Exhuming Bob XX:

Bob And Johnny:

In Defense Of Dylan

by

R.E. Prindle

http://www.independent.ie/national-news/dylans-view-of-cash-shortchanges-legacy-1756667.html

 

     The least said, the soonest mended.

     In Dylan’s recent interview published by Rolling Stone Magazine Dylan raised his own litle fire storm.  Dylan BanjoWhatever his intent the appearance was that he was trashing Elvis Presley and Johnny Cash, both more important and stellar than himself.

     Both Presley and Cash were originators while what followed including Dylan were epigones.  Accident of time, like it or not, Dylan and the rest are derivatives.  They can never exceed their masters.  So Dylan should have retained his modesty.  However I come not to bash Bob but to defend him.

     While  I think there is a growing arrogance in his attitude as he seems to be beginning to believe his press releases, and while with Cash there may be something else going on in the background, yet, I am in sympathy with his opinion but not to the point of blackguarding Cash, I just listen to my favorites, among which is Big River, when I listen.  That isn’t too often anymore.

     One who did take deep offence to Dylan’s comments was fellow artist Joe Jackson of the pointy shoes in the Irish Times:

     … in the Rolling Stone interview, which was reprinted in last weeks Sunday Times, Bobby, Cash 1baby, finally revealed himself to be a musical illiterate, in one quintessential sense, when he stupidly dismissed as “low grade” everything Johnny Cash recorded after leaving Sun Records in 1958.

     Dylan didn’t express himself very well, but he is a sort of an authority, he was there while Joe only heard Cash well after the fact having therefore a historical perspective having probably heard the old stuff after he heard the new stuff.  Dylan was born in ’41 while Jackson was born in ’54.  It therefore behooves someone born in ’54 to be rather circumspect in criticizing the opinion of someone who was there or almost there.  I’ve got three years on Bob and was actually there at the creation.  Dylan’s taste in music is nevertheless impeccable.

     As I say, Jackson knows early Cash only in a historical sense.  Time dulls all brilliance.  No one can really

Joe Jackson at 52
Joe Jackson at 52

understand the effect of the music of Johnny Cash on the people who were there if they weren’t.

     The early Sun of Cash was volcanic, other worldly, the equivalent of five or six of those mushroom clouds over Hiroshima.  And remember, as a country artist Cash debuted in heavy traffic, the greatest of the great where reaching their apogee- that is to say Hank Snow and Webb Pierce and a host of other lesser lights but still greats.  Dylan and I both revere Hank Snow, hey little buddy?  Webb is unbelievable so into this milieu strides Johnny Cash with three or four mind stunners followed by I Walk The Line, not to mention writing Warren Smith’s Rock n’ Roll Ruby.  Now, not everybody got it at the time, you had to be hep, you had to know in your guts.  We were the congnoscenti.  Of course by Line the word was out.

     But these records of incomparable genius were as we said at the time Cash’s wad, after he shot it every thing was of a lesser quality;  even on Sun, he followed up with Ballad Of The Teenage Queen and other such drivel only for the die hards  of which I was one but I knew the best of Cash was in the past.  Dylan apparently did too but that early flowering was enough to respect Cash forever.  Dylan should have expressed himself differently.  After all it was Cash’s endorsement that opened much wider horizons to Dylan.

     Pushed by the interviewer further Dylan was quoted:

          I tell people if they are interested that they should listen to the Johnny on his Sun Records and reject all the notorious low grade stuff he did in later years.  It can’t hold a candlelight to the frightening depth of the man you have on early records.  That’s the way he should be remembered.

     That seems unduly harsh about a singer who followed his Sun hits with Ring Of Fire and many other excellent recordings although he may not have written them.  In any event Dylan’s career parallels that of Cash:  A short burst of relative genius followed by a long tedious fifty years.

     So while I sympathize with Joe Jackson’s outrage at Dylan’s inexplicable gaucherie I understand what Dylan means.  He was there and Joe Jackson wasn’t and that’s the difference, different memories.  What was it Zappa said?  Shut up and play yer guitar.

     I fondly remember both Cash’s and Dylan’s best.

Jackson 1

                                                                                              Cool Cat Jackson

Bob Dylan:

Dark As Dungeon Way Down In A Mind

by

R.E. Prindle

We’re on a bad motorcycle with the devil in the seat

Going ninety miles an hour down a dead end street.

Hank Snow

Dylan Feinstein Photo

     My correspondent replied to my post Bob Dylan The Reactionary.  An excerpt:

     Poetry is a funny thing: it bypasses the cerebral when it is best IMHO…Poetry is nonsense, making the nonsense of mortality a bit more bearable for a moment in time.

     I suppose that’s a valid reflection.  There has been some debate as to whether song lyrics are poetry.  In a lyric’s effort to condense experience into the fewest possible words my own thinking is that they are of the essence of poetry whether or not one considers them ‘true poetry.’

     I certainly carry innumerable song lyrics around in my head while very little ‘true poetry’ has had the same effect on me.  A great many of the lyrics are Country and Western and what passed for Folk.  I find references in Dylan of the same importance of favorites that I have.

     I recently ran Hank Snow’s Ninety Miles An Hour Down A Dead End Street on Rhapsody and was surprised to discover that Dylan had actually recorded a heavily edited version as a religious gospel dirge.  Don’t get the connection but if Dylan says so…

     The part of the lyric that has always struck me the most forcefully is the line:  We’re on a bad motorcycle with the devil in the seat going ninety miles an hour down a dead end street.  I apply the line to all kinds of situations including the present political quagmire.  Dylan seems to emphasize the illicit love affair.  Doesn’t really matter, the point is that that little piece of ephemera had a profound influence on us.  Dylan resurrected the song fifty years on while I use the image that appealed to me in my writing frequently.  Poetry?  Well, I think maybe.

     There are a couple of other country classics that live in my mind by Merle Travis: Dark As A Dungeon Way Down In A Mine and Nine Pound Hammer.  I always imagined those were folk songs dating back to the 1880s or something but Travis wrote as late as 1947.  The relevant quotes for me:

It’s dark as a dungeon way down in a mine

Where the wind never blows, and the sun never shines,

Where the dangers are double and the pleasures are few.

Merle Travis- Sixteen Tons

———————–

Roll on buddy, don’t you roll so slow,

Tell me, how can I roll when the wheels won’t go.

This nine pound hammer is a little too heavy

For my size, boys, for my size.

     The first quote is from Dungeon, the latter from Nine Pound Hammer.

     For myself I always gave the lyrics a psychological twist saying ‘mind’ for mine.  Roll on buddy referred to my habitual procrastination, psychological blockage preventing action.  Had problems.  Solved ’em.  Are these songs poetry?  They are in my mind.  I make all kinds of things out of them even the innocuous line:

It’s a long way to Harlan,

It’s a long way to Hazard,

Just to get a little brew. boys,

Just to get a little brew.

     I’m not thinking of booze either as in ‘My Buckets Got A Hole In It.’  Can’t buy no beer.

     I’m sure Dylan cherishes both those songs.  They’re the classics that people in the know know.  They don’t call us cognoscenti for nothing.  Roll on buddy…

     As a last example before I get to the gist of this thing is the song ‘Grand Coulee Dam written by Woody Guthrie a man I really despise- damn it.  But talent will out and while I have my prejudices I’m no bigot.  For me this lyric is as poetic as you can get.

Well, the world holds seven wonders that the travelers always tell,

Some gardens and some towers, I guess you know them well,

But now the greatest wonder is in Uncle Sam’s fair land,

It’s the great Columbia River and the big Grand Coulee Dam.

 

She heads up the Canadian Rockies where the rippling waters glide,

Comes a-roaring down the canyon to meet the salty tide,

Of the wide Pacific Ocean where the sun sets in the West

And the big Grand Coulee country in the land I love the best.

 

Uncle Sam took up the challenge in the year of thirty-three,

For the farmer and the factory hand and for all of you and me,

He said, “Roll along, Columbia, you can ramble to the sea,

But river, while you’re rambling, you can do some work for me.”

 

Now in Washington and Oregon you can hear the factories hum,

Making chrome and making manganese and bright aluminum,

And there roars the Flying Fortress now to fight for Uncle Sam,

Spawned upon the King Columbia past the Big Grand Coulee Dam.

 

In the misty crystal glitter of that wild and windward spray,

Men have fought the pounding waters and met a watery grave,

Well she tore their boats to splinters but she gave men dreams to dream

Of the day the Coulee Dam would cross that wild and wasted stream.

     Nice stuff from my point of view.  Doesn’t get any better than that.  The song gave me dreams to dream.  If you want to hear the best rendition ever by Lonnie Donegan click this:

http://www.youtube.com/watch?v=0Jc2efqj5Js

     My verdict is that good lyrics are good poetry while bad poetry doesn’t necessarily make a good lyric.

2.

     Now as to the lyrics to Highwater by Dylan that my correspondent referred me to that I discussed in the post: Bob Dylan The Reactionary.

     As the lyric touched my correspondent’s psychology I tackled the lyric from a different angle as the way I was interpreting it may not have reflected his.  For all I know this doesn’t either but I think it’s interesting.

     The lyric in question:

Well, George Lewis told the Englishman, the Italian and the Jew

You can’t open up your mind, boys, to

every conceivable point of view

They got Charles Darwin trapped out on Highway 5

Judge says to the high sheriff, I want him dead or alive

Either one, I don’t care

Highwater everywhere.

     The format Dylan uses here is that of the genre of old jokes that begins something like this:  A Protestant, a Catholic and a Jew… then moves on to the punchline.  Dylan’s presentation can be interpreted as flip so he is probably thinking of the verse as a joke.

     As I said in my previous post George Lewis represents a Black, the Englishman as Science or Darwin, the Italian Catholicism or Christianity and the Jew Judaism. Four different conceivable views that can’t be held simultaneously no matter how open you think your mind is.

     These are four crucial irreconcilable conflicts in Dylan’s mind while they probably represent the major psychological dilemma of most White or Jewish people.

     The problem is especially acute for Dylan who was indoctrinated into Jewish Lubavitcher beliefs for his Bar Mitzvah while having

Hank Snow- It Don't Get No Better

 been brought up from infancy on Hillbilly music, Country if you prefer, which is quintessential Christian music whether sung in church or honky-tonk.  Those good old boys live with their religion  even when they’re robbing banks so even with0ut going to church Dylan has a strong Christian background.  He did sing a sexual anthem like Ninety Miles An Hour as a hymn.  Ponder that for a minute.

     So Dylan has had to reconcile his dual religious beliefs seeming to have come down on the side of his Lubavitcher Judaism which is no surprise.  He then has to do something about his religious vs. scientific or evolutionary beliefs.  Darwin doesn’t go with Judaism.  He centers the problem on Darwin as Science.  Here he has made the decision to imprison or kill Evolutionary beliefs.  Dead or Alive, either way, Judge says, he don’t care.  Having eliminated Science and Christianity we have Judasim and the Blacks on the racial issue.  Dylan has subordinated himself to the Blacks on the racial issue and is willing to take the inferior position.  While he believes he has resolved these for him difficult problems they still trouble him or he wouldn’t be talking about them.  Strange.

     Why did my correspondent associate me with the verse?  He says:  Just thought of you and the line(s) for some reason.  My correspondent seems to be wrestling with Dylan’s problem himself.  As I have written on all four topics fairly extensively and I know the correspondent has read lots of my stuff I suppose the lines suggested me.  The song isn’t good poetry and not even good lyrics  but if it succeeded at least on my correspondent’s level one would have to concede that lyrics are poetry.  The better the lyric the better the poetry.  And now for a little circular logic: The better the poetry the better the lyric.

 

 

 

Exhuming Bob 13

Fit 4:

Bob As Messiah

by

R.E. Prindle

 

The most difficult thing on earth is to believe in something that is palpably untrue.  “We must respect the other fellow’s religion but only in the sense and to the extent that we do his theory that his wife is beautiful and his children smart.”

– H.L. Mencken

I become my own enemy the moment that I preach.

– Bob Dylan

dylan-gospel1 

     Religion is palpably untrue whether it be Christianity, Judaism or Moslemism.  The fundamentalist religious attitude is the enemy of reason and hence the mental development of mankind.  Such an attitude no longer has any place in society.  Nevertheless its influence lingers on like some spectre from the crypt of human consciousness.

     Part and parcel of religious fundamentalism is the notion of an external redeemer or messiah.  As the Piscean Age began society fixed itself on the notion that since individuals could not alter their behavior a redeemer or messiah would arise who would redeem their errant behavior.  While the notion was endemic in the ancient world at this change from the Arien to Piscean ages it found its purest expression among the Jews.

     While the Jews did not fix on any one exemplar as the Messiah the Western world did.  Thus Jesus became the  sole exemplar of a Messiah for them as they expectantly awaited his second coming.

     Christianity is at its bottom an offshoot of Judaism as is the later Arab edition of the Semitic religious group, Moslemism.  Both Judaism and Moslemism have a rather fluid notion of messianism.  Anyone may declare himself a messiah in Judaism as in Moslemism.  In Moslemism the messiah goes by the name of the Mahdi or Expected One.

     Over the centuries innumerable messiahs and mahdis have appeared, failed and disappeared while the Christian world of the West patiently awaited the return of its Jesus.  It’s been a long wait and it probably won’t end too soon.

     The appeal of messianism is very strong for the individual.  I would imagine that every boy with a Christian or Jewish upbringing has wondered whether he might be the embodiment of Jesus as the second coming or the Messiah to redeem the people.  As always Jewish claimants proliferate.  If he is not disabused of the notion by adolescence he could probably be found wandering around the insane asylum with the many other imitations of Christ.

     In the Eastern world such is not the case.   While weak personalities go under strong personalities may very well impress their fantasy on society although invariably with disastrous results.  Bob’s Jewish namesake, Sabbatai Zevi, was one of these who flourished in the seventeenth century.  Sigmund Freud was one in the last century.

     Naturally in the conflict between imagined anointment and actual realities a dual personality must come into existence, thus we have, for instance, Bobby Zimmerman and his alter ego Bob Dylan.  Beginning in the nineteenth century when science began to challenge societal religious fantasies dual personalities became more common or, at least, became more prominent in literature.

     Literature is full of dual personalities from the Dupin and the narrator of Poe through the Scarlet Pimpernel, Sherlock Holmes and Moriarty, Dr. Jekyll and Mr. Hyde and a much longer list.  One of the more amazing examples is Bobby Zimmerman/Bob Dylan the little Jewish kid and the quasi-Cowboy pop star.  Throughout his career Bob has wavered between the two, now one, now the other.  In the late seventies and early eighties he appeared to embrace Christianity for a few years and then abruptly returned to that of the Orthodox Lubavitcher Jew.  Just recently he passed through a Cowboy phase and now, as per this recent picture he has re-emerged as a Hebrew prophet complete with peyos and a vaguely demented look like some ancient Ezekiel or Jeremiah. (go to touchingtheelephant.wordpress.com Bob Dylan Marchin’ To The City)

     Disquisitions such as this will disturb the equanimity of religious fundamentalists.

     Will Bob now regale us with Jeremiads as he preached to us in 1980?  To find that answer one must go back to the now ancient past in the little Minnesota town of Hibbing up on the Iron Range.

     Bob’s memories of the North Country are as dualistic as his personality.  He speaks of bittler cold winters, so cold that one slept in multiple layers of clothes and summers so swelteringly hot and humid as to be in the Great Dismal Swamp.

     And then he was Jewish in what has been characterized as a predominantly Catholic town.  A small Jewish island in a sea of foreign culture.  In those postwar days when his Jews lived in trembling fear of an impossible American Nazi holocaust.   Jews hid their origins and culture as much as possible denying their religion and seeking to blend in as seamlessly as chameleons.  Thus it was as young Bobby Zimmerman entered high school.  Then in 1956 as he approached the massive front doors of his high school the Jews of the eight year old State of Israel fought a lightning war with the surrounding Arabs.  Instead of being driven into the sea sas the Arabs propesied they themselves were humiliated and driven back.  How now?  The Jews became assertive in their identity emerging to challenge the dominant culture for supremacy.  They ceased to be humble, hence, the sixties.

     Already masters of Hibbing’s retail district one imagines they began to flex their muscles without fear of gas chambers.  Foremost among them, the President of the local chapter of B’nai B’rith and the ADL, was little Bobby Zimmerman’s own father, Abram.  Abram took to smoking huge black cigars, a sure sign of aggressive manhood.

     Years later when Bob Dylan had immured Bobby Zimmerman behind walls like in Poe’s Cask of Amontillado, Bob Dylan would return to Hibbing and combine the two images of his childhood of the two Zimmermans as he sat on a motorcycle on a corner smoking an immense black cigar.  What vision of vengeance was this?  As one of his cowboy heroes, Hank Snow, sang:  I’ve got a troubled mind.

     Bob’s father Abram viewed himself as something of a Jewish scholar.  He had a bent toward the Orthodox even toward the Lubavitcher.  In 1954 as his son’s Bar Mitzvah approached he sent for a Lubavitcher Rabbi to instruct his son in the puerilities of the Lubavitcher approach to Judaism.  The Rabbi, one Reuben Maier, was undoubtedly brought to Hibbing on a one year trial contract.  When the year was up and the congregation had rejected him he left.

     In telling of his Bar Mitzvah indoctrination Bob dramtizes Rabbi Maier’s arrival as a mystery with himself as the messianic center of the mystery.  As he tells it one day a Greyhound bus ground to a stop at the Hibbing terminal; the Rabbi stepped off and said:  Where’s Bobby Zimmerman, I’m here to indoctrinate him into the Lubavitcher mysteries.  I exaggerate for effect of course but true to the spirit.  Then having taught Bobby what he was supposed to learn he reboarded the bus and disappeared down Highway 61 as mysteriously as he arrived.  It could have seemed that way to a thirteen year old.  The key point is that Bobby learned what the Rabbi had to teach.  As Bob said he taught him what he had to know.

     If the accounts are correct Bobby Zimmerman’s was the first Bar Mitzvah in town for several years and it was huge.  Four hundred or more people were in attendance.  One assumes that the loot collected was beyond the avarice of the average thirteen year old.  Bob boasted of the Bar Mitzvah for years.

     But of more importance for us is what information Rabbi Reuben imparted to Bob.  I have pointed out in Fit 2 that Rabbi Maier was associated with Rabbi Schneerson in Brooklyn, New York.  Schneerson had strong notions of the superiority of the Jew to all other peoples while having a strong notion of the messianic nature of Judaism in bringing the word of the Jewish god to the peoples.  This is absolutely undeniable and calling someone who tells the truth to you an anti-Semite will not change the truth.  Such an accusation only makes the accuser look an ignoramus.

     It would seem to follow then that Rabbi Maier could teach his young disciple nothing other than the prevailing Lubavitcher doctrines of Rabbi Schneerson.

     Indeed in later life Bob Dylan would write the symbolical song Quinn The Eskimo while after his Christian stint say words to the effect:  ‘You know what?  Things are going to fall apart and all peoples are going to run to the Jews to save them.  But, guess what,  the Jews won’t be able to do it because they haven’t lived according to the Law.’   Sounds just like the Protocols, doesn’t it, Sean?

     Now, where do you suppose Bob would pick up an idea like that?

     Enduring heavy Jewish indoctrination during his high school years Bob was also conflicted by his immersion in the dominant culture thus contributing to his dual personality.  Thus we have Cowboy Bob who listened to endless hours of Country and Western and we have Rabbi Bob using his pulpit to preach Jewish tenets, whether in Christian form or not, to what passed for his faithful.

     Starting from a low base Bob was actually to gather a following of millions as of this date.  Many if not most of them see him as either a Christian savior or a Jewish messiah.

     Young Bobby Zimmerman left Hibbing in a state of Mixed Up Confusion that it would take him decades to order as much as he ever has.

     I hope I haven’t unduly offended anyone but the fanatics to this point.  They will always scream anti-Semite at anyone who challenges their cherished fantasies.  They are religious fundamentalists and are to be scorned by any intelligent people.  Disrgard them.  Laugh at them.  If the reader will find the story anti-Semitic then all I can say is that he or she find the truth anti-Semitic.

Owls- they whinny down the night;

Bats go zigzag by.

Ambushed in shadow beyond sight

The outlaws lie.

 

Old gods, tamed to silence, there

In the wet woods they lurk,

Greedy of human stuff to snare

in nets of murk.

 

Look up, else your eye will drown

In a moving sea of black;

Between the tree-tops, upside down,

Goes the sky-track.

 

Look up, else your feet will stray

Into that ambuscade

Where spider-like they trap their prey

With webs of shade.

 

For though creeds whirl away in dust,

Faith dies and men forget,

These aged gods of power and lust

Cling to life yet-

 

Old gods almost dead, malign,

Starving for unpaid dues;

Incense and fire, salt, blood and wine

And a drumming muse,

 

Banished to woods and a sickly moon,

Shrunk to mere bogey things,

Who spoke with thunder once at noon

To prostrate kings:

 

With thunder from an open sky

To warrior, virgin, priest,

Bowing in fear with a dazzled eye

Toward the dreaded East-

 

Proud gods, humbled, sunk so low,

Living with ghosts, and ghouls,

And ghosts of ghosts, and last year’s snow

And Dead Toadstools.

Outlaws by Robert Graves.

Fit 5 follows in another post.

     Bob