Over the past 3 months I have been taking walks around my neighborhood. This includes Central Park. Afternoons have been mostly hot and humid. A lot of sunscreen has been applied to protect myself from ultraviolet radiation. I read a wonderful article today in the paper that shows what a car free future could do for city living.
A 30 year old died of Covid today. He went to a Corona party. The statement he gave upon arriving at the hospital was that he thought it was a hoax. Tragic and absurd.
I always wear a mask. I discovered charcoal filtered masks this week. Even if this pandemic ended tomorrow I would still wear a mask. Filtering out air pollution is important. All of the people who live along side me in New York who wore masks long before Covid are true visionaries. They were much more aware of potential crisis.
During the Summer of Covid I have found that these walks do me good for both mind and body. Seeing people doing activities is reassuring. The outside is safer than the indoors.
I am grateful my school years were not affected by something of this magnitude. It was challenging enough during those days without a pandemic. People will adapt to survive.
Continuing my galleries of images taken during my daily walks around the city I hope you can relax a bit from the new challenges facing humanity in the 21st Century.
Beauty Is Everywhere
Everyday is different. You can visit a space each day. The presence or absence of people, the changing conditions of environment always create a new experience.
Nature is never boring…
The trees in Central Park are treasure in plain sight. Admission is free. The newly planted landscaped tree line in front of the Metropolitan museum is a joy to walk through each day. The reservoir has Geese and Ducks.
The park is filled with paths that stretch out in front of you. It’s tempting to want to try them all in a single day. That would be impossible. Unless you want foot injury.
The neighborhood streets have become like a suburb. On weekdays there is so little noise I feel calm in ways I did not think possible in the city. Sorry suburbanites, city living wins out!
In The Neighborhood
If you are not familiar with New York than you do not know it is probably the closest to European any American city gets in terms of culture, easy walking, and largess of services.
Back To The Park!
Although I have walked streets around our neighborhood I prefer park walks. I have found out during these strange times the greenery is calming. I love finding images throughout my outings.
American Elegy—Our Nobel Laureate Publishes Another Masterpiece
In a career now spanning six decades Bob Dylan has been through numerous phases in a life that has itself become the stuff of living legend.
Now revealed that this song is the third side on his upcoming, Rough and Rowdy Ways, he continues to inspire and write brilliantly about history.
His ability to connect our ‘modern times’ with the ancient culture that brought it about, specifically the Romans, enabled his new life as a Nobel Prize recipient.
Murder Most Foul is Mr. Dylan’s longest song. if you take the time to listen to this track you will learn a lot about this wonderful country and its brutal past and present.
You will also discover an underlying feeling of hope in the soft accompaniment with its piano, light timpani, and strings.
Dylanologists are going to have another great track to explore for many years to come. There are a ton of deliberate references to all kinds of cultural arcana in this track. Too many in fact for a single blog entry.
But herein I will discuss some of my takes on this peerless work. The closest thing to a spoken word song or a revival of the beat poet in the vast Dylan catalog.
It was a dark day in Dallas, November ’63 A day that will live on in infamy President Kennedy was a-ridin’ high Good day to be livin’ and a good day to die Being led to the slaughter like a sacrificial lamb He said, “Wait a minute, boys, you know who I am?” “Of course we do, we know who you are!” Then they blew off his head while he was still in the car Shot down like a dog in broad daylight Was a matter of timing and the timing was right You got unpaid debts, we’ve come to collect We’re gonna kill you with hatred, without any respect We’ll mock you and shock you and we’ll put it in your face We’ve already got someone here to take your place The day they blew out the brains of the king Thousands were watching, no one saw a thing It happened so quickly, so quick, by surprise Right there in front of everyone’s eyes Greatest magic trick ever under the sun Perfectly executed, skillfully done Wolfman, oh Wolfman, oh Wolfman, howl Rub-a-dub-dub, it’s a murder most foul
Here in the beginning of the poem we are explicitly told how Mr. Dylan feels about the day President John F. Kennedy was murdered.
Using a phrase as his title, he frames the dreadful event as a Murder Most Foul. As the track continues there will be an evolution or rather a de-volution through the following decades as America’s culture and politics slowly decays.
The great hope of a young, handsome, and brilliant leader is cruelly blown off the face of the Earth. The promise of a new frontier delayed by his killing.
Mr. Dylan further frames the President’s murder as that of a lynching. Mr. Kennedy was white on the surface, but he was also the nation’s first Catholic elected to the Presidency. In Bob Dylan’s view he was ‘led like a lamb to the sacrificial slaughter’.
The first verses also make clear how this crime was such an American scene. Committed in broad daylight in front of the world; ‘greatest magic trick ever under the sun’.
The Second Section
Hush, little children, you’ll understand The Beatles are comin’, they’re gonna hold your hand Slide down the banister, go get your coat Ferry ‘cross the Mersey and go for the throat There’s three bums comin’ all dressed in rags Pick up the pieces and lower the flags I’m goin’ to Woodstock, it’s the Aquarian Age Then I’ll go over to Altamont and sit near the stage Put your head out the window, let the good times roll There’s a party going on behind the Grassy Knoll Stack up the bricks, pour the cement Don’t say Dallas don’t love you, Mr. President Put your foot in the tank and then step on the gas Try to make it to the triple underpass Blackface singer, whiteface clown Better not show your faces after the sun goes down Up in the red light district, they’ve got cop on the beat Living in a nightmare on Elm Street When you’re down on Deep Ellum, put your money in your shoe Don’t ask what your country can do for you Cash on the barrelhead, money to burn Dealey Plaza, make a left-hand turn I’m going down to the crossroads, gonna flag a ride The place where faith, hope, and charity died Shoot him while he runs, boy, shoot him while you can See if you can shoot the invisible man Goodbye, Charlie! Goodbye, Uncle Sam Frankly, Miss Scarlett, I don’t give a damn What is the truth, and where did it go? Ask Oswald and Ruby, they oughta know “Shut your mouth,” said a wise old owl Business is business, and it’s a murder most foul
The last lines of these first 2 sections of verse connect to reinforce this crime as foul cold-blooded murder. ‘Rub-a-dub-dub, it’s murder most foul; Business is business, and it’s a murder most foul’.
The actual neighborhood near the crime scene of Kennedy’s death is referenced following the pop culture explosion of The Beatles who became a salve for the real pain young people felt at the time. Deep Ellum, the arts and entertainment hub of Dallas, TX had a rise in crime too.
Referenced in the song’s second section above: ‘When you’re down on Deep Ellum, put your money on your shoe’.
‘Don’t ask what your country can do for you’, the famous Kennedy line to demand public service of youth is juxtaposed to remind people now trapped in poor communities not to expect any government assistance. The social contract was murdered too.
Explicitly calling out Woodstock and Altamont and the Age of Aquarius with the mythology of free love and the violence of Altamont. America has always created myths to soothe the wounds of very real crimes.
The reality of the made up summer of love is the real slaughter of men, women, and children in Vietnam. The daily death toll were surely murders most foul.
Mr. Dylan performs a conjuring trick as well raising the original sin of race hatred in a line that also references his hit “Hurricane”. Blackface singer, whiteface clown Better not show your faces after the sun goes down Up in the red light district, they’ve got cop on the beat Living in a nightmare on Elm Street
Also quite cleverly references a Wes Craven horror film released in the decade that followed his hit song about boxer Ruben ‘Hurricane’ Carter.
The name covers Dallas’ real murder of a President and the fictional murders of teenagers in a genre called the slasher film. The cruelty on display in Dallas would continue to resonate for the decades that followed.
The Third Section
Tommy, can you hear me? I’m the Acid Queen I’m riding in a long, black Lincoln limousine Ridin’ in the back seat next to my wife Headed straight on in to the afterlife I’m leaning to the left, I got my head in her lap Hold on, I’ve been led into some kind of a trap Where we ask no quarter, and no quarter do we give We’re right down the street, from the street where you live They mutilated his body and they took out his brain What more could they do? They piled on the pain But his soul was not there where it was supposed to be at For the last fifty years they’ve been searchin’ for that Freedom, oh freedom, freedom over me I hate to tell you, mister, but only dead men are free Send me some lovin’, then tell me no lie Throw the gun in the gutter and walk on by Wake up, little Susie, let’s go for a drive Cross the Trinity River, let’s keep hope alive Turn the radio on, don’t touch the dials Parkland Hospital, only six more miles You got me dizzy, Miss Lizzy, you filled me with lead That magic bullet of yours has gone to my head I’m just a patsy like Patsy Cline Never shot anyone from in front or behind I’ve blood in my eye, got blood in my ear I’m never gonna make it to the new frontier Zapruder’s film I seen night before Seen it thirty-three times, maybe more It’s vile and deceitful, it’s cruel and it’s mean Ugliest thing that you ever have seen They killed him once and they killed him twice Killed him like a human sacrifice The day that they killed him, someone said to me, “Son The age of the Antichrist has just only begun” Air Force One comin’ in through the gate Johnson sworn in at 2:38 Let me know when you decide to throw in the towel It is what it is, and it’s murder most foul
I set the third section above in big bold type since at this point forward the song becomes full and explicit. Brimming with anger at President Kennedy’s demise, whom Mr. Dylan likens to a King as the Kennedy White House became Camelot, then in a blink ‘his eyes, nose, and ears were filled with blood.’
The Zapruder film in some way becomes America’s first slasher film, only it’s real.
Mr Dylan describes the piece which he claims to have seen over 30 times, as ‘vile and deceitful’.
That first piece of social media created an infinity of conspiracy theories. I see it as a reflection on his own youth. In his youth the repetition is easily performed. Now, at 79 Mr. Dylan only needs a single reading.
Freedom, oh freedom, freedom over me I hate to tell you, mister, but only dead men are free
This is my favorite line in the poem/song. Using Whitmanesque phrasing to connect Lincoln with Kennedy. Both men were after all the great hope of a wounded nation. Slavery in Lincoln’s era and Vietnam/Racism in Kennedy’s time. Both men were victims of murder most foul.
Mr. Dylan has undergone phases of life where he composed Christian influenced records. He has deep personal beliefs that crop up nicely here.
Declaring, ‘the Age of the Antichrist’ has just begun following the Kennedy assassination the nation saw a steep rise in cult activity, the crimes of Charles Manson, and satanic music also came into being in American culture.
Echoing the conventional wisdom that the nation had lost its soul are Mr. Dylan’s lyrics describing the Kennedy post mortem: ‘No soul was found where it should be.’
The Fourth Section
What’s new, pussycat? What’d I say? I said the soul of a nation been torn away And it’s beginning to go into a slow decay And that it’s thirty-six hours past Judgment Day Wolfman Jack, he’s speaking in tongues He’s going on and on at the top of his lungs Play me a song, Mr. Wolfman Jack Play it for me in my long Cadillac Play me that “Only the Good Die Young” Take me to the place Tom Dooley was hung Play “St. James Infirmary” and the Court of King James If you want to remember, you better write down the names Play Etta James, too, play “I’d Rather Go Blind” Play it for the man with the telepathic mind Play John Lee Hooker, play “Scratch My Back” Play it for that strip club owner named Jack Guitar Slim going down slow Play it for me and for Marilyn Monroe
It’s Mr. Wolfman Jack to you. Bob Dylan has reached a point in his career that he can compose a poem that includes 1970’s icon Wolfman Jack.
This is a reference to the alter—ego creation that he underwent in the 1960’s, Robert Zimmerman became Bob Dylan; Robert Weston Smith became Wolfman Jack.
Also in the new age of the antichrist men were literally becoming beasts. It’s in this section that Mr. Dylan begins to recommend recordings using the word ‘play’ as a command.
It references his 2 years as a D.J. himself on satellite radio. Using famous titles/lyrics from the era’s violent refelctions include “Only The Good Die Young”, published in 1977, the year of the Son of Sam killings in New York.
Bob Dylan makes his listeners do a lot of history homework. I strongly believe this is why his work ranks so high.
Playing up the description of President Kennedy’s car of choice, ‘a long black Cadillac’, itself a coffin on wheels.
Take me to the place Tom Dooley was hung Play “St. James Infirmary” and the Court of King James If you want to remember, you better write down the names
For my take these 3 lines set up why Bob Dylan has become such a master at connecting seemingly disparate ideas.
You see the ‘place where Tom Dooley was hung’ is in North Carolina, where the Wolfman took his last breath.
Being white, Wolfman Jack died of a heart attack not a lynching. Tom Dooley became the subject of many folk songs, a genre that gave artistic birth to Bob Dylan.
Tom Dooley is part of a sad American tradition known as Appalachian Murder Ballads. A murder most foul.
St. James Infirmary references blues music. An alternate title for the song was “The Young Man Cut Down in His Prime”) about a soldier who uses his money on prostitutes and then dies of venereal disease. The theme ties in with Kennedy’s death.
Then closing the section with a simple notation of why the name checking will continue unabated for the rest of the piece—to remember with clarity write down the names.
Only an artist of Bob Dylan’s caliber tells the listener his intent in writing this or any other song/poem is to preserve it for the ages to come beyond his mortal years.
The Fifth Section (Conclusion)
Play “Please Don’t Let Me Be Misunderstood” Play it for the First Lady, she ain’t feeling any good Play Don Henley, play Glenn Frey Take it to the limit and let it go by Play it for Carl Wilson, too Looking far, far away down Gower Avenue Play “Tragedy”, play “Twilight Time” Take me back to Tulsa to the scene of the crime Play another one and “Another One Bites the Dust” Play “The Old Rugged Cross” and “In God We Trust” Ride the pink horse down that long, lonesome road Stand there and wait for his head to explode Play “Mystery Train” for Mr. Mystery The man who fell down dead like a rootless tree Play it for the reverend, play it for the pastor Play it for the dog that got no master Play Oscar Peterson, play Stan Getz Play “Blue Sky,” play Dickey Betts Play Art Pepper, Thelonious Monk Charlie Parker and all that junk All that junk and “All That Jazz” Play something for the Birdman of Alcatraz Play Buster Keaton, play Harold Lloyd Play Bugsy Siegel, play Pretty Boy Floyd Play the numbers, play the odds Play “Cry Me a River” for the Lord of the gods Play Number nine, play Number six Play it for Lindsey and Stevie Nicks Play Nat King Cole, play “Nature Boy” Play “Down in the Boondocks” for Terry Malloy Play “It Happened One Night” and “One Night of Sin” There’s twelve million souls that are listening in Play “Merchant of Venice”, play “Merchants of Death” Play “Stella by Starlight” for Lady Macbeth Don’t worry, Mr. President, help’s on the way Your brothers are comin’, there’ll be hell to pay Brothers? What brothers? What’s this about hell? Tell them, “We’re waiting, keep coming,” we’ll get them as well Love Field is where his plane touched down But it never did get back up off the ground Was a hard act to follow, second to none They killed him on the altar of the rising sun Play “Misty” for me and “That Old Devil Moon” Play “Anything Goes” and “Memphis in June” Play “Lonely at the Top” and “Lonely Are the Brave” Play it for Houdini spinning around in his grave Play Jelly Roll Morton, play “Lucille” Play “Deep in a Dream”, and play “Driving Wheel” Play “Moonlight Sonata” in F-sharp And “A Key to the Highway” for the king on the harp Play “Marching Through Georgia” and “Dumbarton’s Drums” Play darkness and death will come when it comes Play “Love Me or Leave Me” by the great Bud Powell Play “The Blood-Stained Banner”, play “Murder Most Foul”
In this final section of this elegiac piece Mr. Dylan reminds us of the worst scene of racial violence in the nation’s history.
The Tulsa race massacre (also called the Tulsa race riot, the Greenwood Massacre, or the Black Wall Street Massacre) of 1921 took place on May 31 and June 1, 1921, when mobs of white residents attacked black residents and businesses of the Greenwood District in Tulsa, Oklahoma.
It has been called “the single worst incident of racial violence in American history.” The attack, carried out on the ground and from private aircraft, destroyed more than 35 square blocks of the district—at that time the wealthiest black community in the United States, known as “Black Wall Street”.
This awful history was dramatized on the Premiere of HBO’s ‘Watchmen’. Here the line takes us back to the scene of the original crime.
He connects it to the currents of hate/racism that from 1921 became a tsunami that killed another American President.
Then swirling through the American history of Jazz music and its iconic progenitors he adds crime figures like Bugsy Siegel who builds Las Vegas and on and on in a dizzying meter of names that arrives at “Love Me or Leave Me” by Bud Powell.
This is Dylan’s response to the hateful crowds that state, America love it or leave it.
The final line is perhaps the most stinging reminder of how far America needs to go to overcome its bloody past and present: Play The Blood Stained Banner , Play Murder Most Foul.
‘The Blood Stained Banner’ was a Confederate anthem and a version of the Confederate Flag presented in 1865. Bob Dylan is telling the nation to never forget this happened.
And to kindly play the song just ended, his American Elegy, Murder Most Foul.
Neil Young’s 38th album, “Colorado”, released on October 25, 2019.
This is the first studio offering from Crazy Horse since 2012’s “Psychedelic Pill”.
The sounds you get these days are often produced so meticulously it’s miraculous there are any musicians left with real soul.
Crazy Horse have soul in spades. This latest offering is about climate change.
More to the point it’s a raw jammy statement of love for the planet; a pro-immigration, pluralistic mission from perhaps rock’s last angry man.
Crazy Horse are:
Neil Young (guitars, vocals, piano, vibes, harmonica), Nils Lofgren (guitars, vocals, pump organ), Ralph Molina (drums, vocals), and Billy Talbot (bass, vocals). They recorded Colorado mostly live in studio in the titular state. Neil Young produced the album with John Hanlon.
01 Think of Me
02 She Showed Me Love
03 Olden Days
04 Help Me Lose My Mind
05 Green Is Blue
06 Shut It Down
07 Milky Way
09 Rainbow of Colors
10 I Do
While none of these new compositions will strike a novice listener as anything hip or catchy they are not meant to be commercial.
These are brilliant musicians laying down jams that are recorded well.
In each piece is expressed wishes, hopes, and dreams of a world that cares about the eternal.
“She Showed Me Love” is an epic jam of 13:36 mins secs in duration.
On vinyl this album is a 3 record set. There is a 7 inch single of ‘Milky Way’ included.
Mr. Young wanted to make an album of lasting value; high quality playback was key.
The musicianship on display here is superlative. “Milky Way” is the first single; “Rainbow Of Colors” will be the second.
Frustration over the lack of universal understanding of the epic problems we face with a climate in decline is resolved in the scorching anger of “Shut It Down”.
The song’s second verse:
Have to shut the whole system down All around the planet There’s a blindness that just can’t see Have to shut the whole system down They’re all wearing climate change As cool as they can be
The arrangements are not heavy handed. The delivery is what longtime listeners of this band would expect. A slow churn of political dissent that threatens to boil over.
By the record’s end you want more. In reality you must do your part so there can be more. An eternity of more.
Mr. Young has been recording since 1969. Now in his 50th year as a recording artist he shows no sign of slowing down; not giving in to an apathetic status quo.
He cares deeply for the songs he creates as an artist. His contributions to groups like Buffalo Springfield and Crosby, Stills, and Nash are untouchable rock milestones.
Sometimes his solo works have been difficult to translate on first listen. Regardless, you must listen with a close ear, expecting to not get all the meaning within right away.
This album has those qualities. If you do the work you will get the picture. Much more transparent than some of his other works with insightful poetic lyrics in every song.
“Milky Way” is a poem. Universal themes of lost love, longing for connection, and cockeyed optimism are long held hallmarks of musical art. This track embodies all of it.
The repeating verse:
I was sailing in the Milky Way Losing track of memories That weren’t that day Right by her side As the stars flew by I did collide With memory but somehow I survived And became free
A transient moment in time. Getting lost in the daze of lost/recalled memories and somehow able to move forward stronger.
As the lead single I felt strongly this track represented what the album as a whole says of Neil Young & Crazy Horse’s work.
When a legendary artist releases new music there is a huge weight attached—memory of past glory.
“Colorado” just plainly states that we cannot collide with our past because we risk negating the present; become blind to our future.
According to SPIN magazine there will not be a concert tour this Fall to support the new record. Mr. Young is finishing up editing 15 films!