Amazon.com Review
It's clear from reading this memoir by folksinger and social activist
Richie Havens that this is one '60s survivor who hasn't become jaded.
They Can't Hide Us Anymore (the title comes from a remark Havens made when he opened the
Woodstock festival) traces Havens's journey from Brooklyn's Bedford-Stuyvesant district (where his musical skills aided him in staving off unwanted gang attention) to Greenwich Village at the cusp of the early-'60s folk boom. There, the positive-thinking artist/gadfly/aspiring entertainer crossed paths with everyone from
Bob Dylan to Wilt Chamberlain. Then it was on to Woodstock and international (if fairly fleeting) fame. As befits an unapologetic counterculture adherent, Havens's memoir/life guide doesn't adhere to a tight structure. One minute he's offering a hasty guitar lesson, the next he's making passing reference to an encounter with the ghost of Aaron Burr at New York's Cafe Bizarre. He devotes as many words to unknown pals who've made a positive impression on him as he does to encounters with the
Beatles and
Elvis Presley. Some may find the fanciful flow of Havens's narrative disconcerting, but it's clearly the way the man has lived his life. It makes sense that he'd chronicle his experiences that way, too.
--Steven Stolder
From Publishers Weekly
The first time Havens played a "real" coffeehouse in Greenwich Village, he credited the best song in his repertoire to an unknown folksinger named Gene Michaels. Afterward, a young man came up to him in tears, congratulating him on his beautiful rendition of "A Hard Rain's A-Gonna Fall." The tearful young man, it turned out, was Bob Dylan. Ever since he launched his career in Greenwich Village in the '60s, African-American/Native American folksinger Havens (a native Brooklynite) has assumed the role of the big-hearted ally of the underdog. It should come as little surprise, therefore, that much of his autobiography trumpets the talents of artists such as Fred Neil, the little-known singer/songwriter who scored his only hit with "Everybody's Talkin' at Me," penned for the film Midnight Cowboy. The tendency to focus on the obscure typifies the bookAand Havens, too. He denies any regrets that the highlight of his career came earlyAwhen he opened Woodstock in 1969Aclaiming that money and fame are secondary to him. Some readers may lament the absence of superstar gossip, particularly about Dylan, but these reminiscences, mostly of the '60s scene, steer clear of such things. He fondly remembers his heady Village days, describing endless all-night hootenannies and song-swapping sessions. Guitarists will especially appreciate the detailed description, with accompanying photographs, of Havens's unique open-tuning barre-chord method of playing. This is a generous book by an undeniably generous spirit.
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