Masked and Anonymous: Bob Dylan in the 21st Century
Published September 27, 2006
So why, after setting such a precedent, has Bob Dylan decided to release not one or two, but three like albums in a row? The practical answer, of course, is that they're a "trilogy"; certainly a fact given the musical and thematic consistencies of Time Out of Mind, Love and Theft and Modern Times, but it's doubtful that this was the master's plan from the beginning. The cynical answer, on the other hand, is a lot more troubling. It's essentially true that most great artists will blaze through their formative years on a chariot of seemingly divine inspiration; after even a decade or so of that kind of pressure, however, anybody would get tired. So it's tempting to suspect that Dylan, now that he's eligible for a discounted meal at Denny's, just isn't relevant anymore. He can't keep up with the musical or even cultural trends of the last 30 years - the guy hasn't even acknowledged punk, after all - and so he's settled back into a comfortable groove, growling epic, ancient but hardly earth-shattering turns of verse over the same kind of full-tilt blues-rock boogie he pioneered in '65, albeit in streamlined, traditionalist, NPR-friendly form. Distressingly, recent comments from the man himself would seem to bear this theory out: his remarks to Rolling Stone interviewer Jonathan Lethem in the weeks leading up to Modern Times about the "atrocious" quality of 21st century recordings, while mostly spot-on, were just bitter and crankish enough to leave a sour taste in the mouth, leaving many speculating whether Dylan realizes that the times didn't stop a-changin' after he stopped singing about them.
For all the compelligness of this argument to the naysayer in me, however, I don't believe that Bob Dylan has stopped being relevant. Or, more specifically, I don't think he's stopped being of the times, because as far as I'm concerned, he never has been. Dylan's rise as the poet laureate of early '60s protest folk was purely incidental, a cosmic accident for a young man who would have been playing the same ancient-sounding songs whether there was a commercial "scene" to embrace him or not. After all, "Blowin' in the Wind" may be ostensibly about the conflicts which troubled the American consciousness in 1963, both at home (the Civil Rights Movement) and abroad (the growing conflict in Vietnam), but its themes - freedom, peace, justice - would have been just as relevant in 1863 (or, as we've seen by its continued use in anti-war movements, the early 2000's). And even when Dylan dropped the folkie schtick for his "thin wild mercury" postmodern blues sound, he was referencing William Faulkner and modernist art, not explicitly trumpeting the hopes and dreams of the youth culture; about the most topical things Dylan wrote in this trailblazing middle period were the references to "getting stoned" in "Rainy Day Women #12 & 35," and cats had been singing about dope since at least the 1920s.
- Masked and Anonymous: Bob Dylan in the 21st Century
- Published: September 27, 2006
- Type: Opinion
- Section: Music
- Filed Under: Music: Country and Americana, Music: Folk, Music: Rock
- Writer: Modern Pea Pod
- Modern Pea Pod's BC Writer page
- Modern Pea Pod's personal site
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Wait, wait, wait. I LIKED the freaking album. Am I understanding correctly that I have to write a total sycophantic BJ of a review in order to be credible? Modern Times is good, but come on, on a Dylan curve? From the guy who gave us Blonde on Fucking Blonde? Not a five-star album or a "masterpiece," by any stretch of the imagination.
As for your taking issue with the Weberman "relationship" remark, that's just semantics. Dylan and Weberman had a much more personal "relationship" than most celebrities and their stalkers; they talked on the phone, remember? And yes, I'm aware that Weberman would have been prosecuted these days. I CALLED him a nutcase. Or were you just skimming for anything you could remotely call me out on? About the only thing I'll concede to you is that, fine, Dylan played a Clash cover. In Brixton. Last November. On two nights. Guess I've got better things to do than scour the dude's setlists.
Is it just me, or did my disparaging comments about "Dylanology" strike a nerve? Eh, "Mighty Quinn?"
dude, i really enjoyed reading yr article. it was well written,insightful, and honest. i wish more reviews were as fair, not sycophantic and not totally critical either. you just laid it out like ya saw it, after all it's just one persons perception. well done
dude, i really enjoyed reading yr article. it was well written,insightful, and honest. i wish more reviews were as fair, not sycophantic and not totally critical either. you just laid it out like ya saw it, after all it's just one persons perception. well done
It was a good article, as a long time Dylan-freak- thats what we were called in the 60s and 70s- that's a compliment.But Dylan does know that times are still a-changing. He just does not think they are changin' for the better. Older people rarely do. He has acknowledged punk though.Have a listen to the 1984 TV SHOWS- I think it was David Lieberman Show. He plays punk style and he loves the Ramones.Also he likes Rap music as he says in Chronicles. By the way when is rap going out of date- can't see myself how it can still come on like the latest thing.The biggest problem with today's music is they don't really talent scout around anymore. The first thing they look at is the physical attractiveness of the artist.The good thing about Bob is that he is an oldman and like Van the man is putting out music- not modelling. When will music executives realise the audience is not looking for a sexual partner- they are looking for music? Dylan is proving that people want good music- not just the latest plastic diva. This is an important contibution that this very nice man- something not generally noted- is making. He is a great man and a kind manand a quality that he has that is not noticed is his exceptional modesty. Thanks for not pumping out the commonly stated nonsense that he is plagiarising Timrod. Do we want a poet laureate of rock music who does not r=bother to read other poets? All great poets are influenced by other poets and adopt and rearrange images and ideas. None of Shakespeare's stories are original and nobody accuses him of plagiarism. Borrowing a few of Timrod's ideas and phrases will promote Timrod and inspire his rediscovery. Nobody has noticed the phrases lifted from Robert Johnson and Walt Whitman in Modern Times. Thank God that Dylan isn't writing in a void like most pop writers these days- the last book those people have read was a raffle book! Overall a thought ful article and you did avoid being a sycophant. You were right not to suspend your right to be critical. In these days of sacred celebrity we need to look at others who may write good songs- no not Sprinsteen or other low quality Dylan imitators!
In our admiration of Bob Dylan we have given up looking for other good writers, instead they manufacture stars out of good-looking people without regard to musical ability.
Crikey, I was given a copy of his new album just recently from a Dylan fan in Tampa Bay-it was the nicest cd I'd listened to in ages and I may not be a real BD follower, but you have to respect and appreciate the man's natural ability to stay true to himself!
I will always treasure his song, 'Lay lady Lay'
Cheers from the land down under!
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"... He can't keep up with the musical or even cultural trends of the last 30 years - the guy hasn't even acknowledged punk, after all"
obviously you can't even keep up with the facts. when dylan played brixton last november, he did the clash's "london calling" - two nights in a row.
"... One major highlight is the interview with A.J. Weberman himself, including his story about the end of their relationship"
RELATIONSHIP?!?! Weberman was a STALKER. these days he would have been arrested and put in a mental health facility for observation.
"... I'm embarrassed to admit, it actually took that iPod commercial for me to notice the rollicking "Someday Baby""
me too - i'm embarrassed to admit i read this all the way through. what a sad little article about a masterpiece record. too bad you can't hear it.