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V*If ll SI jlliitiAllhhriiii funrienceby Arlene KatzDave Von Ronk Has a droll and a gentle face. He is a singer of. songs — of blues songs and children’s songs, topical songs and; folk songs. And a very fine singer he is.Mr. Von Ronk lit Wollman Auditorium with his talent last Friday night at the folk song concert presented by the Board of Managers of Ferris Booth Hall. The program also included the New Lost City Ramblers, a country music trio, and Bonnie Dobson^ a folk st^le songstress. _ Miss Dobson, who opened the cbncrf -csakf If onh ^eefe charitable. be ifaritfebdff %s estehrtiatlly undbj eclionable. Her voice is mediocre lending toward monotonous. Her material, as in My Mother Chose My Husband, contained an irritating quantity of a sly kind of dirty joke sexual allusion.The New Yost City Ramblers are a technically adept trio of highly literate citybillies, selling corn for art’s sake. Their songs are genuine and genuine fun played on an impressive array of instruments, from mandolin to autoharp to kitchen spoon, with the inevitable banjo and guitar. Mike Seeger. soloing in “The Little Carpenter,” and John Cohen, alone on “Danville Girl,” were especially good. The third member of the trio, Tracy-Schwartz, is a new addition. He distinguished himself in a solo on the tablespoons and in some fiddling on the bluegrass “Orange Blossom Special.”„ by Zane Berzins ,In a day when art and the artist are'-firaily committed to the. fact that (since all things are rel-1^). how you say it..is,.in-. i^1^'hf6i«.!important than whbtf yob .jfaly,. folk *music in general, dnd Bob fjylan'in particular stand 'du]t^s:^Senfialiy copmutt^.mdre rto ,^e ni^ssige” thafh ittsHvra’p-» ping Wjper. Both ms strengths' bnR w^jmesses ds im^tisbstetn) Bob Dylan’s passionate'seorni^ imtitfent to whkl he is saying. ^ DYlahattaclcs rcriey and mbumhmfy . 4jrfe^ev«t; hesdesthein.Hie ginse hor -lhe com** Jlie-‘.issue** modifies 4ns1Jfn W ^iiy wfien ^(SSai$5 thfe^bsdy rhd?ally kccepTabfe' ^6r,1^^an has ®Ee coinage and lEe^BB^ertmentie to see raufe-iKings In unequivocal Blkck bhd! White.At his Carriegle Hall concert! Tast^aturSay night, Dylan eW pjored the hidden recesses of* “ftie American Di'eanfi” and mercilessly matched 'the reality against the myth. Much of-Dylan’s material comes from 'the same riewSpajfer stories we Hll read. At their best, Dylan’s topi-, cal songs are Completely brilliant, ‘Hollis Brown” the story of a South Dakota 'farmer who, facing prospective starvation, kills himself, his Wife a!nd five children because he can get help from neither God rtor man, is a stark narrative ballad that sustains and hufids its tension till at the end* both “seveh shotgun shells” and the gradually building emotion ofjhe song explode.together. ‘^e indicfeieiit of the Sdciefy which killed HoRts Btewn bSid His xhildren ‘is hefe implicit. In the %allid of Dhvy Moore it is completely explicit. Davy Moore, Vhich treats 6f the death of a young prize-fighter, exposes all the senseless cruelty of prize fighting by the technique of hurling again and again a question at the listener. Who killed Davy Moore? Why and what's file reason for? By the time he has finished the song, no one has escaped, guilt and boxing has emerged as the institutionalized sadism it is. Dylan uses the technique of asking questions repeatedly, although at limes they are more complicated than the Why? of this song. One facet of Bob Dylan is the sacred simpleton who does hoi understand, the child who has discovered ihat the Emperor really has no clothes.If Dylan is a socially conscious rebel he is also something of a rebel in his declamations of love.(See BOB DYLAN, Page 3)Ilad str is i*ing4AllbysfcEwlBeDreconandhasabsThe to ] Of lt;she excbac! tow Ine: in, i esseis l stre mot silei cafe in 1bythalexphisget!andto t
Newspaper Details
Barnard Bulletin
New York, New York, US
Thu, Oct 31, 1963
Page 1
Full Page
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GB 02 Jan 2024
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