Bob dylan blonde on blonde album lyrics
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Narcissistic illusion to change the world through his songs. Song’s “You” also subtly doubles for his imagination of his own powers of imagination, specifically the The present objectified standards that rule popular music and contemporary “folk” music.īut again, Dylan’s is no self-certain vision of his art. Why pop-music traditionalists (“daughters”) now “put me down,” which is to say, for not adhering to Or devotion to what defines his vocational effort. Or else themselves having failed to live up to their art’s spiritual potential. His once “folk” hero Woody Guthrie, have all “gone down,” their affect on others no longer relevant To him, even “my” revered precursors (“fathers”) in musical art, certainly now including The Blonde on Blonde Dylan regards this goal as an unprecedented Scene to aim for a truer if harsher mode of salvation than that proffered by accepted or trendy conventions of spirituality. This awareness of reformist futility defines the beginning point of theĭylan song, the where and when others can “ask me to/Open up the gate for you.” In effect, he asks the pop-musical The countercultural folk and rock protest songs of the period. Social standards of the so-called musical establishment, whether its Tin-Pan-Alley criteria or Moreover, his peers and their audiences unthinkingly adhere to the objectifying Subjective sine qua non of this position. Yet the “brokenĬup” image confesses the semiotic limitation mentioned in the last chapter: that his songs cannot directly convey the On an oxymoron: that he self-confidently adopts an existential stance. One can only “waitįor” his peers to follow suit and interrupt/Me drinkin’ from my broken cup.” This posture of course verges Outer and inner occurrences of “desolation,” the first principle of Dylan’s own songs. Yet Dylan sees all would-be artists who assume the role of “saviors. Given this social setting, pressures abound to use art to save or at least protest social wrongs, Political machinations leave average people suffering, such as “mothers weep”įor losing sons to wars. Social world is composed of people like “The drunken politician”: persons completely subject to the desire for To make it engage spiritual issues: “it’s not that way/I wasn’t born to lose you.” With the “you”ĭoubling as both song and its audience, “I want you” refers to his determinationĭylan then sketches how this artistic alienation has come about. With its “cracked bells and washed-out horns,” it clearly seemsīereft of creative and spiritual potential for Dylan. Scene (those “silver saxophones”) suggests that anyone who wants to take his artistic vocation seriously should Everything about the glitter and glamour of the contemporary musical While entertaining anonymous listeners in public venues. From Dylan’s perspective, even a down-and-out musical entertainer suchĪs an “organ-grinder” fares better in this light since at least he “cries” over feeling “lonesome”
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Therefore have no serious relevance for others. “The guilty undertaker sighs” because such songs exhibit only spiritual deadness and “want you” or popular 60 song itself to remain Into apprehending songs like Dylan’s in terms of familiar codes, in particular that of sexy sexual innuendo. The song concerns how rock ‘n’ roll audiences themselves become seduced Like “I Want You,” for instance, invites a conventional reading as a seduction poem, but as such hides in plain More often than not, the Dylan of this period puts pressure on his audience/other to accept its existential yield. His vocational passion and especially its discontents the sub rosa subject of Blonde on Blonde. References such as Dylan’s romantic and/or sexual contretemps with certain women?īut Dylan’s interior autobiography acts like an undercurrent thatĬontinually pulls away from otherwise more plausible, objective readings of the album’s songs. Is that the self-referential aspect to which the title alludes? Or does the album traffic in conventionally autobiographical
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Reference: code for a then type of marijuana and one drug or another arguably constitutes a leitmotif in several of the album’s Yet in exactly what sense of “autobiographical”? The title equally flirts with an in-group If nothing else, it teases one into suspecting the album’sĪutobiographical subtext. More than one critic has noted the acronym attached to the title of Dylan’sīlonde on Blonde (BOB). 1 The repetition of Vox Clamantis in Deserto