ON THE POSTER— an original artwork by world-renowned graffiti artist KAWS;
on ARCHITECTURE— a story about JULIA MORGAN, the first female graduate of Ecole des Beaux Arts Paris, who designed the dreamy HEARST CASTLE; on ART— HILTON ALS converses about self-portraiture, and enigmatic narratives that accompanied it; on SPORT— SANDY BODECKER, Nike Vice President of Global Design, talks about making sneakers by hand, Lance Armstrong, and Eric Cantona; on FASHION— OLIVIER THEYSKENS creates a new language with his body, while LOTTA VOLKOVA ADAM plays the model during a hellish summer night, CÉDRIC RIVRAIN draws RESORT 2010 collections, and Rosie Roberts creates BIJOU collages; on PHOTO— Daniel Trese captures the essence of TOPANGA CANYON, the extra super natural healing force; on MUSIC— FLYING LOTUS, the Angeleno electronic music pioneer, pictured at home in Northridge and interviewed at The Low End Theory Club, while in Paris dDAMAGE brothers explain how they engineer a singular transgenic sound by mixing rock, rap, and electro.
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In 1989, a collective of young artists gathered at a storefront health food cafe in South Central Los Angeles named “The Good Life”. Their mandate was to reject gang culture and expand the musical boundaries of hip hop. Directed by Ava DuVernay, THIS IS THE LIFEchronicles the little known story of “The Good Life” emcees, the alternative music movement they developed, and their worldwide influence on the artform.
COLETTE dedicates to OXBOW a whole 3-dimensional shop-window to feature the collaboration between the surfwear company and the fashion label BLESS, co-founded in the early 1990s by Desiree Heiss and Ines Kaag. The duo worked on a special edition of Oxbow’s emblematic jacquard sweater, THE SKOLPEN.
BLESS designed 3 new versions of the famous sweater :
The 3D Skolpen comes with 3D‑glasses to discover its visual effect and the transformable, The Black & White Mountain Skolpen with embroidered lurex checkerboard pattern on the sleeves, and multifunctional Material Mix Skolpen.
Karen J. Dalton (born Karen J. Cariker (July 19, 1937 – March 19, 1993) was an American folk blues singer and banjo player associated with the early 1960s Greenwich Village folk music scene, particularly with Fred Neil and the Holy Modal Rounders as well as Bob Dylan.
Portrait of Karen Dalton with her banjo. Photo courtesy of Light In The Attic
The original bio for In My Own Time album notes a passport that “says she’s from Texas,” but better sources claim Dalton was originally from Enid, Okla., her mother full-blooded Cherokee. She turned up in Greenwich Village in the early 1960s, at the height of the folk revival, with her 12-string Gibson guitar, a long-neck banjo, and her otherworldly vocals. She immediately drew attention from the aforementioned folksinging milieu. Around the same time, she could also be found in Boulder.
“A nice little cow town with a university,” says Joe Loop of Boulder back then. Loop operated the Attic, a homey coffeehouse where he occasionally ran tape on the proceedings. Cotton Eyed Joe comes from his personal collection. “In 1961, the folk thing was starting to happen, blossoming on the two coasts. People would come through looking for gas money, and some of them stuck around. Most of the people who played at the Attic were from the University of Colorado, but Karen was an experienced performer and had her stuff together. […] It’s amazing how many musicians would go out of their way to play with her back then. She played with all the best people: Fred Neil, Tim Hardin, Dino Valenti. All those people loved her and loved playing with her, but it wasn’t the kind of stuff that the record labels were looking for.”
(l-r) Bob Dylan, Karen Dalton, and Fred Neil at the Cafe Wha? in 1961. Photo by Fred W. McDarrah
Her bluesy, world-weary voice is often compared to that of iconic jazz singer Billie Holiday. In his 2004 autobiography, Bob Dylan wrote this in his description of discovering and joining the music scene at Greenwich Village’s Cafe Wha?, after arriving in New York City in 1961: “She was a tall white blues singer and guitar player, funky, lanky, and sultry. I’d actually met her before, run across her the previous summer outside Denver in a mountain pass town in a folk club. Karen had a voice like Billie Holiday’s and played the guitar like Jimmy Reed and went all the way with it. I sang with her a couple of times.”
Known as “the folk singer’s answer to Billie Holiday” and “Sweet Mother K.D.”, Dalton is said to be the subject of the song Katie’s Been Gone (composed by Richard Manuel and Robbie Robertson) on the album The Basement Tapes by The Band and Bob Dylan. She struggled with drugs and alcohol for many years. It has been widely reported that she died in 1993 on the streets of New York City after an eight-year battle with AIDS. However, an article in magazine confirmed that Dalton was actually being cared for by the singer-songwriter Peter Walker in upstate New York during her last months.Uncut
Though Dalton disappeared from the public eye soon after her sophomore release, it’s a fair guess that she continued to play in living rooms, out of the spotlight. While Lenny Kaye describes Dalton’s last days as “living on the New York streets, destitute, her health gone,” Peter Walker sets the record straight: “Let me put to rest these ideas that she died in destitute poverty and drug addicted homelessness,” he states. “She was perfectly functional mentally. She was living in Hurley, in upstate New York between Kingston and Woodstock. She lived with AIDS for more than eight years, but with an excellent quality of life considering the disease.”
“She sure can sing the shit out of the blues,” is how folk godfather Fred Neil put it.
Karen Dalton performing “It Hurts Me Too” c.1970.
A forlorn cry from the abyss, she doesn’t have to dig deep for the blues. The blues are Karen Dalton. She makes other singers sound like frauds.
“All of us in the Bad Seeds were huge Karen Dalton fans,” says Nick Cave in the liner notes to the 2006 reissue of Dalton’s second and last album, 1971′s In My Own Time. “She understood the blues better than the folk singing milieu she was hanging out with,” furthers Cave. “Absolutely. She’s a blues singer to me. It’s full of idiosyncrasies that you can’t repeat – it’s in her voice and it’s just extraordinary. She is my absolute favorite blues singer – female blues singer, let’s say.”
A guitarist of some renown in the 1960s of the Cambridge, Mass., scene, Walker once directed music for Timothy Leary’s infamous “celebrations,” in which the guru would rant to acid-drenched audiences of thousands. He met Dalton early in the decade and remained friends with her until her death. “Karen was part of the crowd that hung around with Tim Hardin,” he recalls. “They all loved her because she was the cover girl for the Ode Banjo company, the most traditional of instruments available only through mail order.” Walker spent time with Dalton in the 1980s when she had an apartment in the Bronx and he worked in New York City. He became her caretaker later, offering her a place to live when the disease had nearly won. He maintains he has her diaries but admits that a box of tapes she left behind was destroyed in a fire.
A combination of stage fright, drug and alcohol problems, and the fact that Dalton didn’t write her own material didn’t help. She also had difficulty in the studio, all but hoodwinked into recording her first album. Producer Nik Venet had tried unsuccessfully to record Dalton, so he invited her to a Fred Neil session and asked her to cut Neil’s “Little Bit of Rain” for his own private archives. She cut the entire album that night, most of the tracks in one take.
Karen Dalton in Paris. Photo by Dan Hankin.
Both Dalton’s albums were re-released in November 2006: It’s So Hard To Tell Who’s Going To Love You The Best, on the French Megaphone-Music label, included a bonus DVD featuring rare performance footage of Dalton. In My Own Time was re-released on CD and LP on November 7, 2006 by Light In The Attic Records. The version of the song “Something on Your Mind” (composed by Dino Valenti) that is sung by Dalton on her album In My Own Time is the soundtrack during the ending credits of the 2007 film Margot at the Wedding, which was written and directed by Noah Baumbach and starred Nicole Kidman and Jennifer Jason Leigh.
Dalton’s second album, In My Own Time (1971), was recorded at Bearsville Studios and originally released by Woodstock Festival promoter Michael Lang’s label, Just Sunshine Records. The album was produced and arranged by Harvey Brooks, who played bass on it. (Harvey Brooks played bass also on the Miles Davis album Bitches Brew, on the Bob Dylan album Highway 61 Revisited and on the Richie Havens album Mixed Bag.) Piano player Richard Bell guested on In My Own Time. Its liner notes were written by Fred Neil and its cover photos were taken by Elliot Landy.
Less well-known is Dalton’s first album, It’s So Hard to Tell Who’s Going to Love You the Best (Capitol, 1969), which was re-released by Koch Records on CD in 1996.
The Holy Modal Rounders’ folk subversive, Peter Stampfel, who played with Dalton, seems to capture her essence perfectly in the liners to the Koch reissue when he writes: “She was the only folk singer I ever met with an authentic ‘folk’ background. She came to the folk music scene under her own steam, as opposed to being ‘discovered’ and introduced to it by people already involved in it.”
Tim Hardin in Colorado with Karen Dalton and Susie Bergman. Photo by Dan Hankin
Today, by phone, Stampfel recalls Dalton with a resigned bluntness. “We hung together from 1969 to the mid-Seventies, performing rarely. We’d take amphetamines and rehearse a lot. That band played maybe three gigs. She used to shoot amphetamines. Then, like a lot of people when they get older, she turned into an alcoholic.”
Stampfel remembers that Dalton had been in the hospital just before In My Own Time, recorded in Woodstock, N.Y., with Electric Flag bassist and Dylan/Miles Davis sideman Harvey Brooks directing a select group of sessionistas. Dalton tackles Motown classic “How Sweet It Is (to Be Loved by You)” and “In a Station” by the Band’s Richard Manuel, and while the album’s full production is disorienting, it recalls the early work of one of Dalton’s contemporaries, Bonnie Raitt: commercial, bluesy, singer-songwriter-friendly. Dalton’s ragged vocals commanding the orchestrated surroundings are singular if nothing else, and all agree that the stark reading of the traditional “Katie Cruel” is haunted beyond words.
In My Own Time, album’s cover.
Woodstock Festival co-promoter Michael Lang put out In My Own Time on his Just Sunshine imprint and then arranged for Dalton and band to tour Europe as the unlikely opening act for Santana. During the trek, they played Montreux, and she never made it out of the dressing room.
Acoustic guitarist Dan Hankin, who backed Dalton from 1965 into the early 1970s and appears on both studio albums, remembers the ups and downs all too well. “She was just falling prey to her own demons and drug abuse,” he says from his home in Colorado. “Before we went on this European trip, she bought me a guitar. After that trip, she went back to Woodstock and was trying to get another band together. She invited me to join her, and after several weeks with nothing happening, I started saying, ‘When are we gonna rehearse?’ I had to leave because I had a life elsewhere, but she didn’t want me to leave. “After I got back, she called me up in the middle of the night and demanded that I send her the guitar back. I sent it back and never spoke to her again.”
“Blues Jumped The Rabbit” – Summerville, Colorado 1970.
Hankin can be seen in the DVD that accompanies Cotton Eyed Joe as well as the French release of It’s So Hard. Only four songs and less than 15 minutes long, it captures Dalton onstage in New York and in the Colorado mountains circa 1969-1970. It’s a thrill to see her perform, missing a couple of teeth, and with waist-length brown hair and the shadow of a smile, Dylan’s description of her as sultry is more than apt.
“She was living in the mountains outside of Boulder,” explains Hankin, “in a little old mining cabin without running water and an outhouse. I sort of inherited that cabin when she left. It was only $30 a month. The scene I was in with Karen was very low-key. It was people who weren’t in the mainstream of society. We mostly played in living rooms or in tiny little bars for drinks.”
Until three years ago, few besides Joe Loop even knew that the footage from a French film crew following Dalton at the time even existed. Nick Cave has Joe Loop to thank for even more: He sold his entire collection of Dalton tapes to the Megaphone label, which is planning another release later this year. There’s more Dalton than live Attic recordings, too.
It’s So Hard To Tell Who’s Going To Love You The Best, album’s cover.
Digging for the story of Karen Dalton’s life, by contrast, takes on the specter of chasing ghosts. Delmore Recordings’ Mark Linn, who guided Cotton Eyed Joe onto the market and played an enormous role in this story, ultimately delivered the most poignant reflection on Dalton. “There’s a small amount of people that have the original records [who] were intensely affected by them – by her voice,” he offers.
“I think you can really feel the pain. She lived a hard musician’s life. It wasn’t about trendiness or stardom. It was about playing music.”
Throughout her career, Eileen Myles has reclaimed poetry as public vocation. “Our times needs a shadow,” she writes in The Importance of Being Iceland. Framed by an account of her travels in Iceland, these essays assert inbetweenness as the most vital (and poetic) position to view the world as a whole. Culled form more than two decades of art and cultural criticism originally written for exhibitions, events, and journals, the essays in this book–on subjects ranging from Henry David Thoreau, James Schulyler, and Björk to queer Russia, working class speech, California freeways, and flossing–counterpose the nuance of Iceland’s deeply rooted yet fluid culture with the more prevalent, American fact of steamrolling “global” heteregoneity. Myles links ancient Icelandic verse, New York summer streets, the antiseptic malls of La Jolla, and the back of the Sister Spit tour van with an awareness that criticism is always a social gesture.
The Importance of Being Iceland was released last July by Semiotext(e). 369 pages.
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