LOS ANGELES: At the Grammys’ annual charity gala on Friday, Bob Dylan stole the show without singing a single note.
In a wide-ranging 35-minute speech that had the 3,000 or so music executives and stars in the audience hanging on his every word, Mr. Dylan touched on the roots of his songwriting, the musicians who inspired him, and the naysaying of critics and others along the way.
It was an extremely rare and revealing speech from Mr. Dylan, 73, but in his usual fashion it was anything but straightforward. Reading from a thick cache of papers, he spoke in what at times was a kind of rhapsodic, canny prose-poetry, like one of his lyrics or an outtake from his 2004 memoir, “Chronicles, Volume One.”
“These songs of mine,” he said, “they’re like mystery plays, the kind Shakespeare saw when he was growing up. I think you could trace what I do back that far. They were on the fringes then, and I think they’re on the fringes now.”
Mr. Dylan was accepting the person of the year award from MusiCares, a charity affiliated with the Grammys that supports musicians in financial need or in health crises. Since MusiCares began in 1989, it has distributed nearly $40 million in aid, according to the group, and the event on Friday, at the Los Angeles Convention Center, raised a record $7 million through sales of tickets and memorabilia.
The night was packed with performances of Mr. Dylan’s songs by the likes of Bruce Springsteen; Neil Young; Norah Jones; Sheryl Crow; Willie Nelson; Jack White; Tom Jones; and Crosby, Stills and Nash. The award to Mr. Dylan was presented by former President Jimmy Carter, who said that Mr. Dylan’s “words on peace and human rights are much more incisive, much more powerful and much more permanent than those of any president of the United States.”
Mr. Dylan began with thanks to people who helped his career early on, like John Hammond, the storied talent scout who signed him to Columbia Records, and Peter, Paul and Mary, whose version of “Blowin’ in the Wind” gave Mr. Dylan his first big hit, in 1963. He paid tribute to Joan Baez, Jimi Hendrix and Johnny Cash, and also thanked the Byrds, the Turtles and Sonny and Cher, whose covers brought him more pop hits, even if, he said, he never wanted to be a pop songwriter.
“Their versions of songs were like commercials,” he said. “But I didn’t really mind that, because 50 years later my songs were used for commercials. So that was good too.”
He gave a lesson in the folk-inspired songwriting process, saying that “my songs didn’t just come out of thin air — I didn’t just make them up.” Giving numerous examples, Mr. Dylan showed how the traditional songs he sang in his youth inspired his own writing “subliminally and unconsciously.”
“If you sang ‘John Henry’ as many times as me — ‘John Henry was steel-driving man, driving with a hammer in his hand, John Henry said a man ain’t nothing but a man,’ ” he said. “If you sang that song as many times as I did, you would have written ‘How many roads must a man walk down,’ too.”
Mr. Dylan took jabs at music icons like the songwriters Leiber and Stoller (“Yakety Yak,” “Stand by Me”), saying that he didn’t care that they didn’t like his songs, because he didn’t like theirs either. Nashville wasn’t spared. In barely diplomatic terms, Mr. Dylan mocked the country songwriter Tom T. Hall, saying that his sentimental 1973 song “I Love” (“I love baby ducks, old pickup trucks”) was “a little overcooked,” and implying that Mr. Hall was part of an old guard that was bemused and left behind by the musical revolution of the 1960s and ‘70s.
But he saved most of his bile for critics, clearly showing that he has read enough of his reviews over the years to let them get under his skin. “Critics have been giving me a hard time since Day 1,” he said. “Critics say I can’t sing. I croak. Sound like a frog.” He paused, as nervous giggles spread through the crowd. “Why don’t critics say the same thing about Tom Waits?” (Well, actually, they do.)
Mr. Dylan wound up his speech with tender comments about his friend Billy Lee Riley, a 1950s rockabilly singer on Sun Records, the original home of Elvis Presley and Johnny Cash. Known to collectors for his 1957 song “Red Hot,” Mr. Riley never made it big. When he got sick, Mr. Dylan said, MusiCares helped pay Mr. Riley’s medical bills and mortgage, to help make his life “at least comfortable, tolerable, to the end, and that is something that can’t be repaid.” Mr. Riley died in 2009.
Usually the annual MusiCares concerts, which in the past have featured stars like Barbra Streisand, Paul McCartney and Mr. Springsteen, end with a performance by the honoree, but after a few quick photos from the stage Mr. Dylan was off, and Mr. Young ended the night with a haunting “Blowin’ in the Wind.” As the high-heeled and tuxedoed crowd filtered out, few seemed to complain.
Sridevi dies at 54 of cardiac arrest: India, Bollywood in shock
Sridevi no more, and a part of my childhood dies with her
Sridevi died on Saturday night after suffering a cardiac arrest at the age of 54. Called the first female superstar in India’s male-dominated film industry, she made over 260 films in a career spanning 45 years.
As a starry eyed schoolchild, I would spend hours trying to get the steps of Morni Baagan Maan right, in front of the mirror. As a girl, not even 7, I was too young to understand the complexity of the lyrics or the depth of the feeling that the Lamhe song held within it, but it was she, Sridevi, her fluid dance moves and the play of emotion in her face that had me entranced. I would try to turn just like Sridevi, get her hand mudras right. Again, it would take me years to understand there was nobody like Sridevi. The twinkle in her eye, the charm she could switch on as cameras turned towards her or the movie star charisma that was part of her personality — Sridevi lived what her Mr India song said, Bijli Girane Main Hoo Aayi.\
My experiments in front of the mirror were not extraordinary, nor were they one of a kind. Lakhs of children across India were trying to emulate Sridevi — for some (like me) it was her dance, for others it was the fact that she was a superstar when women rarely had the word super attached to them in any form in the industry. And for almost everybody, it was her ability to light up the frames she inhabited.
My romance with Sridevi began long before I understood how to tell good films from bad; at that age I either loved them or hated them. So, when, early on a Sunday morning, as I got up to incessant messages, tweets and Facebook posts full of grief, I went back to my childhood. It was a child again who was mourning the loss of her star.
Indeed, Sridevi’s death has taken away something crucial with it — a part of my childhood. Whether it was her act as a child-woman in Sadma, the luminous double role in Lamhe, the quintessential Yash Chopra heroine in Chandni or the bubbly Hawa Hawai of Mr India, Sridevi managed to bring a certain je na sais quoi to every role she played.
Among the yellowing photographs and fading memories is a photo of me with my friends with a fruit hat a la Sridevi in Hawa Hawai. Maybe it was a day during summer vacation when time hung heavy on our hands. But I remember how disastrous the first attempt with a straw hat and a bowl of fruit was. We were rescued when the friend’s mother emerged and gave us a tongue lashing that only mothers are capable of. Then, being a Sridevi fan (who isn’t?), she helped us fashion the hat.
Then came Madhuri Dixit, and the gaggle of girls divided into Team Madhuri and Team Sridevi. I was a staunch member of the latter and many a evening, we would spend in fraught debates on who was better. Sridevi had been around for decades. Starting as a child artiste at the age of 4, she had worked in Telugu, Malayalam and Kannada films before she decided to shift her focus to Bollywood. She was a star here as well. Madhuri, IMHO, was a novice.
There were chinks in her career but it was still 90s Bollywood and actresses — even the one called the first female superstar of Bollywood — had to take the good with the bad. The pulpy papers of those times were full of how the leading actors of those days would cower before her. They may or may not have been true but they fuelled my imagination as a fan.
She definitely left a stamp on my career. I believe that years of defending her against Madhuri fans (you know who you are) made me pick up the job of an entertainment reporter. I came across her on many occasions in my career and always found her a picture of grace and poise, standing out in the sea of beauty that is Hindi cinema.
And today, she is gone, in a moment that appears was written by an unfeeling screenwriter. Or maybe, it is the fan inside me who is not ready to say goodbye. Oh, what it would be to watch her once again in a dark theatre with the lights dimmed.
Sridevi made 264 films over 45 years, and while not all of them will stand the test of the time, her charisma will. I would remember her as the effervescent Chandni, the middle class mother in English Vinglish but mostly as Hawa Hawai — who wore fruit hats and solved crimes as an intrepid journalist.
The Great Sanjay Leela Does Disservice To Cinema With Propaganda And Dishonest Portrayal Of History In Padmavat
I saw the film more than a week back and I was flabbergasted and disgusted by what I had seen.
It wasn’t until my mentor and friend Promod Puri, the founder an former publisher-editor of Canada’s oldest South Asian English language newspaper The LINK, wrote his review online that I felt compelled to add to the debate about one of the worst forms of propaganda in a Bollywood film I’d ever seen.
The great Bollywood writer-director Sanjay Leela Bhansali has basically put himself in the gutter with this outrageous Rajput Hindu propaganda that glorified the individual suicide the Sati (mass suicide as in Padmavat called Jauhar).
Looking back at the Hooliganism and blockade of the film by extremist Hindu and Rajput groups – it seems like a conspiracy given that the film actually shows the Muslims as evil blood thirsty monsters and I’m not even talking about the actually monstrous Khilji played by Ranveer Singh.
It should be the Muslims who should be appalled and disgusted at the polar opposite portrayals of Muslims and Hindus. It’s the Muslims who should be protesting and saying the film should be banned!
Given that the film is produce by Viacom India which is now 51 percent owned by billionaire Mukesh Ambani, I think the “Show” if extremism might have been planned ahead so that Muslims in India don’t actually think the film is anti-Muslim which it clearly is.
Writer-Director Sanjay Leela Bhansali is a good if not great filmmaker but here he comes across as Hitler Propagandist filmmaker Leni Riefenstahl who made pro-German propaganda films during Adolf Hitler’s reign.
Films like Padmavat are extremely irresponsible at a time in India where there continues to be a divide among Hindus and Muslims in Modi’s India.
And the film is really laughable as it tries to reconstruct history from a Hindu perspective when in reality the great but blood thirsty madman Khilji defeated the Rajputs. And no matter how much the film may try to sugarcoat it, the Rajputs were no match for the brutal strength of Khilji at a time in human history when brutal and maniacal strength was the Warrior’s code.
Take the brutal rulers of Europe and Asia – they were no different than Khilji!
I lost a lot of respect for director Bhansali as it seemed like he was just a puppet pulling someone else’s strings with much dishonesty and disgrace!
Aamir Khan say there is no Intolerance in India, urges Modi to reign in people spreading hatred
Days after his intolerance remarks, Bollywood star Aamir Khan today said India is “very tolerant” but there are people who spread hatred and appealed to Prime Minister Narendra Modi to rein them in.
The actor also believes that he still continues to be country’s brand ambassador even though the government may have discontinued his services, saying India is his mother and not a brand.
“Our country is very tolerant, but there are people who spread ill-will…Those who speak of breaking up this vast country, such people are present in all religions, only Modiji can stop them. After all, Modiji is our PM, we have to tell him,” he told Rajat Sharma in his ‘Aap ki Adalat’ show on India TV, according to a press release issued by the channel.
Aamir said a sense of security comes from the justice system, which should ensure speedy justice, and from elected representatives who should raise their voice when something goes wrong.
“After all, law is equal for all, and nobody is above law. Unfortunately, there are some people who spread negativity and hatred. If I am not wrong, our Prime Minister has also expressed concern. His slogan is ‘sabka saath, sabka vikas’,” he said.
The actor, who hit headlines with his remarks that his wife was thinking of leaving India over growing intolerance, also replied to megastar Amitabh Bachchan’s remark that he damaged India’s brand identity by his statement, saying there was a feeling of insecurity due to growing intolerance.
“I had said in my interview that there was a sense of depression, a sense of despondency, a feeling of insecurity and intolerance was growing. But these are entirely two different things,” he said.
He added that he was “wongly quoted” and said, “I never said India was intolerant, I was wrongly quoted…To say about rising intolerance and to say India is intolerant are two different things.”
Claiming to continue serving as India’s brand ambassador even after government discontinued him, the superstar said, “For me, my motherland is my mother, it cannot be a brand. I can never view my mother as a brand. It could be a brand for other people, but not for me. Till this date, I continue to be India’s brand ambassador, even the government may have discontinued me.”
He said for 10 years he was brand ambassador for ‘Incredible India’s Atithi Devo Bhavo campaign’ and never charged a penny for all his public service campaigns for the country and nor will he charge in future.
Aamir also asked media and news channels not to air news about violence on TV as it creates an atmosphere of fear.
“Every Indian is infected with fear. I would also appeal to media not to highlight such violence, as it creates a sense of insecurity and fear among common people,” he said.
On his wife Kiran Rao expressing her intent to leave India due to insecurity, Aamir said he and his wife were not going anywhere and have been born here and will die in India, but said, “After all, Kiran is a mother, a mother always worries about her children.”
“Often we speak so many things among ourselves, but that does not mean, we take 100 per cent action on them. Now was that our intention. Kiran has actually expressed a feeling, an emotion, and we were born here, and we will die here. We are not going to leave our country, let me make it clear,”he said.
The superstar went on to say that whenever people try to divide, “we should become alert, and should beware as to why we are being reminded that we are Muslim, Hindu, or Sikh. After all, we are all Indians. We have to be on our quard.”
Seeking to clarify that there was intent on his or his director’s part on purportedly denigrating Hindu religion in his film ‘PK’, he said, “It was only a character playing the role of Shiva in a play, who was made fun of, in a particular situation. After all, Lord Shankar is Almighty, how can we dare to make fun of him?.”
The actor said he fully empathised with the cause of Kashmiri Pandits. “My heart cries even today for them. It is shameful, and I appeal to people living in the Valley to bring the Kashmiri Pandits back.”
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