That Johanna's not here. It was covered by Michel Montecrossa and The Chosen Few, Zimmermen, Lee Ranaldo, Stephen Inglis and other artists. And these visions of Johanna are now all that remain. I do enjoy hearing all of the opinions too though. The ghost of electricity Howls in the bones of her face Where these visions of Johanna Have now taken my place. But ultimately, it is always the fact that Dylan expresses in words the feelings that the people in the story can’t express in words that makes it so wonderful. Johanna is the ideal (of a more authentic existence) that might be perceived from this or some other “egoless” perspective, yet can not be maintained or possessed permanently. In fact the narrator’s outlook is unduly pessimistic . If you are interested in Dylan’s work from a particular year or era, your best place to start is Bob Dylan year by year. “The harmonicas play the skeleton keys in the rain.”   What an image is this? Johanna is the feminine form of the name John, meaning "God's gracious gift". Ultimately Louise is nice but she’s not his wife. The name Johanna is a girl's name of Hebrew, German origin meaning "God is gracious". This was her song. “The ghost of electricity howls in the bones of her face/Where these visions of Johanna, have now taken my place.” Johanna is fully revealed to be the spiritual, incorporeal, eternal energy of the human being, as contrasted with Louise, the physical, sensual, and comparatively mundane. They had all the easy answers and there were no room for reflection. The girl Louise, previously presented as a happy lover, is now represented as bones inhabited by an unhappy spirit – reminding us of Eliot’s skeletal imagery used to present a world whose secret is that it is dead. The part about the pipes was most likely about the literal heating pipes of the Chelsea. Several critics have acclaimed "Visions of Johanna" as one of Dylan's highest achievements in writing, praising the allusiveness and subtlety of the language. And an unsophisticated young girl, the ‘primitive wallflower’, freezes – presumably in horror – when the appearance of the jelly-faced women makes her realise what the future has in store for her (like mirrors reflecting her future, in the way Louise seems to be a mirror for the narrator). Johannah Duggar, one of the children on TLC's "19 Kids and Counting" Johanna "Jenny" Lind, 19th century Swedish opera singer. I think that Louise is Sarah, Johanna is Suze and Little boy lost is Dylan. Here's how he wrote songs like "Crazy Train" and "Mr. Crowley" with Ozzy and Randy Rhoads. They were lifted up as idols and politically saints, but he does not agree any longer. Somehow we knew how it should be, but we couldn’t express it properly, save for shouting at our parents, “YOU DON’T UNDERSTAND.”, And perhaps it is that feeling that caused Dylan to take so many attempts to get the song just right for his approved LP version – which is why it is such a shame that in this version it is clear the bass guitarist in particular had no idea about the curious construction of the song, with its additional lines in the last verse adding to the sense of futility and frustration, for instead of building he simply screws it up and plays the wrong notes. Outside things appear to be no better. So too does the listener. The first time Dylan played the song live was February 5, 1966, at Westchester County Center in White Plains, New York. Verse 4. Now Dylan is a songwriter, not a poet. He identifies with Mona Lisa; who has the highway blues and a painted mustache (like one of the jelly-faced women). It’s about Joan of Arc’s visions. He did not find the politically answers there. The previous "meaning" which previously appeared here is TOTAL NONSENSE meant to deliberately mislead the reader. I became so much older then. Thanks for creating and maintaining. Louise has no doubt about her political foundation. But immediately all hope disappears for this is no more than ‘The last twist of the knife’. Even the Mona Lisa seems to the narrator to represent the misery of our existence. And Madonna, she still has not showed This may refer to Christ’s successful redemption of the world, but equally could be presumption on the part of the fiddler. Her cape which once ‘flowed’ is Christ’s blood which once flowed to save the world. Louise’s pimp turns up. There is much in common between the song and T.S.Eliot’s ‘Rhapsody on a Windy Night’. As in ‘Rhapsody’, hope is not the final suggestion, however. (infinity goes up on trial). I think key words are “mirror” and “conscience explodes”. Johnny Depp, Angelina Jolie, Mila Kunis and John Malkovich are just a few of the film stars who have moonlighted in music videos. Way back in the 70s I was at college with a guy who was a great fan of Dylan and the poetical side of his songs. Don’t be put off by the overlong retune of the guitar, when the song gets going this is something else. Johanna is an unachievable ideal (his irrational side). It would seem it is the visions, rather perhaps than the reality itself, which are impressing themselves on the narrator because we are told ‘Johanna’s not here’. The longtime BS&T frontman tells the "Spinning Wheel" story, including the line he got from Joni Mitchell. For the first of these she is a source of sensible encouragement to the narrator to refuse to resort to (‘defy’) drugs (‘a handful of rain’) as a means of overcoming the horror of being ‘stranded’ – unable to escape our lot. His voice & how he words things in his lyrics can’t withstand close reading here, but unrequited.... 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