jessie cole


Tag: music

Man of Constant Solace

There wasn’t much my parents were sure about, back in the day. I was a child of the 1970s and experimentation was key. ‘Right’ and ‘wrong’ were social constructs, money-making was passé, and polyamory was the new frontier. Anything could happen and probably did.

There was only one thing my parents believed in – one firm truth – and that was the mystery and power of music. My parents worshipped music like Baptists worship God. Their tastes were far-reaching, and sometimes in great opposition, but they were united in their fanaticism and the continuity of their praise. Whole pockets of my childhood were marked by obsessive listening. The summer of Tim Buckley. The winter of the Velvet Underground. Limitless years of Bob Dylan. Bruce Springsteen for hope. Neil Young for despair. And when things got tough, small snippets of Judy Garland, and constant late night reruns of a desperate sounding John Lennon. My parents used music to soothe their pains and express their troubles, and there were times when I was a child when it hurt just to step inside the chapel.

Bob and Bruce

Having grown up in such a faith it is hard to view these musicians as anything but religious icons. And not only that, as known entities. I attended my first Bob Dylan concert at three months old, and have seen the man perform almost every time he’s been here since. Even though he was up on stage and I was in the audience, he’s one of the most stable adult presences in my life. Sticking with me from childhood into adulthood. Enigmatic, eccentric, bamboozling, but ever-present. An endless reservoir of wisdom and strangeness. His now craggy face is more familiar to me than many of the adults I grew up with, his startling nasally voice a constant in an increasingly disjointed world. Is there a term for this kind of relationship? Because ‘fan’ really doesn’t seem to cut it.

As many of us know, there isn’t much Bob Dylan hasn’t sung about. Most pressing questions have been addressed somewhere along the way, and if they haven’t – there’s plenty of time left … right?

The forlorn realisation that a seventy-something year old man cannot go on producing music indefinitely brings me to the issue of mortality. Of finiteness. Of watching these icons slowly lose some of their capabilities. I recently saw BB King perform to a large audience and was distressed by his immobility and confusion. Helped into a chair in the middle of the stage, in some songs he stopped in the middle, lost in a sort of reverie, and in others he just played a riff here and there, like a sad faded version of his younger effervescent self. My brother, a musician by trade, remarked with gentle melancholy – “They will all eventually die. And who will we look up to? Who will sustain us?” And it got me to thinking about religion and worship. About how it begins, and what it means. I don’t pray to Bob Dylan or Bruce Springsteen to save my soul, but maybe I could? If faith is about belief and love, nourishment and sustenance, about living with joy and despair – then perhaps there are no better idols than musicians to see us through.

Legend has it that as a young man Bob Dylan hitchhiked across America to visit his hero Woody Guthrie who was dying in hospital, to sing him a song. Later he recorded a poem entitled Last Thoughts on Woody Guthrie which ended with the lines:

You’ll find God in the church of your choice
You’ll find Woody Guthrie in the Brooklyn State Hospital
And though it’s only my opinion
I may be right or wrong
You’ll find them both
In the Grand Canyon
At sundown

Now, it’s only my opinion, I may be right or wrong, but I think when BB finally passes over, he’ll be there too. His smile wide, infused with peace and joy, he’ll be strumming his beloved guitar Lucille – with all the others – in the Grand Canyon at sundown.

First published in March 2012 in the Big Issue #402.  

Songs of the sea

When our distant ancestors felled the first tree to make the first sea-worthy boat they couldn’t possibly know they were marking the beginning of what would become global travel. For tens of thousands of years the only way to breach the shoreline was by boat, and the only voyages undertaken were sailing across the sea. Think Vikings. Think Traders. Pirates. Explorers. Christopher Columbus, and our very own Captain James Cook.

Sea-shanties were the musical soundtrack to these voyages, and surely must be the earliest examples of the travel-song. Often call and response, rhythmically they matched the activity speed of the men hauling on lines. Work songs, they served to synchronize the movements of the sailors as they toiled. They also often provided an outlet for sailors to express their opinions in a way that would not cause punishment. Many of them were obscene: full of stories of drunkenness, whores, and the clap, but many were very beautiful. The best sea-shanties were those imbibed with a sense of what it was to be rolling on the sea. The adventure, discovery, romance, loneliness, hardship, and homesickness.

Gore Verbinski, Director of Pirates of the Caribbean, summed up the powerful nature of the sea-shanty when he said – “The ocean: it’s all about the vast blue that engulfs two-thirds of the planet. The human being cast against that abyss creates an interesting perspective. I think the sailors of that time were flirting with death, and these were their tunes. They resonate with people on some internal level that is not immediately obvious because it’s not in our memory, it’s in our blood. It operates on a cellular level. It’s what makes us feel so alone.”

Rogue_GallerySea-shanties aren’t sung anymore on ships. Modern day rigging just doesn’t need a lot of people working in the same rhythm for long periods of time. Like a lot of folk songs they had become almost obsolete, lost in the realms of obscure archives and sea-shanty enthusiasts, until music producer Hal Willner was asked to create a modern-day compilation. He spent several years researching and collecting songs, and then assembled a ragtag group of notable musicians to record them. The result was ‘The Rogue’s Gallery: Pirate Ballads, Sea Songs, and Chanteys’, an album performed by an eclectic array of artists, including Sting, Nick Cave, Bryan Ferry, Bono, Lou Reed, Antony, Rufus Wainwright, Teddy Thompson, Eliza Carthy, and Jarvis Cocker.

Many of the songs on the Rogue’s Gallery contain elements traditionally attributed to other types of music, and with the often anarchic lyrics they are sometimes even borderline punk. Nick Cave bellows wildly about the ‘fire down below,’ a mixed up reference to both hell and the clap, while Teddy Thompson sings of rolling all night and rolling all day to spend his money on Sally Brown. Whoever this ‘bright mulatto’ Sally Brown was, she certainly went down in history, turning up in a whole array of different sea-songs. Not bad for a woman of the night!

Place also plays a big part in the songs of the sea. Baby Gramps growls, (in a voice reminiscent of Tuvan throat singing), about the ‘Cape Cod Girls’ – ‘they don’t use no combs … comb their hair with the cod-fish bone, on their way to Australia.’ While the Barbary Coast has a whole song dedicated to it: ‘Look down along the coast of High Barbary…’

Arguably the most lyrically entertaining of the Rogue’s Gallery songs is entitled ‘Baltimore Whores,’ and involves a drawn out competition between four whores. ‘There were four whores from Baltimore, drinking the blood-red wine … and all their conversation was – yours is smaller than mine.’ As the song progresses, the descriptions become more and more inventive, moving from –“You’re a liar said the first whore, mine’s as big as the air. The birds fly in, the birds fly out, and never touch a hair’ to ‘You’re a liar said the last whore, mine’s the biggest of all. The fleet sailed in on the first of June, and didn’t come back till Fall.’ It is not very often that you hear women arguing about the largeness of such private areas!

Bono’s powerful rendition of ‘A Dying Sailor to his Shipmates’ brings us back to the adventurer’s elemental dance with death – ‘Oh, wrap me in my country’s flag, and lay me in the cold blue sea. Let the roaring of the waves, my solemn requiem be …I’m bound above, my course is run. I near the port, my voyage is done …’

Listening to this modern take on sea songs brings up many questions, the most interesting for the traveller being – has anything much really changed in the voyaging game? These songs speak of revelry, sex, discovery, transformation, loss, longing, and the journey into the unknown. All things familiar to the intrepid traveller. Italian writer Cesare Pavese claimed that “travelling forces you to trust strangers and to lose sight of all the familiar comfort of home and friends. You are constantly off-balance. Nothing is yours except the essential things – air, sleep, dreams, the sea, the sky – all things tending towards the eternal or what we imagine of it.” Sounds somewhat like a sea voyage!

Perhaps at the heart of all travel is the seeking of a new story. A new adventure, a new start. Sea shanties tell stories of long forgotten loves, famous battles, pirates, a longing for home (or the freedom from it), and the inescapable drive for adventure. An old roving sailor once said to me – ‘There are only three kinds of people: the living, the dead, and those who go to sea.’ But I think the American novelist Catherynne M. Valente says it best in her book The Orphan’s Tales: “It is not the sea that calls us back. What calls is stronger and more inexorable than any current. I long for the sea, yes, my skin is always dry, and I am always thirsty, and I miss the crash and swell of the black waves, but more, I long for the leaving. I am restless, I am ready, and the leaving whispers to me at night. It says that I will breathe easier when I am at the start of a story, rather than at the end.”

First published in get lost magazine, September 2010.


Born in the USA

Alongside the American flag, fast food, fundamentalist Christianity, and giant-sized SUVs, Bruce Springsteen is a name synonymous with the USA. If we each searched our memories we’d probably all have a vision somewhere of the man himself – bandana-clad, belting out the chorus to ‘Born in the USA’ while punching in the air, big drums pounding in the background. For a long time now Springsteen has been held up as the USA’s patriotic man of the hour. But what does The Boss really have to say about his homeland?


The album Born in the USA came out in 1984. Widely read as a piece of nationalistic sloganeering, it made Bruce as big as Coca-Cola, but closer inspection of the lyrics reveals a much more complex picture. The title track begins “Born down in a dead man’s town, the first kick I took was when I hit the ground. You end up like a dog that’s been beat too much, and spend your whole life just a-covering up.” Cut to the bombastic chorus – “I was…born in the USA…” Though the rocked up delivery might be somewhat misleading, the overall tone of the song is borderline desolate. A Vietnam veteran returning to a country that has very little place for him. The last verse ends with “I’m ten years down the road. Nowhere to run, ain’t got nowhere to go.” Bruce himself describes the song as about a “spiritual crisis, in which man is left lost…It’s like he has nothing left to tie him into society anymore. He’s isolated from the government. Isolated from his family…to the point where nothing makes sense.” It’s a far cry from the patriotic anthem that many of us remember.

So, if Bruce Springsteen’s USA is not a macho gun-slinging, flag-waving, republican heartland, what is it? It turns out that this is rather a large question. Much of Bruce’s earlier work centred on his native New Jersey, but with a recording career that includes 16 albums in 37 years, he has covered a lot of ground. Springsteen specialises in stepping inside a character to tell a story. Empathy is his signal gift, and he describes the process of song writing as – “that old job of putting yourself in someone else’s shoes, while you’ve got a foot in your own shoe. And that’s how it works. I’m grounding this song in something I’ve experienced myself, that I believe I can write about.” Listening to Bruce’s albums is like travelling across the USA from the inside, and it is a surprisingly poignant journey.

Born to Run

Early in his career Springsteen seemed obsessed with cars, the road, and the need to escape. ‘Born to Run’, released in 1975, speaks of wholesale disenchantment – “In the day we sweat it out in the streets of a runaway American dream. At night we ride through mansions of glory in suicide machines.” Turnpikes, highways, and freeways all feature strongly in Bruce’s USA. The automotive imagery is potent – “Just wrap your legs ‘round these velvet rims, and strap your arms across my engines”. The song pleads with the audience to get out while they’re young. Destination unknown, it is the freedom of leaving that matters.

The River

This song seems to encapsulate Springsteen’s vision of working class America. The narrator has married young, he is ‘working construction’ but jobs are scarce. All the things that seemed important have vanished right into the air. He is drawn again and again to the river where he remembers what it was like to be young, free, and bright with hope. Filled with an aching need to live up to the future’s promise, but tinged with the knowledge of dreams already lost, he asks the question – “Is a dream a lie if it don’t come true, or is it something worse?”


An acoustic album, Nebraska is Springsteen’s starkest ever recording. He inhabits the voices of some of America’s most marginalised: petty criminals, disillusioned gunmen, and the rural poor. “Down here it’s just winners and losers, and don’t get caught on the wrong side of that line.” Originally supposed to be just a demo, it was first recorded straight onto a tape-cassette. Bruce later admitted he carried the tape around in his pocket for a couple of weeks before realising that it was going to be the album. Bleak in tone, Nebraska could be seen as a road trip through the more isolated parts of the US. Nebraska, Wyoming, Michigan County, New Jersey, and Atlantic City all get a mention.

The Ghost of Tom Joad

Largely concerned with the plight of Mexican’s trying to cross the border into the US, it covers entirely new territory for Bruce. California, Texas, Ohio, San Diego, Sinaloa, Galveston Bay. Highway patrolmen and Mexicans; border crossing, drug running, and fruit picking. The complexity of illegal immigration is explored from many different angles. The drive to escape still haunts the album, but this time around Bruce’s not so sure it’s where salvation lies – “The highway is alive tonight, but nobody’s kidding nobody about where it goes …”

The Rising

A response to the 9/11 attacks in the US, The Rising deals with grief and loss, but also with the resurrection of hope. Reportedly, Springsteen got the inspiration for the album a few days after the 9/11 attacks when a stranger in a car stopped next to him, wound down his window, and said – “We need you now.” The title track beseeches the audience to “come on up for the rising”, and was later used in several Democratic political campaigns. It was also the first song performed at Barack Obama’s Inaugural Celebration. Springsteen himself remarked on the distance the song had travelled – “If someone had told me in 2001 that ‘you’re going to sing the song at the inaugural concert for the first African-American president’, I’d have said, ‘Huh?’ But eight years go by, and that’s where you find yourself. You’re in there, you’re swimming in the current of history, and your music is doing the same thing.”

Travelling through Bruce’s America is travelling the back roads of a nation whose forefront as the world’s economic superpower is only just now on shaky ground. The song’s settings – dead-end small towns, blue-collar workers, discharged soldiers, unwanted immigrants, and vast stretches of highway – highlight a place reminiscent of John Steinbeck’s America. It is the underbelly of the American dream that Bruce Springsteen lovingly lays bare.

First published in get lost magazine, December 2010.

Tuva or bust!

It is possible that there is no music quite as strange as Tuvan throat-singing. Described somewhat unflatteringly as ‘a bullfrog swallowing a whistle’, essentially it is a singing style in which two or more pitches sound simultaneously over a fundamental pitch, producing a mesmerizing, even entrancing sound. Journalist Anne Underwood asks you to “Imagine a human bagpipe—a person who could sing a sustained low note while humming an eerie, whistle like melody. For good measure, toss in a thrumming rhythm similar to that of a jaw harp, but produced vocally— all by the same person, at the same time.”

Tuvan throat-singing was unknown in the west until relatively recently, and the tale of its discovery involves the rarest of travel stories – an unrealised journey. There is something inherently wondrous about a long yearned for journey finally coming to fruition. That moment of standing on top of the mountain and knowing it has taken five, ten, fifteen, forty years to get there. Travelling is awash with such tales. Everyone has dreamed at some point of an exotic location, of seeing it with their own eyes, and many have gotten there. But what about those who haven’t? Richard Feynman, Nobel Prize winning physicist and all round eccentric, spent a decade in the 1980s trying to get to Tuva, only to succumb to cancer just before the visas finally arrived.

The mysterious republic of Tuva hides between two mountain ranges on the edge of Siberia. Specifically, it is a 170 000 square kilometre region between modern Mongolia and the former USSR. Legend has it when the Russians were negotiating the border treaty with the Chinese in the 18th century, both sides used ‘the mountain range’ as the border in this region, neither side realizing there were two ranges, with the fertile land of Tannu Tuva nestled in between. Once an independent nation, Tuva was annexed by the Soviet Union in 1944 and remained closed to foreigners until the crumbling of Russian communism in the early 1990s. It is a country of great variety with almost every type of landscape: luxuriant meadows, green forests, boundless steppes, medicinal springs, beautiful lakes, rushing mountain rivers fed in spring by melting snows, dusty semi-desert and snowy chains of mountains.

Richard Feynman was a curious character. One of the most famous scientists in the world, he was also known as a prankster, juggler, safe-cracker, amateur painter, and bongo player. He pursued a variety of seemingly unrelated interests like deciphering Mayan hieroglyphs, and lock picking, and had a perpetual desire to discover new things. He believed that the journey of discovery held just as much promise as the destination. “I can live with doubt and uncertainty and not knowing. I think it is much more interesting to live not knowing than to have answers that might be wrong … in order to make progress, one must leave the door to the unknown ajar,” he once said.

tuvan stamp

Feynman’s fascination with Tuva began as a child collecting stamps. In a brief period of independence in the 1920s Tuva produced an array of beautiful stamps depicting life on the land, and for many years these stamps were the only images to come out of Tuva, tantalizing proof that the country was indeed real. When Feynman discovered the name of the capital he proclaimed – “Any place that’s got a Capital named K-Y-Z-Y-L has just got to be interesting!”

And so the journey began. It took him and his friends several years searching through libraries to track down one book about travelling in Tuva, an obscure German title published in 1931. There was simply nothing else. This was in the days before ‘to google’ had become a verb, when accessing information about a far-off destination involved more ingenuity than just tapping some keys. Closed to foreigners for nearly half a century, Tuva had become a kind of obscure imagined wonderland. It took a whole decade of searching for the place to gradually become real. This journey of discovery was the subject of a 1991 book entitled ‘Tuva or Bust!’

By far the most amazing thing Feynman unearthed was the incredible phenomena of Tuvan throat singing. Throat singing exists in other pockets of the world, but it is in Tuvan isolation where it flourished. The open landscape of Tuva allows for the sounds to carry a great distance. Often, singers will travel far into the countryside looking for the right river, or will go up to the steppes of the mountains to create the proper environment for throat-singing. Many Tuvans believe in animism, a religious idea that souls or spirits exist not only in humans but also in other animals, plants, rocks, and natural phenomena. Tuvans identify the spirituality of objects in nature, not just in their shape or location, but in their sound as well. The singing served several functions. Shamans used music to call upon spirits, conjure ancestors, discover birthplaces and connect with natural surroundings. Shepherds also used music to herd animals and imitate the galloping of horses. They sang certain songs while riding and played other music while working or relaxing. In this way, the largely nomadic people of earlier Tuva created sounds not to be analysed in Western terms; it was designed for specific ways of being. In this way, the largely nomadic people of Tuva created a music that was not easily analysed in western terms. Included with some editions of ‘Tuva or Bust!’ was a small plastic turntable record of this singing, previously unheard in the West.

Unrealised journeys hold a certain kind of romance, akin to unrequited love, or perhaps less tragically, the fish that got away. They are not the usual fare of travel writing, but what Feynman discovered about this mysterious place in all his thwarted efforts to get there was a journey in itself. It is difficult to envisage just how little was known about Tuva before the 1990s, and how revelatory discoveries of Tuvan culture must have seemed to Feynmen and his fellow journeymen. Today, Tuvan throat singing has its own wikipedia entry, and typing “Tuvan throat singing” into youtube brings up hundreds of videos. The Tuvan throat singing ensemble Alash regularly tours the US, and has their own myspace and facebook pages. A documentary, ‘Genghis Blues,’ about a blind US bluesman’s trip to Tuva to take part in the annual throat singing contest, was nominated for an Academy Award in 1999, and Kongar-ool Ondar, perhaps Tuva’s most well-known throat singer has even performed on The Late Show with David Letterman. But when Richard Feynman first posed the question – “Whatever happened to Tannu Tuva?” there was little evidence that such a place even existed.

Though it is now possible to travel to Tuva, it is still a place few travellers ever reach. And no doubt Tuva’s relative inaccessibility, (it still has no railway!), will guarantee the survival of what started out as music, not for audiences, but for the sake of communion with nature.

First published in get lost magazine, June 2010.

Bringing it all back home

Bob Dylan has meant a lot of different things to many people in his time. A 60s troubadour, a protest folk-singer gone electric, a poet, a prophet, even a messiah. The Rolling Stone Album Guide calls him the “most significant American rocker since Elvis, a 60s revolutionary, transforming the world not only musically, but politically and spiritually.” Popular music had produced nothing like him before.

Growing up, music was the unofficial religion of my household, and that made Bob Dylan almost God, or at the very least one of the Twelve Apostles. My parents frequently fought at the dinner table over which song in Dylan’s impressive catalogue was most meaningful. Their tastes were often in opposition, but there was complete agreement over Dylan’s place in the music hierarchy. I attended my first concert at the age of 3 months old, and though I’m unsure of how this affected my growing brain, one thing is for certain, I too caught the Bob-loving-bug.


A teenager in the 90s, being a crazy Bob Dylan fan was hardly cool. Whilst my friends went gaga over Nirvana, and grieved the untimely death of Kurt Cobain, I curled up in my bedroom and listened to mix tapes of Dylan made years before by my Bob-worshipping mum. I have kids of my own now, and I realized how deeply entrenched this familial devotion to the word-of-Bob had become when my five-year-old son came home from his first day of school, looked up at me with accusing eyes and said – “You told me Bob Dylan was famous,” as though his whole life had been a lie. Clearly, he had asked around, and no-one under 6 had even heard of him.

Recently, a friend gave me a map of Bob Dylan’s America. All the places of significance to the Bob connoisseur, including every place he had ever mentioned in a song. To someone else this might have been mildly interesting, but to me it seemed somehow sacred. It got me thinking of a Bob inspired pilgrimage through the USA, of all the places that I’d known in songs but never seen. There are hundreds of references to place within Dylan’s songs. American towns with exotic sounding names like Tularosa, Ashtabula, El Paso, and Delacroix. I’d never known their locations, never thought to check them on the map. These places had existed for me in a kind of imagined, dream-like space. Though it hurt me to do so, I narrowed my fantasy pilgrimage down to 5 places of major significance.

 ‘Girl From North CountryMinnesota

The state of Minnesota is home to the birthplace of Bob Dylan – Duluth, and the nearby mining town he spent his youth in, Hibbing. Minnesota is the northernmost state in the US apart from Alaska, and is known mostly for being intensely cold. Dylan himself said – ‘I grew up in a place so foreign, you had to go there to picture it. In the winter everything was still, nothing moved. You can have some amazing hallucinogenic experiences doing nothing but look out your window. There is a great spiritual quality throughout the Midwest, very subtle, very strong, and that’s where I grew up.’ Minnesota has produced an eclectic bunch of entertainers over the years including Prince, Judy Garland, Winona Ryder, and the Cohen Brothers. Maybe there’s something in the freezing cold air?

 ‘Highway 61 Revisited’

This staggering American highway had one end in the Gulf of Mexico at New Orleans, and the other in Thunder Bay, Ontario. The great south-north route, it was the road jazz and blues first travelled up, and is often referred to as `The Blues Highway`. It ran right through Bob Dylan’s hometown of Duluth. All the culture the young Dylan soaked up came pouring at him along that highway, and in turn it offered him escape out of his cold parochial surroundings. The mother of all road trips, it’s probably not for the faint-hearted.

‘Hard Times In New YorkTownGreenwich Village.

When Bob Dylan arrived in New York City in 1961, Greenwich Village was full of folk clubs, bars and coffee houses. It was known as the Bohemian capital, and the birthplace of the Beat movement. In his autobiography, Chronicles: Volume One, Dylan says – ‘New York City was cold, muffled and mysterious, the capital of the world. The city was like some uncarved block without any name or shape and it showed no favouritism. Everything was always new, always changing. It was never the same crowd upon the streets.’ Though Greenwich Village is no longer the heart of the NY bohemian scene, some of the original venues Dylan played in still operate today. Cafe Wha? on MacDougal Street, would surely be worth a look!

It`s All Over Now Baby Blue’ – Newport Folk Festival

Dylan played the Newport Folk Festival in 1963 and 1964 and was the crowd’s young hero, cheered for his protest songs. In 1965, however, he famously plugged in and shocked the traditional folkies with electric versions of ‘Maggie’s farm’ and ‘Like a Rolling Stone’. The crowd allegedly booed, but ‘folk-rock’ was born, and the face of popular music changed forever.

‘Oh Mercy’ – New Orleans

New Orleans gets a mention in several Dylan songs, and was also where he recorded his 1989 Album ‘Oh Mercy’. Widely rated as the best US city for live music, despite the effects of Hurricane Katrina, New Orleans was also the birth place of jazz. In Chronicles Dylan writes – “Around any corner, there’s the promise of something daring and ideal and things are just getting going. ­There are a lot of places I like, but I like New Orleans better…No action seems inappropriate here. The city is one very long poem.” Straight from the man himself!

In 2007 J. Hoberman wrote – “Elvis might never have been born, but someone else would surely have brought the world rock ‘n’ roll. No such logic accounts for Bob Dylan. No iron law of history demanded that a would-be Elvis from Hibbing, Minnesota, would swerve through the Greenwich Village folk revival to become the world’s first and greatest rock ‘n’ roll beatnik bard and then—having achieved fame and adoration beyond reckoning—vanish into a folk tradition of his own making.”

Chasing Dylan’s elusive shadow across a road map of America reminds me of what I most love about the man and his music. It’s that unknown quality, the thing you can’t hold in your hands, or put into words. In Chronicles Dylan says – ‘A song is like a dream, and you try to make it come true. They’re like strange countries that you have to enter…You open a door to a dark room and you think you know what’s there, where everything is arranged, but you don’t really know until you step inside.’ I think a pilgrimage through Bob Dylan’s America would be just like that. Stepping into the unknown. You think you know what you’ll find, but you really don’t until you take that first step.

First published in get lost magazine, December 2009.

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