In re: Bob Dylan

Bob Dylan and the tyranny of prize

The moment, in 2016, when I saw a picture of the Nobel Prize committee chairperson, I had an idea of why Bob Dylan had been chosen for the Literature award. I imagined her as she would have been in college after hearing Just Like a Woman for the first time, and feeling as if Bob Dylan wrote it and sings it for her alone.

Sara Danius, of the Swedish Academy, names Bob Dylan winner of the 2016 Nobel Prize in Literature, October 13, 2016.

More than once have I taken a date to a Bob Dylan concert, and each time I felt that if he had beckoned her, from the stage, or afterwards from the bus, I’d have gone home alone. And I like to think I’d be okay with that – because there is a woman (or two) with the same gravitational pull on me!

Since Bob Dylan and his songs occupy much of the space capital ‘p’ poetry would if market forces hadn’t replaced it with Creative Writing, the committee knew there’d be precious little blowback if it gave the literary world’s most esteemed diadem to an alien, to someone outside the world of literature – to the self-proclaimed song and dance man!

Springsteen 20 – Dylan 10

OR – maybe this is a case of noble Nobellians balancing the folly of the recording industry, which is in charge of pop culture’s royal family, where Beyonce is head of household. There, you’ll glance past dozens of names before reaching Bob Dylan, whose 10 prizes are half as many as Bruce Springsteen’s, the guy once known as “the next Bob Dylan.”

As luck would have it, when Dylan’s award was announced, Donald Hall (1928-2018), former poet laureate of the United States, was my friend and correspondent. We had been discussing the importance of music to his work when I asked what he thought about Bob Dylan getting the Nobel for Literature.

“Curiously, when I read Bob Dylan on the page the words make no sound! Poetry sound is utterly different from music. When he sings them, I reckon that they make a good noise! They are song literature but on the page they have no sex at all. Compare Thomas Hardy and “During Wind and Rain.” Hardy has four stanzas, each of them tells us that people have fun together as families but then they get old and die. Four times. And it is fairly erotic. Oral sex. Phil Roth should have won the Nobel, and now he never will.”

Prizes, such as the one connected to the dynamite fortune, say as much about the grantor as they do about the lucky winner. Saudi Arabia suddenly gives rich prizes to golfers, just to get people off their back for dismembering journalists.

In 1958, the literature Nobel was given to Boris “Dr. Zhivago” Pasternak – even though the Russian author, already on Stalin’s shitlist, wanted no part of the prize and all the noise it would make. But, since the brand new C.I.A. was eager to rub Uncle Joe’s nose in it, Pasternak was awarded the prize – and suffered for it the rest of his life.

You know who would’ve been a dyn-o-mite recipient of the 1958 Nobel in Literature? The man who wrote “This Machine Kills Fascists,” whose praise Bob Dylan sings on his first record album.

Dave Read

The British Invasion

Weeks before Great Britain sends
Beatles toward the Liberty statue,

JFK, martyr/son of her ancient foe,
benames the place they’ll land,
(*not Gold, not Normandy).

Before CBS anoints the uniformed four –
or masses an audience of kids (too young for tits),

They expel Bob Dylan, the native son
who would say John Birch has come
to scare US out of our wits.

The spoonful of sugar that helps the
medicine go down, Bubblegum Pop

Keeps Folk ‘n Blues close to home –
in the sticks, and seedy parts of town,
where Jazz and Poems rise to the top.

Dave Read

* The British landed at Gold Beach, Normandy, on D-Day.

American Leviathans

“Oh! time was, as when the sunrise nobly spurred me…” Captain Ahab, chapter 37.
“New Morning,” Bob Dylan, LP #12

By Dave Read – One hundred ten years after Moby-Dick broke the surface of the inchoate, if not placid, American scene, another leviathan broke the surface of American somnambulance, making waves near the port of New York, which have yet to crest, five dozen years later.

Of all the literary links and/or melding metaphors available for an epistle addressed to Bob Dylan’s audience, Herman Melville/Moby-Dick seems suitable because Dylan’s Nobel Prize acceptance speech is loaded with 78 sentences about Moby-Dick, a new world record!

Also, because the public transformed Dylan into a veritable white whale, a thing great enough to support generations of barnacles right across the pecuniary spectrum, but especially in the book business and in the academy.

Not only that, but Bob Dylan channeled Herman Melville during an impromptu tête à tête with his erstwhile muse, Joan Baez. The exchange was recorded because it took place in the midst of the Rolling Thunder Revue, and is included in the movie based on it by Martin Scorsese.

Joan Baez and Bob Dylan, Mama Frasca's Dream Away Lodge, Rolling Thunder Revue party, Nov. 1975. Ken Regan photo. — Joan Baez and Bob Dylan, Mama Frasca’s Dream Away Lodge, Rolling Thunder Revue party, Nov. 1975. Ken Regan photo.

Dylan and his traveling circus enjoy a rare day off in the Berkshire woods, between a double-header the previous day in Springfield and a show the next day in Vermont. They have the run of Mama Frasca’s Dream Away Lodge in Becket, which happens to be a favorite haunt of Arlo Guthrie, who lives nearby and who had been invited to join the troupe for the Springfield shows.

In Moby-Dick, Captain Ahab is nearly blissed out – “as the morning of the third day dawned fair and fresh.”

“Here’s food for thought, had Ahab time to think; but Ahab never thinks; he only feels, feels, feels; THAT’S tingling enough for mortal man! to think’s audacity. God only has that right and privilege. Thinking is, or ought to be, a coolness and a calmness; and our poor hearts throb, and our poor brains beat too much for that.”

The decidedly unschooled Bob Dylan also is near bliss, a decade and a half since he weighed the anchor of his mind in the shallow harbor of Hibbing, Minnesota, now early in the most storied tour in the annals of American popular music.

I attended the Springfield shows, and about twenty years later, I became friends with a guy who had been both neighbor and friend of Mama Frasca.** Not only did he attend the all-day party, but he was with Mama Frasca when Arlo called to make arrangements for the party.

Apparently, the name of Joan Baez came up during the conversation, because as my friend tells the story, when Mama Frasca hung up the phone, she was overcome with joy, “Joan Baez is coming, Joan Baez is coming.” So profound was Mama’s affection for the counter-culture chanteuse that, when she arrived decked-out in dungaree, Mama whisked her upstairs and gave her a pretty white dress to put on.

With the party in full-swing throughout the lodge and environs, Dylan and Baez have a moment alone together at the bar. The former lovers chide each other on their recent marriages:

“It really displeases me that you ran off and got married.”

“You got married first and didn’t tell me.”

“Yeah, but I married the woman I loved.”

“Yeah, that’s true – and I married the man I thought I loved.”

“See, that’s what thought has to do with it – thought will fuck you up!”

“You’re right, I agree with that.

“It’s heart, it’s not head.”

It is unlikely that Mr. Dylan, in the hemisemidemiquaver that precedes his reply, scanned memory for a stored phrase to use. There is a chance, however, that Revue poet Alan Ginsberg happened to be on Chapter 135 at that moment, as he recited from Moby-Dick all day, delighted to be within a dozen miles of Melville’s Arrowhead home, where the book was written.

My thesis is that great minds think alike – and not infrequently they think about the very nature of thought. For artists such as Melville and Dylan, it’s never enough to become masters of their craft; every sunrise illuminates a new horizon, and new horizons exert a force on them that we ordinary sailors are lucky just to read about.

Dave Read

* Wikipedia page on Like A Rolling Stone, with reference to Kooper; there are many renditions of the story worth searching out on the Internet.

** Interview about the Rolling Thunder Revue party at Mama Frasca’s

The Dylan-Baez dialogue is on Youtube – as if the poem needs facts!

OK

take us all to tulsa

Linked poems kill ignorance.

How ’bout that kid
from the Iron Range,
now wranglin’ us down
to where Woody was born –

to the tearful place
Alabama Creek were made
to call home by errant rulers,
by men crooked as the river.

Bright light shines on Black Wall Street –
bookstores, music shops, juke joints
abound, the town’s never had it so good!
God bless the Song and Dance man’s big stash.

Dave Read

News item.
It was announced in March 2016 that Bob Dylan sold his “archive” to the George Kaiser Family Foundation and the University of Tulsa. Included are some 6,000 manuscripts, recordings, and ephemera that will be open to academic research, while casual Dylan fans also will be served by the project.

A Refusal to Mourn the Death, by Indifference, of Bob Dylan’s Significance

…I drove down an aisle of sound, nothing real but in the bell…
– William Stafford, from Across Kansas

So long as he rides the wave of American music
as it rises in the Delta, in the Piedmont, in the Panhandle,

So long as he raises the questions that bubble beneath
the surface wherever shell-shocked citizens collect,

Bob Dylan songs ring true, so long as they comport
with Common Sense, Bob Dylan songs ring a bell.

But, when he finds red stripes in the American flag*
and sets out to alert his beleaguered sisters and brothers

That unseen actors wreak havoc, Bossman says no,
that song must go, but you can stay Bob Dylan, you can stay, just

So long as you play in the space laid aside for Minstrels and Rogues,
for Beatles and Jesters, where the Song ‘n Dance man rules the roost.

Dave Read

*CBS revoked its invitation for Bob Dylan to perform on the Ed Sullivan Show in May, 1963, because Dylan wanted to play “Talkin’ John Birch Paranoid Blues.” Thus allowed to gestate in the shadows, the John Birch Society morphed into today’s Republican Party. Remember kids, “He who pays the piper, calls the tune.” The network ran a piece on the Birchers some months later, remember? Of course not, but you wouldn’t have been able to get Dylan’s song out of your head.

While Bob Dylan disclaims use of the Welsh poet’s name, we cop gladly to lifting this Dylan Thomas title: A Refusal to Mourn the Death, by Fire, of a Child in London

Across Kansas

My family slept those level miles
but like a bell rung deep till dawn
I drove down an aisle of sound,
nothing real but in the bell,
past the town where I was born.

Once you cross a land like that
you own your face more; what the light
struck told a self, every rock
denied all the rest of the world.
We stopped at Sharon Springs and ate –

My state still dark, my dream to long to tell.

By Appointment of His Royal Bobness

Article updated June 18, 2020 by Dave Read

Team Dylan controls access to Bob Dylan the same way access to the Angels is wholly mediated by the Chief Commander, Dylan’s nickname for God, as he revealed to Ed Bradley on 60 Minutes in 2004, when CBS got The Interview for the release of Dylan’s book Chronicles, Volume One.

Rough and Rowdy Ways, Bob Dylan album released June 19, 2020.

For the Juneteenth* release of Rough and Rowdy Ways, which seems bound to raise as much of a ruckus as Chronicles did, TV historian Douglas Brinkley and the Old Grey Lady** herself got The Interview, published June 12, under the headline of the millennium: Bob Dylan Has a Lot on His Mind.

Bob Dylan likely created Bob Dylan to buffer family from the trials and tribulations of number one son, who fled to the City, to see Woody, and to see what else is afoot. Having lifted all the records he could get his hands on at the University of Minnesota, Dylan’s January 1961 trip to NYC was as much a record-raiding party as it was a Woody Guthrie pilgrimage.

With Jackie still unpacking in Washington, DC, NYC’s Washington Square Park and environs was the domain of Dave Van Ronk, who had mastered his craft in MacDougal St. cabarets and basements, along with a multitude of singers, songwriters, blues belters, Clancy brothers, folkies, poets, lefties, comics, and the odd ne’er do well.

Van Ronk helped the unwashed phenomenon settle into life in New York; his wife Terri Thal managed Dylan until he was ready to turn pro, in 1962, when he signed with Albert Grossman. To imagine Bob Dylan without the serendipity of Grossman’s role, before the forms had been pried from the concrete plinth of an eight decade career, is too much to ask!

Born the same year Dylan bolted college, Professor Brinkley was invited into Dylan’s enterprise some time ago, and already has plunged into the Bob Dylan archive, which the University of Tulsa bought for $15 fifteen million in the waning days of the Obama Administration.

After Dylan dropped Murder Most Foul on the sore, masked, head of the world in April, the breezy Brinkley tells us his relationship with Dylan is such that he’s comfortable reaching out to him, which led to their cellular chinwag, a.k.a. The Interview.

Included on Rough and Rowdy Ways, Murder Most Foul is a seventeen minute song about the JFK assassination. Brinkley asks Dylan if he wrote the song “as a nostalgic eulogy for a long-lost time?”

That is the second-stupidest question Dylan has ever fielded, right behind the one asking how it feels to be spokesman for a generation. It makes me imagine Brinkley ask Picasso, “what is the square root of Cubism?”

Will he redeem himself by asking his friend who he thinks shot JFK? Of course not. Do I care about anything else some professor has to say about this or any other Dylan album. Fuck no, school’s over.

*A Trump rally was scheduled for Juneteenth in Tulsa; Love and Theft was scheduled for release on 9/11. (Trump goes the “exclusive interview” route, too.)

** New York Times, until Johnny couldn’t read anymore.

Norwegian Bachelor Asshole

Garrisons are both born and made –
one houses straight shooters whose works
may excite the poets; the other is unarmed,
dangerous, and shoots blank, vapid verse.

Dave Read

Garrison Keillor takes a stab at poetry:

“Now and then people ask me why we didn’t have Dylan on the show,” the former host of “Prairie Home Companion” writes in “Living With Limericks,” which was published last week. “Because I don’t care to be associated with him, that’s why.”

“I think that ‘My Back Pages’ is one of the worst songs ever written,” he continues. “I could name others. It’s no wonder he took a pseudonym, so as to avoid bringing shame on the Zimmerman family.”

There is a songwriter named Bob
Who makes some people’s hearts throb
They find a thrill in
Listening to Dylan
And for me it’s more like a job.
Copied from the Star Tribune.

Bob Dylan’s Nobel Prize lecture

780 Holmes Road Revisited,* or, Where’s the Art, Bob?

Article updated Dec. 16, 2020 by Dave Read.

I totally stand by this, except that I also think that Mr. Dylan’s work merits the highest order of blue ribbon from the world’s top prize givers – the Swedes may be best. But, despite oodles of meritorious literary content, his work belongs in the music category, not the literature one.

Also, if indeed he was slippery in his Melville comments, he gets a pass, a big fat one, for channeling Captain Ahab in dialogue with Joan Baez, at the Dream Away Lodge, right here in the Berkshires in an episode included in the recent Martin Scorsese mashup. Melville’s Ahab declaims that “to think’s audacity…” – while Dylan admonishes Baez, “…thinking fucks you up.”

June 27, 2017 – Throughout his career, Bob Dylan has been an exponent of the “folk process,” wherein an artist appropriates an extant song, modifies it to the degree that now there are two songs, which may appear to be siblings, but not identical twins.

Blowin’ in the Wind is an example, adapted from the African-American spiritual No More Auction Block; no one would confuse the two, nor would anyone deny that the new song has it’s own merit.

Whether or not one improves the other or amounts to a meritorious extension of the other, is irrelevant – upon composition of the new work, a new discussion begins.

But Dylan also has simply appropriated the folk process product of others when it suited him, such as on his first album, when he recorded Dave Van Ronk’s adaptation of the traditional folk song House of the Rising Sun, depriving his mentor Van Ronk the full benefit of his own artful work.

Dave Van Ronk was a big man, got over it, and eventually was delighted to point out that Dylan eventually stopped performing the House of the Rising Sun after Eric Burdon and The Animals had a big hit with it, for fear of being dissed for ripping them off!

Now there’s news that Bob Dylan has taken the “folk process” to a whole new level, of particular interest to us in the Berkshires, because he’s playing fast and loose with Moby-Dick. In order to fulfil his obligation to the Swedish Academy, which blew the world’s mind last year when it awarded him the Nobel Prize in Literature, he delivered a lecture on June 4, just 2 days before the $923,000 cash part of the prize would have turned to dust.

In it, he said Moby-Dick, All Quiet on the Western Front and The Odyssey “have stuck with me ever since I read them way back in grammar school…” and he wanted to tell us about them. Regardless of precisely when Bob Dylan attended “grammar school,” it’s clear he’s referencing a long-ago time, and so we wouldn’t begrudge him a little “googling” in preparing his remarks.

But, especially with a million bucks at stake, one would expect a little more “folk process” than what Mr. Dylan delivered. If you google “Moby-Dick,” the website SparkNotes appears – and if you read the Moby Dick section of Dylan’s lecture, you’ll see enough of SparkNotes to earn a grammar school kid a failing grade for plagiarism.

As reported by Andrea Pitzer in Slate:

“Across the 78 sentences in the lecture that Dylan spends describing Moby-Dick, even a cursory inspection reveals that more than a dozen of them appear to closely resemble lines from the SparkNotes site. And most of the key shared phrases in these passages (such as “Ahab’s lust for vengeance” in the above lines) do not appear in the novel Moby-Dick at all.”

I’ll bet there are a thousand MFA candidates in writing programs across America, and not a few tenured professors too, who would pay good money for a chance to help Bob Dylan edit his shopping list! Why, then, wouldn’t he reach out for help on a $923,000 speech – at least enough help that would merit a passing grade in grammar school?

*780 Holmes Road is the Pittsfield, MA address of Arrowhead, where Herman Melville wrote Moby-Dick; Bob Dylan’s most famous album is called “Highway 61 Revisited.”

Bob Dylan’s Rolling Thunder Revue party at Mama Frasca’s Dream Away Lodge

Sept. 1998 interview by Dave Read

On November 7, 1975, Bob Dylan and the Rolling Thunder Revue spent the day at the Mama Frasca’s Dream Away Lodge in Becket, MA. They had played two shows the day before at the Springfield Civic Center, with special guest and Berkshire county resident Arlo Guthrie, who turned Dylan on to his friend Mama Frasca’s lodge. (See related: Interview with Arlo Guthrie)

This interview is the account of a friend of Mama Frasca’s who asked us to refer to him as “A.I.I.” (Anonymous Indigeneous Individual). It was conducted by Dave Conlin Read in Lenox, MA in 1998 and was excerpted in Q magazine’s special edition Maximum Bob.

D.C.R.: How did you come to be involved with MamaFrasca’s Dream Away Lodge?

A.I.I.: Just a Berkshire hillbilly, I was living up there on Becket mountain, and I used to visit the Lodge. It was my social milieu. And I used to help Mama Frasca; she was basically illiterate, and I used to write alot of postcards for her. I’d be sitting with her in the afternoon or evening and she’d tell me what she wanted to tell her friends. We were just good pals, myself and Mama.

(Sample photos from the party: Rolling Thunder: Photographs by Ken Regan. )

D.C.R.: You were invited to the Rolling Thunder Revue party?

A.I.I.: Yes, I was up there when there was a phone call and Mama got very excited. She kept saying, “Joan Baez is coming, Joan Baez is coming.” She didn’t say much about Bob Dylan. So, I was invited to the party the next day. I went up there early in the day, around noontime. A couple of guys from Shenandoah came up there shortly. Arlo Guthrie came up in his Ford pickup, I think it was a ’51 Ford – faded green pickup, maybe it was gray. I remember watching the hawks circling with one of the guys from Shenandoah, on the front steps of the Dreamaway.

And then, after a while, various people started arriving. I remember Dylan coming up in a Winnabago. He had a little sign in one of the side windows, it said “Kemp Fish Co.” I remember the cinematographers coming up in a big red Cadillac convertible. Then I was inside having a beer at the bar, and I guess Bob was having a brandy and talking with Mama. I remember introducing Bob to my friend Bob, saying “Bob, meet Bob”.

When Joan Baez got there, Mama swooped her right upstairs. Joan came in in dungarees, all denim. She went upstairs like that – she came down in a white dress with a white pearl necklass. She went right into the music room and Mama took her over to the big square piano. I think she sang – what’s that song – with a wretch like me? – she sang “Amazing Grace.”

Alot of people started crowding into the music room, and the photographers, the cinematographers, started taking alot of shots of Joan and Mama at the piano. Mama was coming out with these mountain-oracle words-of-wisdom and wit and everybody was sucking it up. Because that was about what she was – she was the Oracle.

Earlier, I remember Dylan leaning over the bar to listen to her – to one thing that she said to Dylan, and he was just hanging on every word she said. She had this big thing about love – “With love you’re like the egg – without love, you’re like the hollow egg, without yolk, all white”. Something like that, she had a way of saying things, you had to be there to hear her.

She was quite a character. She had a little guitar, it was painted lime-green, and she used to like to play when she sat in front of the fireplace. She used to call everybody children or sonny – she’d make you feel like you were a child and she was the adult.

They served the standard dinner – salad, chicken, spaghetti, and Mama’s famous hot potatoes, and coffee and Anisette after. Ginsberg was walkin around with Moby Dick, reading it, reading Moby Dick as he was walking around, because he knew of Melville’s stay in the Berkshires, writing Moby Dick in Pittsfield. And then Dylan was going in and out the window, of the freshly-painted north side of the Dreamaway.

D.C.R.: How did you know it was freshly-painted?

A.I.I.: Because my friend was painting it, who I had introduced to Bob – “Bob, this is Bob”, because Bob lived there. He was the caretaker of the place – the bartender, the dishwasher, and everything else. So the next day Bob, the other Bob, made a little sign that said, “Bob Dylan’s footprints”, with an arrow going to the window where he had been climbing in and out – to get away; to get a breath of fresh air from the packed place.

D.C.R.: How many times did Bob go in and out of the window?

A.I.I.: It was just a little prank – he may have done it only once. But I remeber we had the footprints, and they were there for a while, until it got painted again. I remember singing “Be bop a lula” at the piano – Arlo playing the piano.

Singing that song with Bob and Ramblin’ Jack Elliott and the whole crew there. We all did a good rendition of “Be bop a lula.” I remember Joan seemed like a very genuine, sincere individual, interested in the people at large there – the natives. She just seemed genuinely friendly – just a regular person.

D.C.R.: Did Bob take the initiative with any of the music, did he take the lead?

A.I.I.: Not to my recollection. He was belting out the “Be bop a lula” lyrics, I was right there beside him, singing – he was getting into that. His wife was there, Sara, and she and Ginsberg seemed to be talking quite a bit, I don’t know how much weight that had. And Ronee Blakely was there. I had a nice conversation with her, down by the fish pond, feeding the catfish. They used to eat bread out of your hand. It was kind of like feeding piranas, because they’d all come to the surface as soon as you’d throw a little piece of bread in there – they would swarm around. That was another little gig that Mama had there for people – “Oh go down and feed the fish, here take some bread and feed the fish.”

D.C.R.: How did the party break up?

A.I.I.: I didn’t stay into the night time, I kind of drifted away, went home. I left before Bob and the crew. It was like a poetic moment – a happening – it was living poetry, very memorable.

D.C.R.: How did Mama feel about the party afterwards?

A.I.I.: Well Mama loved all kinds of people, but for some reason, she had a real affinity with Joan Baez. She really loved Joan Baez’ voice, essentially. She thought she had a wonderful, beautiful voice, and that it was a gift. So she was just very, very happy to be Joan Baez’ hostess that day.

Arlo Guthrie interviewed Nov. 1998 at The Guthrie Center

Nov. 16, 1998 interview by Dave Read.
Arlo Guthrie first came to the Berkshires in the late ’50s to attend the former Indian Hill camp in Strockbridge, where his mother was the dance teacher. His Berkshire roots were further established while he was a student at The Stockbridge School and he became involved with the Berkshire Folk Music Society, then headed by the late Hank Grover, David’s father.

Guthrie recently bought the Kresge Building on North St. in Pittsfield. Besides moving Rising Son Records there, he is looking into the possibility of developing an entertainment center. We visited with Arlo on November 16, 1998 at The Guthrie Center, in the former Episcopal church that his friend Alice Brock used to live in, and where much of Alice’s Restaurant was filmed.

Arlo Guthrie interview with Dave Conlin Read at the Guthrie Center, Nov. 1998.

“I’ve been trying to get something going in downtown Pittsfield for 25 years. I was interested in the old Palace Theater, or even the Capitol before they turned it into the Senior Center. None of that ever panned out because nobody had a clue as to the value of live entertainment.”

Relating the results of a recent study, commissioned by the city of Pittsfield, that stresses how important providing live entertainment is to the revitalization of downtown, Guthrie continued,

“We want to see if we can be a part of that process. We bought the building and we’re hoping that we can make a go of it. I want to develop a nightclub facility, maybe with a little food, but not a big-time restaurant. What I really know is not the restaurant business, it’s the nightclub/theater business.”

After talking about the various “cultural centers” and “tourist destinations” of Berkshires, Arlo continued,

“I see no reason why Pittsfield can’t become a part of all that, even add something to it and tie together all the different crowds. This is a beautiful part of the world, every part of it. We’ve been let down by the major industries. The only big industry that keeps growing is our cultural industry, so I’m anxious to see if we can all benefit from that.”

The legacy of The Music Inn figures prominently in Guthrie’s motivation to extend his commitment to the Berkshires. His father Woody played the very first show there and Arlo played the last, exactly 25 years to the day later.

“The thing we do in Pittsfield will be the closest that we can get to re-doing the kind of music that we had at The Music Inn. It’ll be a big enough club to bring in some of the same kinds of people – maybe the same people. With the help of the City of Pittsfield, I think we can make that happen. We also want a place for young people to go; we’re thinking of establishing a kind of folklore center there.”

“It’s not something I have to do business-wise; I’ve got enough going on to keep me busy for a long time. However, one of the things I’d like to do is spend less time on the road. I’m on the road ten months a year, and I miss the Berkshires. I love it here and I think that we have an obligation to try and retain the best part of who we are for future generations.”

Where did the name “Arlo” come from?

“When my mom was growing up, there was a series of children’s books, called “Arlo Books”, about a little Swiss kid named ‘Arlo’. They were in all the primary schools on the East coast, and she drew a picture for a class project of this kid. And my mom was one of these packrats who saved everything – every ticket stub of every place she had ever been to. She was incredibly organized.

“While she was pregnant with me, walking down the beach one day with my dad, she suddenly realized that the picture she had drawn of this kid ‘Arlo’, in the fifth or sixth grade, looked exactly like my father. He was wearing the same clothes, the same kind of striped shirt, walking on the same kind of beach. And so she went back and found this old picture, and sure enough, she had drawn my dad.

“So they decided that that was an auspicious sign, and that they were going to name me after the kid. But they didn’t know if I would go for a name as awkward as that, so they gave me the middle name ‘Davy’. So I was named after Davy Crockett. She figured he was a popular figure, sort of a rugged, mountain guy, and if I didn’t like the name ‘Arlo’ – which, she wasn’t sure what that was gonna do to me – that I could always call myself ‘Davy’. So I was named ‘Arlo Davy Guthrie.’

Mama Frasca’s Dream Away Lodge

“I had been going to the Dream Away for years, I knew Mama Frasca real well – she was a terriffic, wonderful, crazy, wild woman. I really loved her and used to bring the kids up to her place every weekend. I actually did some recording with her at the old Shaggy Dog studio in Stockbridge. We did a great record there – all these great songs with this old gal. She made a single, and one song was called something like, “God and Mama”.

“So after we did the Rolling Thunder Revue in Springfield (November 6, 1975), I tought it would be fun to take everybody up there. We came up with Bob Dylan, Joan Baez, Allen Ginsberg, Bobby Neuwirth and Ramblin Jack Elliott. They just loved it there; we were fooling around with Mama Frasca, and it became a part of the film, “Renaldo And Clara”.

(For details of the party: Bob Dylan’s Rolling Thunder Revue party at Mama Frasca’s Dream Away Lodge.)

Dave Van Ronk interview, Jan. 21, 1999

By Dave Read; conducted January 21, 1999

Dave Van Ronk Eighth Step Coffeehouse Jan. 1999

We spoke with Dave Van Ronk the day before he was to perform at the Eighth Step Coffeehouse in Albany, NY. After congratulating him on receiving ASCAP’S Lifetime Achievement Award, we mentioned that Ramblin’ Jack Elliott had been honored recently at the White House. Typically, Dave was ready with an anecdote:

“Yeah, at the reception he tried to convince Clinton to sneak off and come with him to a Dylan concert. Bobby was in DC giving a concert that night, and Jack was trying to get Clinton to ditch his secret service and come with him to the concert.”

the importance of teaching to Dave Van Ronk

You give the lie to the adage that “Those who can, do; those who can’t, teach.” You’ve been a teacher your entire career; how has teaching affected your career as an artist?

“You can’t teach without learning. The first thing you have to do when you start teaching is to organize what you know. In the course of organizing what you know into a coherent body, you discover that you know alot more than you thought you thought you did.

“Also, you discover gaps and holes which you can set about filling. So, in systematizing what you’ve picked up here and there and in fragmented ways – incorporating it into a coherent whole – you learn a great deal.

“And students are a stimulus. I’ve had students sort of gang up on me, and get me to work out this or that or the other piece, pieces I wouldn’t have done. And in one or two cases, things have subsequently become mainstays of my repertoire.

“For example, the Entertainer – the classic rag, which I was just reviewing with a student this week. Much more than just a useful performance piece, as it turned out, it became a seminal piece in learning more and more about how to play guitar in drop-D-tuning.

“In terms of spinoffs, that led to possibly ten or fifteen different arrangements. And that was because 2 or 3 of my students wanted to learn how to play the piece. Initially, I didn’t want to work that out – it seemed to me like a great deal of work for a very, very small gain. I was wrong. Things like that are constantly happening.”

Dave Van Ronk moved from jazz to blues

You began your career as a jazz musician; how did your move to the folk scene come about?

“My committment to jazz also led, on the side, to listen to country blues. And since I was already playin the guitar – I had a guitar in my hand – I wanted to figure out how people like john Hurt and Lemon Jefferson did what they did. To begin with, it was a side-line. Most of what I was actively performing was working in the rhythm section of a traditional jazz band.”

“As the folk music revival gained momentum in the mid-50s, my emphasis gradually shifted, so that by 54-55 or 55-56, I was primarily working as a solo entertainer.”
Dave’s musical education

Would you call yourself self-taught?

“To a certain extent. I studied jazz guitar with a man named Jack Norton in Queens in the early 50s. I learned a great deal from him. Then in the mid-50s I met Rev. Gary Davis, although at that point I had learned to finger-pick, sort-of, with an assist from Tom Paley. So I could do some finger-picking already when I met Gary Davis, and I learned a great deal from him, too.”

His brilliant songwriting in addition to his great muicianship?

“Very much so.”

Cocaine Blues, Rev. Gary Davis, Jackson Browne

At a recent Tanglewood concert, Jackson Browne talked about Rev. Gary Davis.

“Jackson recorded Cocaine Blues and he thought it was mine when he learned it. Eight months after he recorded it, he came down to catch me at aclub in Los Angeles. He came back to the dressing room and he said, “You know, I recorded that song of your’s “Cocaine Blues,” and I’d like to know where do I send the royalties?”

“So I said, ‘What you do, is you send them to Rev. Gary Davis’ estate and you get out of here, unless you want to see a grown man cry.'”

Dave Van Ronk’s advice to a young musician today

If you were to addressing the young up-and-coming singer/songwriter, What would you say to someone who wants to go on to have a 50 year career?

“The way you have a career is by doing it – you just have to keep on performing, any possible pretext. The main problem people have now is there are so many performers, and so few places to work it’s very hard to It takes a very long time for a performer to get enough stage experience to be knowledgeable about stagecraft.

“That’s the one thing you can’t practice at home; you can practice singing and you an practice the guitar all by yourself. But the only way you can practice stagecraft is on the stage witha n audience.

“It takes a long time the way things are set up currently for a young performer to get that experience. So the main thing that you have to do is to find every possible excuse to get on that stage.

Dave Van Ronk recommends the Harry Smith Anthology of American Folk Music

What record would you recommend to someone wanting to learn folk music?

The Harry Smith Anthology of American Folk Music “The Harry Smith anthology, that’s where you start, there is no better collection of American traditional music anywhere. It cost a lot but there’s alot of music too – 80 or 90 cuts on that anthology. Familiarity with that will take you a long way.”