Alan jules weberman (2 Ergebnisse)

Soft cover. Zustand: Fine. 303 pp., illustrations.

[New York: self-published, between 1972 and 1975]. Quarto (29.5 × 31 cm). Original side-stapled printed wrappers; 22 pp. stapled pages on stock of several colors (yellow, pink, green, blue). Very good. Largely unknown privately printed publication comprising (purported) material recovered from Bob Dylan's garbage, compiled and mimeographed by the self-proclaimed "Dylanologist" Alan Jules Weberman. Most of the texts printed here were first officially published for a wider readership in "Writings and Drawings" in 1973, although some had previously appeared in scattered small-scale publications, such as concert programs, or had at least been performed publicly. The collection also includes texts that appeared concurrently with or only after "Writings and Drawings", including "Knockin' on Heaven's Door" and "Rita May." Weberman may therefore have produced the collection only after the publication of "Writings and Drawings". Accounts of the eccentric activities and theories of the journalist and activist Weberman are probably included in almost every biography of Bob Dylan. His idealization of the star gave rise to a rage in response to disappointment that drove the self-proclaimed "Dylanologist" not only to pursue an adventurous, seemingly paranoid hermeneutics of Dylan's song lyrics, but also to rifle through the folk singer's garbage for evidence of his theories. Weberman saw Dylan as a hero of the counterculture and of a revolutionary movement who, in his view, had strayed from the path. He founded a "Rock Liberation Front" with the aim of "liberating" artists from bourgeois tendencies and taught courses on his "Dylanology" at the Alternate University of New York. Together with his students, he went to Dylan's house and chanted slogans such as "Hey, hey, hey, Bob Dylan, time to give away your million," and "Hey, hey, Bobby D, the revolution is in need of thee." On that occasion, one of the brief, legendary verbal exchanges between the two is said to have taken place, which Weberman documented. One of the encounters between the two even culminated in a physical altercation. In late summer 1971, a photojournalist for the Associated Press persuaded Weberman to demonstrate his practice of "Garbology" in front of the camera. Weberman later recalled: "The camera clicked just as I heard someone scream, 'Get the hell out of my garbage! You filthy animal! I can't throw anything away without you pawing through it!' It was Sara Dylan. [.] I urged the photographer to get a picture quick." After Weberman left the scene with the photographer, an encounter Weberman describes as follows: "That afternoon I was walking down Elizabeth Street, with my head bowed down to my shoes trying to figure out where I was really at, when I heard a bicycle stop a few feet in back of me. I thought nothing of it. Then, seemingly out of nowhere, an arm clasped around my neck. I wrenched it loose, turned around, and saw it was Bob Dylan." The singer is said to have begun striking Weberman: "He threw me down on the ground and he began to knock my head against the pavement. Finally some local freaks pulled Dylan off. Dylan ripped the DLF button [Dylan-Liberation-Font] from my shirt, got on his bicycle and rode off into the sunset. I sneaked up behind him and was ready to let him have it with the bottle, Brooklyn style, but couldn't do it. Dylan was right. I shouldn't have messed with his junk." (Quoted from: Peter Doggett: There's a riot going on, New York 2007, p. 454f.) Despite this self-criticism, in November 1971 Weberman published a widely noted article in the magazine "Esquire" entitled "The Art of Garbage Analysis: You are what you throw away." This is said to have helped inspire the archaeologist William Rathje at the University of Arizona to initiate the "Tucson Garbage Project." For many years, the group studied household waste in order to learn more about contemporary material culture. In the late 1980s, the project was expanded to include excavations at landfills. The findings were incorporated into Rathje's 1992 book "Rubbish! The Archeology of Garbage." (Cf. Matthew R. Lane, "A Conversation with William Rathje," Anthropology Now, Vol. 3, No. 1, April 2011, pp. 78-83.) Weberman's practice was the literal realization of a metaphor that Michel de Certeau was developing at the same time in his reflections on "Histoire et Structure." The poststructuralist theorist and Jesuit paralleled the historian's procedure with that of a collector of rags and remnants (crocheteur), who retrieves leftover food or items of clothing from the garbage can and, from these things, dreams (le rêve) of what it is like inside the houses he will never enter and of what goes on within them in secret. This "clochard," according to de Certeau, "invents" (invente) worlds that will remain forever closed to him. For, according to de Certeau, assembling the remnants from the garbage can is not possible without the participation of the "imagination". Every reconstruction, however precise, thus remains a "dream" (rêve), according to de Certeau's critique of the positivist ideal of the historian. (Michel de Certeau, "Histoire et Structure," in: Recherches et Débats, no. 68, 1970, pp. 165ff.) The privately printed publication offered here is a rare document of Weberman's "Garbology." Among the texts printed herein are Bob Dylan's "Bowling Alley Blues," "My Life In A Stolen Moment," "Last Thoughts on Woody Guthrie," "Percy's Song," "Advice for Geraldine on her Miscellaneous Birthday," "Clothes Line [Saga]," "Three Kings," "Watching the River Flow," "Rita May," and "Wallflower." As of August 2026, not in KVK, OCLC.…