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He was born Robert Allen Zimmerman, in Duluth, Minnesota, the son of second generation Russian Jewish immigrants. He fell in love with music at an early age, and put on his first performance in high school. When the principal shut him down shortly after he started for being too loud and too strange, it only made him more determined. He was one of those rare individuals that knew exactly what he wanted to do right from the beginning, and never wavered from his course. He has never done anything but write and play music.
By the time he was 20, he had moved to New York, and changed his name. Contrary to popular myth, when Robert Zimmerman decided to become Bob Dylan, it had nothing to do with the poet Dylan Thomas. At the time he had never even heard of Dylan Thomas. He just liked the sound of the name, and initially spelled it Dillon. In later years, after becoming a fan of Dylan Thomas, he did not discourage the myth, adding it to the many that now surrounded him, and enhanced his mystique.
He worked hard, devoting all his waking hours to perfecting his craft. He paid his dues, and took his lumps. He gambled with his future, as so many idealistic youth do, but in his case it worked. And the reason it worked was due to three things. First there was his perseverance and determination that kept him going in those early years no matter how many times he was kicked in the teeth. He refused to quit. He knew his destiny.
The second thing that was in his favour was that the musical culture of the time needed someone like him. His timing was perfect.
But perhaps the most important, and yet most enigmatic factor in Bob Dylan's success was his connection with the infinite - that quasi-ethereal place where inspiration lives. Where the words and tunes and thoughts and processess that move men's hearts and minds live. The place where the Muses set up shop. The place that artists constantly strive to find, most obtaining only occasional glimpses that last just long enough for a quick burst of creativity, and it's over. But Dylan was born with a direct connection to that place, so that he was flooded with so much creativity, it was almost too much. Joan Baez, who lived with Dylan for a while, always insisted on driving, when they rode his motorcycle together, because he was too distracted, "always composing at least two or three songs in his head."
When the Cuban Missile Crisis occurred in 1963, many people thought that a nuclear war was imminent, and the destruction of the world was at hand, as well it might have been. Dylan panicked, because he was overflowing with inspiration at the time, and feared he would not have the time to write all the songs that were inside him before the world blew itself up. So, in desperation, he put all his ideas into one song, and called it A Hard Rain's A-Gonna Fall, one of his most powerful songs.
Dylan was no angel. His success often came at other's expense, as it usually does. He made enemies, and sometimes he hurt people. For all his gifts and powers, he was in the end just another slob on the bus, like you and I. But he was a slob that changed the world. Let there be no mistake about that. There's no telling what kind of insipid commercial crap we'd be listening to right now, if it weren't for Bob Dylan.
As Bob turned 65 last Wednesday, May 24, he was gearing up for yet another European Tour. When most people that age are putting their feet up and talking about the good old days, Bob keeps working, and sharing his music with the world, as he's been doing for the last 44 years. Thanks Bob.
Really enjoyed the Dylan piece -- truly a great artist. And his achieving the age of 65 is significant, and well done to you for writing it up and for finding those great photos... It would be easy to take him for granted, as he's a part of the fabric of our culture for so long: been swirling around us (How does it feel?) here and there, ebbing and flowing, always asking us to think and feel; a self-described "Song and Dance" man who was always willing to take a chance and buck the trend (rather than trend for the buck$) now looking a little like Vincent Price -- sepulchral? and still out there on his Never Ending Tour, taking us to the country, to the city, the mountain, to the Highlands, to the Sad-Eyed Lady Of the Lowlands...
... I just finished a book called "Like A Rolling Stone: Bob Dylan At The Crossroads: An explosion of vision and humor that forever changed pop music" by Greil Marcus. Most of the book devoted to the song "Like A Rolling Stone," the cast involved, the recording of, and the impact of etc. etc. It's a good book. Marcus is a serious musicologist and cultural historian. The following quotes are from this book.
From an interview with Marvin Bronstein, CCBC, Montréal, 1966. Speaking with Bob Dylan -- Do you say "Dillon" or "Die-lan"?
-- Oh, I say "Dillon' ... "Die-lan" ... I say anything you say, really.
Did you take it from the Welsh poet?
--No -- that's, I guess we could say, a rumor, made up by people who like to simplify things ....
What particular song do you remember as being a breakthrough for you? Was it "Blowing In The Wind"?
-- No, it was -- do you mean the most honest and straight thing which I thought I ever put across? That reached popularity, you mean. There's been a few. "Blowing In The Wind" was to a degree, but I was just a kid. I didn't know anything about anything, at that point. I just wrote that, and -- that was it, really. Ah -- "Mr. Tambourine Man." I was very close to that song. I kept it off my third album, just because I felt too close to it, to put it on.
-- If you're talking about what a breakthrough song for me, I would have to say, speaking totally, "Like A Rolling Stone." I wrote that after I had quit. I'd literally quit, singing and playing -- I found myself writing this song, this story, this long piece of vomit, twenty pages long, and out of it I took "Like A Rolling Stone" and made it as a single. And I'd never written anything like that before and suddenly it came to me that this is what I should do. Nobody had ever done that before ... I'm not saying it's better than anything else, I'm just saying that I think -- I think "Like A Rolling Stone" is definitely the thing which I do ...
Greil Marcus himself: "... In some ways it's also a difficult song ["Like A Rolling Stone"] to hear now [2005], because it is a vision of a time that never came to pass. I may be wrong about this, since I was only four years old in 1965. But that time (or is the time created by the song?) seems to have been the last moment in American history when the country might have changed, in a fundamental way, for the better. The song, even now, registers this possibility, brings it to a point, focuses your attention on it, and then forces you to decide what is to be done."
Right. What's to be done? Keep on keepin' on ["Tangled Up In Blue?], according to Bob, ya know ... Don't lose your guidelines [read: "values"] don't read what they write, nor watch what they film, don't listen to what they say: Be true to yourself, and simplify everything (and play every song differently every time you play it) ... yes, well, that's easy to say, but, somewhere in between the words and the reality is where life is mostly lived by most people, in their 68.7 years (average North American lifespan more or less, give or take ...), and we can't take quite so many changes as you ...
No body creates changes like Dylan: Chords, songs, lifestyles, genres, religions ...
And he has suffered for these changes, like few others of his stature. And after all these years, I get the feeling that he wouldn't have it any other way. I mean, when I read the stories about the tours and his song choices, I think: 'Come on Bob: Just for once give them what they want, how they want it' -- but no, he'll never do that [and is it because he can't, or won't?] ... We'll never know why, and perhaps it's for the best: We need a few mysteries in this world. Maybe his connection with the Infinite is one of the ones we leave alone.
D.H. Courtenay, B.C. -- Out here on the new Vee Eye.
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