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Bob Dylan’s Super Bowl half time show, details leaked
06:59 pm



I don’t want to spoil any of the fun here, so I’ll just say “Tim Heidecker writes”:

Here it is. My 4th Annual Super Bowl Half Time Show song leak. This one is from none other than Bob Dylan, who is replacing Beyonce who dropped out after her inauguration lip synching scandal.

“Running Out The Clock” is a previously unreleased song from Dylan’s 1983 “Infidels” album. I guess it makes sense… the football metaphors and references.

I hope you enjoy and know I’ll be back next year with another leak.


If you’re going to fake a Dylan song, to model yours after an Infidels outtake is so ridiculous and obtuse that I just can’t stop laughing about it.

And speaking of Tim Heidecker, have you seen the Tim and Eric film, Tim & Eric’s Billion Dollar Movie? I watched it recently and it’s fucking hilarious. I’d even go so far to say it’s the Penn & Teller Get Killed of our time (and I mean that in a good way, I LOVED Penn & Teller Get Killed, honest I did!). It’s on Netflix, so get stoned and watch it pronto. Forget about those snooty Sundance audiences and the haters on Rotten Tomatoes, what do they know?

Heidecker also has a movie review podcast called “On Cinema, At The Cinema” where he muses about new films with friends. In a recent episode, with guest host Gregg Turkington (you may know him as Neil Hamburger), the two discussed Zero Dark Thirty, a “documentary” about the death of “one of the original bad guys in cinema and in… the world,” Osama bin Laden. Genius funny stuff.

Posted by Richard Metzger | Leave a comment
Allen Ginsberg declares his admiration for Bob Dylan on TV in 1965
03:57 pm

A girl's best friend is her guitar


In this brief clip broadcast on KRON TV in San Francisco, Allen Ginsberg pays loving tribute to the young Bob Dylan. December 3rd,1965.

“He is a lovable genius and I hope he lives to be 100.”

Posted by Marc Campbell | Leave a comment
Riffing on Bob Dylan’s ‘Blonde on Blonde’: Rainy day women, Leonard Cohen and the Old Testament?
08:46 am



I recently found myself wondering–as you do–what, exactly, “Rainy Day Women #12 & 35” was all about. Precluding, that is, getting high (Dylan: “I never have and never will write a drug song”). My curiosity led me to the following observation by Dylan scholar Clinton Heylin, who observed that the title seems to allude to the following beauty from the Book of Proverbs (chapter 27, verse 15): “A continual dropping in a very rainy day and a contentious woman are alike.” (Well if that ain’t the Old Testament’s lightest moment!?) Heylin suggests the title was meant to throw off the censors. Better yet, though: a continual dropping: stoning! “Everybody must get stoned”: Every man (the ones that shack up with women anyhow) must get nagged. The “They” being none other than (Rainy Day) “women.”

Well, they’ll stone you and say that it’s the end
Then they’ll stone you and then they’ll come back again
They’ll stone you when you’re riding in your car
and they’ll stone when you’re playing your guitar

It all comes into focus when you picture a henpecked hubby– even, I fancy, “sent down in your grave,” which suggests the dirt dropped on hubby’s coffin lid by the surviving widow.

While Heylin’s sourcing of the title in Proverbs arguably seals the deal, it turns out plenty of sharper-eared listeners have long held this interpretation of the song (fair enough: it’s hidden in plain sight), and I found it suggested online that the “#12 & 35” element coincides with a woman’s peak fertility. “A continual dropping in a rainy day…” The song’s about PMT!

Having finally sussed “Rainy Day Women #12 & 35” (it’ll do me!), I moved on to the similarly enigmatic Blonde on Blonde classic “Just Like Woman.” Immediately, of course, we find ourselves assailed by a further “continual dropping” (Bob’s standing “inside the rain,” no less), but – as I chewed again on the song’s famous words – light was shed in an unexpected and entirely different direction…

Does the following verse of “Just Like a Woman” remind you of another famous song at all?

Ev’rybody knows
That Baby’s got new clothes
But lately I see her ribbons and her bows
Have fallen from her curls.

How about Leonard Cohen’s “Everybody Knows”?

Everybody knows that you love me baby
Everybody knows that you really do
Everybody knows that you’ve been faithful
Ah give or take a night or two
Everybody knows you’ve been discreet
But there were so many people you just had to meet
Without your clothes
And everybody knows

And if you’re still not convinced that Cohen is here (Dylan’s “new clothes” suggesting “no clothes,” after all) paying subtle tribute to the source of his song’s indelible refrain, remind yourself of the following verse also…

And everybody knows that it’s now or never
Everybody knows that it’s me or you
And everybody knows that you live forever
Ah when you’ve done a line or two
Everybody knows the deal is rotten
Old Black Joe’s still pickin’ cotton
For your ribbons and bows
And everybody knows

Which is a stunningly imaginative way to recycle Dylan’s rhyme. Those guys eh!

Finally, here’s Al “right place/time/riff” Kooper specifically reminiscing about recording Blonde on Blonde in Nashville, describing his role as a “human tape recorder” who would go learn Bob’s emerging songs and then go prepare the musicians (sketching the odd arrangement too, by the sound of it).

Posted by Thomas McGrath | Leave a comment
Wendy James: Exclusive interview and new tracks with James Williamson & James Sclavunos
07:22 pm

Pop Culture


Wendy James has been busy. Since the release of her superb album I Came Here to Blow Minds last year, Wendy has been traveling the world, writing, performing and recording across New York, London, Paris, and Los Angeles. She has also been working on her next album and single with the legendary James Williamson and James Sclavunos.

In an exclusive interview, Wendy James tells Dangerous Minds about working with Williamson and Sclavunos on her latest Double A-side single, which we premiere below.

DM: What are you working on just now?

Wendy James: ‘I’m getting this single out, which really is a Double A side speciality to be released on beautiful Vinyl and Download.

‘It’s a speciality as I don’t usually do cover versions and of course, because of the line up of the players. It’s the first and only time James Williamson from The Stooges has recorded anything other than a Stooges or Iggy record. And I got ‘Big’ Jim Sclavunos from the Bad Seeds and Grinderman on drums. Steve Mackay, the famed Baritone Sax player from the Stooges, does a great part too. Between us we hand in a pretty powerful sound I think!! We started off thinking ‘Why not go into the studio and make a Single?’ Well the Bob Dylan track “It’s Alright Ma” is 7 minutes long so instead of it being a 45” single we have put it onto 10”. Literally there are not enough grooves on a 45” to allow for that length of song!

‘The other song “You’re So Great” is a cover of Fred ‘Sonic’ Smith’s number from his band Sonic’s Rendezvous Band. The more space the better on a 12” or 10” vinyl so you can make great artwork, read the credits etc… It’s all very tactile once you’re on Vinyl. You master differently, you mix differently, you actually strip away a lot of the artifice of an overly-compressed digital sound, you really get bass end, you really get depth of field. It’s very, very exciting in the studio to as you literally the hear the compositions coming together.’

DM: How did you decide to cover Dylan’s ‘I’m Alright Ma’?

Wendy James: ‘I have a whole new album of original numbers, plus my choice of one cover: “You’re So Great” by Sonic’s Rendezvous Band. I was talking through the whole thing with James and he looked at his Stooges touring diary at that time (June) and he figured he could carve out a number of days for us to work, not enough time to make a whole album then, but enough to make a single. It seemed obvious to me that James should play “You’re So Great” which is tailor made Detroit attitude from Fred Smith and even to the point that Scott Asheton from The Stooges played in that line-up, so, we agreed to do that song and then just through conversation, James asked me what my favorite Bob Dylan number was, and I said “It’s Alright Ma, I’m Only Bleeding”. You know the clarity and purpose of those lyrics have never been bettered and never will be. They are finite. They are IT. So… just like that, we decided to do both these covers and make it a special, and of course put the numbers onto my album later, and to deal with recording the whole album a few weeks later.

‘So that is how it came together, in a series of babbling enthusiastic sentences propelled by both of us that resulted in us then blocking time in a recording studio and saying ‘Ok, see you in 3 weeks.’ Believe me we took on more than seemed apparent at first! To tongue twist your voice around all Dylans’ words and then at the speed at which James plays guitar, and for 7 minutes, and make it flow naturally and mean it! In the end, I understood every breath, every intention of Dylans’ phrasing and choice of words, but for a good week or so, I was the crazy lady in Washington Square Park walking around the periphery of the park muttering lyrics to myself, learning them!! (But… it’s not unusual in Washington Square Park to see muttering bums! So I generally went un-noticed!)’

And Fred ‘Sonic’ Smiths You’re So Great’ - why’d you choose that?

Wendy James: “You’re So Great” is just perfect pop. Three minutes of power and attitude. I love it, it’s always been a favorite of mine. I love Sonic’s Rendezvous Band, largely un-championed, except for us musicians and fans that revel in all things Detroit and Ann Arbor! They never recorded this in a studio so I had to rely on myriad live recordings and it was impossible to understand all the lyrics, so… James asked Scott Asheton and Patti Smith if Fred ever wrote them down, but he didn’t, and Patti said ‘Go ahead and fill in the blanks’. I think we got pretty damn close! And James just plays it so good! It’s his kind of thing, and mine too… So, it worked out very well, you know jumping around the studio saying ‘This is it, This is it’.

‘My friend in NYC has DJ’d it out in New York now to 1000 + people and he said the dance floor was slamming… I got texts through the night saying ‘Your Track Rules’! Very encouraging!’
DM: How did you become involved with Williamson and Sclavunous?

Wendy James: ‘James Sclavunos and I know each other socially from NYC and West London. James Williamson and I met around December last year. My friendships with both men just naturally evolved based on music and the tentative early discussions of doing something together. I share with both of them, and especially with James W, a very similar kind of look at things and taste in music, even humor, literature, you know, those typical conversations about ‘What’s your favorite movie?’ What book are you reading?’ etc etc… so. There was plenty of friendship there between all three of us when we finally walked into Fantasy Studios in Berkeley, California.’

DM: Tell me about working with them on ‘It’s Alright Ma’ and ‘You’re So Great’?

Wendy James: Well, we’re all pretty fluid musicians, so… it’s literally what it sounds like. Jim played Drums and Percussion, James played Guitar and Bass, I sang and played keyboards… and between the three of us, playing live together and Jesse Nichols at the helm behind the mixing desk moving as quickly and as frenetically as we did! Keeping tabs on all the stuff that was going down, we really did just play both songs live until we reached a peak. Then you know, go back in the control room, listen back, identify any improvements and overdubs, and… yeah… musicians working. That’s what you do, That’s how you do it.

DM: What are you working on with them?

Wendy James: ‘Now it’s my whole album. The songs are nearly complete, I definitely have two left to write. Then it comes down to scheduling: Whether we have to grab time in pieces, or block book for a period of weeks, I expect to be underway in a matter of weeks and delivered by beginning 2013. Released Spring 2013. In the meantime this single will come out.’

DM: When will ‘I’m Alright Ma’ / ‘You’re So Great’ be released?

Wendy James:  ‘October/November. The company people are debating the best time for them now, it’s got little to do with me, but it’s coming up quick! So, in preparation, I’m doing a couple of photo sessions, finishing up my song writing, and finalizing artwork choices. You know six weeks go by very quickly when you’re planning an album or a single release, and so, with something like this, there hasn’t been any let-up since James Williamson and I decided to do it!’

We look forward to hearing more from the always welcome Wendy James.

Thanks to Ricardo Gomes for the fab photograph of Wendy James.


Previously on Dangerous Minds

Wendy James wants to blow your mind


Posted by Paul Gallagher | Leave a comment
Steve Martin reading a book on Bob Dylan circa 1970
02:38 pm

Pop Culture


Just thought I’d share this great photo of Steve Martin—long before his hair turned gray—circa 1970. Martin had been a staff writer for The Smothers Brothers Comedy Hour which had been canceled by CBS the year before.

Source: Mr. Garcia at Flickr.

Previously on Dangerous Minds:

Steve Martin promo video for ‘A Wild And Crazy Guy,’ 1978

Steve Martin’s funny response to fan mail

Posted by Tara McGinley | Leave a comment
Tangled Up in Dylan: The twisted tale of AJ Weberman
10:45 am



If you appreciate whimsical documentaries about eccentric or marginal types—much of Louis Theroux’s work, the Wild Man Fischer doc dErailRoaDed and Keith Allen’s deliriously insane Little Lady Fauntleroy would fall into this category—or if you are a Bob Dylan completest, then you might be interested in Tangled Up in Dylan: The Ballad of AJ Weberman directed by James Bluemel and Oliver Ralfe.

AJ Weberman is infamous, if he is known at all, among Dylan aficionados for being the obsessed stalker who Bob Dylan physically assaulted in 1971 because he had been harassing his family. Weberman picked through their trash (he calls his stinky style of sleuthing the science of “Garbology”) and staged demonstrations (with the “Dylan Liberation Front,” the students of his “Dylanology” classes) outside of Dylan’s MacDougal Street brownstone, apparently with the aim of convincing Dylan to, uh, join the revolution, man… but having the result of really pissing him off.

Bob Dylan vs. A.J. Weberman is the title of a much-sought after Dylan curio, a bootleg LP made from recordings of Weberman and Dylan talking on the telephone. It’s a fascinating conversation—indeed it’s what got the filmmakers interested in such an odd character in the first place—but it’s baffling why a superstar like Bob Dylan would have given such a freak his phone number in the first place (Weberman taught a class in “Dylanology” and had interviewed Dylan for the underground press before he got weird on him).

Here’s what Weberman told Rolling Stone’s Marc Jacobson, years later, about the time Dylan beat him up:

“I’d agreed not to hassle Dylan anymore, but I was a publicity-hungry motherfucker. . . . I went to MacDougal Street, and Dylan’s wife comes out and starts screaming about me going through the garbage. Dylan said if I ever fucked with his wife, he’d beat the shit out of me. A couple of days later, I’m on Elizabeth Street and someone jumps me, starts punching me.

“I turn around and it’s like—Dylan. I’m thinking, ‘Can you believe this? I’m getting the crap beat out of me by Bob Dylan!’ I said, ‘Hey, man, how you doin’?’ But he keeps knocking my head against the sidewalk. He’s little, but he’s strong. He works out. I wouldn’t fight back, you know, because I knew I was wrong. He gets up, rips off my ‘Free Bob Dylan’ button and walks away. Never says a word.

“The Bowery bums were coming over, asking, ‘How much he get?’ Like I got rolled. . . . I guess you got to hand it to Dylan, coming over himself, not sending some fucking lawyer. That was the last time I ever saw him, except once with one of his kids, maybe Jakob, and he said, ‘A.J. is so ashamed of his Jewishness, he got a nose job,’ which was true—at least in the fact that I got a nose job. . . .”


Weberman has written several books about Dylan (RightWing Bob: What the Liberal Media Doesn’t Want You To Know About Bob Dylan being one of them) and other subjects (such as HOMOTHUG: The Secret Life of Rudy Guiliani) and maintains to this day that Dylan sends him secret messages in song lyrics.

I’ve had my own (one-sided) run-ins with the notoriously prickly Weberman: In April of 1997, only a matter of a few months after Disinformation was launched on the Internet, I posted an innocuous enough item there about Aron Kay AKA “Pie Man,” another aging Yippie holdover like Weberman who was known for his habit of “pieing” people he thought deserved ridiculing like Anita Bryant, William F. Buckley, Phyllis Schlafly, G. Gordon Liddy, E. Howard Hunt and Andy Warhol.

Kay and Weberman are old cronies and I guess what happened is that he told Weberman about this counterculture website that had written about him and Weberman took a look, noticed a collection of links to various JFK assassination sites that I’d prepared, saw that his JFK assassination site wasn’t listed there and promptly started leaving long, hateful, spiteful messages (three in all) on my answering machine. Someone I’d never met was fucking furious at me, over something that I didn’t do. My sin was one of omission—I didn’t know about his website—but it seemed to leave the guy utterly unhinged.

I didn’t hear from him again for ten years until my wife signed me up for Facebook. One day soon afterwards she asked me: “Do you know some dude named AJ Weberman? He’s saying shitty things about you and trolling you on your Facebook wall.”

“Oh that guy. No, I don’t know him, but he’s done this before to me, just ban him, will you?”

That’s the end of my AJ Weberman story, although I suspect he’ll read this post and have something to say in the comments.

Via email, I asked the filmmakers, James Bluemel and Oliver Ralfeabout getting tangled up with Weberman:

I know that both of you are big Dylan fans. How did you stumble across AJ Weberman and decide to make a film about him?

We first came across Weberman in various biographies of Dylan. He was and probably always will be portrayed as a persistent nuisance in the extreme. The way people wrote about him was purely hateful which stuck out. We then heard the bootlegged phone call him made to Dylan which made for fascinating listening and we thought, ‘I wonder what this guy is doing now?’

What do you make of his “Dylanology”?

Weberman has an incredible analytical brain. His conclusions maybe off kilter but the ride is entertaining and sometimes illuminating. While many scholars interpret Dylan’s work within the vernacular of the blues or folk music traditions, it’s interesting to read Dylan from a street slang, streetwise level, which is where Weberman places him. And some of his insights, the way he sees those songs are fascinating. However, I feel Weberman has an agenda which often shapes his interpretations and distorts them. Some of his conclusions I disagree with, some anger me, some amuse me. It’s important to note for those that haven’t seen the film, that it’s not just a mouth piece for Weberman’s insights and wild fantasies about Dylan – there’s plenty of that you can read for yourselves on the web if you want to.

In the infamous recording of his phone conversation with Dylan, I couldn’t for the life of me understand Dylan’s own motivation in bothering to accommodate an asshole like Weberman. Most people, let alone someone as famous as Bob Dylan, would have told Weberman to go fuck himself or let the police deal with him, but Dylan, even after insulting him, continues to speak with him—albeit warily—and even agrees to a future call. Do you think Dylan was thinking “Well this guys a kook, but he’s a fan, so I owe him politeness” and just trying to deal with him on that level or WHAT? (My wife remarked during that part of your film “Why does Bob Dylan stay on the phone with this creep?” as well. It bothered her!)

I think perhaps Dylan was trying to work out how much of a nut Weberman was. This is a good few years before Lennon was shot but I bet part of Dylan’s receptiveness to Weberman was to try to work out if he was dangerous. By the time of the phone call however, Dylan had met Weberman a number of times and probably worked out that he wasn’t a psycho, so I think there was something else going on. I think in some way Dylan enjoyed the banter. Weberman does not kowtow to Dylan, he doesn’t let him get away with anything on that call, he challenges Dylan and when Dylan counter attacks these challenges, Weberman comes back at him with more. Perhaps Dylan found this refreshing to the hordes of people that fell over themselves to agree with him and praise him.

I’ve never had any personal interaction with Weberman, but he’s called my apartment in NYC and left abusive messages for me and some nasty posts on my Facebook wall. However, I must say, he doesn’t seem nearly as crazy in your film as I imagined he’d be in real life. Do you reckon he was on his best behavior because there was a camera on him?

Not really. Weberman has a nasty streak in him which I think you see in our film but it’s not the only aspect of his personality.

Near the start of the film he admits to getting physical with his wife resulting in a retraining order and also of spending some time in jail. How long was he actually incarcerated for dealing pot?

I forget now – I think the sentence was two years.

How does Weberman make a living these days?

It’s a good question. I believe he does a bit of work gathering information for the Jewish Defense League. He also writes books – the Dylan to Englishdictionary, his book on who really killed JFK and Homo Thug which was about Giuliani. I don’t know how much money he makes from these however.

How did he react to your film? Did he throw a tantrum and call your voice mail repeatedly? Nasty emails?

He never really commented on the film. In fact, he has never really asked us any personal questions about our lives at all. When we meet up with him these days, it’s just straight into whatever is on his mind. So no, he’s never let on what he thought about it. He probably would have preferred it if we used more of his Dylanology rants and kept in some of the more outrageous conclusions he comes up with. There was one point while shooting he said he would prefer it if we stopped filming, then he immediately changed his mind and said fuck it, lets keep it in the style of cinéma vérité. I liked that.

Have you ever heard if Bob Dylan saw your doc? I’d imagine that he’d get a real kick out of it.

I really hope he has seen it. I gave a copy to the producer of No Direction Home who promised he’d pass it on to Dylan. Who knows if that happened? If he has seen it, I hope he liked it.

Posted by Richard Metzger | Leave a comment
It’s Bob Dylan’s Birthday
07:58 pm

Pop Culture


It’s Bob Dylan’s birthday - Happy Birthday Bob. But rather than the usual cake, candles and documentary clip, here’s a slightly different birthday card: 2 versions of Dylan’s “Masters of War” slowed down by 400% and 800% by Angel Musicfication.

Bob Dylan - “Masters of War” : 400% slower.

Bob Dylan - “Masters of War” : 800% slower.

Posted by Paul Gallagher | Leave a comment
Handmade felted rock stars
01:21 pm



Bob Dylan and Janis Joplin hangin’ out
Oregon -based artist Kay Petal makes these whimsical sculptural needle-felted rock star dolls. Kay says, “Using single, barbed felting needles I sculpt wool fibers into solid felted wool characters with heart and soul. My characters are soft and flexible yet strong and durable.”

And guess what? Kay will even make one of YOU! You can contact her on the website Felt Alive for more information.

Johnny Cash
More after the jump…

Posted by Tara McGinley | Leave a comment
Bob Dylan’s ‘screen test’ at Andy Warhol’s Factory, 1965
01:26 pm

Pop Culture


Dylan, Warhol and Elvis, photo by Nat Finkelstein

Famous visitors and “beautiful people” with “star potential” who visited Andy Wahol’s Factory studio in the 1960s were often shot for Warhol’s “screen tests,” his silent “parodies” of the Hollywood studio system. No one was really auditioning for anything, it was just an excuse to run a single reel of 16mm film through his Bolex camera and engage someone in a staring contest with it, one they normally lost (after a minute or so of trying to look “cool,” the mask was normally dropped and the simple portraits become quite revealing). The two and a half minute reels were then slowed down and printed.

Some of the more notable subjects included Italian model Benedetta Barzini, model/actrress Marisa Berenson, poet Ted Berrigan, Salvador Dalí, Donovan, Marcel Duchamp, Mama Cass, Allen Ginsberg, Beck’s mother, Bibbe Hansen, Baby Jane Holzer, Dennis Hopper, actress Sally Kirkland, Nico, Yoko Ono, Lou Reed, photographer Francesco Scavullo, Edie Sedgwick, Susan Sontag, artist Paul Thek, Viva and Mary Woronov

When Dylan stopped by the tin-foil covered Factory, he is alleged to have taken an immediate dislike to Warhol and the “phonies” of his entourage. It has long been suspected that the spitting lyrics of “Like a Rolling Stone,” in part, describe Dylan’s feelings about Warhol—was he “the diplomat on the chrome horse”?—and how he felt about the artist’s perceived exploitation of Edie Sedgwick, who Dylan was at one point romantically involved with (and who was his muse for some of Blonde on Blonde).

After the screen test was shot, Dylan grabbed a large silkscreen (as “payment”) that Warhol was going to give him anyway and headed for the door (before allegedly strapping the canvas to the roof of a station wagon). Such was his dislike of the artist that he later traded the piece to his manager, Albert Grossman, for a couch. That silkscreen, “Double Elvis,” is now part of the permanent collection at MOMA.

Here’s Factory photographer Nat Finkelstein’s account of what happened:

“Andy gave Bobby a great double image of Elvis. Bobby gave Andy short shrift. Shooting and plundering finished, the Dylan gang headed for the door, me and my Nikon on their heels. They left as they had entered…‘Bobby the Waif’ emerging as ‘Robert the Triumphant’. They departed having tied the Elvis image to the top of their station wagon, like a deer poached out of season. Much later, Bobby told me he’d traded the Elvis (now worth millions) to his manager Albert Grossman for a couch!”


Posted by Richard Metzger | Leave a comment
Kid’s birthday cake based on Milton Glaser’s Bob Dylan poster
01:13 pm



Young Holden’s 2nd birthday cake, inspired by Milton Glaser’s Bob Dylan poster, was created by Betty Bakery in Brooklyn. What a lucky kid! This cake is a work of art!

Read more about Holden’s Bob Dylan-themed birthday bash here.

Via Super Punch


Posted by Tara McGinley | Leave a comment
Historical footage of Bob Dylan & The Band at Isle of Wight Festival, 1969
10:00 pm



Bob Dylan and the Band caught on b&w half-inch open reel videotape at the Isle of Wight Festival on August 31, 1969. Dylan had rejected an offer to play at Woodstock to headline the festival.

Allegedly this was shot by a friend of John Lennon and Ringo Starr (who can be seen in the audience here). This makes sense because a) only someone relatively wealthy would have had access to a half-inch open reel video-recorder at the time and b) whoever shot this was right up front.

“I Threw It All Away”

“The Weight”


Posted by Richard Metzger | Leave a comment
George Harrison’s ‘Concert for Bangladesh’
07:31 pm



Beatle George Harrison died ten years ago on November 29, 2001.

Below, you can watch the entire historic Concert For Bangladesh performance featuring George Harrison, Bob Dylan, Eric Clapton, Ravi Shankar, Leon Russell, Ringo Starr, Billy Preston, Badfinger, Jesse Ed Davis, Klaus Voorman and Mother of Invention Don Preston.

Harrison walks onstage at 22 minutes in—after a fiery opening set by Ravi Shankar—and the supergroup (led by bandleader Leon Russell) launch into his blistering anti-Macca number “Wah Wah,” one of the best songs on his sprawling All Things Must Pass album.

(You might not want to wait too long to watch this one, who knows how long this is going to last on YouTube…)

Previously on Dangerous Minds:

‘Little Malcolm’: George Harrison’s lost film starring John Hurt and David Warner
George Harrison sings on Eric Idle’s ‘Rutland Weekend Television’
‘The Kid’: Paul McCartney talks about George Harrison
Raga: 1971 film featuring Ravi Shankar and George Harrison remastered

Posted by Richard Metzger | Leave a comment
Teenage beatnik: Allen Ginsberg, Jack Kerouac and Bob Dylan portrayed by a young girl
11:38 pm

Pop Culture


The Mad Ones: A Brief History Of The Beat Generation

This well-executed, smart, no-budget, D.I.Y. video was a school project created by Krystal Cannon who lives in Ithaca, New York. She portrays all of the characters in the film.

I particularly dig Cannon’s Bob Dylan and her Allen Ginsberg is a hoot.

Krystal, if you see this, how about posting a comment on the making of The Mad Ones.

Posted by Marc Campbell | Leave a comment
Bob Dylan: ‘The Times They Are A-Changing’, Live in Toronto 1964
06:58 pm

Current Events


In January 1964, Bob Dylan released his classic third album The Times They Are A Changin’. As part of the promotion for the record, Dylan was offered a half-hour slot on Canadian TV’s arts series Quest. The loose form of the show suited Dylan and allowed him to showcase 3 tracks from his new record and 3 from previous album, Freewheelin Bob Dylan.

“The Times They Are A-Changin’”
“Talkin’ World War III Blues”
“The Lonesome Death of Hattie Carroll”
“Girl from the North Country”
“A Hard Rain’s a-Gonna Fall”
“Restless Farewell”

It was momentous piece of television, one that firmly established Dylan as “the voice of his generation”, as he sang his most radical folk songs, which, in light of Occupy Wall Street, are still as relevant and as important today.


Posted by Paul Gallagher | Leave a comment
Who will be ‘the Bob Dylan of Occupy Wall Street’?
01:23 pm



Yesterday on NPR, there was a segment where Los Angeles Times music critic Ann Powers was asked if a “new Bob Dylan”—or at least a new “name” singer/songwriter—had stepped forward with a song that really crystalized what the Occupy Wall Street demonstrations are all about. Powers answered that, no, it hadn’t really happened because of the leaderless, un-amplified nature of the movement’s setting, and she was was right, but I’m guessing that she hasn’t heard the music of 23-year-old London-based soul singer Michael Kiwanuka... yet.

Why should we expect that the “Blowin’ In The Wind” of 2011 was actually going to come from Zuccotti Park, anyway? For me, Michael Kiwanuka’s new song, “I’m Getting Ready” could be the song that best sums up the historical moment we’re in. It’s not as if he’s addressing “revolution” or Occupy Wall Street or any other specific location or uprising around the globe with the song’s simple lyrics. There are no grievances aired, no complaints or demands made. But what he has done is compose and perform an “anthem” level song—it’s gorgeous and uplifting, almost a hymn—that makes the case for standing up for yourself. It’s beautifully of the moment.

I haven’t been this knocked out by a new talent since I got hip to Laura Marling. With “I’m Getting Ready,” Kiwanuka takes the whole Nick Drake/Nico’s Chelsea Girl thing and really makes it his own. His voice is strong—Bill Withers-level strong—and he’s a cool-looking motherfucker, too. Dig his Tappa Zukie fashion sense! I have a feeling Michael Kiwanuka is going to become a very big star in the coming months.

If anyone is organizing a benefit concert for Occupy Wall Street, Michael Kiwanuka would be an absolute must for that bill.

See what you think:

After the jump, “Tell Me A Tell,” which is a much different sounding song altogether than “I’m Getting Ready,” but equally gorgeous!

Posted by Richard Metzger | Leave a comment
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