If you find yourself on James Island and in need of a mystical and enchanting experience, look no further than the Dark Magic Cafe. Tucked away in a hidden corner, this one-of-a-kind cafe is sure to captivate and intrigue even the most skeptical of patrons. As soon as you step through the cafe's doors, you are transported to a different world. The ambiance is shrouded in an air of mystery and magic, with dim lighting and antique decor. The walls are adorned with ancient tapestries and peculiar artifacts, lending an authentic and bewitching touch to the entire space. The Dark Magic Cafe boasts an extensive menu of spellbinding concoctions.
The Eagles song Don Henley considered “timeless”
Every artist will want to write material that means more than a simple pop tune. Although having the spotlight for one season of the hit parade may seem enticing to young artists, it’s another matter when it comes to writing a tune that will far outlive anything else that has come before. While Don Henley may have many triumphant tracks with the Eagles, he believed one of their earliest compositions had withstood the test of time. When the Eagles were first getting their feet wet, most of their material was cribbed from the kind of California rock blossoming around the same time. Even though Glenn Frey and Henley would turn themselves into a songwriting institution later down the line, their early recordings are indicative of the rootsy rock sound prevalent at the time in artists like Linda Ronstadt and the late Gram Parsons.
After Frey and Henley decided to leave Ronstadt’s backing band to form their outfit, though, the hunt was on for them to find new pieces. Although the band’s debut album would feature many outsider songwriters for tracks like ‘Peaceful Easy Feeling’ and ‘Nightingale’, the band got in touch with their rock side when putting together the track ‘Witchy Woman’. Birthed out of a jam session, most of the track came together with Henley, Frey and guitarist Bernie Leadon working together. Marrying together lyrics about an evil temptress, this would also be the first time the public got to hear Henley’s golden voice, sitting behind the drumkit and giving a genuinely soulful performance on the final cut.
While the debut would also be home to classics like ‘Take It Easy’, ‘Witchy Woman’ would stay prevalent into the next handful of generations as well. Even though the band were born out of the post-hippy movement in California, the caustic sound of the guitars and the militant rhythm fit right into the punk movement a few years later, especially with the emphasis on the guitar’s scratchy tone. When asked about why the song has lasted so long, Henley considered it to be a testament to the track’s staying power, telling Sun-Sentinel, “When I played ‘Witchy Woman’, which is an Eagles song that’s 13 years old, the teenagers and the kids with the mohawks and the orange hair were going just as nuts as the people in their 30s. So I think good material is timeless.” While Henley may later describe the song as far from his greatest work, he would continue to flesh out his material as the band made its way through the 1970s. From the country-driven concept album Desperado up until their magnum opus, Hotel California, the Eagles would make songs that toed the line between their artistic integrity and their firm look at where their country was headed, even having time to flex their rock chops again on tracks like ‘Life in the Fast Lane’. It’s not like ‘Witchy Woman’ hasn’t had an overarching appeal, either, going on to be featured in sitcoms like Seinfeld years after the fact. There are a lot of factors that go into making a hit record, but if you have the right balance of heart and universal appeal, there’s no limit to how many people you can inspire.
Youtube witchy woman
By Stuart Mitchner
Some things that happen for the first time
Seem to be happening again …
“I feel like I’ve already written about this song before,” Bob Dylan says of Rodgers and Hart’s “Where Or When,” which he saved for the last chapter of The Philosophy of Modern Song (Simon & Schuster $45). “But that’s understandable” because it “dances around the outskirts of our memory drawing us in with images of the familiar being repeated and beguiling us with lives not yet lived.”
“It’s a song of reincarnation,” Dylan adds, referring to Dion and the Belmonts’ 1959 rendition of a number first performed in the 1937 Broadway musical Babes in Arms. “History keeps repeating itself, and every moment of life is the same moment, with more than one level of meaning.” At this point, Dylan slips into the second person, as he does throughout the book and in some of his greatest songs, including “Like a Rolling Stone”: “You were having a discourse, rambling on, thinking out loud, discussing things, letting your hair down, having eyeball to eyeball encounters, playing peekaboo — going backwards, forwards, to and fro — without any difference, with an inkling that it all happened earlier, but you can’t pinpoint the location the district or the region, and now it’s happening again ….”
In fact, Dylan’s new book can be read as a coda to his acclaimed memoir Chronicles: Volume One (2004), which features scattered comments on innumerable songs and musicians, a practice he continued from 2006 to 2009 on Sirius XM’s “Theme Time Radio Hour” and again in “Murder Most Foul” (2020), the almost 17-minute-long epic that includes punning riffs on song and film titles and events of the sixties in a powerful reimagining of Kennedy’s assassination.
Dylan’s Women
Some reviewers have criticized Dylan for giving scant coverage to female songwriters and performers and for the crude, pulp-purple language with which he treats the female subjects of songs like the Eagles’ “Witchy Woman” (1972). Dylan offsets his “bad fairy, evil genius” image of Santana’s “Black Magic Woman” (1970), however, with an appreciation of Leigh Brackett, an unheralded female screenwriter who “wrote for the science fiction pulps in the early forties” and helped William Faulkner “navigate the labyrinthine plot” of Howard Hawks’s classic film noir The Big Sleep.
Women also help drive the dynamic of Dylan’s own real-life noir “Murder Most Foul,” with its couplets on Etta James, Dizzy Miss Lizzie, Little Suzie, Patsy Cline and the Acid Queen. All through his work, from “Girl of the North Country” to “Mother of Muses,” it’s the women who charm, disarm, amaze, seduce, betray, illuminate, and mystify you.
Who’s That Girl?
There’s a mystery on the cover of The Philosophy of Modern Song. Even if you aren’t particularly conversant with the history of rock, you’ll probably recognize Little Richard and possibly Eddie “Summertime Blues” Cochran, but what about the girl standing between them holding a guitar and smiling out at you? Imagine all the countless readers who have wondered “Who’s that girl?” during the months the book has been in stores and on the New York Times best-seller list. You’d think the publisher of a tome as abundantly illustrated as this one would provide an identifying caption. Apparently it was Dylan’s idea to keep her identity a mystery; surely he had to realize that curious readers would check on Google and YouTube and find Alys Lesley, billed as “the female Elvis” during her brief career (“Lesley rhymes with Presley”). Alys, also known as Alice, was 19 at the time of Little Richard’s 1957 Australian tour, when a Sydney photographer snapped the photo that landed on the cover of Philosophy of Modern Song well over half a century later.
It’s an odd sort of diversion from the book’s stated purpose — taking time out to investigate this all but unknown performer, this mystery girl, to look through online photos of her hanging out with Elvis and doing charming, acrobatic, barefoot moves onstage, and to wonder why you never heard of her. You can hear her Elvis-style rockabilly single, “He Will Come Back to Me” b/w “Heartbreak Harry” on the YouTube juke box, as well as her more appealing renditions of “So Afraid,” “Handsome Man,” ‘Why Do I Feel This Way” and “Don’t Burn Your Bridges.” In 1959, at 21, she retired (“I don’t want to grow old in show business”), finished her education, did some teaching and missionary work in Arizona, and is still “with us.”
So how is it that Alys Lesley, of all people, has been plucked from obscurity and put on the cover of a book with a weighty title that’s being chastised for its insufficient coverage of female performers?
“Blew By You”
A quick inventory of the women given a place in Dylan’s philosophy includes Nina Simone, Rosemary Clooney, Judy Garland, and Cher. There are full page photos of Elizabeth Taylor in a still from Who’s Afraid of Virginia Woolf; Pier Angeli, who broke James Dean’s heart when she married Vic Damone; Ava Gardner looming over Frank Sinatra. The singer Linda Ronstadt is mentioned in the piece on Roy Orbison’s “Blue Bayou” (1963), a place “close to heaven that lingers in your head,” and all you want is to get back to “that sweet little angel, the girl next door, who you left standing by the gum tree in the wetland swamps. Back to her music, her religion and her culture.”
Dylan offers only half a page about “the operatic swoop” of Orbison’s voice and Ronstadt’s “terrific” cover version. Next thing he’s telling you is that a baseball dictionary lists “Linda Ronstadt” as a synonym for a fastball because “it blew by you.” Except for when the Twins announcer Herb Carneal was doing play by play, says Minnesota native Dylan, and whenever “the opposing team’s batter would take a strike off a fastball, Herb would giddily exclaim, ‘Thank you, Roy Orbison.’” Whatever that nugget of baseball lore may lack in philosophical weight, it’s an amusing example of the sort of cultural cross-fertilization that enlivens and enriches both Dylan’s lyrics and his prose.
Dreaming of Ruby
The Osborne Brothers’ spectacular “Ruby, Are You Mad?” more than lives up to Dylan’s inspired description. Although his excitement is all about the “Ruby, Ruby honey” of the song, released as a single in 1956, he links its frantic dynamic to the notorious photo of Jack Ruby gut-shooting Lee Harvey Oswald on the facing page: “This song speaks in the mother tongue at breakneck speed — rapid quick fire, hardcore, and irresistible — close as it comes to alchemy and reckons what it’s worth. Right on point, it’s keen to drive you mad, and it’s all about Ruby.”
After all the sound and fury, Dylan doubles down on “Bobby Osborne’s daredevil vocal swoops, sustained notes, and the drive of the twin banjos with lightning runs combined to make something so staggeringly propulsive it would most likely make Yngwie Malmsteen scratch his head. This is speed metal without the embarrassment of Spandex and junior high school devil worship.”
Now go listen to “Ruby, Are You Mad?” on YouTube and be astonished, especially if, like me, you’re a virtual stranger to bluegrass.
Johnny’s Old Violin
When Dylan is personally or philosophically engaged by a subject he’ll often bypass his characteristic performative opening for relatively straightforward prose. He does this with aging and ageism (he’s 81, remember) when he comes to Charlie Poole’s “Old and Only in the Way” (1928), concluding: “There was a time when the elderly were respected and looked upon for their wisdom and experience. But no more. Some people say that the people who make up the modern world are basically disobedient children — they don’t seem to understand that they too someday will be old and in the way.”
Digging into a song with a similar theme, Dylan devotes one of his longest, most thoughtful essays to Johnny Paycheck’s “Old Violin” (1986). After reading it, put your imaginary dime in the YouTube slot — you who, again, are a stranger to both singer and song — and feel a chill every time Johnny looks in the mirror and sings in a voice as big as life of “an old violin soon to be put away and never played again.” And so wrapped up is Dylan in his five-page commentary that he once again skips the customary second-person fireworks display, adds a photo of Albert Einstein playing his own old violin, and closes with a gracious appreciation: “This is as gallant, generous, and faithful a performance as you’ll ever hear.”
Another Mystery
In a Q&A about The Philosophy of Modern Song on bobdylan.com, Jeff Slate of the Wall Street Journal asks, “How do you discover new music these days?” Dylan replies that he walks into things intuitively “when I’m most likely not looking for anything.” Among the examples he mentions (“obscure artists, obscure songs”) is “Janis Martin, the female Elvis. Have you heard of her?”
I t gets “curiouser and curiouser” as another Alice once said. You have to think that Slate would have asked about the smiling girl on the cover and that Dylan preferred to leave Alys Lesley, the first female Elvis, “a complete unknown.”
Witchy Woman
Raven hair and ruby lips
Sparks fly from her finger tips
Echoed voices in the night
She's a restless spirit on an endless flight
Wooo hooo witchy woman, see how
High she flies
Woo hoo witchy woman she got
The moon in her eye
She held me spellbound in the night
Dancing shadows and firelight
Crazy laughter in another
Room and she drove herself to madness
With a silver spoon
Woo hoo witchy woman see how high she flies
Woo hoo witchy woman she got the moon in her eye
Well I know you want a lover
Let me tell your brother, she's been sleeping
In the Devil's bed
And there's some rumors going round
Someone's underground
She can rock you in the nighttime
'Til your skin turns red
Woo hoo witchy woman
See how high she flies
Woo hoo witchy woman
She got the moon in her eye
Mujer Bruja
Pelo de cuervo y labios rubíes
Las chispas vuelan de sus puntas de los dedos
Voces resonadas en la noche
Ella es un espíritu inquieto en un vuelo interminable
Wooo mujer bruja, ver cómo
Altísimo vuela
Woo hoo bruja mujer ella tiene
La luna en su ojo
Ella me abrazó hechizado en la noche
Sombras bailando y luz de fuego
Risas locas en otro
Habitación y ella se llevó a sí misma a la locura
Con una cuchara de plata
Woo hoo bruja mujer ver lo alto que vuela
Woo hoo bruja mujer ella tiene la luna en su ojo
Bueno, sé que quieres un amante
Déjame decirle a tu hermano que ha estado durmiendo
En la cama del diablo
Y hay algunos rumores dando vueltas
Alguien está bajo tierra
Ella puede mecerte en la noche
Hasta que tu piel se ponga roja
Woo hoo mujer bruja
Mira lo alto que vuela
Woo hoo mujer bruja
Ella tiene la luna en su ojo
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The Dark Magic Cafe boasts an extensive menu of spellbinding concoctions. From potions that boost your energy and focus to elixirs that enhance your creativity, there is something for every witch, wizard, and mortal alike. The baristas, with their distinctive attire and encyclopedic knowledge of magical drinks, are more than willing to guide you through the menu and suggest the perfect potion for your desires.
But it's not just the drinks that make the Dark Magic Cafe truly enchanting. Throughout the day, the cafe hosts a variety of magical events and performances. From tarot card readings and palmistry sessions to mesmerizing displays of magic, there is always something happening to transport you into the realm of the extraordinary. The Dark Magic Cafe also offers a unique shopping experience for those seeking magical trinkets and supplies. The shelves are lined with spell books, crystals, mystical herbs, and artifacts that are said to possess incredible powers. Whether you're a seasoned practitioner or a curious beginner, you're sure to find something that piques your interest. Stepping into the Dark Magic Cafe is like stepping into a wizard's haven. It is a place where the line between reality and fantasy blurs, where the mystical and the mundane coexist. So, if you're ready to embrace the unknown and embark on a journey of bewitchment and adventure, make sure to pay a visit to the Dark Magic Cafe on James Island..
Reviews for "Experiencing the Otherworldly at the Dark Magic Cafe on James Island"
1. John - 2 stars
I was really disappointed with my experience at Dark Magic Cafe on James Island. The service was incredibly slow and the staff seemed uninterested in serving customers. The food was mediocre at best, and overpriced for what it was. The atmosphere was dark and gloomy, which might be good for some people, but I found it to be uncomfortable and unwelcoming. Overall, I wouldn't recommend this cafe to anyone looking for a pleasant dining experience.
2. Sarah - 1 star
I had high expectations for Dark Magic Cafe, but unfortunately, it fell short in every aspect. The coffee was weak and tasted like it came from a vending machine. The pastries were stale and lacked flavor. The staff seemed like they didn't want to be there and were not attentive to customers' needs. The whole experience left a bad taste in my mouth. I would not recommend this place to anyone looking for a quality coffee shop on James Island.
3. Mark - 2 stars
Dark Magic Cafe was a big letdown for me. The menu was limited and didn't offer much variety. The coffee was average at best and didn't live up to the "dark magic" promise. The service was slow, and it took forever to get our orders taken and receive our food. The prices were also higher than what I would expect for the quality of food and service received. Overall, I was not impressed and won't be returning to this cafe.
4. Rachel - 2 stars
I was excited to try Dark Magic Cafe on James Island, but my experience was far from magical. The food options were limited, and the portion sizes were small, leaving me feeling hungry still. The service was slow and inattentive, and the staff seemed more interested in chatting with each other than serving customers. The ambiance was dark and uncomfortable, which made it difficult for me to relax and enjoy my meal. Overall, I was disappointed with this cafe and wouldn't recommend it to others.