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The story of how four young bohemians on the make - Bob Dylan, Joan Baez, Mimi Baez, and Richard Farina - converged in Greenwich Village, fell into love, and invented a sound and a style that are one of the most lasting legacies of the 1960s
When Bob Dylan, age twenty-five, wrecked his motorcycle on the side of a road near Woodstock in 1966 and dropped out of the public eye, he was recognized as a genius, a youth idol, and the authentic voice of the counterculture: and Greenwich Village, where he first made his mark as a protest singer with an acid wit and a barbwire throat, was unquestionably the center of youth culture.
So embedded are Dylan and the Village in the legend of the Sixties--one of the most powerful legends we have these days--that it is easy to forget how it all came about. In Positively Fourth Street, David Hajdu, whose 1995 biography of jazz composer Billy Strayhorn was the best and most popular music book in many seasons, tells the story of the emergence of folk music from cult practice to popular and enduring art form as the story of a colorful foursome: not only Dylan but his part-time lover Joan Baez - the first voice of the new generation; her sister Mimi - beautiful, haunted, and an artist in her own right; and her husband Richard Farina, a comic novelist (Been Down So Long It Looks Like Up To Me) who invented the worldliwise bohemian persona that Dylan adopted--some say stole--and made as his own.
The story begins in the plain Baez split-level house in a Boston suburb, moves to the Cambridge folk scene, Cornell University (where Farina ran with Thomas Pynchon), and the University of Minnesota (where Robert Zimmerman christened himself Bob Dylan and swapped his electric guitar for an acoustic and a harmonica rack) before the four protagonists converge in New York.
Based on extensive new interviews and full of surprising revelations, Positively Fourth Street is that rare book with a new story to tell about the 1960s. It is, in a sense, a book about the Sixties before they were the Sixties--about how the decade and all that it is now associated with it were created in a fit of collective inspiration, with an energy and creativity that David Hajdu captures on the page as if for the first time.
- Sales Rank: #215479 in Books
- Published on: 2001-06-01
- Original language: English
- Number of items: 1
- Dimensions: 1.13" h x 6.30" w x 9.36" l,
- Binding: Hardcover
- 328 pages
- the life and times of Bob Dylan and friends
Amazon.com Review
David Hajdu (pronounced HAY-doo), the prizewinning author of the magisterial jazz biography Lush Life, now steam-cleans the legend of the lost folk generation in Positively 4th Street: The Lives and Times of Joan Baez, Bob Dylan, Mimi Baez Fariña, and Richard Fariña. What a ripping read! It's like an invitation to the wildest party Greenwich Village ever saw. You feel swept up in the coffeehouse culture that transformed ordinary suburban kids into ragged, radiant avatars of a traditional yet bewilderingly new music. Hajdu's sociomusical analysis is as scholarly as (though less arty than) Greil Marcus's work; he deftly sketches the sources and evolving styles of his ambitious, rather calculating subjects, proving in the process that genius is not individual--it's rooted in a time and place. Hajdu says Dylan heisted many early tunes (e.g., "Maggie's Farm" from Pete Seeger's "Down on Penny's Farm"): "Dylan [told] a radio interviewer that he felt as if his music had always existed and he just wrote it down ... [in fact], much of his early work had existed as other writers' melodies, chord structures, or thematic ideas." But Dylan and company made it all their own, and Hajdu vividly evokes the scenes they made.
Positively 4th Street is very much a group portrait. When something amazing happens, Hajdu puts you right there. The unknown Baez barefoot in the rain, bedazzling the Newport Jazz Festival and becoming immortal overnight. The irresistibly irresponsible Fariña talking his folk-star wife out of shooting him dead with his own pistol. The "little spastic gnome" Dylan transmogrified into greatness onstage, bashing Joan with the searing lyrics of "She Belongs to Me." A stoned Fariña advising Dylan to cynically hitch his wagon to Joan's rising star and "start a whole new genre. Poetry set to music, but not chamber music or beatnik jazz, man... poetry you can dance to."
The book is as delectably gossipy as Vanity Fair (one of Hajdu's employers). Richard married the exceedingly young beauty Mimi and helmed their career, but he might have dumped her for big sister Joan, whose madcap humor and verbal wit harmonized with his--except that he ineptly killed himself on a motorcycle first. Bob mumblingly courted both sisters, but when he cruelly taunted the insecure Joan, Mimi yanked his hair back until he cried. The account of Bob and Joan's musical-erotic passion is first-rate music history and uproarious soap opera. Hajdu's research is prodigious--even Fariña's close chum Thomas Pynchon granted interviews--and his anecdotes are often off-the-cuff funny: "[Rock manager Albert Grossman] was easy to deal with.... It wasn't till maybe two days after you would see Albert that you'd realize your underwear had been stolen." Full disclosure: Hajdu was one of my long-ago bosses at Entertainment Weekly, but that's certainly not why I heartily endorse this book. It's scholarship with a human face, akin to "poetry you can dance to." --Tim Appelo
From Publishers Weekly
Sometimes, gifted people intersect at the perfect moment and spark a cultural movement. According to acclaimed biographer David Hajdu (Lush Life), Joan and Mimi Baez, Dylan, and Farina were of that brand of fated genius, and via romantic and creative trysts, they invented 1960s folk and its initially maligned offshoot, folk rock. But their convergence hardly emblematizes the free-loving media version of the 1960s. Egos--especially Joan Baez's and Dylan's--clashed, jealousies flared, romance was strategic. Hajdu does not dwell on Dylan's thoughtless, well-documented breakup with Joan Baez after riding to fame on her flowing skirts. Instead, he spotlights Joan's younger sister, Mimi, a skilled guitarist in her own right, and her husband, novelist-musician Farina. After divorcing leading folkster Carolyn Hester, the disarmingly groovy Farina captivated teenage Mimi via love letters, and, but for his untimely death, might have pursued Joan. Though Farina comes off as more opportunistic than Dylan, Hajdu compellingly asserts that Farina, not Dylan, invented folk rock and provided fodder for Dylan's trademark sensibilities. Hajdu provides a skillfully wrought, honest portrait that neither sentimentalizes nor slams the countercultural heyday. Photos not seen by PW. (June)Forecast: Hajdu's reputation and Dylan's 60th birthday on May 24 will win the book attention.
Copyright 2001 Cahners Business Information, Inc.
From Library Journal
With the explosive early 1960s folk revival as backdrop, Hajdu (Lush Life: A Biography of Billy Strayhorn, LJ 5/15/96) entertainingly recounts this downright Shakespearean tale of Folk Queen Joan Baez falling for the Ass, Bob Dylan. Meanwhile, Joan's younger sister, Mimi, succumbs to the spell of the charming writer Richard Fari$a, and the two become a highly regarded folk-singing duo in their own right. Little does Mimi suspect that she is a convenient way for Richard to get closer to Joan. Tragedy strikes the foursome as Dylan dumps Baez once his fame eclipses hers, and Fari$a is killed in a motorcycle accident on Mimi's 21st birthday, two days after the publication of his first novel Been Down So Long It Looks Like Up to Me. Though Dylan and Baez will sell this book, the real star is the colorful but controlling rogue, Fari$a, whose star was swiftly rising at the time of his death. Hajdu pulled off a coup in winning the participation of reclusive novelist Thomas Pynchon, who was a close friend of Fari$a's. Recommended for Dylan fans and enthusiasts of the 1960s folk revival.
-DLloyd Jansen, Stockton-San Joaquin Cty. P.L., CA
Copyright 2001 Reed Business Information, Inc.
Most helpful customer reviews
2 of 2 people found the following review helpful.
If you like to read about the 60's from an insider's perspective ...
By david makofsky
If you like to read about the 60's from an insider's perspective and a social history perspective, this is a good shot. I have recently read Van Ronk's memoirs and Suze Rotolo's great reflections on Dylan and Greenwich Village. Hajdu is a bit of an outsider, but this is real in depth reporting. In addition to Dylan and Joan Baez, you get a real interesting view of Mimi Farina, Richard Farina, Thomas Pynchon, and Eric Von Schmidt Add to that Pete Seegar, and you get a mice rounded view of people and personalities. Other memoirs and biographies exist, but most of it is sex, dope, and rock and roll, and this goes much further. For me, all this began by seeing Inside Llewelyn Davis and reading Teri Thal's comments on the movie. I will tell you, of them all, Bob Dylan comes out looking the worst and the rest - Joan Baez and the Farinas, surprisingly good.
2 of 2 people found the following review helpful.
4 Decades Later...
By Richard Sutton
In 1962 I was a tentative, impressionable kid hoping that a guitar and a three chord song would give my life direction. The most important thing in Mr. Hajdu's new biographical tour-de-force is finding that although his subjects have become cultural icons and symbols for my generation's excesses, they were then also tentative, impressionable teenagers raised on Buddy Holly, the Lone Ranger and Mighty Mouse. They were also looking for direction and while most biographies of musical artists of that time usually concentrate on their achievements in the public arena, this book never forgets to remind us of the confused, hopeful kids that were standing up on stage. Their humanity leaps and bounds off these pages. Through the author's skillful storytelling and impeccable research, the spirits of those two sisters and those two part-time friends feel like they're in the room with the reader -- just over your shoulder with a joke, a new chord fingering, or a complaint. While many of us were listening in coffee houses and campus venues, a few of us were trying to make our instuments do what we wanted them to do, and thought that if we could just get it right, the world would be saved. Mr. Hadjdu's work reminded me of who I was then -- something easily forgotten today. It brought back the confusion when lessons were learned the hardest way, and no one was the winner. I even found myself falling for the clever, overflowing charm of Richard Farina, still gesturing wildly to get the party started from within the pages. Four decades later, I'm as much a disciple now it turns out as I was when I first heard "Children of Darkness" or "Dopico". I want to thank Mr. Hajdu for bringing it back to me, and I want to thank the Baez sisters and Bob Dylan for making it all seem so simple when it was anything but... This was a one-sit read. I couldn't put it down! Now I'll go find a few old vinyl records that have been on the shelf much too long.
0 of 0 people found the following review helpful.
I wanted to read this book because of my fascination ...
By Chris Gagne
I wanted to read this book because of my fascination with Farina. I found the author's representation of the four main characters very fair but revealing. I finally realized just how big a star Joan Baez was in the early sixties.
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