Yesterday, right after I’d finished reading an article on The Daily Beast about it being the 40th anniversary of Bob Dylan’s 1976 album, Desire, I clicked over to YouTube where I dialed up “Hurricane,” Dylan’s powerful narration of the story of middleweight boxing contender Rubin “Hurricane” Carter, which was the lead single from it. Carter was imprisoned for almost 20 years on flimsy evidence (a random bullet and a shotgun shell found in his car) and sketchy testimony (that the perpetrators had been black, pretty much) for a triple homicide “race killing” in a Paterson, NJ bar in 1966. I still had the Wikipedia page on Carter open on my browser when I saw, in another tab that New York attorney Myron Beldock, who worked for over a decade to free Carter, had died at 86.
Throughout his long career Beldock, who described himself as “a creature of my time, liberal, progressive and idealistic” had a reputation for taking on legal lost causes. One such case was representing George Whitmore Jr., a black teenager who was arrested in Brooklyn in 1964 for the rape and knife-killing of several women. Whitmore claimed he was beaten by NYPD officers until he signed a falsified confession. The outcome of this case would become highly influential in the Supreme Court’s 1966 Miranda decision, which required police to advise suspects of their right to remain silent and be represented by an attorney, and in overturning capital punishment in New York State. But Beldock’s most famous client was Rubin “Hurricane” Carter.
Carter’s case had been boosted by copies of his 1974 autobiography The 16th Round, which proclaimed his innocence, being sent around to notable lefty-types who might want to lend their celebrity to his cause. Esquire magazine’s art director George Lois organized a campaign to support Carter and Muhammad Ali was vocal in proclaiming that Carter was innocent. (Joni Mitchell, however, who was also one of the books’ recipients, passed thinking “This is a bad person. He’s fakin’ it.”)
Her friend Bob Dylan felt differently. Dylan read Carter’s book during a 1975 trip to France, and visited the boxer—who was then incarcerated in a New Jersey penitentiary—in May. The two met for several hours and Dylan agreed to help him.
Having difficulty cracking the lyrics, Dylan enlisted Jacques Levy, a New York-based theatrical director who had worked with Sam Shepard (and who’d staged the nude comedy review Oh! Calcutta! off Broadway) to help. Levy said of the song:
“The first step was putting the song in a total storyteller mode, the beginning of the song is like stage directions, like what you would read in a script: ‘Pistol shots ring out in a barroom night… Here comes the story of the Hurricane.’ Boom! Titles. You now, Bob loves movies, and he can write these movies that take place in eight to ten minutes, yet seem as full or fuller than regular movies.”
“Hurricane” was premiered to an audience of about 100 people in Chicago on September 10th, 1975 during the taping of Bob Dylan’s performance on the PBS TV series Soundstage. This particular episode was titled “The World of John Hammond,” being a tribute to the retiring Columbia Records executive and civil rights activist who’d signed Dylan, Bruce Springsteen, Aretha Franklin and Leonard Cohen (among many, many others) during his fabled 45-year-long career in the music industry. The show, broadcast in December would be Dylan’s very first TV appearance since his duet with Johnny Cash in 1969. The 8:33 single was recorded on October 24 and released in November.
Dylan’s Rolling Thunder Revue was used by the artist as a platform to campaign for Rubin Carter’s release and the first leg of the tour ended at Madison Square Garden on December 8th with a benefit concert dubbed the “Night of The Hurricane.” Roberta Flack and Muhammad Ali, who called Carter in his jail cell from the stage, also participated. A second event, Night of the Hurricane II, took place on January 25th at the Houston Astrodome and featured Stevie Wonder and Stephen Stills.
Continues after the jump…
Posted by Richard Metzger |
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