Thanks for the excellent contribution!

Today, almost every critic bows down to the Velvets, but Willis “got” those proto-punks early. Her 1979 essay from the anthology “Stranded” (included here) remains a foundational, luminous analysis of Lou Reed’s street-hassle humanism — and a statement of Willis’s own purpose. “What it comes down to for me — as a Velvets fan, a lover of rock ’n’ roll, a New Yorker, an aesthete, a punk, a sinner, a sometime seeker of enlightenment (and love) (and sex) — is this: I believe that we are all, openly or secretly, struggling against one or another kind of nihilism. I believe that body and spirit are not really separate, though it often seems that way. I believe that redemption is never impossible and always equivocal,” she wrote, then ended wryly with the refrain from “Heroin”: “But I guess that I just don’t know.”

“And now for the train terminology.” Brakeman in the illustration is turning a brake wheel, not flagging the train down, by the way. And if this paragraph deals with “train terminology” why there is no explanation of “Double E” , again?

Sincerely,

Dan

Good interveiw

Having recently read “Chronicles: Volume One” & now plowing thru M. Gray’s “Song & Dance Man,” I stumbled upon this magnificent resource, especially for its song-by-song commentary. Many thanks to all involved. One quick question: Is there a plan to continue post-“JohnWesleyHarding” or did I miss the Mission Statement somewhere? Would love to hear/read more from Dylanologists on the later albums, particularly Bob’s return to stellar material with “Time Out Of Mind,” “Love and Theft,” and “Modern Times.”

I think you can find more information here.
Fourth Time Around – the Bob Dylan Commentaries

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