When I was a kid I was always pretty good at finding lost balls. I suppose it was something that I was quite proud of really and what made it even better was that the bunch of kids I used to play with also knew I was pretty good at this particular task. I certainly wasn’t a gang leader or anything like that, indeed if there was ever a gathering of our little group of misunderstood tearaways I would usually try to dissolve into the background and let the older kids direct the daily escapades of those long school summer holidays that weren’t just fun laughter for a week or two, but went on forever. 

I was raised in the country, in a small village in Hertfordshire and my father before me, and his father before him, worked on the land.  Consequently I was surrounded by greenery: the road out side my house was edged by an unkept ditch overgrown with  stinging nettles and bindweed; the field at the back of my house wasn’t laid to crop but was retained for the purpose of cattle grazing, and where the cows and the sheep didn’t linger  there were great clumps of ungrazed meadow. It was in those stinging nettles, in that bindweed and in those clumps of ungrazed meadow where I would come in to my own. 

We were a sporty lot, us country kids. We played football, cricket and, during Wimbledon fortnight, a lot of what we thought was tennis. I recall we had one old tennis racket between the lot of us and when a stand-in umpire shouted a score of fifteen love, the girls used to giggle. Oh to be fifteen again and in love! Occasionally someone would bring along a golf ball but as we never had anything to hit it with, we spent most of our time trying to cut it open to see what was inside.

There is something of an immense despondency about losing a ball. A fear perhaps that good times are over for good. And it is all so abrupt. One minute everyone is enjoying the game, running, laughing, shouting , chasing an object that has no choice about whether or not it really wants to be the subject of  such fun. Then, in  flash, it all ends. A slight frenzy of exuberance from the person who is holding the bat, all eyes fixed skywards as the object soars and soars, a bump as it lands , a bounce,  a roll and its gone. Lost in the stingers, in the weeds, in the rye grass. For good. A life cut short. Despair and despondency for the mourners. The perpetrator of the calamity gets the blame and is beaten to the ground. A few hopefuls thrash about in the long grass, for demonstration purposes only. The owner of the ball vows never to let these useless herberts ever play with his ball again. Like never, EVER. The girls don’t think it matters and start making daisy chains. The boys are distraught, just might as well be dead.

It was all a matter of faith I suppose. I always knew it could be found. Faith and perseverance. And knowing where to look of course ‘Not over there. OVER HERE! Look you dummies, here it was all the time.”

I, I will be King. And you. You will be Queen. For nothing will drive them away.  We could beat them just for one day. We could be heroes. Just for one day.

Actually, with or without the support David Bowie, in the matter of finding lost balls so that the game could restart and life could be normal again, I was a hero. For ever and ever. 

Now all that was a long time ago and, on the subject of my never ending 'Visions of Johanna' exploration, I am not looking for heroism. What I hope my readers will agree upon is that I have looked in all the right places and I have found all manner of balls that have been lost or buried in vast mounds of print concerning this very song. Before I start playing my own game with the song, no doubt using balls that are more used to juggling rather than hitting or catching, there are just a few more studies of the song that I want to bring to light.  

One work that I do wish to refer to is  a 37 page booklet written by Stephen Scobie and aptly titled ‘Visions of Johanna’(78). SS initially explains that the purpose of the booklet ‘ is in part an attempt to make up for one of the most obvious omissions from (his book) Alias Bob Dylan’ and then goes on to set out  the ground rules of his study:

‘My method in this discussion will be to go through 'Visions of Johanna' line by line, trying to spell out as much as possible of what the words mean, suggest or imply. I am not arguing that Dylan would necessarily have been aware of all these ramifications – a large part of the meaning of any text always exceeds the author’s conscious awareness or intention - but I would contend that my readings are legitimately suggested by the actual words of the song, in their common usages and associations’.(79)

SS’s study initially provides some historical background to the song including the reminder: ‘ The song was written in late 1965 and in its earliest version it was known by the title “Freeze Out.” (On one occasion Dylan also introduced it as “Mother Revisited”; a title which may refer, sarcastically, to the aspect of Johanna as “Madonna”, the mother goddess).” The study then certainly does go through the song line by line and there are some very interesting ideas about the common usages and associations of the words used. An example of this is the reference to the word ‘conquer’ which Dylan uses in the last line of the first verse. SS notes the following, about this word:

‘It is by far the most active verb of the first stanza. After a whole string of images that suggest lassitude and passivity… comes the sudden, strong, active incursion of  “conquer”. Johanna does not sidle into the singer’s mind: she takes it over by force, like an invading army.  Although physically absent from the room, she dominates the scene, she takes centre stage. The first-person pronoun, “my”, appears in the song only to surrender its territory.’(80)

Another line that is neatly dissected is the one that SS admits to being ‘his favourite Dylan line’. Considering that Dylan has written many thousands of lines, it is a bold assertion to name any one as ‘a favourite line’, but then this one is memorable. It is the penultimate line of the second verse:

“The ghost of ‘lectricity howls in the bones of her face”

Yes, of course, we all remember that one! SS notes that John Herdman  refers it to French Symbolist poetry:

it “ finely exemplifies Baudelaire’s theory of correspondances and
might well have been envied by Rimbaud”.

SS enthuses further:

‘It is a beautiful line; it is a terrifying line. Perhaps it speaks of a ravaged,  hollowed-out beauty in Louise’s face; but it also speaks of death and of imprisonment. The ghost howls in the gehenna of its bones. As in the first verse , the energy of electricity has died , has become a ghost of itself.’(81)

So the study goes on, drawing out and expounding notions and theories on each line of the song A very detailed study indeed and one to which any one who wishes to delve further into the underbelly of the song should visit. In concluding his study SS presents an overview which reflects upon the general nature of the poet and his work:

‘These are the moments of poetry which remind us that behind and beyond all these characters  ­Johanna, Louise, the singer/peddler/ fidler/ - stands the figure of Bob Dylan, the creator of this song. And  for all its bleakness, cynicism, world-weariness, despair,'Visions of Johanna' remains a work of art, something created, an assertion, no matter how dark its vision, of the poets power.’(82)

From books, smaller publications and internet downloads, to the bread and butter of Dylan critique, namely the fanzines. Earlier in my own journey with this song I made reference to the writings concerning 'Visions of Johanna' in the revered Dylan fanzine  ‘The Telegraph’ (see part 5 in this series of articles). Now I wish to turn to another fanzine namely Andrew Muir’s ‘Homer, the slut’ and in particular to Issue ten  thereof which was published, I think , in October 1993. I say ‘I think’ because the issue has no cover date. 

The article that I wish to refer to is simply entitled 'Visions of Johanna'; it extends to some 9 pages and is written by Alain Blondot. The first thing that I like about this article, and I like this article very much indeed is, at the end, after AB’s conclusions, he reproduces the lyrics of the song and gives each line a number in descending order. Consequently, against number 1 appears the line  ‘Aint it just like the night to play tricks when you’re trying to be so quiet’ and against number 48 is the line ‘And these Visions of Johanna are all that remain’. Quite simple and straightforward you may think but I have this thing about numbers linked to art and the way these lyrics are set out turns 'Visions of Johanna' into a mathematical song. It is certainly fun ( to me at least) to choose particular numbers which may have some perceived importance and see how they match up with the words that are associated with those particular numbers. Without getting too mathematical about it, the way that the lyrics are thus displayed adds a new dimension to the song. 

I find the article itself to be inspirationally informed, it is beautifully written and indeed deals with wider issues and eternal truths contained in the song. On the subject of line 3 AB writes:

‘The strong surrealistic image of Louise holding a handful of rain tempting you to defy it is also poetry, but it is difficult to come to terms with. It all depends on the symbolic function of “rain”. For Freud, water (linked to the moon) symbolises women and femininity, whereas fire and sun symbolise men. Why would Louise tempt anyone to defy her femininity (Then why not?). Rain also symbolises the forces of nature – the elements and life; is it the temptation to defy life and natural forces that are within and outside us? Is it that defiance that can lead to the visions about to occur? I am sure there are dozens of ways of receiving this line. Every listener, with his own history and experience, will “feel” it differently. Again, it is one aspect of Dylan’s mastery as a writer to give us an opportunity to play an active part as we listen.’(83)

I think that it was this article that first made me aware of the link between line 30 (the  ‘Mona Lisa’ line) and the artist Marcel Duchamp. Page 7 of the article states as follows:   

‘Was Dylan aware that a French surrealist artist – Marcel Duchamp – once painted a parody of the Mona Lisa, adding a moustache to her face? He called it “LHOOQ” which phonetically reads “Elle a chaud au cul”, i.e. “her ass is hot” or even “she’s got her ass on fire”, hence her urge to leave and run down the highway.’

And on the subject of identification AB writes:

‘Madonna probably refers to Mary, the mother of Christ; if so, she represents salvation. She, too, is depicted as an actress who was once on a stage, wearing a cape; this stage is compared to a cage which is now corroding. Is it irony towards institutionalised religions?  - which teach you to say prayers but not to pray. Maybe the visions have helped the narrator to think about the matter: Truth, God, Salvation are not to be found in some useless theatrical parade performed in full dress clothes, this way to handle religions is to be restrictive, like being in a cage which, thank God, is now empty, with its bars corroding away. It is the first real hint of freedom in the narrative, and if we reflect back on the song, we become aware that slowly, step by step, the characters come from a situation where they are prisoners, motionless, to one where they are free, where movement can start again.’(84)

Then, progressing from that observation to the wider picture that concerns you and me: 

‘Getting free is one of the main themes of the song, but it seems to be a rather difficult task; you must get rid of all the prejudices and hypocrisy which can inhabit your mind, you must find the balance in the forces that are within yourself, between your ideal and reality, so that “I” and “he” can be reconciled.’

And, before Alain presents the song with a mathematical curve, he provides an insightful and honest conclusion:

I have not used the word “mysticsm” yet but this process can be considered as a mystical experience after all. It is the search for truth, for God which is within yourself: and this can only be done after going through a journey to hell, a dangerous one, where your sanity is at stake. (Doesn’t “Johanna” sound very much like “Gehenna”?). If you do succeed you come back with the skeleton keys and the rain, the former can open any door and give you access to the truth, and the rain holds the mystery of life. The narrator never says he has got hold of the skeleton keys and the rain, only the wailing harmonica tune suggests  he might have had a glimpse at them, and he is left there, with his visions that remain, unable to say more, puzzled, just like we are, just like I am.’(84)

I wholeheartedly agree with Alain’s clever implication here: the song, like life, is a puzzle. A wonderfully miserable jigsaw where pieces just do not fit together at times. I may have been good at finding lost balls when I was a kid but, on the basis of looking in the right places to find things that have been lost, I often  feel that I was so much older then. As you may have guessed…this will be continued.

(78) I am not sure when this booklet was published but it was a limited edition of 150 copies and available through the USA bookservice ‘Rolling Tomes’.
(79) 'Visions of Johanna' by Stephen Scobie page 5
(80) ibid page 11
(81) ibid page 17
(82) ibid page 34
(83) 'Visions of Johanna' by Alain Blondot page 4
(84) ibid page 8

Bob On Sea
(At B&B in May 2002)

Actually, the real purpose of my visit to Brighton and Bournemouth on consecutive days in May 2002 had nothing whatever to do with football, although, having said that, I suppose that there isn’t much in my life that has nothing whatever to do with football. There are a small number of things of course and one of such number is Bob Dylan, for the pursuit of his legend was the true reason for me visiting Brighton and Bournemouth. Dylan was playing the Brighton Centre on Saturday 4^th May and the Bournemouth International Centre, the following day, Sunday 5th May 2002. A double aim then: the testing of Cloughies (or Gerry’s) theory and also catching two Bob shows on the final leg of his European tour.

Lets get the first one out of the way first: football. In fact it was entirely the wrong day to test any soccer theory because, clearly unbeknown to the promoters of Dylan’s 2002 European tour, the first gig in the UK, namely at Brighton on Saturday 4th May, was held on Cup Final day. Arsenal versus Chelsea. Both teams from London having to battle for glory in some valley miles away from the capital. So on that sunny day in Brighton, the soccer buzz of the town’s Second Division Championship season gave way to that ancient tradition of F.A. Cup hysteria. At 2.45 p.m. most of the town centre pubs had closed their doors and were body guarded to ensure that the capacity regulations were not breached. Then, later, when Arsenal’s second goal went in there was a roar from doors and windows which caused me to consider that the town was rampant with Gunner’s supporters. You never however hear a roar from a team’s supporters when a goal is conceded so perhaps the fans were evenly mixed. It certainly seemed that way when the aftermath of the match continued on the town’s pavements: a bustling throng of revellers with no apparent affinity, except to the decibels of their own voices, swept through the streets. All good natured though but the joy seemed to be attached more to the moment, to the event of the day rather than some historic episode. Certainly a difficult day for scientific study relating to the behaviour of the human animal.

Brighton on Saturday 4th May 2002

1 I Am The Man, Thomas (acoustic)
2 If Not For You (acoustic)
3 It's Alright, Ma (I'm Only Bleeding) (acoustic)
4 To Ramona (acoustic)
5 Tweedle Dee & Tweedle Dum
6 Can't Wait
7 Subterranean Homesick Blues
8 Lonesome Day Blues
9 Mr. Tambourine Man (acoustic)
10 Masters Of War (acoustic)
11 Tangled Up In Blue (acoustic)
12 Sugar Baby
13 Summer Days
14 Cold Irons Bound
15 Rainy Day Women #12 & 35 (1st encore)
16 Man Of Constant Sorrow
17 Like A Rolling Stone
18 I Shall Be Released (acoustic)
19 Honest With Me
20 Blowin' In The Wind (acoustic) (2nd encore)
21 All Along The Watchtower

Bournemouth on Sunday 5th May

1 Wait For The Light To Shine (acoustic)
2 If Not For You (acoustic)
3 Desolation Row (acoustic)
4 Mama, You Been On My Mind (acoustic)
5 Absolutely Sweet Marie
6 Floater
7 Subterranean Homesick Blues
8 Cry A While
9 Boots Of Spanish Leather (acoustic)
10 A Hard Rain's A-Gonna Fall (acoustic)
11 Don't Think Twice, It's All Right (acoustic)
12 Summer Days
13 Not Dark Yet
14 Drifter's Escape
15 Leopard-Skin Pill-Box Hat (1st encore)
16 Not Fade Away
17 Like A Rolling Stone
18 Forever Young (acoustic)
19 Honest With Me
20 Blowin' In The Wind (acoustic) (2nd encore)
21 Highway 61 Revisited.

JRS