Chuck Stewart’s photography provided by Fireball Entertainment Group, courtesy of Chuck Stewart Photographs of John Coltrane, Archives Center, National Museum of American History, Smithsonian Institution
A feature essay from the Fall 2018 issue.
Prine radiates a sense of well-being, along with a sort of amused nonchalance toward potential disaster. This is a good thing, because the Coupe, as it turns out, has no passenger-side safety belt. Or rather it has the shoulder belt, but the thing on the seat into which it is supposed to latch is missing. I noticed this awhile back, and it worried me for a few minutes. But then I thought, If you’re going to buy the farm it might as well be in a ’77 Coupe de Ville with John Prine.
In a 2017 interview with Bill Flanagan, Bob Dylan held forth on his views regarding Don McLean’s “American Pie,” a song that I have loathed with an almost inchoate malice since first encountering it as a young child. Dylan didn’t seem like a fan either, and in particular addressed the long-standing conjecture that he himself was the so-called “jester” referred to in McLean’s bloviating marathon.
Bill Bentley’s introuction to Smithsonian Rock and Roll: Live and Unseen, a crowd-sourced collection of photos and stories.
Thousands of submissions were uploaded over the next year. From professional-quality shots taken on film stock to digital mobile phone snaps, the entire spectrum of rock photography filled Smithsonian servers. . . . The results, spanning seven decades, aim for neither encyclopedic authority nor comprehensive finality, but rather an index of supreme influence. Artistic importance isn’t the same as popularity, as this guided tour of rock & roll proves at every turn of the page.
I’ve spent a lot of time recently listening to Bob Dylan’s second album. Not Freewheelin’, the LP with him and Suze Rotolo on the cover and “Blowin’ in the Wind” in the grooves. That’s the one we know, because a couple of songs off it were picked up by the Chad Mitchell Trio and Peter, Paul and Mary—and then by everyone from Bobby Darin to Marlene Dietrich—and Dylan was hailed as a poet and the voice of a generation. But before that happened, he’d spent a year working on a follow-up to his first LP that displayed very different skills and inclinations.
A profile of Charlie Sexton, from the 2014 Texas Music Issue.
The circus had left town. Rolling toward the end of the Seventies, all the high-dollar distressed denim, heavy turquoise bracelets, soft and scuffed Lucchese boots, and even the brain-blowing snow-white cocaine weren’t quite as ominous in Austin’s nightclubs. It was starting to feel a little more like home again, back before the so-called redneck rock invasion. When the cosmic cowboys first started raiding the city, hijacking all the musical attention in our little Austin oasis, it was the mid-Seventies and the Lone Star state was slightly sedate. But that’s how we liked it, actually, because it let the city’s hippies and beatniks create their own fantasies and live on inexpensive fumes. Before the onslaught, the dozen or so honkytonks and nightclubs took care of their own. There were no record business people to promise what rarely got delivered, and the long days and nights spread before central Texas like the promise of a pot hit and a hot kiss.
With eight kids to feed, and making everything from scratch, Mamie McCrary didn’t have time to negotiate supper. So to anything her picky eaters might refuse—pinto beans, black-eyed peas, lima beans—she added a spoonful or two of sugar. Almost fifty years later, whenever her four daughters sit down to eat, sugar bowls come out, adding some sweetness to lives that have seen more than enough hard times.
The sisters—Ann, Regina, Alfreda, and Deborah—continue an even sweeter McCrary tradition, blending their voices in the sanctified harmony that’s their birthright as daughters of Rev. Sam McCrary, one of the key members of Nashville gospel greats the Fairfield Four.
From the time he began recording regularly with electric instruments, Dylan, his palette enlarged, fixated on reproducing the sounds inside his mind with minimal editing artifice. The making of Blonde on Blonde combined perfectionism with spontaneous improvisation to capture what Dylan heard but could not completely articulate in words.