Yes, I very much felt from the beginning that it was our mutual instinct for improvisation that connected us, gave us a base. It was much the same with Michael Bloomfield, actually, who had been my boyfriend since I was 16, (though I went away to college in Vermont, and it was on and off after that).
"Bob’s energy felt like quietly glowing coals, mellow but ready to spring into flame the moment he ignited them with the bellows of his voice, like a blacksmith at his forge, raising the heat until stiff iron could be made lyrical. In a few short hours we would all be watching him work that state-shifting magic, bellows pumping, sparks flying, in the smithy of his heart." -- I really like that part!..
Thank you...it means a lot to me that you like it. I have been getting people leaving...I always assume it is because they want more of Bob and less of my thoughts and feelings, but it is the only story I can tell, the one I experienced. So, thanks again, NM!
To continue the metaphor, his process is improv and as a modern dancer I would imagine you would be very comfortable with that kind of creative dialog. If you were a ballroom dancer, I think it would be hard to follow his lead.
I am rereading Going Electric Elijah Walds book that was the basis for A Complete Unknown. There some interesting mentions of Michael Bloomberg trying to figure out what Dylan's expectations were of him as a guitar player who was going to be playing with him in the studio and at Newport '65. He could not see a Venn diagram of what that would look like. He obviously found his place and met the expectation.
Dylan by all accounts, a man of few words, is very vague in most aspects of his life and especially in leading the band in the studio. He doesn't come in with direction. He is in the moment trying to find the musical spark and move from there. The book Pledging My Time by Ray Padgett is an interview with many musicians that have played with Dylan and their confusion about but reverence for Dylan's intuition. Every performance is different, just like it might be in modern dance. I have read a lot of books on Dylan. Your accounts are the most fascinating to me because they are adding an entirely new female perspective of one who has "danced" with him rather than played an instrument. Please keep writing
Thanks, Susan. I share that feeling, of his words and voice helping... like a cartographer, in a way. I really needed that boost from Tom. As Joan Baez said, Bob was good at keeping things vague!
What a lovely experience. How I respect your story from a parking lot with Dylan and Petty. It’s lovely me a painting, monument unforgettably wonderful.
I was at the concerts, lucky me ;)
Thank you for this great ‘picture’ of super interesting artists but just people, who lives happy.
May I ask? What was your job? How did you get it and what is your competence;)
I live in Copenhagen and Dylan actually change my life when I was only 15 years old.
Thanks for writing, P. My job was teaching and performing dance, and my focus was on using it as a way to connect to the Earth, to the Soul, and the Oneness of All That Is. It is an approach that I developed from various inspirations, and experiences, including time travel, memories of dancing as spiritual connection in ancient temples in Egypt and Greece.
Yes, I very much felt from the beginning that it was our mutual instinct for improvisation that connected us, gave us a base. It was much the same with Michael Bloomfield, actually, who had been my boyfriend since I was 16, (though I went away to college in Vermont, and it was on and off after that).
Fascinating glimpses and insights into life on the road with utility and greatness alike. And alive with unsolved mysteries indeed. Love it!
Thanks, Lene, and yes, mysteries remain unsolved!
"Bob’s energy felt like quietly glowing coals, mellow but ready to spring into flame the moment he ignited them with the bellows of his voice, like a blacksmith at his forge, raising the heat until stiff iron could be made lyrical. In a few short hours we would all be watching him work that state-shifting magic, bellows pumping, sparks flying, in the smithy of his heart." -- I really like that part!..
Thank you...it means a lot to me that you like it. I have been getting people leaving...I always assume it is because they want more of Bob and less of my thoughts and feelings, but it is the only story I can tell, the one I experienced. So, thanks again, NM!
Love the description of Bob’s songs adding to our ‘periodic table of emotions’. So beautifully said
Thanks for sharing
Thanks, James. Glad to know you liked it.
The dance you’re doing with him is beautifully described.
Thanks, Julie. That works on a few levels! x
Dancing With Dylan.
To continue the metaphor, his process is improv and as a modern dancer I would imagine you would be very comfortable with that kind of creative dialog. If you were a ballroom dancer, I think it would be hard to follow his lead.
I am rereading Going Electric Elijah Walds book that was the basis for A Complete Unknown. There some interesting mentions of Michael Bloomberg trying to figure out what Dylan's expectations were of him as a guitar player who was going to be playing with him in the studio and at Newport '65. He could not see a Venn diagram of what that would look like. He obviously found his place and met the expectation.
Dylan by all accounts, a man of few words, is very vague in most aspects of his life and especially in leading the band in the studio. He doesn't come in with direction. He is in the moment trying to find the musical spark and move from there. The book Pledging My Time by Ray Padgett is an interview with many musicians that have played with Dylan and their confusion about but reverence for Dylan's intuition. Every performance is different, just like it might be in modern dance. I have read a lot of books on Dylan. Your accounts are the most fascinating to me because they are adding an entirely new female perspective of one who has "danced" with him rather than played an instrument. Please keep writing
‘…his songs, in fact, have added dozens of emotions to our awareness…’
Rightio Christina, Bob’s ability via his words and voice have helped me. So many, many layers to the gift(s) he’s brought to so many.
Your vignette about Petty’s remark was sweet.
Thanks, Susan. I share that feeling, of his words and voice helping... like a cartographer, in a way. I really needed that boost from Tom. As Joan Baez said, Bob was good at keeping things vague!
What a lovely experience. How I respect your story from a parking lot with Dylan and Petty. It’s lovely me a painting, monument unforgettably wonderful.
I was at the concerts, lucky me ;)
Thank you for this great ‘picture’ of super interesting artists but just people, who lives happy.
May I ask? What was your job? How did you get it and what is your competence;)
I live in Copenhagen and Dylan actually change my life when I was only 15 years old.
My values changed and now it defines me.
Thanks for writing, P. My job was teaching and performing dance, and my focus was on using it as a way to connect to the Earth, to the Soul, and the Oneness of All That Is. It is an approach that I developed from various inspirations, and experiences, including time travel, memories of dancing as spiritual connection in ancient temples in Egypt and Greece.
Great job description!😘
Interesting ❣️Thank you.