Ron's rages are sincere and — according to his wife — healthily cathartic. But can these splenetic outbursts loosen the grip of capitalism at its most monstrous?
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]
ANGUS REID considers the power of the podcast as a vehicle for consensus building in opposition to mainstream media narratives
GLENN FOSBRAEY recommends a biography worth reading for both existing George Michael fans and those yet to be converted
FRANCIS DEVINE introduces a new collection of essays that draws on Pease McKenna’s example to indicate future paths for the movement
KEVIN DONNELLY and MARIA DUARTE review Shoot the People, The Last One For The Road, Rosebush Pruning, and Moana
JAMES WALSH recommends an exceptional documentary about the experience of Western doctors in Gaza
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.
Similar stories
TONY BURKE talks to Garth Cartwright author of Princes Amongst Men — Journeys With Romani Gypsy Musicians
As part of the 2025 London Jazz Festival Rich Mix offered intriguing sessions titled 'Persian Jazz,' CHRIS SEARLE was there
‘Honest’ Tom Wharton’s 1682 drunken rampage through St Mary’s church haunted his political career, but his satirical song Lillibullero helped topple Catholic James II during the Glorious Revolution, writes MAT COWARD
TONY BURKE revels in the publication of previously unreleased tracks by the great US folksinger