I was surprised, but pleased, to find that the late Lawrence Auster, traditionalist conservative, photo above, 1973, had a deep appreciation and a wide-ranging knowledge of Dylan's art. Born in 1949, Auster is generationally situated for that appreciation, and as late as '73 was still flying the '60s colors, if we can go by the photo, but age is not even a necessary condition for digging Dylan, as witness the case of Thomas Merton (1915-1968) who was early on into Dylan and Baez. Auster's Jewishness may play a minor role, but the main thing is Auster's attunement to Dylan's particularism. See the quotation below. Herewith, some Dylan songs with commentary by Auster.
The Band, I Shall Be Released. Auster comments:
This Dylan song can seem amorphous and mystical in the negative sense, especially as it became a kind of countercultural anthem and meaningless through overuse. But the lyrics are coherent and profound, especially the first verse:They say everything can be replaced
They say every distance is not near
But I remember every face
Of every man who put me here.The modern world tells us that everything is fungible, nothing is of real value, everything can and should be replaced—our spouse, our culture, our religion, our history, our sexual nature, our race, everything. It is the view of atomistic liberal man, forever creating himself out of his preferences, not dependent on any larger world of which he is a part. The singer is saying, No, this isn’t true. Things have real and particular values and they cannot be cast off and replaced by other things. And, though we seem to be distant, we are connected. I am connected to all the men, the creators and builders and poets and philosophers, and my own relatives and friends, who have come before me or influenced me, who created the world in which I live.
First off, some comments of mine on the video which accompanies the touched-up Blonde on Blonde track. The video is very cleverly constructed, providing a synopsis of milestones in Dylan's career. The first girl the guy with the acoustic guitar case is walking with is a stand-in for Suze Rotolo, the girl 'immortalized' on the Freewheelin' Bob Dylan album cover. But now we see the pair from the back instead of from the front. She is replaced by a second girl representing Joan Baez. (Dylan's affair with Baez helped destroy his relationship with Rotolo.) Then the guy gets into a car and emerges on the other side with an electric guitar case. This signifies Dylan's going electric in '65 at the Newport Folk Festival, a change which enraged the die-hard folkies and doctrinaire leftists who thought they owned Dylan as a mouthpiece for their views. A quick shot of a newpaper in a trash can with the headline "Dylan Goes Electric" appears just in case you missed the subtlety of the auto entry-exit sequence. After that we see a downed motorcycle representing Dylan's motorcycle accident, an event that brings to a close the existentialist-absurdist-surrealist phase of the mid-60s trilogy, Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde. After the accident Dylan is further from the mind and closer to the earth. Dylan the psychedelically deracinated returns to his roots in the Bible and Americana with John Wesley Harding. The girl in the brass bed is an allusion to "Lay Lady Lay" ("lay across my big brass bed") from the Nashville Skyline album. Dylan then coalesces with the man in black (Johnny Cash), and steps over and through the detritus of what remains the hippy-trippy 60's and into the disco era, his Christian period, marked by the 1979 Slow Train Coming and a couple of subsequent albums, his marriage to a black back-up singer, and on into the later phases of the life of this protean bard on a never-ending tour.
Here is what Auster has to say about the song:
By the way, that’s the first time I’ve seen “judge” rhymed with “grudge” since Bob Dylan’s “Most Likely You Go Your Way (And I’ll Go Mine),” from Blonde on Blonde. Here’s the recording.
Dylan’s lyric (not for the first time) is pretty appropriate to our situation:
Well the judge
He holds a grudge
He’s gonna call on you.
But he’s badly built
And he walks on stilts
Watch out he don’t fall on you.There is now on the U.S. Supreme Court an intellectually sub-par Puerto Rican woman whose entire career has been essentially founded on a grudge against whites, a judge who makes her pro-Hispanic, anti-white agenda an explicit element in her judging. “The judge, she holds a grudge.”
Sotomayor is not the first of that kind, however. Another Supreme Court sub-competent, Thurgood Marshall, openly stated to one of his colleagues that the philosophy behind his judging was that “It’s our [blacks’] turn now.”
Spanish Harlem Incident. (From Another Side of Bob Dylan) Auster's take:
Thinking about the murder of motivational speaker and “positive, loving energy” guru Jeff Locker in East Harlem this week, where he had been pursuing an assignation with a young lady not his wife but got himself strangled and stabbed to death in his car by the damsel and her two male accomplices instead, I realized that this is yet another contemporary event that Bob Dylan has, in a manner of speaking, got covered. Here is the recording and below are the lyrics of Dylan’s 1964 song, “Spanish Harlem Incident,” where the singer, with his “pale face,” seeks liberating love from an exotic dark skinned woman, and is “surrounded” and “slayed” by her. The song reflects back ironically on the Jeff Locker case, presenting the more poetical side of the desires that, on a much coarser and stupider level, led Locker to his horrible death. By quoting it, I’m not making light of murder, readers know how seriously I take murder. But when a man gets himself killed through such an accumulation of sin and gross folly, a man, moreover, whose New Agey belief in positive energy and transformative love apparently left him unable to see the obvious dangers he had put himself in, there is, unavoidably, a humorous aspect to it.
SPANISH HARLEM INCIDENT
Gypsy gal, the hands of Harlem
Cannot hold you to its heat.
Your temperature is too hot for taming,
Your flaming feet are burning up the street.
I am homeless, come and take me
To the reach of your rattling drums.
Let me know, babe, all about my fortune
Down along my restless palms.Gypsy gal, you’ve got me swallowed.
I have fallen far beneath
Your pearly eyes, so fast and slashing,
And your flashing diamond teeth.
The night is pitch black, come and make my
Pale face fit into place, oh, please!
Let me know, babe, I’m nearly drowning,
If it’s you my lifelines trace.I’ve been wonderin’ all about me
Ever since I seen you there.
On the cliffs of your wildcat charms I’m riding,
I know I’m ‘round you but I don’t know where.
You have slayed me, you have made me,
I got to laugh halfways off my heels.
I got to know, babe, ah, when you surround me,
So I can know if I am really real.There's more. There's always more.