Prueba de entrada con vídeo
The first contact with Townes, as the scene calls him, never Van Zandt, simply Townes, usually happens in the form of an initiation rite, thus well prepared: an already initiated person hands down purposefully chosen introductory songs (such as “To Live Is To Fly” or “Nothin”). My thesis would be that during the first contact with the work of Townes Van Zandt, a person halfway equipped with aesthetic and emotional sensorium develops an astonished familiarity, which evolves into an admiring bewilderment during repeated encounters with his songs, whether played by himself or by others, whether heard as a song or read as a text.
