MARIA DUARTE and ANDY HEDGECOCK review Sunny Dancer, Tony, Songs of Forgotten Trees, and The End of Oak Street
Ear, nose, throat and fingers
DAVID YEARSLEY compares Timothee Chalamet’s impersonation of Dylan to the real thing
THE REAL THING: Joan Baez and Bob Dylan, Civil Rights March on Washington DC August 28 1963
[Rowland Scherman - National Archives and Records Administration/CC]
JOHN GREEN relishes a powerful and moving drama that explores the lived realities of west London’s Punjabi community
MARTIN HALL welcomes a plea for greater compassion between believer and non-believer via the framework of philosophical enquiry
MATTHEW HAWKINS welcomes an engaging and nourishing account of the queer subculture that flourished in London between WWII and partial decriminalisation
RON JACOBS welcomes the political lessons for today, about organisation and withdrawal from conflict, made by an erudite and conversational biography
ON the last Sunday of this past October, a Timothee Chalamet look-alike contest broke out in Washington Square Park in New York City.
Chalamet made his way through the roiling sea of admirers and impersonators and let himself be photographed with the winner, Miles Mitchell. There is still no substitute for the presence of real people — for a star’s charisma and a worshipper’s scream and shudder.
Notwithstanding Washington Square’s status as a vital site of protest, it was strangely appropriate that this recent eruption of fandom took place there. The park is in Greenwich Village, the main location for the early 1960s rise to fame of the young Bob Dylan who is depicted in James Mangold’s A Complete Unknown. The Washington Square hijinks reveal that Mitchell-as-Chalamet looks more like Dylan than Chalamet-as-Dylan does.
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