Touring Bob Dylan’s New York

导读

听着这熟悉的旋律Blowing the wind,文章以Bob Dylan经典专辑The Freewheelin’在纽约格林威治村拍摄的封面照片,引出了这个寻访Bob Dylan成名足迹的walk tour。格林威治村这个被纽约客亲切地唤作The Village的地方,位于14th Street and West of Broadway。由于而今房价上涨,很多艺术家搬去了更便宜的东村,当年离经叛道的前卫艺术已经几乎绝迹,但作为纽约市的一个旅游景点,比起更加豪华的麦迪逊广场、林肯艺术中心,The Village的摇滚或者爵士酒吧,还是艺术电影和书籍,仍有着独特的韵味,很值得一去。
对比专辑封面照片,格林威治村已是今非昔比。但故地重游,最有趣的是追忆那个时代的人和事。比如walk tour从Hudson St at West 11th开始,Dylan Thomas在这里他最喜欢的酒吧White House Traven醉酒辞世,Bob Dylan本名Robert Zimmerman,就是跟这位大诗人取的艺名。Norman Mailer在这儿获得了创办Village Voice报纸的灵感。这里还是垮掉一代诗人的集聚地,也是Dylan第一次听到著名的Clancy Brothers演奏的地方。
1961年,19岁的Bob Dylan为了追寻被他誉为民谣英雄的Woody Guthie,搬进了格林威治村并开始在咖啡厅演出。虽然借宿在朋友家沙发上,Dylan却是怀着改变命运的抱负,而The Village也给他提供了这样的舞台。两年后,他的第二专辑The Freewheelin’一炮而红,Dylan很快被粉丝追捧为民谣明星。Walk tour中不仅走访了Dylan住过、演奏过的地方,还介绍了成名前他的朋友们,包括后来成为民谣女皇的Dylan女友Joan Baez对他的评价等。
哪怕你不是Dylan的狂热粉丝,在The Village感受60年代的纽约,同样非常有情调。就像早就离开The Village的Dylan在回忆录中所说的那样:一切都是新的,一切都在改变,街上永远都不会是同一批人。而即便Dylan并没有在The Village留下任何塑像之类的痕迹,却已经成为了那个时代不可磨灭的象征。

更多剧透

第一步:解决高频单词

thrust [θrʌst]

n. vi. vt. 刺/插入/推挤

cling [klɪŋ]

vi. 坚持/紧贴

encapsulate [ɪn'kæpsjə'let]

vt. 压缩/概述/vi. 形成胶囊

forge [fɔrdʒ]

vi. vt. 伪造/缔造/前进

intact [ɪn'tækt]

adj. 完整的/未损伤的

impeccable [ɪm'pɛkəbl]

adj. 没有缺点的

conceive [kən'siv]

vt. vi. 怀孕/构思

hangout ['hæŋaʊt]

n. 常去的地方

rousing ['raʊzɪŋ]

adj. 使奋起的

fascinating ['fæsɪnetɪŋ]

adj. 迷人的/陶醉的

60p

第二步:精读重点段落

(Tips: 双击文中单词可以查释义并加入你的生词本哦)

第03段
The photograph on the front of Dylan’s second LP, The Freewheelin’ Bob Dylan, encapsulates a remarkable time and place. For a period nearly half a century ago this grid of streets, barely a couple of square miles in total, generated a buzz of creative energy that forged Dylan’s artistic sensibility. “The air was bitter cold, always below zero, but the fire in my mind was never out,” he recalls in his memoir, Chronicles.

  • Encapsulate a time and place 封存了时间和地点
  • A buzz of 嗡嗡声/喝酒吸毒等产生的兴奋
  • Bitter cold 刺骨寒冷

第04段
Greenwich Village – or just The Village – is a different place today and Dylan went west long ago. But the architectural mixture of classic tenements and grander, Federal-style townhouses is largely intact. And the spirit of the “original vagabond” who fetched up here in January 1961, and whose words and music shaped new ways of looking at the modern world, still clings to its fire escapes, backstreet cobbles and more outré street characters.

  • Fetch up 引起/到达/最终成为
  • Shape ways of looking 塑造面貌
  • Cling to 坚持/依附

第07段
It was his former lover, Joan Baez, who called him a vagabond. The word captures the way in which he just turned up in “the city that would come to shape my destiny” with a readymade back catalogue of tall stories about himself and, in his own assessment, a mind that “was strong like a trap”.

  • Turn up 出现/发生
  • Shape one’s destiny 塑造命运
  • In one’s assessment 某人的评估
85p

第三步:攻克必学语法

动词后直接加形容词的用法

第12段
Twelve months after that album cover was shot, Dylan had found fame and broke up with Suze, who inspired Tomorrow Is a Long Time.
拍摄这张唱片封面后12个月,迪伦成名了,他跟苏西分手了,是苏西给了他Tomorrow is a Long Time这首歌的灵感。

动词后直接加形容词的几种情况:

  1. 五大感官动词: look, smell, taste, feel, sound
  2. 状态系动词: be, seem, appear, keep, remain, stay, prove
  3. 状态变化系动词: get, grow, fall, turn, become, go, come, run, make

动词加形容词与动词加副词的区别:

1. 及物动词 + 形容词:形容词修饰的是句子的主语

I left home young and returned old. 少小离家老大回

2. 及物动词 + 宾语 + 形容词:该宾语是形容词的逻辑主语,表示宾语的状态或结果

The kid pushed the door open. (open修饰door)
He drank the tea hot. (hot修饰tea)

3. 及物动词或不及物动词 + 副词:副词修饰的都是该动词,而不是句子的主语

They were quarreling loudly. (loudly修饰quarrel)
The kid ate the cake quickly. (quickly修饰eat)

100p

加分任务:精读全文

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(Tips: 双击文中单词可以查释义并加入你的生词本哦)

Touring Bob Dylan’s New York

[1] We stand on the spot and Terre Grilli holds up a photocopy to compare the scene with the present day. “One thing I notice are the trees,” she says. “There are no trees on the block in ’63.” And in place of the blue VW campervan parked on the left is an SUV with blacked-out windows.

  • photocopy n. v. 影印/复印
  • campervan n. 露营车

[2] It was a snowy day in February, 1963, in the heart of Greenwich Village, New York City. The photographer, Don Hunstein, set up on West 4th Street and shot plum down Jones Street as Bob Dylan and his then girlfriend, Suze Rotolo, walked up the middle of Jones towards the camera. Bob thrust his hands deep in his jeans pockets, Suze clung on to his arm – and the result is one of rock music’s most famous album covers.

  • plum n. 李子/adj. 令人满意的
  • thrust v. n.刺/插入
  • cling vi. 坚持/紧贴/附着

[3] The photograph on the front of Dylan’s second LP, The Freewheelin’ Bob Dylan, encapsulates a remarkable time and place. For a period nearly half a century ago this grid of streets, barely a couple of square miles in total, generated a buzz of creative energy that forged Dylan’s artistic sensibility. “The air was bitter cold, always below zero, but the fire in my mind was never out,” he recalls in his memoir, Chronicles.

  • encapsulates v. 压缩/概述/装入胶囊
  • grid n.网格/输电网
  • forged v. n. v.伪造/锻造
  • bitter adv.激烈地/严寒刺骨地
  • memoir n.回忆录
  • Chronicles n. vt.编年

[4] Greenwich Village – or just The Village – is a different place today and Dylan went west long ago. But the architectural mixture of classic tenements and grander, Federal-style townhouses is largely intact. And the spirit of the “original vagabond” who fetched up here in January 1961, and whose words and music shaped new ways of looking at the modern world, still clings to its fire escapes, backstreet cobbles and more outré street characters.

  • intact adj. 完整的/未受损伤的
  • vagabond n. adj.流浪者/游手好闲者
  • cobbles n. 鹅卵石
  • outré adj. 怪诞的/惊人的

[5] Terre Grilli, a 52-year-old folk music enthusiast, runs guided tours aimed at invoking that spirit. The tours are arranged privately and are pretty laid-back, very much in the freewheelin’ spirit of those Village days of the Sixties. “It’s kind of a labor of love,” she said. “We don’t advertise. It’s for fans.”

  • invoke v. 祈求/唤起
  • laid-back adj. 闲散的

[6] We meet on Hudson St at West 11th, across the street from the White Horse Tavern. This old longshoremen’s dive (the Hudson River is just three blocks west) has an impeccable bohemian pedigree: in the 1950s Dylan Thomas, as well as having his name filched by a young kid in Minnesota called Robert Zimmerman, drank his last at the bar before dying a few days later; Norman Mailer supposedly conceived the radical Village Voice newspaper here; and it was a Beat poet hangout. It was also where Dylan listened to the Clancy Brothers singing “rousing rebel songs that would lift the roof”.

  • longshoremen’s n. 码头工人
  • impeccable adj. 没有缺点的
  • bohemian adj. n. 波西米亚
  • pedigree n. 血统/家谱/adj. 纯种的
  • filched vt. 偷窃
  • conceived v. 怀孕/构思
  • hangout n. 巢穴/住所/vt. 故意泄露
  • rousing adj. 活泼的/使奋起的

[7] It was his former lover, Joan Baez, who called him a vagabond. The word captures the way in which he just turned up in “the city that would come to shape my destiny” with a readymade back catalogue of tall stories about himself and, in his own assessment, a mind that “was strong like a trap”.
[8] “You would come to town and try to establish yourself and sleep on floors,” says Terre, leading me round to one of his crash pads, in Perry St. “You had no money for an apartment.” At 129 Perry – dingy brick, green fire escape – he slept on the floor of Carla Rotolo, Suze’s elder sister. Here, as well as meeting Suze, he would plunder Carla’s extensive folk record collection for ideas for his first album. “Carla really big-sistered Bob,” says Terre.

  • crash n. v. 撞碎/坠落
  • dingy adj. 昏暗肮脏的
  • plunder n. v. 掠夺

[9] The folk singer Dave Van Ronk, whom Dylan described as “king of the street”, lived several blocks north-east on Waverly Place. Terre indicates number 190, a grey tenement building with a bright orange door. “Bob has talked about staying on the couch here,” she says. “Tom Paxton used to come by. And who’s observing all this?” Terre jerks her thumb over her shoulder. “Behind us at 191 lived [the journalist] Bob Shelton. “He was responsible for the New York Times review that catapulted Bob’s career.” She opens her ring binder and flicks to a copy of the review, of a set Bob played at the famous venue Gerde’s Folk City, in September 1961 (“20-year-old singer is bright new face,” runs the headline).

  • catapulted n. v. 用弹弓弹射/猛投
  • ring binder 扣眼活页夹
  • flicks v. n. 轻弹/忽然摇动

[10] “You have to remember, the whole of Macdougal was lined with coffeehouses,” says Terre. At 116, in the basement, was The Gaslight, now a lounge bar called Alibi. “Hard to believe but this was a premier place to play,” she says. The Gaslight didn’t have a drinks license, so after and in between sets they would all pile next door to the Kettle of Fish. The bar is now called the Esperanto Cafe. The hipster geeks sitting at its window tables with their skinny lattes and mint-thin laptops look the same age, 21, as Bob would have been when, in the sweaty basement next door, he first performed A Hard Rain’s A-Gonna Fall.

  • lounge n. v. 休息室/闲逛
  • premier adj. 第一的/最初的/n. 总理/首相
  • hipster n. 时髦人物/颓废派/adj. 低到臀部的

[11] Terre’s tour is exhaustive and fascinating – the former Commons coffeehouse in Minetta St where he wrote Blowin’ in the Wind; the former residential Hotel Earle where he lived for a while and which Joan Baez, in her bittersweet love song about Dylan, Diamonds and Rust, refers to as “that crummy hotel over Washington Square”; the magical spot on West 4th where he freewheeled with Suze Rotolo in the snow.

  • Exhaustive adj. 详尽的/消耗的
  • fascinating adj. v. (使)迷人的/(使)陶醉的
  • bittersweet adj. n. 苦乐参半
  • crummy adj. 微不足道的/寒酸的
  • freewheeled vi. 靠惯性滑行/随心所欲

[12] Twelve months after that album cover was shot, Dylan had found fame and broke up with Suze, who inspired Tomorrow Is a Long Time. Those halcyon coffeehouse days were over.

  • halcyon adj. 平稳的/宁静的

[13] He has left no tangible mark on the Village – no plaques, statues or stores selling memorabilia – but that’s in keeping with the man. “Everything was always new, always changing,” he wrote in Chronicles. “It was never the same crowd upon the streets.”

  • memorabilia n. 大事记/值得纪念的事物
200p

thrust [θrʌst]

n. vi. vt. 刺/插入/推挤

cling [klɪŋ]

vi. 坚持/紧贴

encapsulate [ɪn'kæpsjə'let]

vt. 压缩/概述/vi. 形成胶囊

forge [fɔrdʒ]

vi. vt. 伪造/缔造/前进

intact [ɪn'tækt]

adj. 完整的/未损伤的

impeccable [ɪm'pɛkəbl]

adj. 没有缺点的

conceive [kən'siv]

vt. vi. 怀孕/构思

hangout ['hæŋaʊt]

n. 常去的地方

rousing ['raʊzɪŋ]

adj. 使奋起的

fascinating ['fæsɪnetɪŋ]

adj. 迷人的/陶醉的

不要一时兴起,就要天天在一起

明天见!


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Touring Bob Dylan's New York

[1] We stand on the spot and Terre Grilli holds up a photocopy to compare the scene with the present day. “One thing I notice are the trees,” she says. “There are no trees on the block in ’63.” And in place of the blue VW campervan parked on the left is an SUV with blacked-out windows.

[2] It was a snowy day in February, 1963, in the heart of Greenwich Village, New York City. The photographer, Don Hunstein, set up on West 4th Street and shot plum down Jones Street as Bob Dylan and his then girlfriend, Suze Rotolo, walked up the middle of Jones towards the camera. Bob thrust his hands deep in his jeans pockets, Suze clung on to his arm – and the result is one of rock music’s most famous album covers.

[3] The photograph on the front of Dylan’s second LP, The Freewheelin’ Bob Dylan, encapsulates a remarkable time and place. For a period nearly half a century ago this grid of streets, barely a couple of square miles in total, generated a buzz of creative energy that forged Dylan’s artistic sensibility. “The air was bitter cold, always below zero, but the fire in my mind was never out,” he recalls in his memoir, Chronicles.

[4] Greenwich Village – or just The Village – is a different place today and Dylan went west long ago. But the architectural mixture of classic tenements and grander, Federal-style townhouses is largely intact. And the spirit of the “original vagabond” who fetched up here in January 1961, and whose words and music shaped new ways of looking at the modern world, still clings to its fire escapes, backstreet cobbles and more outré street characters.

[5] Terre Grilli, a 52-year-old folk music enthusiast, runs guided tours aimed at invoking that spirit. The tours are arranged privately and are pretty laid-back, very much in the freewheelin’ spirit of those Village days of the Sixties. “It’s kind of a labor of love,” she said. “We don’t advertise. It’s for fans.”

[6] We meet on Hudson St at West 11th, across the street from the White Horse Tavern. This old longshoremen’s dive (the Hudson River is just three blocks west) has an impeccable bohemian pedigree: in the 1950s Dylan Thomas, as well as having his name filched by a young kid in Minnesota called Robert Zimmerman, drank his last at the bar before dying a few days later; Norman Mailer supposedly conceived the radical Village Voice newspaper here; and it was a Beat poet hangout. It was also where Dylan listened to the Clancy Brothers singing “rousing rebel songs that would lift the roof”.

[7] It was his former lover, Joan Baez, who called him a vagabond. The word captures the way in which he just turned up in “the city that would come to shape my destiny” with a readymade back catalogue of tall stories about himself and, in his own assessment, a mind that “was strong like a trap”.

[8] “You would come to town and try to establish yourself and sleep on floors,” says Terre, leading me round to one of his crash pads, in Perry St. “You had no money for an apartment.” At 129 Perry – dingy brick, green fire escape – he slept on the floor of Carla Rotolo, Suze’s elder sister. Here, as well as meeting Suze, he would plunder Carla’s extensive folk record collection for ideas for his first album. “Carla really big-sistered Bob,” says Terre.

[9] The folk singer Dave Van Ronk, whom Dylan described as “king of the street”, lived several blocks north-east on Waverly Place. Terre indicates number 190, a grey tenement building with a bright orange door. “Bob has talked about staying on the couch here,” she says. “Tom Paxton used to come by. And who’s observing all this?” Terre jerks her thumb over her shoulder. “Behind us at 191 lived [the journalist] Bob Shelton. “He was responsible for the New York Times review that catapulted Bob’s career.” She opens her ring binder and flicks to a copy of the review, of a set Bob played at the famous venue Gerde’s Folk City, in September 1961 (“20-year-old singer is bright new face,” runs the headline).

[10] “You have to remember, the whole of Macdougal was lined with coffeehouses,” says Terre. At 116, in the basement, was The Gaslight, now a lounge bar called Alibi. “Hard to believe but this was a premier place to play,” she says. The Gaslight didn’t have a drinks license, so after and in between sets they would all pile next door to the Kettle of Fish. The bar is now called the Esperanto Cafe. The hipster geeks sitting at its window tables with their skinny lattes and mint-thin laptops look the same age, 21, as Bob would have been when, in the sweaty basement next door, he first performed A Hard Rain’s A-Gonna Fall.

[11] Terre’s tour is exhaustive and fascinating– the former Commons coffeehouse in Minetta St where he wrote Blowin’ in the Wind; the former residential Hotel Earle where he lived for a while and which Joan Baez, in her bittersweet love song about Dylan, Diamonds and Rust, refers to as “that crummy hotel over Washington Square”; the magical spot on West 4th where he freewheeled with Suze Rotolo in the snow.

[12] Twelve months after that album cover was shot, Dylan had found fame and broke up with Suze, who inspired Tomorrow Is a Long Time. Those halcyon coffeehouse days were over.

[13] He has left no tangible mark on the Village – no plaques, statues or stores selling memorabilia – but that’s in keeping with the man. “Everything was always new, always changing,” he wrote in Chronicles. “It was never the same crowd upon the streets.”

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