Roger Day wrote:
>I'd've liked Scorcese test the limits of his friendship with Dylan -
>all those shots of Dylan at the typewriter "writing" his poetry - he
>should've probed a little deeper. Don't get me wrong, I think Dylan as
>genius is a fair description however all that stuff had to come from
>somewhere.
>
If Douglas Clark is still here he can speak to this. I believe the term
"genius" would apply. I would not argue with it
>Come to think of it, there's no film of him reading,
>prepping, re-editing. Just him typing away - he could be typing "one
>jumped over the gate" 5 million times for all we know. All that stuff
>just flowed out of him? Listening to "Mr Tambourine Man" now, it seems
>polished, well-constructed, to have hard-labour poured into it, a
>thousand edits...
>
>
I saw him last night in a documentary about music and protest movements
going back to the late 1950s. The music gets progressively shittier
once you get out of the 70s. Or maybe I need a walker and an ear
trumpet:-). Dylan in the documentary was doing an early music video of
his "Subterranean Homesick Blues," one of the great songs of youth (or
any) malaise I've ever heard. "Look out kid, don't matter whacha did,
God knows when but you're doin' it again...." "Don't matter whatcha
did." They (there is always a "they") will get you. Both a
reasssurance and a feeling of Ugh.
>I thought the best shots were of him in the taxi in England, shades
>on, cornered. It feels like Pennebaker tuned in on the one who was the
>lightning-rod at that time.
>
>
You reminded me of "Don't Look Back," which I believe was about Dylan's
tour of England in 1965(?). There was a moment there of cruelty because
the recipient, Donovan Leitch, didn't appear to know he was being put on
and played with by Dylan. Leitch had gone backstage to pay his respects
(homage?) and Dylan seemed to double-talk and act dismissively.
"Another Side of Bob Dylan," no kidding.
Ken
--
Kenneth Wolman
Proposal Development Department
Room SW334
Sarnoff Corporation
609-734-2538
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