“You just can’t make ‘stuff’ like this up” Jim W. Dean with Introduction
…by Senior Editor, Gordon Duff
[ Editor’s note: A quick Google investigation of A. J. Weberman turned up that we had intersected paths… a little bit with Brother Dylan. Mine was short and sweet and not as humiliating, as you will see, with Mr. Weberman in the 1971 telephone transcript of his more-than-weird chat with Dylan. He was stupid enough to put it out to show he was buds with Mr. D himself, a big mistake… Jim W. Dean ]
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We tracked this PowerPoint down to an AIPAC front group tied to the ADL and Southern Poverty Law Center. It’s these little things that can help us understand the level of insanity we are dealing with, and why seeing 500 children butchered in Gaza should be no surprise.
Much of the work on this is attributed to General Paul Vallely, Fox News commentator and military advisor to ISIS.
Imagine how a pack of moronic rag merchants have been able to terrorize America and buy and sell our government through the Koch/Adelson lie factories. Enjoy this, we have literally hundreds of these.
RON PAUL THE MOST DANGEROUS NAZI IN AMERICA from AJ Weberman
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Early ’90’s…touring Dillion’s Woodstock estate on a cold late autumn day
[ Editor’s note: This Weberman guy rang a bell, but it was hazy. So I Googled him, and it was his being a Dylan groupie, or I guess he would prefer to be called an Dylanite, as that sounds a bit more elite — backstage passes and you don’t have to bring your own weed or girlfriend — they supply both.
If you ever wanted to know where hacks came from, read this interview (you won’t be able to finish it… it’s a tortuous read). It’s a transcript from a 1971 phone call with Dylan.
It seems that Weberman was such a mooch he would call stoned rock stars and tape the call and then distribute it to prove he was a butt buddy with Dylan… pardon the expression (I blame it on taking about this “60’s” stuff. It gives me flashbacks ! 🙂 ).
The spin-meisters dig up guys like this to use because they have no reputation to lose. They look back on their pitiful mooch lives as pseudo-revolutionaries, and jump at the chance for the slimelight for something like “The man who shot Liberty Valence”, A. J. Weberman, the guy who took down Ron Paul.
I grew up five miles south of Alice’s Restaurant back in the Dylan days, the late 60’s… a wonderful time. The New York hippies used to come up to the Berkshires to groove on the country thing. Those of us with limited worldliness… just about everybody, considered them to be something like ETs. Not exactly, of course, but similarly far out.
I had an occasion to put a bid in on Bob Dylan’s Woodstock place for a TV production/office facility. It was late fall and cold. He had this huge dark house with a tiny recording facility… the size of a guest bunk room for visiting kids. But it did have a sauna.
He did not accept our all non-cash offer… more water under the bridge. But like the old Sun Tzu saying goes, “May I live long enough to see the bodies of my enemies floating down the river”. I hope I outlive Mr. Weberman.
I have never put out any of these old photos, but they fit this story so well, I guess I should include them… Jim W. Dean ]
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… from Wikipedia
Weberman has written on the life and works of Bob Dylan, including creating a word concordance of Dylan’s lyrics, and writing the Dylan to English Dictionary published in 2005. One of Weberman’s theories on Dylan’s songwriting is that some of Dylan’s songs are actually about, or addressed to, Weberman himself.[1][2] Some Dylan scholars and biographers have rejected Weberman’s interpretations of Dylan’s work[3][4][5] while other have not addressed his work.Rolling Stone magazine called Weberman “the king of all Dylan nuts”[6] and he has been described as obsessively stalking Dylan[7][8] and being “off the deep end”.[9] Dylan, annoyed by Weberman who was constantly digging through his garbage,[10] assaulted Weberman on Elizabeth Street in Manhattan.[11] In another article, Rolling Stone reported that Weberman, “a man that terrorized Bob Dylan during the ’60s,” had now “returned to hassle his son,” Jakob Dylan. Weberman claimed that the younger Dylan was a heroin addict.[12]Weberman expressed his unhappiness with Bob Dylan in a telephone conversation he recorded after digging through Dylan’s trash that was made into a 33 rpm LP by Folkways Records.[13]
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Dillon with Ginsberg, by the studio at the Woodstock house
WEBERMAN: ‘Hey, Bob — why not show the people your heart’s in the right place and do a benefit for John Sinclair?’ ‘But, I don t have my thing together.’ ‘Bullshit — all you gotta do is show up and plunk your guitar a little and a hundred thousand freaks will come out of their pads and go anywhere you are —
(Editor’s note: My daughter, as an undergrad at U of M, lived in the Ann Arbor Hill Street Co-op that Sinclair and his “White Panther Party” gang called home. I had been in and out of there from time to time 40 years or so before as a grad student. I lived up on Catherine Street, less garbage on the lawn and someplace to park my “government welfare 911 Porsche.” Sinclair is still around, a fixture like the Pretzel Bell, the restaurant Jerry Ford worked at while at U of M. As Prez, Ford had the landmark building razed and replaced with the ugliest post office on earth. I follow with a short meaningless video demonstrating that those heady days of yore at but a tarnished memory…Ah, but I digress…)
[youtube njlwjXkzINA&feature=youtu.be]
‘DYLAN: I-I don t want to say I don’t have my thing together, man. I got my thing together!
WEBERMAN: — so, why *don’t y’do* the thing?
DYLAN: Well, I want to get back to that statement first.
WEBERMAN: — yeah —
DYLAN: I don t want to say that thing that I don’t have my thing together. WEBERMAN: — right — DYLAN: See, you, you can make somp’n* else up, but, uh — don’t leave that in there. WEBERMAN: What should I say, then? DYLAN: Let’s see — what’s the statement? (pause) How ’bout, uh — let’s see — how ’bout — WEBERMAN: You said — you don’t have your thing together. You said, you know — you’re not ready to — you — DYLAN: — oh yeah — right — I m not ready to go play concerts, man. That’s th** The upstairs had a nice woodsy view. But some poor devils had to carry that piano all the way up the stairs. WEBERMAN: — all right, I’m not ready — DYLAN: — that’s not the same thing as saying — WEBERMAN: — all right — DYLAN: — I don’t have my thing together WEBERMAN: — I’m not ready to go play concerts — DYLAN: — I’m not about to — WEBERMAN: I’m not about to — go play concerts. — all right — DYLAN: — at this time. WEBERMAN: Right — I don’t blame you, man. You know — you, uh — you know — y-you don t want to be part of the scene — you know — uh, all kinds of terrible things could happen to you in that hour, man — *y-know — DYLAN: No, man — like, what for? Why should I go play th*-for twenty thousand people, man? I mean, what — WEBERMAN: — **it would be** DYLAN: — you know — WEBERMAN: — more than twenty thousand. DYLAN: Hey, I’ve been there before — WEBERMAN: You make people happy, man*.* DYLAN: I’ve been there before, I — WEBERMAN: You make people happy — DYLAN: I’ve done it before — WEBERMAN: You set the whole trend in rock, man — DYLAN: I did — WEBERMAN: — if you started doing things like that — DYLAN: You shoulda been at the Isle of Wight, man. I’d just like to see how much you’d still be talking — WEBERMAN: The Isle of Wight — DYLAN: — if you were at the Isle of Wight. WEBERMAN: — was a capitalist rip-off, man. I’m not talking about that kind of a scene — I m talking —
Inside the bunkhouse studio. Owners of estates in Woodstock in the 60’s were quite popular.
DYLAN: Were you — WEBERMAN: — about — DYLAN: — at Woodstock? (pause) Were you at Woodstock? WEBERMAN: I-I wasn t at Woodstock, man — DYLAN: Well, then you *never didn’t* — WEBERMAN: — I’m not talking about Woodstock — DYLAN: — seen those kind of things — WEBERMAN: I’m not talking about a free concert, man. I’m not talking about that — I’m talking about a benefit, you dig — at Madison Square Garden, or something like that, man — DYLAN: Go, *on* let’s finish the article — WEBERMAN: (pause) Uh, you know — ‘but I don t have my thing together. Bullshit. DYLAN: Uh, no, no — we’re going to change that — WEBERMAN: *Uh*, right, right — uh, somp’n in what you said before — but, you gotta — ‘all you gotta do is show up and plunk your guitar then a hundred thousand freaks will come — **hear the duh-duh-duh** ‘ ‘Sorry, Al — I can t do it. But I will write a song about political prisoners on my next album.’ ‘I don t want promises for nine months later. I wanna see some action, now. See, Bob — you set the trends in rock — and if you become, like, a human being — a lot of other performers will go along. (pause) The sun had set and Dylan’s wife had called him for dinner — on the phone ***and *** –‘ DYLAN: Oh, that — that whole last paragraph — that, man — I didn t think that was necessary. WEBERMAN: ‘Bob gave me his phone number and asked me to call him when I’m on the radio — or if something comes up. Ever hear me on the radio, Bob?’ ‘Just a couple of times on Alex Bennett’s show — I dug it when he asked if you had any personal messages for me. What do you think of Bob Fass?’ ‘He’s a revolutionary brother, but he don’t dig it when I attack you — course* you were an old friend of his.’ ‘Well, Al, so long — Uh, one more thing — you re not gonna get into my life’ — ‘Why?’ — DYLAN: (breath) **Le** those two sentences, man. I don’t get them at all. I don’t understand them, even — WEBERMAN: — why, if you do, I might gain a soul — DYLAN: Yeah, well, that’s shit — those last two sentences. I don’t think I said that. WEBERMAN: Yes, you did. That’s just what you said, man. You said, You re not gonna get into my life — I said, ‘Why?’ — * then you said, ‘If you do, I might gain a soul.’ DYLAN: I don’t understand that, do you? WEBERMAN: (pause) Uhh — I don’t know — I don’t know — it could be looked at in a number of ways, man — you could *** — DYLAN: Yeah, why don’t you — d’why don t you take it out of your article and look at it in a number of ways — and let s d’uh — you know, and — and roll it around awhile — and then when you — when we know what it means — why don’t you tell me, and then — ah, let’s see if it’s worth putting in an article —
WEBERMAN: (pause) Uh** — DYLAN: Is that fair? I don t know what it means man. WEBERMAN: So,* how would you have me in the article? DYLAN: I don’t know. It’s your article. (pause) **Shit, I mean** — WEBERMAN: ****, I just lost you. All right, man — like, uh — DYLAN: I don’t know — WEBERMAN: **but** **that’s** what happened during our — DYLAN: I know that’s what happened. WEBERMAN: — first conversation — DYLAN: But that ain’t what happened, man — ***?*** like, that last, uh — that last sentence don’t **end any** article — you know that. That didn t happen like that. I re’ember — WEBERMAN: — all right — DYLAN: — saying something like that, but it didn’t have anything to do with how you’re using it — you’re just taking it out of context. WEBERMAN: **saytin now** DYLAN: Then you re like some — ** WEBERMAN: All right — DYLAN: — fu$king Look Magazine — WEBERMAN: — **you want me to put it into context — you **wanta do it back kinda ** — then I say, ‘Is that a threat?’ — and then you say, you know — ‘no, it is, but I know people who can kill you’ — that’s what I remembered — DYLAN: Oh no — man! WEBERMAN: — or something like that, man. DYLAN: No! WEBERMAN: I was very paranoid — in a very paranoid mood, man. DYLAN: Well, don’t take it out on me, man. I mean, come on — WEBERMAN: Well, that’s why I changed it around, man. I don t have you, uh — comin’ on like that. That’s why I took it out, you know — so, I left it — I left it — other interpretation — I might gain a soul. You couldn’t — DYLAN: I don’t want to say that, *man — WEBERMAN: ***you couldn t ????*** DYLAN: — ’cause I don’t — that** sounds *shitty — WEBERMAN: ***that*** DYLAN: — what the — WEBERMAN: — **that’s** **so fu$king** quotable, man — DYLAN: W-what does that mean — I mean, like, I — eh, uh** — that don’t — aaoh — it leaves me cold, man — like, uh — it s, uh — doesn t even sound like me. WEBERMAN: But you said it — those are your exact words. DYLAN: I gained a soul — uh**, what could that mean? WEBERMAN: Man, you know — you ought’a stand behind things that you say. DYLAN: (breath) Yeah, man, but I — that was taken — WEBERMAN: **that’s the truth*** DYLAN: — right outta, right out of — I do stand behind most of what I say, man — but you know, I’m nyh– **stuff** WEBERMAN: **No,** you don’t stand behind anything you say, man. DYLAN: Sure, I do — sure, I do. WEBERMAN: *** DYLAN: — I just don t dig it — WEBERMAN: ***inaudible*** ***Dylan, man*** *that s for sure — DYLAN: Man, I’m gonna do an article on you, man. I think I’m gonna write a song about you, too. WEBERMAN: Well, I could use the publicity. DYLAN: Yeah, *well — that s one reason why I wouldn t, man — WEBERMAN: (laughter) DYLAN: — but, uh — WEBERMAN: (laughter) DYLAN: — I got a good song, man — if I ever want* to do one — WEBERMAN: What s it called? DYLAN: It s called “Pig” — WEBERMAN: I’m a pig, eh? DYLAN: — yeah. WEBERMAN: Aw, bullshit, I’m a — DYLAN: — yeah, man — WEBERMAN: — pig, man —
**DYLAN: — yeah, man –** WEBERMAN: You re the one who’s a pig — DYLAN: — oh, no — not at all — WEBERMAN: — Oh, yeah — DYLAN: — not at all, (laugh) man — not at all. I don’t think I’m gonna write it, though — just because of that publicity thing. I don’t dig that — at all. But, I got the song, man. WEBERMAN: **You re killing me*** — DYLAN: — I’ll sing it for you. (pause) Well, I don’t have it finished, actually — but, uh — WEBERMAN: — I’m a pig, **man? DYLAN: — hey, man — WEBERMAN: I don’t have a million fu$king dollars, man — DYLAN: I don t ha — ***d’uh *wait* — what does that have to do with it? WEBERMAN: ‘Cause you have a million fu$king dollars, man. See, you ain t’th’ eh — you ain’t that much better than the cat who — DYLAN: (breath) WEBERMAN: — has nothing, man. You dig it* — the cat who’s walking around the bowery, man — it s true, like — you know — DYLAN: — (whisper) waaht* — WEBERMAN: — in some ways you’re better, but you ain’t a million dollars better worth — you know what I mean? Like, in times like this **?** like, you know, when you have a million dollars in this society, man — it means, that other people don’t have it — you know — (pause) uh — don’t you dig what I mean — nobody should have, like — a million dollars, man — nobody should be allowed to accumulate that much wealth — you know — that much surplus wealth — when, uh — peop*le, uh*, when there are other people around that don t have shit. You know — and not — ‘cau — ’cause of their fu$kin’ skin color, man — not because of, uh — of anything else — ’cause they’re despised — ’cause they re not like *straights* — like hate anyone who s different than them in any kind of a way — DYLAN: — ay a* — WEBERMAN: — right? DYLAN: — yeah, man — I think you re over — you’re overlooking — WEBERMAN: — no! **I m telling you,** man** DYLAN: — a lot, man. You’re overlooking a lot — WEBERMAN: **I’ve had friends, man* — I’ve had friends — that got a lotta money together — you know — and, uh, I told them, man — you — you should put some of this fu$kin’ money back in the community — most of it — enough that, you know — keep enough so th’ you can live decently — but don’t fu$kin’ , uh — you know, they didn’t have peanuts compared to you, man. You know, and y’ — I told them to go fu$k themselves if they’re gonna fu$kin’ rip off, uh — the, you know — people not putting anything back — but you’re just a capitalist — that’s all, man. ‘Cept, instead of producing, uh — you know, yah — instead of producing, uh — uh, cars, or guns — you produce, uh — you know — records — music. DYLAN: Hey man, that’s, uh — that’s something, though. WEBERMAN: It s somp’n, man — but lately, it’s nothin. DYLAN: (pthtt)* WEBERMAN: **but** not only do you keep the money, but you d’ — the lyrics themselves have no kind of, uh — redeeming value — you’re — they’re just — in fact, they’re reactionary — you know. You’re just, uh — every — all the shit is hitting the fu$kin’ fan — and you’re singin’ ‘Hope it — looks like nothin’ but rain’ — you know — uh — DYLAN: — that’s a good song, man — <_sign on the window_/_new morning_> WEBERMAN: — what are you — DYLAN: — like — WEBERMAN: — a weatherman? DYLAN: — a what? WEBERMAN: — a weatherman? DYLAN: — *do you mind?* WEBERMAN: — **if it’s** nothin but rain — DYLAN: (laugh) WEBERMAN: — but I wanted, uh — if I want to fu$kin , uh — DYLAN: — is your tape recorder still on, man? WEBERMAN: **and it** DYLAN: — is it still running? WEBERMAN: — yeah. DYLAN: Oh, it didn’t break down? WEBERMAN: Uh — no, no — it’s — it’s a good one. DYLAN: Yeah — well, I ain’t gonna call you no more, man — just because of that. I mean — I don’t trust yah. WEBERMAN: Why, wuh — don’t tell me you didn’t tape-record my conversation — DYLAN: — no, man, I — would, uh — WEBERMAN: — any conversations with me, man — DYLAN: — no, what do I want to do that for —
Gordon Duff posted articles on VT from 2008 to 2022. He is a Marine combat veteran of the Vietnam War. A disabled veteran, he worked on veterans and POW issues for decades.
Gordon is an accredited diplomat and is generally accepted as one of the top global intelligence specialists. He manages the world’s largest private intelligence organization and regularly consults with governments challenged by security issues.
Duff has traveled extensively, is published around the world, and is a regular guest on TV and radio in more than “several” countries. He is also a trained chef, wine enthusiast, avid motorcyclist, and gunsmith specializing in historical weapons and restoration. Business experience and interests are in energy and defense technology.
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