Godard calls Dylan a Vietnik
don freeman
scene where the young lead character, played by Jean-Pierre Léaud, is
told by his friend that he is reading an article on Bob Dylan. "Who is
he," asks Léaud? His friend responds that Dylan is a Vietnik. What's
that, asked Léaud. "It's an American word, a cross between Beatnik and
Vietnam."
Léaud then looks at the article, reading out, in English, Who are you,
Meester Bob Dylan." He then proceeds to read what appears to be the
lyrics of a song, equating old man Hitler, and old man Stalin with old
man Johnson.
Léaud then says that his girlfriend, a singer, had never mentioned Bob
Dylan. His friend responds that Bob Dylan sells 10,000 records a day.
What I find interesting about this scene in a 1966 movie, is that for
the American and British audience, Dylan in '66 had abandoned protest
songs, and had never mentioned the Vietnam war at all. Yet Godard
portrays the '66 Dylan as the leading cultural protester.
Godard's movies tend to be very surreal in a way that Dylan's songs from
'66 were surreal. That is probably the true revolutionary aspect of
Dylan that Godard recognizes. It's very interesting that Godard, in this
movie, would then typecast Dylan as an anti Vietnam war protester.
jmc
"don freeman" <dfr...@nospam.shaw.ca> wrote in message
news:0CF4f.207987$oW2.54998@pd7tw1no...
Isn't it more likely that Godard was taking the piss out of the stupid way
his characters (young bourgeois protesters) spoke?
don freeman
>
> Isn't it more likely that Godard was taking the piss out of the stupid way
> his characters (young bourgeois protesters) spoke?
>
>
I never thought of that. Godard always does work on many levels of irony.
However, seeing as Godard had the same beliefs back then as the young
bourgeois protesters he created for the movie, I don't think so.
Godard shows a lot of compassion for the confused youthful characters in
this movie.
jmc
Ah - but they ARE confused. Which is why they use a palpably absurd phrase
like "vietnik". I'll betcha it got a bit laugh back then (and now, I
reckon).
Will Dockery
One of my favorite films, been a long while since I last saw it. The
headline on the newspaper [in french, of course] was "What is art, Bob
Dylan?"... great scene.
--
"Wobble" by Will Dockery & Henry Conley:
<http://sohobarandgrill.com/phpBB2/viewtopic.php?t=225>
Autograph Of Zorro" {from *Shadowville Live*}:
http://www.kannibaal.nl/zorro.mp3
don freeman
> One of my favorite films, been a long while since I last saw it. The
> headline on the newspaper [in french, of course] was "What is art, Bob
> Dylan?"... great scene.
>
Ah, I missed the headline. Must look again.
The new Criterion version has a good essay about how people have
remembered the film. There are also some very good interviews that come
with the dvd.
Will Dockery
Good to know these films are coming out on DVD. I managed to catch then
[coincidentally in the Street Legal era] in a dusty little moviehouse
in Atlanta, in late 1978.
The Godard I'd love to get a clear copy of is "Perriot Le Fou", which
is Belmondo and Karina running breathlessly through a full color visual
right out of a Blonde On Blonde song...
don freeman
> The Godard I'd love to get a clear copy of is "Perriot Le Fou", which
> is Belmondo and Karina running breathlessly through a full color visual
> right out of a Blonde On Blonde song...
>
Perriot Le Fou seems to have been withdrawn from print, as Amazon only
lists new and used copies for $80.
I always liked Perriot Le Fou, but my favorite is Alphaville. Contempt
was one of my favorites too, but maybe because I have a weakness for
Brigitte Bardot.
What a wonderful culture the French have where their sexiest movie star
will willingly play a small role in a Godard movie like Masculin Feminim
because she has such respect for Godard's artistry.
Will Dockery
Yeah, Alphaville, Lemmy Caution tooling through "outer space" in an...
Oldsmobile Delta 88, iirc.
Jeff Gower
don freeman <dfr...@nospam.shaw.ca> wrote:
> I always liked Perriot Le Fou, but my favorite is Alphaville. Contempt
> was one of my favorites too, but maybe because I have a weakness for
> Brigitte Bardot.
FWIW, my fave Godard is "My Life To Live". And "Contempt" is close.
Jeff
Will Dockery
> >> > >"Will Dockery" wrote
> >> >> don freeman wrote:
> >> >> > > One of my favorite films, been a long while since I last saw it. The
> >> >> > > headline on the newspaper [in french, of course] was "What is art, Bob
> >> >> > > Dylan?"... great scene.
> >> >> >
> >> >> > Ah, I missed the headline. Must look again.
> >> >> >
> >> >> > The new Criterion version has a good essay about how people have
> >> >> > remembered the film. There are also some very good interviews that come
> >> >> > with the dvd.
> >> >>
> >> >> Good to know these films are coming out on DVD. I managed to catch then
> >> >> [coincidentally in the Street Legal era] in a dusty little moviehouse in
> >> >> Atlanta, in late 1978.
> >>
> >
> >Another wager you'd lose /if/ you had the courage to wager.
>
> then tell us all about how they present such "Blonde on Blonde" moments?
Sure, the "surrealist landscape" and plot/characters.
My favorite part of the film is where Godard explains: "Not blood,
red."
don freeman
>
> FWIW, my fave Godard is "My Life To Live". And "Contempt" is close.
Thanks for pointing out My Life to Life. For some strange reason, the
dvd has a different name in Canada and I never realized that it was one
of Godard's early great movies.
M. Rick
"Masculin, féminin: 15 faits précis" - Male, female: 15 precise facts
Newpaper headline reads: "Qui êtes-vous, Bob Dylan?" - Who are you Bob
Dylan?
The song on the trailer is "Tu M'as Trop Menti" - You lied too much to me
Will Dockery
j r sherman wrote:
> >> > >> >> > >"Will Dockery" wrote
> >>>>>> >> > > One of my favorite films, been a long while since I last saw it. The
> >>>>>> >> > > headline on the newspaper [in french, of course] was "What is art,
> >>Bob
> >> >> >> >> > > Dylan?"... great scene.
> >> >> >> >> >
> >> >> >> >> > Ah, I missed the headline. Must look again.
> >> >> >> >> >
> >> >> >> >> > The new Criterion version has a good essay about how people have
> >>>>>> >> > remembered the film. There are also some very good interviews that
> >>come
> >> >> >> >> > with the dvd.
> >> >> >> >>
> >>>> >> >> Good to know these films are coming out on DVD. I managed to catch then
> >>>>>> >> [coincidentally in the Street Legal era] in a dusty little moviehouse in
> >> >> >> >> Atlanta, in late 1978.
> >> >> >>
> >> >> >
> >> >> >Another wager you'd lose /if/ you had the courage to wager.
> >> >>
> >> >> then tell us all about how they present such "Blonde on Blonde" moments?
> >> >
> >> >Sure, the "surrealist landscape" and plot/characters.
> >>
> >> way?
> >
> >Yeah.
>
> then why don't you?
Why should I? I assume you're familar with both to know they were
travelling on a very similarly surreal landscape in 1966.
--
The Netherlands/Shadowville cross cultural exchange
project <http://www.kannibaal.nl/shadowville.htm>
Greybeard Cavalier [Dockery/0x0000]: <http://tinyurl.com/7r7gj>
Will Dockery
"j r sherman" wrote
>
> but how was Godard's "surreal" landscape "Blonde on Blonde-like"?
It was a film about cigartttes and sunglasses.
why is not
> "Lewis Carroll-like?"
No rabbits.
or "Salvidor Dali-like?"
No melting clocks.
or "Luis Buñuel-like?"
No people sitting and talking in black-and-white.
"Marcel
> Duchamp-like?"
No empty latrines.
Because the talisman was a leopardskin pillbox hat.
gabriel
it's not Godard who calls him a Vietnik, it's the character.
Will Dockery
> The tagline for the movie was "the children of Marx and CocaCola" -
> it's not Godard who calls him a Vietnik, it's the character.
Godard often described the films as "poems" and "notes to himself",
they're moving paintings, image-poems.
> don freeman wrote:
> > In Godard's 1966 movie, Masculin Feminin, there is a very interesting
> > scene where the young lead character, played by Jean-Pierre L=E9aud, is
> > told by his friend that he is reading an article on Bob Dylan. "Who is
> > he," asks L=E9aud? His friend responds that Dylan is a Vietnik. What's
> > that, asked L=E9aud. "It's an American word, a cross between Beatnik and
> > Vietnam."
> >
> > L=E9aud then looks at the article, reading out, in English, Who are you,
> > Meester Bob Dylan." He then proceeds to read what appears to be the
> > lyrics of a song, equating old man Hitler, and old man Stalin with old
> > man Johnson.
> >
> > L=E9aud then says that his girlfriend, a singer, had never mentioned Bob
> > Dylan. His friend responds that Bob Dylan sells 10,000 records a day.
> >
> > What I find interesting about this scene in a 1966 movie, is that for
> > the American and British audience, Dylan in '66 had abandoned protest
> > songs, and had never mentioned the Vietnam war at all. Yet Godard
> > portrays the '66 Dylan as the leading cultural protester.
> >
> > Godard's movies tend to be very surreal in a way that Dylan's songs from
> > '66 were surreal. That is probably the true revolutionary aspect of
> > Dylan that Godard recognizes. It's very interesting that Godard, in this
> > movie, would then typecast Dylan as an anti Vietnam war protester.
--
The "Cloud 11" project:
<http://www.soundclick.com/bands/pageartist.cfm?bandID=3D410188>
Mirror Twins by Will Dockery: <http://tinyurl.com/7on5h>
Black Eagle Lady by Will Dockery & Henry Conley:
<http://tinyurl.com/bev5f
Will Dockery
> >> >> > > Will Dockery says...
> >> >> > >
> >> >> > > > Godard often described the films as "poems" and "notes to
> >> >> > > > himself", they're moving paintings, image-poems.
> >> >> > >
> >> >> >
> >> >> > One of the things that makes Godard and "Pierott Le Fou" great
> >> >> > is his particular humor, which races across a landscape very
> >> >> > similar to Hwy 61/B.O.B Dylan.
> >> >> >
> >> >> > Karina's pillbox hat is the talisman.
> >> >>
> >> >> Wait a minute, Dock. Are you suggesting that because Karina
> >> >> wore a pillbox hat, and because Dylan wrote and recorded a
> >> >> song titled "Leopard-Skin Pill-Box Hat" around the same time,
> >> >> there's somehow a connection between Dylan and "Pierott le Fou"?
> >> >
> >> >I wrote that "Pierott Le Fou" and Dylan's work cover a similarly
> >> >surrealistic landscape. That connection has always been obvious... even
> >> >Dylan himself has said so in interviews.
> >>
> >> what interviews, dockey? can you name them? what are your sources?
> >
> >Yeah, Dylan's Playboy and Rolling Stone interviews from early 1978, while he
> >was promoting his film Renaldo & Clara and his record Street Legal, which I
> >still have copies of.
>
> i've read both interviews, dockery, and i don't remember anything he said about
> Godard in the Rolling Stone interview with Johnathon Cott, Rolling Stone
> interview.
>
> as for the Playboy interview, here's a link to that one:
>
> http://www.southerncrossreview.org/41/dylan.htm
>
> and Godard's not mentioned once in that one. not once. Bunuel is mentioned, but
> Godard is not.
>
> you're lying, dockery
Wrong, Sherman. I haven't read either in a long while but he definitely
mentioned "Breathless" as an influence.
--
Will Dockery
"j r sherman" wrote
> >Will Dockery wrote
> >>
> >> but remember, you insisted that in the 1978 Playboy interview with
Dylan
> >that he
> >> made a reference to Godard, when he didn't.
> >
> >I wrote that the interviews in 1978 when Dylan was promoting "Renaldo &
> >Clara" that he named Godard as an early influence. The first Rolling
Stone
> >interview was on the stands at exactly the same time the Playboy one was,
> >and I read both... and named both.
>
> and in the case of the Playboy interview, you were wrong, as always.
I named RS /and/ Playboy. I'm not wrong.
> >You produced the Playboy interview /immediately/, yet claim you can't
find
> >the two Cott interviews from RS... and you /know/ why.
>
> they are copyrighted and not available on line.
>
> if you can produce evidence
So you want to make a wager on this one? I never bet unless it's a sure
thing, y'know.
--
"But, truly, I have wept too much! The Dawns are heartbreaking. Every moon
is atrocious and every sun bitter." -Arthur Rimbaud
Patricia Jungwirth
Howells' site.
There's a couple of mentions of Godard - one where Cott quotes the headline
in 'Masculin Feminin' but it's a note rather than part of the interview.
This is where Dylan himself mentions Godard :
BD: I know this film is too long. It may be four hours too long -- I don't
care. To me, it's not long enough. I'm not concerned how long something is.
I want to see a set shot. I _feel_ a set shot. I don't feel all this motion
and boom-boom. We can fast cut when we want, but the poser comes in the
ability to have faith that it is a meaningful shot. You know who understood
this? Andy Warhol. Warhol did a lot for American cinema. He was before his
time. but Warhol and Hitchcock and Peckinpah and Tod Browning ... they were
important to me. I figured Godard had the accessibility to make what he
made, he broke new ground. I never saw any film like "Breathless", but once
you saw it, you said: "Yeah, man, why didn't I do that, I could have done
that." Okay, he did it, but he couldn't have done it in America.
JC: But what about a film like Sam Fuller's "Forty Guns" or Joseph Lewis'
"Gun Crazy"?
BD: Yeah, I just heard Fuller's name the other day. I think American film
makers are the best. But I also like Kurosawa, and my favourite director is
Bunuel; it doesn't surprise me that he'd say those amazing things you
quoted to me before from the New Yorker.
http://www.punkhart.com/dylan/interviews/rolling_stone_1-26-78.html
tj
Patricia Jungwirth
as to Masculin et Feminin, don't you think? "a male frustrated and
mystified by females (theoretically and practically)"
There is the old story of A loves B, B loves C, C loves D, and D loves D
(Catherine-Isabelle loves, or at least wants to bed Elisabeth, Elisabeth
longs for Paul, Paul wants (and off camera gets) Madeleine, and Madeleine
loves herself and toying with her hair.) The two major events of the story
are not shown, though there is an on-camera murder, an on-camera suicide, a
line-rehearsal by Brigitte Bardot (star of Godard's earlier and better "Le
Mépris"/"Contempt"), stumbling upon two men passionately kissing, and an
off-camera self-immolation to protest American napalming in Vietnam. These
all involve persons who are not characters in the story of Paul and women.
(Might I call them flesh-and-blood marionettes?)
The common-sense inference would be that Paul must have succeeded in
"having his way" with Madeleine, but an immaculate conception seems as
likely to me. Madeleine betrays no sexual interest in Paul, and Paul seems
too shy to press the issue very far. There is a scene in which Paul is in
bed with Madeleine and Elisabeth (Marlène Jobert), but he is not between
them, all three are dressed in bed, and not touching. (In her interview,
Goya relates that she was too modest to be nude, let alone be shown nude,
even through non-transparent glass in a shower scene. There are hints that
Elisabeth also has a sexual interest in Madeleine, so that the algebra
above might be extended to "E loves D," too. This might be a holdover from
Maupassant's story in which Paul discovers that his beloved is sexually
involved with women, and the leading male character are named "Paul" in
both.)
Insofar as the story is filmed, it is filmed from the perspective of a male
frustrated by and mystified by females (both at the theoretical level and
at the practical level of how to have them). "Airhead" is, I think, the
technical term (especially for Mademoiselle Age Tendre), "sphinx" the more
polite one.
The movie is divided (in my view, arbitrarily) into 15 segments (the
subtitles "15 faits précis" must be a joke!) with the kind of mixed
portentous and pretentious declamations and jokes Godard loved separating
them. ("The children of Marx and Coca-Cola" is one of these inter-titles.)
There is also the sonorous rhetoric of André Malraux, an homage or a
rip-off of LeRoi Jones's "Flying Dutchman" (transferred to a more crowded
Paris subway car), and many allusions to other movies and cultural
artifacts (including Paul choosing the name "Gen. Doinel" when summoning a
car after visiting Madeleine recording a new song). To borrow from myself,
I don't think the references and stories reveal character or that Godard
intended to use the many illusions sprinkled through his movies to make the
characters more understandable. Rather, I think they are just works and
writers Godard happened to be thinking about while he has making movies in
a hurry, knowing that intellectual audiences would ponder them and concoct
interpretations of what the cultural bric-à-brac must mean, and that this
exercise would distract them from wondeing whether Godard could tell a
story or develop characters instead of making collages of images, cultural
allusions, and stray remarks. (many herein being in intertitles, an
alienation device of which he was very fond).
http://www.epinions.com/content_198499602052
tj
Will Dockery
Good description of two men racing across and documenting the sprawling
and surreal landscape that was 1966.
--
Will Dockery, week 9, SoHo songwriter night:
http://commons.wikimedia.org/wiki/Image:Will_Dockery_week9.jpg
Will Dockery
"j r sherman" wrote
>Stuart Leichter says...
> >Will Dockery wrote on 11/2/05 11:39 AM:
> >>
> >> and surreal landscape that was 1966.
> >
> >surprise to everyone here that you'd confuse Dylan's and Godard's work
with
> >George Maharis's and Martin Milner's work. Now tell us about Sidney
> >Porterie's contribution to Little Red Corvette.
> >
> >(That excerpt certainly affirms Jim's view that Godard made junk.)
>
> it reminds of the time in film school when we were watching Godard's A
Married
> Woman, and there was a clear reflection of the camera and the
cinematographer in
> a window that the main character (the married woman! how did you
guess?)was
> walking past. well, when you shoot fast and on a budget, and don't much
care for
> craft, which Godard does not, shit like reflections and boom mics happen.
>
> but what was hilarious was how some people tried to pass off a fuck up
that
> happens in movies all the time as intentional. "oh he MEANT to do that! it
was
> showing how the character was being reflective at the same time as the
audiences
> sees the the camera..." blah-blah-blah. what shit.
>
> if we could harness all the time and energy wasted on Godard film
"scholarship"
> we could probably end world hunger. or at the very least show people some
good
> movies instead of his contant failed experiments.
He made at least a half dozen before the politics took over.
Will Dockery
"j r sherman" wrote
> >> >Will Dockery wrote
> >> >
> >> >
> >> >Which is just another of your lies, of course, my obsessed little
> >> >earless dwarf.
> >>
> >> yeah
> >
> >Such as your most recent lie about Dylan's 1978 interview where he names
> >Godard as an early influence.
>
Because it's in the Rolling Stone interview of the same time.
But you already knew that, little loser.
Will Dockery
"j r sherman" wrote
> >>Will Dockery wrote
> >
> >There you go. Once again JRS is wrong.
> >
> >Thanks, Stu.
>
> heh... take your ass-kicking like a man, liar-dockery. >
> you clearly said that Dylan assigned Godard as an influence
Which he clearly did, and which the films "Renaldo & Clara" /and/ the recent
"Masked & Anonymous" clearly show.
--
Will Dockery, week 9, SoHo songwriter night:
http://commons.wikimedia.org/wiki/Image:Will_Dockery_week9.jpg
"Pussywillow Wine" by Dockery/Conley:
http://sohobarandgrill.com/phpBB2/viewtopic.php?p=539#539
Will Dockery
"j r sherman" wrote
> >> >>Will Dockery wrote
> >> >> http://www.punkhart.com/dylan/interviews/rolling_stone_1-26-78.html
> >> >
> >> >There you go. Once again JRS is wrong.
> >> >
> >> >Thanks, Stu.
> >>
> >> heh... take your ass-kicking like a man, liar-dockery. >
> >> you clearly said that Dylan assigned Godard as an influence
> >
> >Which he clearly did, and which the films "Renaldo & Clara" /and/ the
recent
> >"Masked & Anonymous" clearly show.
>
Sure he did. You /know/ he did.
And Godard's influence is obvious all through Dylan's films.
Will Dockery
"j r sherman" wrote
> >> >> >Will Dockery wrote
> >> >> >
> >> >> >>>
http://www.punkhart.com/dylan/interviews/rolling_stone_1-26-78.html
> >> >> >>
"influence?" he
> >> >> >> just
> >> >> >> said he never saw anything like "Breathless."
> >> >
> >> >So that doesn't sound like he named Godard as an influence, while
> >> >almost all of the interview was about "Renaldo & Clara" which
obviously
> >> >is influenced by Godars's loose style.
> >> >
> >> >Oh, but you probably never saw that film, either.
> >>
> >>please, dockery, i've seen it twice. and there's nothing in the movie
that would
> >> remind anyone of Godard. nothing.
> >
> >Reminds me a lot of "Weekend" in the humor in the face of certain doom.
>
> wow, there's a theme that had never been covered in cinema before Godard
did it!
As Dylan himself said in 1978:
"I never saw a film like Breathless."
Will Dockery
Yep, Dylan's clearly nodding to Godard's influence here.
Will Dockery
Berryman's Legacy wrote:
> > > Will Dockery wrote:
> > > > j r sherman wrote:
> >
> > > > > > You haven't even read the interview yet, have you?
> > > > >
> > > > > of course i have, fatso.
> > > >
> > > > So you see that Dylan named Godard as an influence.
> > >
> > > he said he liked Breathless.
> >
> > I don't remember him ever saying he actually /liked/ Breathless.
>
> But it gets even more interesting. Godard was an inveterate fan
> of American '50s rock'n'roll. The 1958 Jerry Lee Lewis hit
> "Breathless" was always one of Godard's personal favorites,
> because of its hard-rocking energy and its surreal final few
> bars.
>
> Godard consciously chose to memorialize that tune by using the
> same title for one of his films.
>
> So Jerry Lee 'The Killer' Lewis also exerted an influence on
> Dylan's music and movies.
And in 1976 Dylan wrote the song "Rita Mae" specifically for Lewis... the
same year he was editing the massive film "Renaldo & Clara", clearly
inspired by Godard's 1960s films.
Will Dockery
Stuart Leichter wrote:
>
> Fact: 'surreal' and 'tambourine' come directly from French words.
>
> Fact: Dylan told Jann Wenner (RS, 1970) that he wrote "To Be Alone with
You"
> for Jerry Lee Lewis.
That was the interview where he attributed the change in his singing voice
to quitting cigarettes, I think.
RS also published a news item that Dylan had joined the Green Berets in
'Nam.
The following letter appeared in the 23 July 1970 issue of Rolling Stone:
"Sirs:
While all you rock and rollers were wondering where Bob Dylan was between
the
summer of '66 and the winter of '68, well it seems that while you were all
protestin' the war, old Bob joined the Army. He was my sergeant in the Green
Berets in Nam. While we was over thre he used to listen to my country music
records. This is a very well-kept secret and the CIA may get me for telling
you
Commies, but it's true.
Corporal J.X. Rude
(US Army Retired)"
> Fact: Dylan remarked (at the Emergency Civil Liberties Union Award dinner)
> that there's "a touch of Lee Oswald in all of us".
>
> Fact: Dockery informed the world that the ending of 'Godard' is pronounced
> "-oh" just like 'Bardot'.
That's what the tall French girl told me at Ansely Mall in 1978. Being an
American, I still use "ard".
> >> Jerry Lee Waited for the Copyright to Expire
> >>
> >> When Edgar Allan wed the future missus Poe
> >> she was no parfait ordinary jo
> >> no merely rotten 13-year-old, she,
> >> but also Edgar Allan's first-cousin teehee,
> >> o please, like go hate Shelley
> >> and Byronic nubile whores,
> >> and backpedal, screaming nevermores.
> >> She shook his nerves and she rattled his brain.
> >>
> >> Whenever she performed the word 'genre' for him
> >> (at a single sitting)
> >> he turned her throat, her lips and tongue
> >> into begetting a new art with a short attention span
> >> for the newest paper Real 4th Estate:
> >> C'est le genre, le genre, le genre.
> >>
> >> All you gotta do honey is kinda stand in one spot
> >> Wiggle around just a little bit
> >> That's what you gotta do, yeah.
> >>
> >> Goodness, gracious,
> >> great balls of fire.
Interesting poem... bring it to Atlanta with you when we have the reading
with Jon Pensive?
Will Dockery
Dennis M. Hammes wrote:
> Will Dockery wrote:
>
> doesn't care?
"... I figured Godard had the accessibility to make what he made, he
broke new ground. I never saw any film like "Breathless", but once you
saw it, you said: "Yeah, man, why didn't I do that, I could have done
that." Okay, he did it, but he couldn't have done it in America..."
-Dylan on Godard's influence.
Will Dockery
SilkUpholsteredChair wrote:
> don freeman wrote:
> > In Godard's 1966 movie, Masculin Feminin, there is a very interesting
> > told by his friend that he is reading an article on Bob Dylan. "Who is
> > that, asked Léaud. "It's an American word, a cross between Beatnik and
> > Vietnam."
> >
> > Léaud then looks at the article, reading out, in English, Who are you,
> > Meester Bob Dylan." He then proceeds to read what appears to be the
> > lyrics of a song, equating old man Hitler, and old man Stalin with old
> > man Johnson.
> >
> > Dylan. His friend responds that Bob Dylan sells 10,000 records a day.
> >
> > What I find interesting about this scene in a 1966 movie, is that for
> > the American and British audience, Dylan in '66 had abandoned protest
> > songs, and had never mentioned the Vietnam war at all. Yet Godard
> > portrays the '66 Dylan as the leading cultural protester.
> >
> > Godard's movies tend to be very surreal in a way that Dylan's songs from
> > '66 were surreal. That is probably the true revolutionary aspect of
> > Dylan that Godard recognizes. It's very interesting that Godard, in this
> > movie, would then typecast Dylan as an anti Vietnam war protester.
>
> the editors of Rolling Stone magazine are the kind of people who got us
> into Vietnam.
Which era was he refering to? The current RS is quite bizzare.
Will Dockery
> >
> > Fact: 'surreal' and 'tambourine' come directly from French words.
> >
> > Fact: Dylan told Jann Wenner (RS, 1970) that he wrote "To Be Alone with
> You"
> > for Jerry Lee Lewis.
>
> That was the interview where he attributed the change in his singing voice
> to quitting cigarettes, I think.