Happy Passover

The Cinch Review

Passover begins today at sundown, and a very happy one is wished to all celebrating. Recently the venerable Bob Cohen sent me this link to a story by Louie Kemp on a Passover seder he shared with Bob Dylan and Marlon Brando. The story has been out there a while, but if you haven’t read it, I think you’d find it entertaining.

I will never forget the sight of our table in the synagogue, Marlon Brando was to my left and sitting next to him was his guest. This was during the height of Marlon’s involvement with Native American causes and he had brought with him noted Indian activist Dennis Banks of Wounded Knee fame. Banks was dressed in full Indian regalia: buckskin tassles on his clothes and long braids hanging down from a headband, which sported a feather. My childhood friend Bob Dylan sat to my right joined by his wife, my sister Sharon and other friends.

Addendum: And I see that Harold Lepidus has gathered together more Dylan/Passover related trivia at the Bob Dylan Examiner.

Bob Dylan in Ho Chi Minh City, Vietnam

Bob Dylan played yesterday, April 10th, in Ho Chi Minh City (formerly Saigon), Vietnam. He delivered a set list that was in keeping with the kinds of shows he’s been doing the last couple of years. Reportedly, the venue was “half-empty” (or, as one may prefer to think, half-full) but this didn’t prevent Bob from delivering a relatively rare second encore, with the song Forever Young. This is the full list of songs he played: Continue reading “Bob Dylan in Ho Chi Minh City, Vietnam”

Maureen Dowd slams “sellout” Bob Dylan in New York Times

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In a strange way, it feels almost like a victory, albeit an exceptionally perverse one. After all the writing Yours Truly has done — over the course of a sad, wasted youth — lambasting the dang “liberal media” for their persistent misportrayal of Bob Dylan as a left wing protest singer type, now we have this. In that great iconic Mother of All Liberal Media Outlets that is the New York Times, the poisonous princess of the Op-Ed page herself, Maureen Dowd, rips Bob Dylan in 2011 as a sellout (Blowin’ in the Idiot Wind). Further, she attaches herself to the notion that Bob Dylan never really was that lefty utopian true-believer he’s so often been sketched as being, but merely an opportunist who saw the folk scene of the early 1960s as providing his quickest entré to fame and fortune. Continue reading “Maureen Dowd slams “sellout” Bob Dylan in New York Times

Bob Dylan in Shanghai

The Cinch Review

The set list from Bob Dylan’s April 8th show in Shanghai is now up at Bob Links and goes as follows:

1. Gonna Change My Way Of Thinking
2. Don’t Think Twice, It’s All Right
3. Things Have Changed
4. Tangled Up In Blue
5. Honest With Me
6. Simple Twist Of Fate
7. Tweedle Dee & Tweedle Dum
8. Blind Willie McTell
9. The Levee’s Gonna Break
10. Desolation Row
11. Highway 61 Revisited
12. Spirit On The Water
13. Thunder On The Mountain
14. Ballad Of A Thin Man

(encore)
15. Like A Rolling Stone
16. Forever Young

This second set list to look at from mainland China lends some credence to the theory that he may have been prohibited from playing Times They Are A-Changin’ or Blowin’ in the Wind, and — I’m thinking — Masters of War. However, I’d continue to caution that no one has cited a specific source for any list of banned songs. I do hope that Bob Dylan’s “camp” will make the record clear at some point; perhaps when he’s safely out of communist airspace (which won’t be until he leaves Vietnam, where he plays on April 10th). Continue reading “Bob Dylan in Shanghai”

Bob Dylan in China, continued

The Cinch Review

Stories in the press continue to proliferate, implying or sometimes even asserting that Bob Dylan was prohibited from singing The Times They Are A-Changin’ or Blowin’ in the Wind by the Chinese regime, in the wake of his concert yesterday in Beijing. (Previous post: Dylan goes to China.) However, I still have yet to see anyone cite a real source for this; they seem to simply be making a guess based on his set list. Continue reading “Bob Dylan in China, continued”

Dylan goes to China: Bob in Beijing

The Cinch Review

Bob Dylan played his first gig in communist China today, having played first a few nights ago in Taiwan. By Beijing time, the gig took place last night, the night of April 6th, in a venue called the Workers’ Gymnasium. Already, some media outlets are engaged in trying to interpret Bob’s setlist; a hobby usually limited to obsessive fans with too much time on their (or our) hands. From Reuters (Bob Dylan gets rapturous reception at China concert):

Famous for his songs against injustice and for civil liberties and pacifism, Dylan struck a cautious line in Beijing and did not sing anything that might have overtly offended China’s Communist rulers, like “The Times They Are A-Changin’.”

There’s been many references to the fact that Bob Dylan’s songs had to be “approved” by the Chinese regime in advance — and there’s no question that they do employ those tactics with foreign entertainers — but I don’t know that anyone has concrete evidence of any songs he was ordered not to sing. So the above kind of thing is speculative. Continue reading “Dylan goes to China: Bob in Beijing”

Daily Mail Deserves Raspberry for Bob Dylan “Story”

The Cinch Review


The story in the Daily Mail contains undated photographs of Bob Dylan, said to be taken recently outside of a synagogue in Los Angeles, California. Fine: Dylan visited a synagogue. Those interested in the subject are aware that Bob makes observances of this kind, and good for him. However, the bulk of the story seems without source or evidence, and is really just a cheap violation of Dylan’s privacy. Continue reading “Daily Mail Deserves Raspberry for Bob Dylan “Story””

Tomorrow Is a Long Time

The Cinch Review

Consider it a palate cleanser, if you will, after that last thing on Rebecca Black and Friday. The clip below features a lovely take on Bob Dylan’s song, Tomorrow Is a Long Time, courtesy of our friends the Higher Animals.

Friday: Bob Dylan covers Rebecca Black

The Cinch Review

I guess this is too funny to let pass; that is, Bob Dylan’s cover version of Rebecca Black’s, er, song, Friday — if anyone hasn’t yet seen it. [Update: Yes, I know it’s not actually Bob Dylan.]

To get it you need to endure at least a minute of Rebecca Black’s original. It takes the genre of prepubescent pop to a new level of utterly inane and maddening atrociousness. (But it’s not nearly as good as I’m making it sound there.) Continue readingFriday: Bob Dylan covers Rebecca Black”

Saint Patrick’s Day: One Irish Rover

The Cinch Review

Lá Fhéile Pádraig sona duit.

It came as news to me today that there are now (unofficial) Van Morrison clips on YouTube again. Perhaps only for a time, although the one below has been there for five months. It’s an acoustic duet with Bob Dylan on Van’s song, One Irish Rover. Done for a British documentary show in the 1980s, it’s very rough, but has a certain sweet quality.

Tell me you see the light
Tell me you know me
Make it come out alright
And wrap it in glory
For one Irish rover

Originally from ornery ol’ Van’s rather sterling long playing record: No Guru No Method No Teacher

Bob Dylan: Approved to play in China

The Cinch Review

Having just asserted in a different venue that I’m not going to try to keep up with everything happening in the Dylan universe anymore, this story nevertheless requires follow-up. It is now reported that the Chinese Ministry of Culture has approved two Bob Dylan concerts to take place in April, one in Beijing and one in Shanghai.

The official Bob Dylan website has not confirmed these as of writing, but everything else seems now to indicate that they will take place — and I’m guessing the same will be true for the proposed shows in Taiwan and in Vietnam. Continue reading “Bob Dylan: Approved to play in China”

Masked and Anonymous

The following is a passage from Abraham Joshua Heschel’s deeply inspiring book, Man Is Not Alone.

God is unwilling to be alone, and man cannot forever remain impervious to what He longs to show. Those of us who cannot keep their striving back find themselves at times within the sight of the unseen and become aglow with its rays. Some of us blush, others wear a mask. Faith is a blush in the presence of God.

Some of us blush, others wear a mask which veils spontaneous sensitivity to the holy ineffable dimension of reality. We all wear so much mental make-up, we have almost forfeited our face. But faith only comes when we stand face to face — the ineffable in us with the ineffable beyond us — suffer ourselves to be seen, to commune, to receive a ray and to reflect it. But to do that the soul must be alive within the mind.

Responsiveness to God cannot be copied; it must be original with every soul. Even the meaning of the divine is not grasped when imposed by a doctrine, when accepted by hearsay. It only enters our vision when leaping like a spark from the anvil of the mind, hammered and beaten upon by trembling awe.

I noted that particular passage for its (pre-)echo of Bob Dylan’s concept of humans as beings who go around wearing masks, as in his 2004 film. However, it is galvanizing and soaring writing irrespective of any Dylan echoes. And that applies to every page of the book. Quite amazing.

West of the Jordan, East of the Rock of Gibraltar

It sure is a Groom’s Still Waiting at the Altar kind of time, looking out on the Middle East, with regime’s crumbling, protesters being machine-gunned, buildings burning, blood flowing.

Prayed in the ghetto with my face in the cement
Heard the last moan of a boxer, seen the massacre of the innocent
Felt around for the light switch, felt around for her face
Been treated like a farm animal on a wild goose chase

West of the Jordan, east of the Rock of Gibraltar,
I see the turnin’ of the page, curtain rising on a new age
I see the groom’s still waiting at the altar

I had no idea that there were versions of Groom’s Still Waiting At the Altar by Elkie Brooks and by Rod Stewart, but I found them on YouTube this morning. Arguably better than either of those, however, is the one embedded here by a combo calling themselves Ultimate Outlet.

It’s a time to watch and wonder from afar, with a certain amount of hope and not a little fear. Each challenge to the aged ruling despots spurs more challenges elsewhere, and the violence which the regimes employ against the protesters seems only to multiply the rage and the strength of the rebellions. (Iran being a very notable exception, to date. Notable also is that Iran is an explicitly theocratic and Islamic tyranny, unlike the ones which are falling.) I’m firmly on record in the past supporting the freedom agenda for the Middle East which the Bush administration initiated and pushed, albeit falteringly. But no one quite envisaged things falling apart so quickly as this. It’s pretty hard not to take satisfaction in seeing long-oppressed peoples overthrowing their cadaverous tyrants, but the great unanswered question is in how many of these countries — if any — will the next chapter actually be one of freedom and of peace? No one knows the answer to that. The list of reasons to be pessimistic is long. And the stakes are high, not only for the citizens of those countries, but for their neighbors and the world. Maybe the most appropos Dylan line is this one: Hang on to me, baby, and let’s hope that the roof stays on.

On Turning the Other Cheek: Bob Dylan et al

Today, many Christian churches following the most common Lectionary would have featured a particular segment of the Sermon on the Mount as the Gospel reading: namely Matthew 5:38-48. This is the part which includes Jesus’ admonition to his followers to “turn the other cheek” in response to being slapped in the face, which is one of those sayings of Jesus which has entered the lingo of believers, unbelievers and … just about everyone else too.

Interestingly, it seems that it is a relatively rare occurrence for this reading to be so featured. It appears this year because of the nature of the liturgical calendar: the season of Epiphany is unusually long this year, and so today was the seventh Sunday after Epiphany, and the Lectionary for Year A is in effect (versus B or C). As a result many preachers may have found themselves addressing this famous text in depth from the pulpit for the first time.

Of-course there were ways to sidestep that too. Some preachers could have chosen to speak to one or other of the first two readings of the day, from chapter 19 of Leviticus or chapter 3 of First Corinthians. And then some of the faithful out there might have the bad luck — in my view — to attend a church where the preacher speaks mostly of things other than Holy Scripture; politics, for instance. And in some other places, including a few that reside in my memory, a cutesy story and a rundown of upcoming parish events generally suffices as a homily.

No doubt you can find some sermons given today online which address the difficult “turn the other cheek” instruction fairly head-on. One such indeed is this sermon on Matthew 5:38-48 (pdf).

In exploring the subject, the preacher in that text compares Martin Luther’s rather fiercely pragmatic take on Jesus’ words with the more literal angle of the early church figure St. John Chrysostom. Chrysostom is quoted explaining why he believes we really should turn the other cheek when struck by an enemy:

“What then?” it is said, “ought we not to resist the evil one?” Indeed we ought, but not in this way, but as He hath commanded, by giving one’s self up to suffer wrongfully; for thus shalt thou prevail over him. For one fire is not quenched by another, but fire by water.

Now — I’m conscious of some sad irony in proceeding from mentioning Martin Luther and St. John Chrysostom to then invoking Bob Dylan (as I’m about to) because the legacies of both of those aforementioned men are marred by anti-Jewish sermons or writings to one extent or another. That’s beyond just a shame, but nevertheless their stature in Christian history rests on the positive aspects of their preaching rather than those things which they got so terribly wrong.

The fact is, Chrysostom’s angle on turning the other cheek to an enemy (“for thus shalt thou prevail over him”) happened to remind me of a remark Bob Dylan made in an interview (with Bill Flanagan in 1985) when he commented on that same instruction. In context:

Q: “Masters of War” is a very harsh song: “I’ll stand o’er your grave ’til I’m sure that you’re dead.” “Neighborhood Bully” is equally hard, yet a lot of critics expressed surprise at its militancy. I don’t understand why so many people assume you’re a pacifist. The critic Mark Rowland said you were always more concerned with justice than politics.

DYLAN: (Laughs.) Yeah. I don’t know why people choose to think whatever they think. Is pacifism a philosophy? I’m not really sure what it is.

Q: If someone strikes you, you turn the other cheek.

DYLAN: That’s not pacifism, though. Turning the other cheek is an aggressive move, actually. There is some strategy where if someone pushes on you, you can go with their push and make their strength work against them.

So Dylan dismisses pacifism while at the same time suggesting that turning the other cheek to an enemy can be a way of somehow vanquishing him.

As a practical matter, I think that we could all conceive of scenarios where that could be true, where an aggressor could be disconcerted or shamed by such a response, even to the point of defeat. It has happened. In some context, I don’t doubt that it happens every day. I think the trouble is that we can also conceive of enemies who are incapable of shame and would simply be glad of the chance to take advantage of such acquiescence on the part of their intended victims. This especially applies to those who believe their targets to be sub-human, and therefore undeserving of sympathy in any event; e.g. the Nazis of the past and the Islamic jihadists of the present — not to mention the individual sociopath one might encounter about town. For Christians, Jesus’ words must be believed and grappled with but for most of us they also must surely remain something of a mystery and even a quandary. The final part of that passage from Matthew is this sentence from Jesus: You therefore must be perfect, as your heavenly Father is perfect. On its face, this jaw-dropping instruction flies in the face of so much else in Scripture and in theology; humans are not perfect and are not God. Yet, the instruction is there in black and white, and Jesus is believed by Christians to be the one man who lived up to it. (You might say He practiced what He preached …)

Getting back to Dylan, an interesting fact is that he also addressed this “turn the other cheek” instruction in a song, and in a similar sense to the way in which he addressed it in the interview. But the song is not from his “gospel era,” but rather from 1965 (his amphetamine era?). It’s a verse from Queen Jane Approximately.

Now when all the bandits that you turned your other cheek to
All lay down their bandanas and complain
And you want somebody you don’t have to speak to
Won’t you come see me, Queen Jane?

So, the singer imagines the bandits who are attacking Queen Jane reaching a point of frustration, because she keeps turning the other cheek. They take off their bandannas and complain to her. Please — can’t you just act like a proper victim? In the context of the song it’s essentially a joke, at least to this listener, but it’s a resonant and insightful one nonetheless. It comically envisages how turning the other cheek can flummox or defang an adversary. Even aged 24, Bob innately knew what turning the other cheek could mean, or could achieve, as distinct from mere submission. I think that’s noteworthy.

I can’t finish without mentioning that Dylan also references the same phrase from Jesus in his 1981 song Angelina.

Do I need your permission to turn the other cheek?
If you can read my mind, why must I speak?

Aside from observing that that particular couplet has the quality of a prayer, I’m not going to try to interpret it. I love listening to the song, but Angelina is such a swirling maelstrom of images and emotions that I’d be afraid of getting irretrievably lost in trying to figure it out.

I guess there are some songs to which you just have to turn the other cheek.

Irving Berlin, Bob Dylan, and Black Keys


Thanks to reader Richard who e-mails that he’s been reading a book called A New Literary History of America, and came across this in an article by Philip Furia on Irving Berlin:

While he had started out as a lyricist, Berlin soon began composing music as well. He had taught himself to play on the Pelham Cafe piano, but he could only play in the key of F-sharp, which consists largely of black keys. Eventually he would purchase a transposing piano, which allowed him to play in a single key and then, with the flip of a lever, hear how a melody sounded in other keys.

Furia goes on to say that Berlin’s song Alexander’s Rag Time Band “redefined the nature of American popular songs.”

I searched around and found more Continue reading “Irving Berlin, Bob Dylan, and Black Keys”

Just a Reading of the Constitution

About ten years ago, in the summer of 2001, Bob Dylan said this in an interview with Robert Hilburn of the LA Times:

I am not a forecaster of the times. But if we’re not careful, we’ll wake up in a multinational, multi-ethnic police state — not that America can’t reverse itself. Whoever invented America were the greatest minds we’ve ever seen, and [people] who understand what the Declaration of Independence and the Bill of Rights are all about will come to the forefront sooner or later.

This morning on the floor of the U.S. House of Representatives, the U.S. Constitution is being read aloud, by way of a symbolic beginning of this 112th Congress. Amazingly enough, this is the first time this has occurred in the history of the United States.

Now, this act is obviously not the end of anything, and it doesn’t mark Continue reading “Just a Reading of the Constitution”

Last Words on Retirement from Bob Dylan

Keith R. writes, in relation to this retirement debate, that he’s surprised no one has mentioned the 60 Minutes interview which the late Ed Bradley did with Bob Dylan from 2004:

Ed asks him, in so many words, why Bob doesn’t retire. Bob made a deal with the Chief Commander on this Earth and in the World We Can’t See, he says. It’s all in the cards. He can’t retire, wasn’t part of the deal.

The article [on whether Dylan should retire] – and most of the responses that I’ve seen – seem very tied to this world that we can see, but isn’t Bob one of the great messengers between this world and that world we can’t see? Isn’t that one of the reasons we love him? and one of the reasons he can’t retire?

I think that Keith is right in every respect. It’s funny — this exchange didn’t even occur to me in the context of the retirement discussion, even though it’s the “infamous” one which a few freakazoids out there claim as proof that Bob sold his soul to the Devil. The clip is below along with the transcription:

Bradley: … you’re still out here doing these songs, you’re still on tour ..

Dylan: I do, but I don’t take it for granted.

Bradley: Why do you still do it — why are you still out here?

Dylan: Well, it goes back to the destiny thing. I made a bargain with it a long time ago and I’m holding up my end.

Bradley: What was your bargain?

Dylan: To get where I am now.

Bradley: Should I ask who you made the bargain with?

Dylan: With the — you know, with the Chief Commander.

Bradley: On this earth?

Dylan: On this earth and in the world we can’t see.

People with more than one hundred active gray cells know that when Bob says “the Chief Commander” that he is referring to God, and not to Satan. So, there’s Bob Dylan’s own explanation of why he continues to tour. Why people choose to continue to buy tickets and go see him is up to them — I think we’ve heard enough eloquent testimonies as to why they do.

Another quote from Bob that could figure into this is one he gave to Jon Pareles in the New York Times, when talking in 1997 about the writing and recording of Time Out of Mind:

“Environment affects me a great deal,” Dylan says. ”A lot of the songs were written after the sun went down. And I like storms, I like to stay up during a storm. I get very meditative sometimes, and this one phrase was going through my head: ‘Work while the day lasts, because the night of death cometh when no man can work.’ I don’t recall where I heard it. I like preaching, I hear a lot of preaching, and I probably just heard it somewhere. Maybe it’s in Psalms, it beats me. But it wouldn’t let me go. I was, like, what does that phrase mean? But it was at the forefront of my mind, for a long period of time, and I think a lot of that is instilled into this record.”

Well, I have an idea where Bob heard it. I don’t think it’s in the Book of Psalms, but rather a paraphrase of the words of Jesus from the Gospel of John, chapter 9, verse 4:

I must work the works of him that sent me, while it is day: the night cometh, when no man can work. (John 9:4, King James Version)

Is Dylan comparing himself to Jesus? Well, it would hardly be the first time! But clearly it’s a good maxim for anyone to live by. And it seems that more modern and presumably more accurate translations have that verse this way:

We must work the works of him who sent me while it is day; night is coming, when no one can work. (John 9:4, English Standard Version)

Beginning with the word we effectively makes that statement into a commandment, and it seems that Bob has quite appropriately internalized it as such.

I’ve written often enough before on the ways in which Dylan, by playing his music, is ultimately doing the Lord’s work (like here) so no need to get into all that again today.

Christopher Hitchens on Ricks, Bob Dylan and Bach


In a previous post I mentioned the writer Christopher Hitchens, who is suffering from some serious cancer, and posted a clip of an interview with him which was bookended by Bob Dylan’s song “Gates of Eden.” Thanks to Sue who responded with a note titled “The Two Christophers”:

Just recently finished Christopher Ricks’ “Dylan’s Visions of Sin” – on your recommendation. A very interesting book and, thankfully, very easy to read. I fairly raced through it. Two things i particularly liked about Ricks was firstly his unwillingness to belittle Dylan’s faith – and at the same time speak quite rightly about the hypocrisy of those who did; and his digs at the “works” of Michael Gray and his ilk. Fascinating stuff.

On the subject of Christopher Hitchens…. I too like him a lot, but tend to agree with him on a lot of things. It was a shock to see him in that clip. I hadn’t heard of his illness and the last time I saw him was looking his usual self on The Daily Show. It so happens I’m reading “Hitch-22” at the moment – and also racing through it – and found a quote regarding Christopher Ricks that may interest you.

Hitchens speaks about how, at a meeting of his school Poetry Society, he was first urged to listen to this Bob “Dillon” person and soon became hooked:

“…I’ve since had all kinds of differences with Professor Christopher Ricks, but he is and always has been correct in maintaining that Dylan is one of the essential poets of our time, and it felt right to meet him in the company of Shelley and Milton and Lowell and not in one of the record shops that were then beginning to sprout alongside the town coffee bars.”

Perhaps that explains for you the choice of music for the clip…

It’s interesting that Hitchens makes that tribute to Christopher Ricks. Professor Ricks’ book, Dylan’s Visions of Sin, got generally favorable reviews as I recall, along with some bemused ones, but Hitchens himself actually gave it a pretty brutal treatment in the Weekly Standard. I looked that review up to refresh my memory as to what bones he had to pick with it. Perusing it again, I personally think his chief problem with the book came down to not being able to take Ricks’ playful and in a way quite guileless sense of humor.

Be that as it may, in looking up that article I also came across a so-called “Proust Questionnaire” that Hitchens answered in the pages of Vanity Fair, just a few months ago (but before his cancer diagnosis — which inevitably imparts a degree of irony to some of the answers). To the question of who is his favorite musician, Hitchens answers: “J. S. Bach, Bob Dylan.” Solid choices, albeit that he’s cheating by choosing two, but I think that’s entirely appropriate in order to cover both classical and popular music.

However, his choices also raise a question, which has surely been raised before regarding these recent highly-vocal advocates for atheism (the most high-profile being Christopher Hitchens and Richard Dawkins). The question is this: How many of them would really like to live in a world where everyone agreed with them that there was no God (or that if there was a God that he must be either evil or entirely unknowable)? It’s hard to figure what kind of music J.S. Bach and Bob Dylan would have made had they been without any belief in God (and not just in any god, but the particular God of the Bible). I have to honestly doubt that in such a scenario Johann’s and Bob’s music would have achieved that transcendent quality necessary to have earned them this selection by Christopher Hitchens as his favorite musicians on his Vanity Fair questionnaire.



Of-course many atheists or agnostics are smart enough to acknowledge this; i.e. that while they themselves may not find any reason for faith, they are grateful that many others can, not only for the value that faith has brought to things artistic, but for what it has meant for the ordering of human society, and in particular what the Judeo-Christian bedrock has meant to Western societies.

This is as opposed to those now ubiquitous voices who blame “religion” for “causing all the wars,” blindly ignoring what are by far the bloodiest death tolls of all history, which are those that came as a result of the anti-God ideologies of Communism and Nazism.

Spirit on the Water: A Return to Paradise

Bob Dylan’s song “Spirit on the Water” from his album Modern Times has been mentioned a few times on this website. It’s difficult for this listener to hear the tune any other way but as a kind of playful love song to God, or perhaps more interestingly as a playful dialogue between the creature and the Creator. I don’t think there’s any need (and at any rate this writer doesn’t have the appetite) to go down line by line and impose a rigorous interpretation. Each time I hear the song I hear something a little different, and that’s one of the great joys of Dylan’s work, after all.

One verse that has gotten close attention here previously, however, is the penultimate verse, the lyric of which goes like this:

I wanna be with you in paradise
And it seems so unfair
I can’t go to paradise no more
I killed a man back there

This gets one thinking just because it seems wrong, or seems like a puzzle demanding to be solved. On the face of it, if the singer is talking about joining God in heaven, then why is he saying that it’s impossible for him to do it, due to the killing of a man? It is biblically pretty much beyond question that even murder does not put one beyond God’s capacity for mercy and for love (though far be it from my intention here to unduly promote the behavior). And how could the singer have killed a man in paradise, anyway?

Well, some time back, a reader named Kim wrote and suggested a really neat way of hearing this verse. She suggested that Bob might be referring to an actual Earthly place named Paradise, e.g., Paradise, Texas (pop. 459). This opens up a new and amusing interpretation; basically, this involves hearing it as a pun which the singer is making to his Creator. He’s saying, “I want to be with you in paradise,” as if making a straightforward prayer, and then comically mourning the fact that he can’t go back to Paradise (the town) because he shot a man there — something that maybe only God knows; i.e., it’s like a private joke between them. Of-course, I’m destroying all possible humor in it by spelling it out, but it fits both because we know how much Dylan loves even the silliest-seeming puns and because we also know how he enjoys Western motifs.

So that’s one way of understanding the verse.

However, another reader, recently coming across the post where that idea was discussed, suggests an alternative understanding. Thanks to Kent for his e-mail:

I saw elsewhere on your site where one reader proposed the idea that the line: “I can’t go to paradise no more; I killed a man back there…” Was referring to Paradise as a town, perhaps in Paradise, TX, etc…

May I also make another proposal: Is it possible that in said line, “Paradise” could be referring to the fleshly desires of the old man, aka sinful nature, and Mr. Dylan is saying that it seems unfair, but he can’t go to “paradise” no more (returning to the sinful nature) because he “killed a man back there,” meaning he put to death the misdeeds of his own body when he became “crucified with the Messiah,” upon his salvation through Him?

That’s a fascinating idea. I honestly think that something like it has flitted through my own mind on listening to the song, but I never stopped to put it into words for myself. The reference would be to the New Testament, and St. Paul in Romans, chapter 6. Here’s part of where he writes on the concept of “dying with Christ” beginning at verse 6 (ESV):

We know that our old self was crucified with him in order that the body of sin might be brought to nothing, so that we would no longer be enslaved to sin. For one who has died has been set free from sin. Now if we have died with Christ, we believe that we will also live with him. We know that Christ, being raised from the dead, will never die again; death no longer has dominion over him. For the death he died he died to sin, once for all, but the life he lives he lives to God. So you also must consider yourselves dead to sin and alive to God in Christ Jesus.



So, with this in mind, when the singer refers to the fact that he “killed a man back there,” he’s actually referring to the death of that self which was enslaved to sin. This is very interesting and resonant indeed. The idea of paradise as a metaphor for that life enslaved to sin is not as obvious, but, on the other hand, total indulgence of one’s sinful desires can appear like a temptation of paradise. And who on this Earth isn’t sometimes guilty of mistaking paradise for that home across the road?

At a minimum, it’s another fruitful area of reflection to throw into the mix. It’s an illustration of how even the problematic or difficult-to-interpret lines in some of Dylan’s songs of faith can make their contribution simply by compelling one to ponder what they might mean.

Some might say that’s giving way too much leeway to a songwriter who is not getting across his point with sufficient clarity — but around these parts, we just call it a normal day.

Bob Dylan Obit

There’s an exceptional article on Dylan — in particular latter day Dylan — written by Robert Roper, in an online magazine called Obit today. Thanks a lot to Karen for the link. It’s called Bob Dylan: Together Through Life.

While the Baby Boomers were busy building their ordinary lives, buying vacation homes and packing their IRA’s with ready dough, then getting foreclosed on a lot of those houses and seeing a third of the value of their pensions disappear overnight, Dylan was off somewhere shaking his head, sucking an eye-tooth, pulling at that mean little moustache he wears these days. He’s not surprised. Bad news is to be expected. Life is about harm, the collapse of hope; and then, at the very end, that unavoidable date with the Reaper. Whoopee! Thanks a lot, Bob! We needed to hear that.

Actually, many of us did, and do. When Dylan says it, it stays said. The credibility he enjoys is enormous among a certain demographic; he is the most honored American songwriter of our time, and by virtue of the prominence of American cultural product in the world, the most honored and influential songwriter on earth. Among Americans and Europeans and South Americans and Russians and South Africans and Israelis and Norwegians he enjoys the status that two centuries ago was accorded the preeminent poets – he is the Keats, Shelley, and Wordsworth of our time, our Emerson, Dickinson, and Whitman, and our Auden and Neruda and Mandelstam to boot. He has fulfilled for nearly 50 years the classic functions of the seminal poet, that is, to register his times in vivid and memorable words, and to prophesy.

It’s appropriate that an unusually perceptive article about Bob would appear in a publication that is devoted (I take it) to death, from various angles. The way in which Dylan’s work has always faced up to “death’s honesty” is arguably the single most distinguishing characteristic of it, in the context of the last fifty years of pop culture. That alone has qualified it to be called prophetic.

Of-course, one can in a certain sense “face” death’s honesty and come up with nihilism — and many have done just that and still do — but another distinguishing characteristic of Dylan’s work is that this is not his conclusion. It’s not the taste left on one’s lips after consuming his songs. He once joked back in some 1960s interview that all his songs end with: “Good luck, hope you make it.” In actuality, they do. “Everything’s collapsing, the world is depraved, you can’t trust anyone, you’re gonna die … hope you make it!” The question is what making it really means.