Arts &
  Arts Culture Analysis  
Vol. 4, No. 1, 2005
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Robert J. Lewis
  Contributing Editors
Mark Goldfarb
Phil Nixon
Bernard Dubé
Robert Rotondo
  Music Editor
Emanuel Pordes
Serge Gamache
  Arts Editor
Marissa Consiglieri de Chackal
Mady Bourdage
Emanuel Pordes
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  Noam Chomsky
Robert Fisk
Michael Moore
Richard Rodriguez
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Mark Kingwell
Arundhati Roy
Naomi Klein
Jean Baudrillard
John Lavery
David Solway
Tariq Ali
Michael Albert
Rochelle Gurstein




Bob DylanBOB: I know there are groups at the top of the charts that are hailed as the saviours of rock'n'roll and all that, but they are amateurs, They don't know where the music comes from . . . I was lucky. I came up in a different era. There were these great blues and country folk artists around, and the impulse to play 'those sounds' came to me at a very early age. I wouldn't even think about playing music if I was born in these times."

Q: What do you think would have interested you today if music weren't an option?

BOB: I'd probably turn to something like mathematics. That would interest me. Architecture would interest me. Something like that.

Q: Are you surprised by the return of so much placid pop -- which was one of the original targets of rock'n'roll ?

BOB: I don't think what we call pop music today is any worse than it was. We never liked popBob Dylan music. It never occurred to me (in the 50s) that Bing Crosby was on the cutting edge 20years before I was listening to him. I never heard that Bing Crosby. The Louis Armstrong I heard was the guy who sang Hello, Dolly! -- I never heard him do West End Blues.

Q: How would you describe the spirit of the '50s and '60s?

BOB: I knew it was an unsettled, rebellious spirit.

Q: What was it like to be adored at times and booed at others -- like on the Slow Train Comin Tour in the 1970s?

Bob DylanBOB: I was booed at Newport before that, remember. You can't worry about things like that. Miles Davis has been booed. Hank Williams was booed. Stravinsky was booed. You're nobody if you don't get booed sometime.

Q: Time Out Of Mind seemed to spark a creative resurgence for you. Did you know right away it was something special?

BOB: It was a little sketchy to me. I knew after that record when and if I ever committed myself to making another record, I didn't want to get caught short without up-tempo songs. A lot of my
songs are slow ballads. But if you put a lot of them on a record, they'll fade into one another, and there was some of that in Time Out Of Mind.

Q: What about the creative process for you? Do you write constantly?

BOB: I overwrite. If I know I am going in to record a song, I write more than I need. In the past © Allan Tannenbaum that's been a problem because I failed to use discretion at times. I have to guard against that. On Love and Theft, Lonesome Day Blues was twice as long at one point. Highlands (a 17-minute song on Time Out Of Mind) was twice as long originally.

Q: When do you tend to do the most writing? When you're on tour or when you're home for a few weeks?

BOB: I don't know. Some things just come to me in dreams. But I can write a bunch of stuff down after you leave . . . about, say, the way you are dressed. I look at people as ideas. I don't look at them as people. I'm talking about general observation. Whoever I see, I look at them as an idea -- what this person represents. That's the way I see life. I see life as a utilitarian thing. Then you strip things away until you get to the core of what's Important . . . in the larger scheme of things, the government is irrelevant. Everybody, everything can be bought and sold.

Q: Isn't that pretty pessimistic for someone who everyone thought was so optimistic and inspiring in the '60s?

BOB: I'm not sure people understood a lot of what I was writing about. I don't even know if I would understand them if I believed everything that has been written about them by imbeciles who wouldn't know the first thing about writing songs. I've always said the organized media propagated me as something I never pretended to be . . . all this spokesman of conscience thing. A lot of my songs were definitely misinterpreted by people who didn't know any better, and it goes on today.

Q: Give me an example of a song that has been widely misinterpreted.

BOB: Take Masters Of War. Every time I sing it, someone writes that it's an antiwar song. But there's no antiwar sentiment in that song. I'm not a pacifist. I don't think I've ever been one. If you look closely at the song, it's about what Eisenhower was saying about the dangers of the military-industrial complex in this country. I believe strongly in everyone's right to defend< themselves by every means necessary . . . you are affected as a writer and a person by the culture and spirit of the times. I was tuned into it then, I'm tuned into it now. None of us are immune to the spirit of the age. It affects us whether we know it or whether we like it or not.

In the early '90s when I escaped the organized media, they let me be. They considered me irrelevant, which was the best thing that could have happened to me. I was waiting for that. No artist can develop for any length of time in the light of the media, no matter who it is. If the media was commenting on every article you wrote, imagine what it would do to you.

Q: Do you worry, that the latest rash of awards and acclaim will make the media start focusing on you again?

BOB: No, that time has passed. Once they move away and lose track of you, they'll never catch up with you again. They're off searching for someone new to put a label on.

Q: Do you see yourself touring indefinitely?

Bob DylanBOB: I don't see myself doing anything indefinitely. I see myself fulfilling the commitments at the moment. Anything beyond that, time will have to tell.

Q: So, how do you feel personally? Do you feel pretty good about things?

BOB: Any day above the ground is a good day.

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