In the March 6, 2008 issue of Rolling Stone magazine, writer Andy Greene taps Bob Dylan's 1992 performance in San Jose as one of Bob's best performances of the period (pg 61). His "Bootleg" pick in the issue is a top version of "Idiot Wind" which appeared near the end of the long show - performed on May 9th, 1992 at the San Jose University Center. What Mr. Greene didn't realize, was that T-Bone Burnett had walked on stage that night to join Dylan and his band. Burnett played lead guitar for "Idiot Wind!" It's a magnificent performance and a great bootleg.
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The girl from the cover of “The Freewheelin’ Bob Dylan,” who dated Bob Dylan for about three years starting shortly after he arrived in Greenwich Village in 1961, has finally spoken up, in her upcoming memoir “A Freewheelin’ Time. I have an advance copy. Here are a few highlights.
Rotolo (who recalls that during the cover shoot for “The Freewheelin’ Bob Dylan,” “we were freezing; certainly Bob was, in that thin jacket. But image was all”) writes mournfully about aborting her child by Dylan–which was illegal at the time–and says she had an emotional breakdown during their protracted split. She paints a picture of Dylan as canny about marketing himself and supremely confident, though increasingly haunted and suspicious after making it big.
In the book, due in May, Rotolo says she found out Dylan wasn’t “Bobby’s” real name after he got drunk one night and dropped his wallet. His draft card, reading “Robert A. Zimmerman,” fell out. They’d already been dating for months. “I called him Raz now and then, taken from his initials, just because I knew it annoyed him,” she says.
“Much time was spent in front of the mirror trying on one wrinkled article of clothing after another, until it all came together to look as if Bob had just gotten up and thrown something on. Image was all,” Rotolo recalls, noting that she more or less invented the bell bottoms for him: she slit the jeans he wears on the cover of “Another Side of Bob Dylan” and inserted fabric from another pair to fit them over his boots.

Rotolo and Dylan met backstage a few months after he arrived in New York City, at a July 1961 folk concert at Riverside Church in Manhattan, where “he made me think of Harpo Marx, imprish and approachable.” He tended to manufacture tall tales–”the sad story he told of being abandoned at a young age in New Mexico and then going to live with a traveling circus didn’t jibe with his stories of growing up in Duluth,” she notes dryly. The pair moved in together on the fourth floor of 161 W. 4th St, though they waited until after her 18th birthday in November because they weren’t sure it was legal.

Rotolo recalls a night when Irish playwright Brendan Behan–a favorite of Dylan’s–showed up at a Village theater that was showing his play “The Hostage.” She ran to call Dylan, but by the time Dylan rushed over to the theater, “Behan was very drunk” and wobbled over to the White Horse Tavern, Dylan trailing behind, “hoping for a conversation, but Behan was in no shape for anything remotely resembling talk.” The White Horse is where Dylan Thomas, whose name Dylan would borrow, drank himself to death in 1953.

Rotolo shares letters Dylan wrote while she visited Italy (during the Cuban Missile Crisis, he wrote that he thought “the maniacs were really going to do it this time” and only hoped he would “die quick and not have to put up with radiation”). But she adds, “It was as if every letter Bob had written to me and every phone call he had made had been performed in front of an audience.” Among his strange habits was obsessively cracking a bullwhip for hours backstage at the Newport Jazz Festival in 1963. “Bobby practiced cracking that bull whip whenever he found the space.”

After he began to rise in late 1961, Dylan was at first calmly confident (”Quietly Bob said: This is the beginning of what I have always known. I am going to be big”) but later “his paranoia was palpable,” she said. “It was as if he expected someone to show up and blow his cover and expose him”–which did happen when Newsweek revealed his real name and middle class background in October of 1963. “Bob was extremely angry; he felt violated.” Unable to handle the “pressure, gossip, truth and lies that living with Bob entailed,” she says, she had moved out of the apartment two months earlier.

Summing up Dylan, Rotolo writes, “He had an uncanny ability to complicate the obvious and sanctify the banal–just like a poet….Bob was charismatic; he was a beacon, a lighthouse. He was also a black hole.”

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Mar 29 St. Louis, MO @ Billiken Club

Thanks To Time Has Told Me

Jah Wobble - Chinese DuThe performance will be a fusion of dub music and Chinese melodies and instrumentation. The instrumentation will be: bass, drums, Guzheng, bamboo flute, the gourd pipe of Yunnan province. Jah Wobble would also like to utilise the voice of Wang Jingqi, a singer from the Mao ethnic minority of China. During the performance, we hope there will be various Chinese arts form (dance and Sichuan opera’s specialty) . Read More>>>>+mp3's+video


see my Jah Wobble Photos

this is a good start-off point for some interesting and new (to me) Bob Dylan sites.Enjoy!

My Son Chris today made this Video.Watch The End, & you will see me!Thats also my voice saying "ChavBusters"!

Artist Aaron Foster specialises in found art, that is reusing old things in a new context. His chosen medium is discarded license plates, which he uses to create some amazing pieces of art.
He started off by producing a map of the USA using license plates, but has expanded his range to include images of cars (a fairly natural association) and more surprisingly portraits of rock stars. Pictured here is his Bob Dylan portrait, which if you look at closely, you can see is made up of license plates.

Each one of his pieces is handmade in California and can be bought online from American in XS. The Dylan portrait costs $1,300 (approximately £650)

For more of the same with a contemporary twist, check out our newly-launched Switched On Set website

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