Patti Smith and Bob Dylan have known each other since 1975 and it could be said that their friendship has transcended ordinary life and entered the realms of greatness. Greatness in its original sense and not as a cliché is always complex and, as we know, the complex is often reduced, ridiculed and even vilified in a world driven by capital, post-truth and social network noise. The complex is always the enemy of ignorance.
Patti Smith has just given some amazing concerts in Spain, reminding us that her significance to rock’n’roll is also greater than what we are used to seeing on stage. They were concerts in which she performed songs written by Dylan, such as the simple yet moving One Too Many Mornings, composed just after his arrival in New York in the early sixties. That Bob Dylan, who left everything in Minnesota to go to meet a sick Woody Guthrie and start his career as a musician in Greenwich Village, was the example that a very young Patti Smith was following when she too dropped everything – in her case in New Jersey – for a life in Greenwich Village.
Both Bob and Patti lived for music and have dedicated their lives to it. They have wholeheartedly pursued what they believe in, moving away from the territory inhabited by their family and childhood friends – in short, from society in general. They pursued their dream and ended up in the territory of art. And they were great ambassadors for that art and that space that is dwindling in this current era: an era in which culture and art are becoming increasingly irrelevant and damaged by all kinds of interests, social mechanics and poor thinking.
Patti and Bob still inhabit our world, although they seem to be from another. As Dylan acknowledged in his last interview, published in The New York Times to promote his 2020 album Rough and Rowdy Ways, he is aware that his world is “obsolete.” Not only are he and Patti’s worlds obsolete, what they represent is hardly of interest anymore, namely a commitment to the actual art of music – to a craft that, in its essence, has more to do with the value of the song itself than with the giant screens and festival pyrotechnics. Their friendship, therefore, also represents something more transcendental than most of us can grasp.
They met in 1975 when Dylan went backstage to see Patti after a concert at The Bitter End club in New York. She was a 29-year-old poet involved in rock’n’roll and causing a stir at the start of the punk era; he was a 34-year-old counter-culture icon. As Patti has recalled on more than one occasion, it was an unfortunate encounter. An elusive figure who was hard to run into at any given event, Bob walked into Patti’s dressing room and asked, “Are there any poets around here?” To which she replied, “I hate poetry!” Many decades later, Patti herself acknowledged that she behaved like a high school teen who pretends to be uninterested when a boy she likes approaches.
Patti has also said that Dylan in the flesh can never be separated from Dylan the legend, an observation shared by other musicians. From a place of self-consciousness and arrogance, the person and legend merge into a being whose gestures and silences possess a strange and definitive power. Patti fell under the spell. That particular night, Bob left quickly but saw the funny side. Days later, the two were photographed laughing at a private party at which she even teased him to move out of the way for the photographer. The camera captured a moment of spontaneity and authenticity.
Whatever happened between them then, it led to mutual admiration. It is difficult to be friends with Bob Dylan who is an evasive character, even with those closest to him, but Patti Smith managed. During those early years of their friendship, Patti has said that she used to meet Dylan for walks around New York during which they would discuss all kinds of things. And one thing you learn early on in life, unless you’re an orangutan, is that going for a walk and a chat creates a closer emotional bond than sex. Patti and Bob bonded a lot.
In 1994, Patti lost her husband, Fred Sonic Smith, a former member of the band MC5. Not long after, her brother died, catapulting Patti into a depression. It should be remembered that Patti had abandoned songwriting and much of her artistic life in the 1980s and 1990s to devote herself to her family life with Fred and their two children. But even before Fred and her brother’s deaths, she had been badly affected by the death of her other great love, Robert Mapplethorpe, in 1989. Mapplethorpe had been her lover, companion, friend and confidant in those early years in New York, as she herself tells it in Just Kids, a book that took her 10 years to write.
In the middle of her depression, Patti got a call from Bob. He wanted her to perform at a series of concerts in the US. I like to recall this story with my friend Rafa Cervera, a great music critic and an admirer of Patti Smith, who has written himself about this extraordinary relationship between the two rock’n’roll legends. As Patti noted, Bob was the only one who could convince her to get back on stage. In 1995, she accompanied Bob for seven nights and, each of those nights, she would sing one of his songs, Dark Eyes, with these lines: “I live in another world where life and death are memorized… But I feel nothing for their game where beauty goes unrecognized.” Patti not only returned to the stage, she came back to life.
She began to compose and, above all, write books of poetry, memoirs and essays. In short, she made a big comeback. And Bob went on with his never-ending tour, his obsolete records and his mysterious persona.
In 2016, Bob Dylan turned the literary world on its head when he won the Nobel Prize for Literature. Writers of all descriptions were up in arms, offended by the fact that the most coveted award for literature was going to a songwriter and performer. It was a strange and amusing time, especially when it became clear that the Nobel Committee, that entity of mothballs that ended up mired in sex scandals, did not know the essence of the laureate: Bob Dylan was not a writer aspiring to win prizes. But how could the Swedish Academy know that when what they were looking for was publicity?
It seems that Dylan came into the world to change it with his lyrics – and perhaps he has achieved more than the vast majority of writers of books. In 2016, when he became the Nobel Laureate, little in his behavior changed. He did nothing of what might have been expected of him. He simply went about his business, even in matters close to his heart, and so it was that he asked Patti Smith to be the one to sing for him at the prize-giving ceremony. A faux pas? Not for her. That gesture honored the code that Patti and Bob shared.
Patti sang A Hard Rain’s A-Gonna Fall, one of the first compositions she learned as a teenager from Dylan, and she was overcome by emotion. She stumbled over the words and had to stop the song and start over. The cynics believed it was staged but many others simply saw a mature and nervous woman. Many others didn’t understand anything at all while maybe a handful of nuts saw the ultimate beauty of a unique friendship, and the ultimate beauty of the art of music – the art of a shared oral tradition.
In an article in The New Yorker, Patti Smith recalled what happened: “I was obliged to stop and ask pardon and then attempt again while in this state and sang with all my being, yet still stumbling. It was not lost on me that the narrative of the song begins with the words ‘I stumbled alongside of twelve misty mountains,’ and ends with the line ‘And I’ll know my song well before I start singing.’ As I took my seat, I felt the humiliating sting of failure, but also the strange realization that I had somehow entered and truly lived the world of the lyrics.”
If Dylan’s literature, and therefore his music – and even the man’s iconic status – meant anything, it was perfectly represented in Patti Smith. Those nerves and that heart-wrenching song had more impact than the best of speeches. I imagine that’s hard to understand for writers who regard language academies as a more sacred than what, for example, can be found in a village choir clapping their hands and singing traditional songs.
Patti and Bob’s friendship continues to this day, but our modern world has nothing to do with them and what they represent. The world we inhabit is hostile and moves too fast. It is a world where there is a tragic lack of poetry while advertising campaigns pass for beauty. It’s the same world Patti Smith and Bob Dylan faced with their songs – two soulmates at the service of art, which is something bigger than the reality we are currently being persuaded to live.
Margot Robbie’s self-confessed ambition has made her the highest paid actress of the year | Culture
Self-doubt is Margot Robbie’s greatest motivator, and competes with ambition in the Australian actress’s psyche. She couldn’t believe her own eyes when she first saw herself on a giant ad for the Pan Am TV series in New York’s Times Square. “I still have the photo,” she told EL PAÍS a few years ago, somewhat wistful for the days when she was still a nobody. The script of The Wolf of Wall Street (2013), the Martin Scorsese film that put her on the map, touted her as “the most beautiful blonde in the world,” but she didn’t believe the hype. “I remember saying to a friend, ‘I haven’t worked in six weeks.’ I’m sure there’s nothing out there for me,” laughed Robbie. But Hollywood didn’t share her skepticism. In July, Variety magazine ranked Robbie as the highest paid actress of the year when her US$12.5 million salary for the upcoming Barbie movie was announced.
Margot Robbie may be this year’s highest paid actress, but 17 men made even more money, led by Tom Cruise who was paid US$100 million for Top Gun: Maverick. Her Barbie love interest, Ryan Gosling, was paid the same as Robbie, even though she has the titular role, more evidence that pay parity in Hollywood is far from being a reality. Robbie ranked ahead of Millie Bobby Brown (US$10 million for the Enola Holmes sequel); Emily Blunt (US$4 million for Oppenheimer); Jamie Lee Curtis (US$3.5 million for Halloween Ends); and Anya Taylor-Joy (US$1.8 million for Furiosa).
Robbie’s misgivings about her career aren’t shared by other industry giants. Martin Scorsese compared her to Carole Lombard for her comedic genius, Joan Crawford for her toughness, and Ida Lupino for her emotional range. He described Robbie as having a surprising audacity, and recalls how she clinched her role in The Wolf of Wall Street by stunning everyone with a tremendous, improvised slap of Leonardo DiCaprio during her audition.
Robbie showed the same boldness when she lobbied director Quentin Tarantino for another role opposite DiCaprio in Once Upon a Time in… Hollywood (2019). She sent the director a letter telling him how much she admired his films, especially her all-time favorite, True Romance (1993). The letter probably wasn’t necessary, as Tarantino already had the I, Tonya star in mind to play Sharon Tate in his new movie, describing her to EL PAÍS as an actress with a visual dynamism and personal qualities that you don’t see every day.
Robbie has wanted to work in movies ever since her start in Neighbours, the long-running Australian TV series that is coming to an end after 9,000 episodes and 37 years on the air. “Of course I’m ambitious. My career motivates me. I came to the United States with a plan, and I’m always looking ahead,” she told us. Even as a child growing up in Queensland (northeastern Australia), Margot Elise Robbie displayed her business smarts and drama queen chops when she decided to sell all her brother’s old toys from the sidewalk in front of the family home.
She jokes about her childhood, but part of that little girl always comes out in the wide variety of characters she plays. She has had all kinds of roles in little-known films like Suite Française and Z for Zachariah, and also in box-office hits like Suicide Squad and Birds of Prey. She won Oscar nominations for playing driven women in I, Tonya (2018) and Bombshell (2020). “Yes, many of the women I’ve played share my ambition – this is a tough industry. But I’m full of doubt like anyone else. You never know how things will turn out,” she said.
Seeking more control over her films, Robbie founded production company LuckyChap Entertainment in 2014 with her husband, British filmmaker Tom Ackerley, and some friends. She hopes to use LuckyChap as a vehicle for herself and other actresses, as she did with Promising Young Woman starring Carey Mulligan, a black comedy thriller film that won writer/director Emerald Fennell an Oscar for best original screenplay. “Margot is an extraordinary person,” said Fennell. “That’s why she’s doing so well as a producer who is determined to try different things and give women a voice.”
Robbie met British assistant director Tom Ackerley on the set of Suite Française in 2013. They began a romantic relationship the next year and moved in together right after attending their first Golden Globes gala for The Wolf of Wall Street. Married since 2016, the couple and co-workers in LuckyChap have a bright future ahead, judging by all the work that is piling up for Robbie. In addition to Barbie, she will appear in Amsterdam, directed by David O. Russell; as silent film star Clara Bow in Babylon, directed by Damien Chazelle; and has a role in Wes Anderson’s Asteroid City. As if that wasn’t enough to keep Robbie busy, a remake of Ocean’s Eleven awaits her; she will play opposite Matthew Schoenaerts in the post WWII drama, Ruin; produce a remake of Tank Girl; and play a female Jack Sparrow in another installment of Pirates of the Caribbean. Surely Margot Robbie doesn’t have any more doubts about her career.
Salem’s last witch regains her honor | Culture
As statues of slave owners and slave traders continue to fall in the United States, the embers of the bonfires that burned women accused of committing spells and witchcraft are also being extinguished. In the umpteenth revision of history to try to exonerate the victims, the most recent episode concerns the last official Salem witch, Elizabeth Johnson Jr., from the massive 1692 and 1693 trials in the English colony of Massachusetts. Thanks to the initiative of a middle school teacher and her students in Andover, located in the same county as Salem, her spirit can now roam free. The enthusiastic students began the vindication process in 2020 and persuaded Massachusetts state senator Diana DiZoglio (D), who took up the cause and pushed for Johnson’s pardon, which was announced last week.
It has taken 329 years for Elizabeth Johnson Jr.’s name to be cleared definitively. She was the last of the Salem witches to be exonerated. While Johnson was spared a death by hanging, she was stigmatized until she died at 77, an uncommonly long life for the time. Historians say that Johnson showed signs of mental instability and was single and childless, all of which were signs of witchcraft during that period. She pled guilty before the court of inquisitors. Almost 30 members of her extended family were also implicated, as if witchcraft were contagious, hereditary, or both. Johnson, her mother, several aunts and her grandfather, a church pastor, were tried as well. According to historian Emerson Baker, the author of a book about the Salem witch trials, her grandfather described Johnson to the judges as a “simplish person at best.” Most likely, the judges would have equated “simplish” with different during that superstitious and pre-scientific period.
The fact that Johnson didn’t have any descendants deprived her of anyone to vindicate her good name, as relatives of the other defendants did. The first attempt to do so happened at the beginning of the eighteenth century. Then, in the 1950s, Massachusetts passed a law exonerating those found guilty, but it failed to gather all the names. A 2001 attempt at justice excluded Johnson because, after her conviction in 1693, she was formally presumed to be dead (executed).
The social hysteria against everything that deviated from the norm, against the minimal exercise of free will, was implacable against women, as Arthur Miller’s play The Crucible (the playwright adapted it for the big screen in 1996) and recent variations remind us. The theme lends itself very well to artistic creation, but in real life it amounted to opprobrium for those who suffered it and represented a cause for scorn among puritans.
Salem was more than a witch trial. According to historians, it was a collective exorcism fueled by a puritanical inquisition based on paranoia and xenophobia, a gratuitous auto de fe that unleashed people’s worst instincts: fear and the human tendency to blame others for one’s own misfortunes. At least 172 people were indicted in the 1692 trial. About 35% confessed their guilt and were spared the gallows; according to sources, around twenty insisted on claiming their innocence and did not escape that fate. The rest of the detainees were acquitted or sentenced to prison. The Salem witch trials represented a collective bogeyman through which one can foresee the later threat of the Ku Klux Klan. It is hard not to wonder what bonfires would have burned today on the pyre of social media and extreme polarization.
The great Salem witch hunt can be re-read through the prism of gender. As the adage goes, se non è vero è ben trovato (Even if it is not true, it is well conceived). Witches, like those in Salem and the woman in Nathaniel Hawthorne’s novel The Scarlet Letter (made into a film in the 1950s), were demonized for going off the rails. The dominant society’s puritanical stance against any kind of heterodoxy or freestyling, against rebels with or without a cause, led people to be targeted for dressing exotically by puritanical standards or for daring to drink at a tavern, a sacrilege for the morals of the day. It’s not difficult to draw a straight line from the bonnet of a witch on the gallows to the handmaid’s white bonnet in Margaret Atwood’s novel: all were women who were demonized, objectified, and scapegoated for deeper ills.
Beyond gender, other historians emphasize the socioeconomic dimension of the Salem witch trials, which combined a deep-seated inequality with racism, the United States’ original sin since well before the Declaration of Independence. The trials targeted colonial society’s most vulnerable during a period of economic instability that unleashed fierce rivalry among Salem families. According to historian Edward Bever, society was permeated by interpersonal conflict, much of it stemming from competition over resources. People did whatever they could to survive, from physical aggression to threats, curses, and insults. One of the first women accused, Sarah Osborne, was a poor widow who dared to claim her husband’s land for herself, defying the customary laws of nature, which granted the inheritance to sons. The accusation of witchcraft ended Osborne’s claim. Tituba, an indigenous slave, was accused of being a witch because her racial origins differed from the norm. Sarah Good was also poor, but she defended herself against the humiliations of her neighbors, which led her to the gallows; her daughter, Dorothy Dorcas Good, was Salem’s youngest victim: she was arrested at only four years old and spent eight months in prison.
Since then, history has not changed the fact that vulnerable women pay the price for circumstances beyond their control. That the Puritans of the time considered women—the evil heirs of Eve —prone to temptations such as the desire for material possessions or sexual gratification was only an added factor. Poor, homeless, and childless, these women in the shadow of society’s dominant morality were fodder for the gallows. But Elizabeth Johnson Jr. didn’t just manage to save her life; 329 years later she recovered her honor as well.
Meridian Brothers: A fake salsa band ignites the rebirth of an old New York record label | Culture
A new album will land on the salsa dance floor by the end of this week; one that fuses rhythms from the 1970s with the technological dystopias of the future. Behind it is Ansonia Records, a label that, after its creation in 1949 among Latino immigrants from New York, would produce several merengue, jibara, bomba, guaracha, mambo, and boogaloo albums, before stopping altogether in 1990. This Friday, after more than 30 years, Ansonia Records will return with a salsa album.
Hermano del futuro, vengo buscando iluminación; brother from the future, I come looking for enlightenment. So says one of the songs from the new album, called Metamorfosis, by the old salsa group Renacimiento. But there is a catch: Renacimiento does not exist. It never did. It is a fake group, and this is a fake cover, explains musician Eblis Álvarez, founder of the Colombian group Meridian Brothers, who had already experimented with various genres, from cumbia to vallenato. A group that practices “tropical cannibalism,” says Álvarez. This year, Meridian Brothers decided to launch a group of salseros straight out of fiction: Renacimiento.
“Renacimiento [rebirth] is the typical name that musicians would give a salsa group in the 1970s,” Álvarez tells EL PAÍS. “For example, in the Nueva Trova movement there was talk of a political rebirth, but at the same time they combined this with a spiritual factor: when one listens to groups like La Columna de Fuego [from Bogota] or Los Jaivas [from Chile], there was a common pattern: everyone was waiting for a rebirth of the soul, and of society.”
Although on stage Renacimiento is made up of five artists — María Valencia, Alejandro Forero, César Quevedo and Mauricio Ramírez, besides Álvarez — when the album was recorded it was the founder who played all the instruments, besides doing the voice of the salsero that accompanies the songs. The album has nine tracks, some similar to the older, slower salsa, and others to the faster, contemporary style. Between the piano, the timbales and the percussion, we find verses with the concerns of the 21st century: love that “communicates by algorithm,” or the threats of atomic bombs that “take us to the cemetery.” Metamorfosis, the single that has already been released, begins with a man who wakes up turned into a robot and longs for a time “when nightclubs really had an atmosphere, not like now, full of cameras, full of drones.”
“I wanted it to sound like salsa from the 1970s,” says Álvarez. “There is no originality, or the originality of this lies in being able to replicate the music as best as possible, but in terms of the material there is nothing original, as it is made with the collective unconscious of Latin America, of Colombia, of Latinos. This is an extrapolation from the 1970s to today, and it speaks of transhumanism, like the matter of highest concern that everything, absolutely everything, is now packed inside the damn cell phone.”
The rebirth includes both the album and the label, as this is the first recording in more than 30 years to be released by Ansonia Records, a company created in 1949 and later forgotten, despite having been one of the first labels founded by a Latin migrant in the United States. Puerto Rican Rafael Pérez, its founder, brought Dominican, Puerto Rican and Cuban musicians from Latin Harlem or the South Bronx, who had not found a home among American record companies, to several studios. He produced his records before the time of the powerful Fania, which made New York salsa famous.
To Liza Richardson, an American radio host who was also a music supervisor on series like Narcos or the movie Y tu mamá también, Ansonia Records is a gem. In the early 1990s, she found an Ansonia album in the station’s archives and, fascinated by the label’s production, became close to the heirs of Pérez. In 2020, she bought the record label with the intention of reactivating it. She, with the help of a small team, has begun to digitize more than 5,000 Ansonia-produced songs; an eighth of them can already be found on streaming platforms like Spotify.
Souraya Al-Alaoui, manager of Ansonia Records, explains that most of the artists chosen by the label were focused on the Latin American diaspora. That was their base; they valued the traditional sounds from islands like Cuba or Puerto Rico, and were not looking to become westernized.
“Johnny Pacheco, founder of La Fania, started with Ansonia Records, and Ansonia was an inspiration for what would later become La Fania,” says Al-Alaoui. “Ansonia was also a pioneer as a label owned by a Latino, an independent label with a founding message: ‘this is from us and for us.’ That’s why it was an inspiration for what came after.”
Over the years, La Fania grew and the seed of Ansonia Records faded away. The label never managed to promote its musicians in concerts like La Fania did, and after the arrival of the digital world, they did not set up a website or try to upload their music to any streaming platforms. Thus, it became a label that was only known by a small group of music lovers, like Liza Richardson and Eblis Álvarez.
“Now, we are hoping to release a new record every year, and we are thrilled to start with this one by Meridian Brothers,” says Richardson. “This is an album that looks to the past but tries to move towards the future, and that is exactly what we are trying to do: look to the past to, at some point, be able to grow again, to thrive.”
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