Tag Archives: Bob Dylan

Bob Dylan at Americanarama: The Never Ending Tour Lives On

18 Jul
Bob Dylan Americanarama 7-12-13 at Toyota Park2

The man himself.
Photo taken by Joshua Mellin


“Tell Bob…I’ve given him a lot of money over the years,” my dad said, wishing me well just hours before my first Dylan concert. Last Friday, I followed in my dad’s footsteps, dropping a good chunk of change to see a legend in the flesh. Fresh off my intensive Dylan research, I wasn’t quite sure what to expect. Would he be hiding behind a hat and wig? Would he mumblingly phone it in? Will all his songs be unrecognizable to me? Continue reading

Advertisements

The Bloody Beast in Its Tracks: Divorce Through The Eyes of Bob Dylan and Josh Ritter

1 Jun
Bob Dylan "Blood on the Tracks" vs. Josh Ritter's "The Beast in Its Tracks"

Two Men. Two Divorces. Two Albums.


Nearly 40 years separates the release of Bob Dylan’s Blood on the Tracks and Josh Ritter’s The Beast in Its Tracks, but the themes are still familiar: divorce, heartbreak, introspection, and cautious optimism about new love.

I was raised on a timeless mishmash of Dylan’s greatest hits, so it wasn’t until recently digesting his discography that I heard Blood on the Tracks in its entirety. It’s a phenomenal album, but I couldn’t stop comparing it to Ritter’s The Beast in Its Tracks, which came out only a few months ago. The two albums portray men at roughly the same age (Dylan at 35; Ritter at 36) reacting to their crumbling marriages and starting their lives anew. Continue reading

Authenticity is a Rolling Stone: Bob Dylan Defines Hip for a Generation

9 May
1960s Bob Dylan Embodies Cool

“He has a visionary’s eyeball that could x-ray all that was corrupt and phony, and who knows what he sees when he looks at you.” -Dalton
Image from soundonsound.com


“He has to have the oldest, most authentic songs. He begins a rabid, quasi-spiritual quest for the obscure, the rare, the core sound.” -David Dalton

“This was the Beat ideal—a community of intellectual outsiders. But it was an ideal that the mass bohemianism of the ‘60s would blow up and wreck because, for one thing, it wasn’t going to be a secret too much longer, and it wasn’t the small elite group of insiders anymore. Two, three, years, it would all be gone. And Bob would be one of the major causes of its demise.” -David Dalton

If anyone embodied authenticity or the ephemeral concept of “IT” in the 1960s, it was Bob Dylan. David Dalton shines a light on Dylan’s hipster persona (among his many others) in Who is that Man? In Search of the Real Bob Dylan. He reveals Dylan as a vehicle for the pop-culturification of the Beat movement (frequently comparing him to Kerouac, both in literary style and lifestyle), and also exposes, yet again, the sheer unsustainability of Beat ideals. Continue reading

Who is that Man? David Dalton Explores the Many Faces of Bob Dylan

5 May
David Dalton Who is That Man Book Cover

Book Cover
Image from thenervousbreakdown.com


I just couldn’t get through Chronicles.  As a high-schooler and burgeoning Dylan fan, I was just looking for a true story behind the music. But I was quick to learn that when it comes to Dylan, there will never be a concrete truth, and the story you’re looking for is not going to be the story you’re going to get.

Enter David Dalton with Who is That Man? In Search of the Real Bob Dylan. This comprehensive Dylanography gave me many of the truths I sought as it taught me which truths to give up searching for. Continue reading

No Mercy: Gonzo Journalism on a Failed Revolution

4 Apr

This post contains part IX of my senior capstone paper, Speed Limits: The Formation, Dissemination, and Dissolution of the Counterculture in American Literature 1951-1972. Click here to view a full list of works cited. Click here to view all sections of the paper.

Ralph Steadman's take on Hunter ThompsonImage from Examiner.com

Ralph Steadman’s take on Thompson
Image from Examiner.com


Thompson’s writing exposes the inherent hypocrisies of the counterculture movement and helps explain why, only four years after the hope and rage of 1968, the movement had become a washed-up mockery of itself—and inadvertently paved the way for a conservative revolution. Suri points out that “the counterculture’s mainstream roots raised expectations for extensive political reform, but those expectations were ultimately a victim of the coercive leverage exerted by the figures who dominated the mainstream […] Rapid political change required something much more akin to social revolution than what the international counterculture could offer” (Suri 53). The leaders of the counterculture ended up as corrupt and manipulative as the mainstream political figures they railed against—instead of coercing followers into racist status-quos and unnecessary war, they instead lead them into extreme indulgence and a near-deadly narcissism.

Thompson expresses disappointment with the so-called leaders of the counterculture movement, especially the great Chief himself, Ken Kesey: “Tune in, freak out, get beaten. It’s all in Kesey’s Bible. . . . The Far Side of Reality” (Thompson 89). Throughout Fear and Loathing Thompson provides an echo to the Pranksters’ final refrain—“WE BLEW IT!”—and adds to the mix his own interpretation of the consequences. After the worldwide civil unrest of 1968, government leaders “rebuilt their authority around commitments to restore rationality, reasonableness, and domestic peace” (Suri 63). Needless to say, calls for “law and order” were immensely appealing to the “silent majority” of Nixon voters who lived in dread of the violent chaos that the countercultural movement had come to represent. Thompson writes from a place of disillusionment as he grapples with the fact that the movement he once believed in has been left flailing and leaderless while a conservative climate of fear and loathing had taken hold of America. Continue reading

The Undisguised Menace: Participation as Protest

2 Apr

This post contains part VIII of my senior capstone paper, Speed Limits: The Formation, Dissemination, and Dissolution of the Counterculture in American Literature 1951-1972. Click here to view a full list of works cited. Click here to view all sections of the paper.

The counterculture in its death throesImage from Fark.com

The counterculture in its death throes
Image from Fark.com


One individual who was profoundly influenced by the traumatic downfall of the hippie movement—crystallized by such tragic events as the 1968 Democratic National Convention and Kent State—was Hunter S. Thompson. He describes the general cultural malaise of the early 1970s in this way:

But what is sane? Especially here in “our own country”—in this doomstruck era of Nixon. We are all wired into a survival trip now. No more of the speed that fueled the Sixties. Uppers are going out of style. This was the fatal flaw in Tim Leary’s trip. He crashed around America selling “consciousness expansion” without ever giving a thought to the grim meat-hook realities that were lying in wait for all the people who took him too seriously. (Thompson 178).

Thompson’s writing gives voice to a segment of the counterculture that was left completely disillusioned and disaffected at the end of the sixties. He also represents a unique manifestation of the outlaw figure in popular culture; Hunter Thompson not only embraces the outlaw lifestyle of restlessness, lawlessness, and drugs, but he seems to have built his entire career on those very premises.

However, Thompson’s illegal exploits do not relegate him to the outskirts of society like Dean Moriarty or to exile like Ken Kesey. Thompson’s popular success as a countercultural, outlaw journalist comes to signify the final step in American society’s absorption of countercultural ideals. The countercultural drive for authenticity had irreversibly changed American culture, but the results were far stranger than anyone could have imagined. At the time of its serial publication in Rolling Stone magazine in 1971, Fear and Loathing in Las Vegas simultaneously railed against mainstream culture and counterculture as it exposed the wretched consequences of both cultures’ excesses and hypocrisies. Continue reading