birmingham police unleashing dogs, firing water hoses and using the ubiquitous police billy-clubs to beat down on peaceful mostly black youth protesting against the pervasive Mister James Crow system which deprived them of their civil rights.
Those events galvanized me into action from seemingly out of nowhere. At the time I was in high school, in an all-white high school in my growing up town of North Adamsville south of Boston. (That “all white” no mistake despite the nearness to urban Boston since a recent look at the yearbook for my class showed exactly zero blacks out of a class of 515. The nearest we got to a black person was a young immigrant from Lebanon who was a Christian though and was not particularly dark. She, to my surprise, had been a cheer-leader and well-liked). I should also confess, for those who don’t know not having read about a dozen articles I have done over the past few years in this space, that my “corner boys,” the Irish mostly with a sprinkling of Italians reflecting the two major ethic groups in the town I hung around with then never could figure out why I was so concerned about black people down South when we were living hand to mouth up North. (The vagaries of time have softened some things among them for example nobody uses the “n” word which needs no explanation which was the “term of art” in reference to black people then to not prettify what this crowd was about.)
In many ways I think I only survived by the good graces of Scribe who everybody deferred to on social matters. Not for any heroic purpose but because Scribe was the key to intelligence about what girls were interested in what guys, who was “going” steady, etc. a human grapevine who nobody crossed without suffering exile. What was “heroic” if that can be used in this context was that as a result of those Birmingham images back then I travelled over to the NAACP office on Massachusetts Avenue in Boston to offer my meager services in the civil rights struggle and headed south to deadly North Carolina one summer on a voting drive. I was scared but that was that. My guys never knew that was where I went until many years later long after we had all gotten a better gripe via the U.S. Army and other situations on the question of race and were amazed that I had done that.
The other recent occurrence that has added fuel to the fire was a segment on NPR’s Morning Edition where they deal with aspects of what amounts to the American Songbook. The segment dealt with the generational influence of folk-singer songwriter Bob Dylan’s The Times They Are A-Changin’ as an anthem for our generation (and its revival of late in newer social movements like the kids getting serious about gun control). No question for those who came of political age early in the 1960s before all hell broke loose this was a definitive summing up song for those of us who were seeking what Bobby Kennedy would later quoting a line of poetry from Alfred Lord Tennyson call “seeking a newer world.” In one song was summed up what we thought about obtuse indifferent authority figures, the status quo, our clueless parents, the social struggles that were defining us and a certain hurried-ness to get to wherever we thought we were going.
I mentioned in that previous commentary that given his subsequent trajectory while Bob Dylan may have wanted to be the reincarnation Plus of Woody Guthrie (which by his long life he can rightly claim) whether he wanted to be, could be, the voice of the Generation of ’68 was problematic. What drove me, is driving me a little crazy is who or what some fifty plus years after all the explosions represented the best of what we had started out to achieve (and were essentially militarily defeated by the ensuing reaction before we could achieve most of it) in those lonely high school halls and college dormitories staying up late at night worrying about the world and our place in the sun.
For a long time, probably far longer than was sensible I believed that it was somebody like Jim Morrison, shaman-like leader of the Doors, who came out of the West Coast winds and headed to our heads in the East. Not Dylan, although he was harbinger of what was to come later in the decade as rock reassembled itself in new garb after some vanilla music hiatus but somebody who embodied the new sensibility that Dylan had unleashed. The real nut though was that I, and not me alone, and not my communal brethren alone either, was the idea that we possessed again probably way past it use by date was that “music was the revolution” by that meaning nothing but the general lifestyle changes through the decade so that the combination of “dropping out” of nine to five society, dope in its many manifestations, kindnesses, good thought and the rapidly evolving music would carry us over the finish line. Guys like Josh Breslin and the late Pete Markin, hard political guys as well as rabid music lovers and dopers, used to laugh at me when I even mentioned that I was held in that sway especially when ebb tide of the counter-cultural movement hit in Nixon times and the bastinado was as likely to be our home as the new Garden. Still Jim Morrison as the “new man” (new human in today speak) made a lot of sense to me although when he fell down like many others to the lure of the dope I started reappraising some of my ideas -worried about that bastinado fate.
So I’ll be damned right now if I could tell you that we had such a voice, and maybe that was the problem, or a problem which has left us some fifty years later without a good answer. Which only means for others to chime in with their thoughts on this matter.
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