From the Washington Post
An editorial on Virginia's Democratic gubernatorial primary incorrectly stated that Terry R. McAuliffe had described himself as a "huckster." In his autobiography, Mr. McAuliffe described himself as a "hustler."
Constabulary Notes From All Over
From the Lake Oswego (Ore.) review
Following up a report of screaming at a residence on McVey Avenue, an officer defused a situation by assisting in the making of peanut butter-and-jelly sandwiches.
above entries via The New Yorker
Humor Continued:
Bob Dylan Version
Highway 61 Revisited
One of the most celebrated recordings in rock history, "Like a Rolling Stone" is a song directed at a woman who once lived a life of privilege but has now experienced a reversal in fortune. Soon after recording the master, Dylan cut a test pressing for his music publisher and played it for several friends. It made an immediate, strong impression. One early listener was producer Paul Rothchild, who said "I knew the song was a smash, and yet I was consumed with envy because it was the best thing I'd heard any of our crowd do and knew it was going to turn the tables on our nice, comfortable lives." Dylan's friend, Paul Nelson, was recording a folk album at the time, and upon hearing it, he thought, "Oh boy, this just makes what we did obsolete."
When the single was released, Paul McCartney recalls hearing it at John Lennon's house: "It seemed to go on and on forever. It was just beautiful ... He showed all of us that it was possible to go a little further." A very young Bruce Springsteen would hear the recording on WMCA while driving in a car with his mother: "That snare shot that [kicked it off] sounded like somebody'd kicked open the door to your mind." Frank Zappa later recalled, "When I heard 'Like A Rolling Stone,' I wanted to quit the music business, because I felt: 'If this wins and it does what it's supposed to do, I don't need to do anything else.' ... It sold, but nobody responded to it the way that they should have."
Blonde on Blonde
For his Dylan biography, Bob Dylan: Behind The Shades, Take Two (2000), Clinton Heylin interviewed Blonde on Blonde drummer, Kenny Buttrey. Buttrey gave this account of the recording of the song Sad-Eyed Lady of the Lowlands: "He ran down a verse and a chorus and he just quit and said, 'We'll do a verse and then a chorus and then I'll play my harmonica thing. Then we'll do another verse and chorus and we'll play some more harmonica and see how it goes from there.'...Not knowing how long this thing was going to be, we were preparing ourselves dramatically for a basic two to three minute record, because records just didn't go over three minutes... If you notice that record, that thing after like the second chorus starts building and building like crazy, and everybody's just peaking it up 'cause we thought, Man this is it. this is going to be the last chorus and we've got to put everything into it we can... After about ten minutes of this thing we're cracking up at each other, at what we were doing. I mean, we peaked five minutes ago. Where do we go from here?"
Saturday Evening Post writer Jules Siegel (who was traveling with Dylan while writing a cover story on him) was present in Dylan's hotel room in Vancouver, British Columbia, when Albert Grossman brought him what was probably the first acetate dub of Blonde on Blonde. According to Siegel, after playing "Sad-Eyed Lady of the Lowlands", Dylan said, "Now that is religious music! That is religious carnival music. I just got that real old-time religious carnival sound there, didn't I?"
Nashville Skyline
"Sometimes... I go to the artist and say, 'What do you hear on the drums?' Because sometimes when people write songs they can hear it completed, they hear everything they think's gonna be on it", says drummer Ken Buttrey. "I went over to Dylan and said, 'I'm having a little trouble thinking of something to play. Do you have any ideas on ['Lay Lady Lay']?'... He said, 'Bongos'... I immediately disregarded that, I couldn't hear bongos in this thing at all... So I walked into the control room and said, 'Bob [Johnston], what do you hear as regards [to] drums on this thing?'... [He] said, 'Cowbells.'... Kris Kristofferson was working at Columbia Studios at the time as a janitor and he had just emptied my ashtray at the drums and I said, 'Kris, do me a favor, here, hold these two things... hold these bongos in one hand and the cowbells in the other,' and I swung this mike over to the cowbells and the bongos... I had no pattern or anything worked out. I just told Kris, 'This is one of those spite deals. I'm gonna show 'em how bad their ideas're gonna sound.'... We started playing the tune and I was just doodling around on these bongos and the cowbells and it was kinda working out pretty cool... Come chorus time I'd go to the set of drums. Next time you hear that [cut], listen how far off-mike the drums sound. There were no mikes on the drums, it was just leakage... But it worked out pretty good... To this day it's one of the best drum patterns I ever came up with."
Dylan info via Wikipedia