Bob Dylan, King Elvis, Mojo Nixon discussed on Pantheon
That's right and I have to say there with the. Mojo Nixon sings a tune called Elvis is everywhere. It's a tongue-in-cheek deification of the King Elvis who seemed to pop up all over the place in the eighties and nineties he was in people's Dreams tabloid headlines An impersonator at a wedding or in a television commercial you might remember this is Elvis TV series chasing down his history which was narrated by an Elvis impersonator as if it was Elvis himself speaking, and then what are you know there was elvis buying a slurpee at the seven eleven down the street just a few minutes later. Elvis was a pop culture mythic force documented by buzz seeking journalists and intellectuals alike evidence of the hunger in American culture to meet Gods and angels in dreams and Oracles just like believers would meet the divine long long ago. When I look into your eyes out there Mojo Nixon sang when I look into your faces. You know what I see. I see a little bit of Elvis in each and every one of you out there. Let me tell you well Elvis is everywhere. Today as a force in popular culture as as the baby boomers have aged pop culture itself has become ever more stratified by demographics and John Resin platforms. Elvis is no longer everywhere. But Bob Dylan is. At the decidedly non pop age of seventy nine, which is nearly double Elvis's age at Death Dylan has had the number one pop song in the land with murder most foul. Look to the chatter where the wheels of pop culture turn choose almost any point of view biographical, political, religious, literary, musical, philosophical, or historical, and the chances are that it's being used to explain Bob Dylan and his work hundreds of books, thousands of articles, and at ever expanding universe of list-serve websites, magazines, academic courses, and conferences Sing Dylan's loyal chorus of commentary. Edging towards seventh decade on the Public Stage Dylan continues to waive his baton in every direction urging the chorus onward. Even if we know he's not much for choruses. Dylan's work has repercussions not only for those of US still fascinated by his continuing contribution to popular culture but also for anyone who cares about how popular culture shapes the world. have got my back to the sun because the light is too intense. Dylan sings and sugar baby. I can see what everybody in the world is up against. You can't turn back. You can't come back sometimes we push too far. One day, you'll open up your eyes and you'll see where we are. From more than half a century trying to understand dylan songs has been for many. Like unfolding the criss crossing lines of a map of the entire world. Well. We're going to take a shot at reading those maps particularly in a moment where the world we thought we knew seems like an charted territory. I'm Steven, Daniel Arnav, and this is Bob Dylan about man and God and Law a podcast that tells the story of how Bob Dylan sparked a revolution of spirit and why it matters. To, open up our eyes to the music of Bob Dylan not only see where we really are. But where we need to go. So. Welcome to episode one of Bob Dylan about man and God and Law Salvation to be. On. Not to be. that. Is the question. Now. Long before the unlikely chart topper murder most foul expounded upon a line from Hamlet Taufer strange comfort to a world jolted by Cova nineteen and protests and riots against racism. In the spring of two, thousand, twenty Bob Dylan was searching for salvation in a limousine hurtling across the British countryside. The year was nineteen, sixty five. Dylan and his posse had taken their places in a dreamlike reflection on the silver screen in a scene imagined in Todd Haynes is two thousand, seven film based on Dylan songs and story. The film is called. I'm not there. But let's give this contexts. Context by nineteen, sixty, five dylan had become the most important cultural figure of the twentieth century. This was the period his most concentrated in fierce creative influence in the spin of just fifteen months March nineteen, sixty, five to may nineteen, sixty, six, dylan released three of the greatest rock albums of all time. Bringing it all back home highway sixty, one revisited and blonde on. Blonde. His songwriting and recording were feverishly prolific. He had taken on am vicious publishing and film projects and took part in an exhausting live tours spanning four continents backed by a crew of road warriors who would later become known as the band. The shows on this tour documented in D. A. Penna Bakers pioneering rock doc don't look back included a first set of Solo Acoustic renditions of epic musical dreamscapes that had shattered the mold of songwriting for pop by the Time Dylan, was twenty three. And then a scorching said of angry loud rock intitiated the punks just as those punks were getting their first guitars. In the UK the period that Hanes, his film calls upon vividly there were walkouts heckling and even famous shout of Judas in Manchester as reimagined in I'm not there dylan passes the time on a long ride. The quiet home of a black limo a well-dressed journalist with the patrician accent, stern jaw and diamond cutting stare of a very serious man questions him. As evidenced by penna Baker's film and other footage from the same period, dylan was frenetic, sarcastic confident and very funny as he conjured both the destination and the map for a new age of music celebrity the Rockstar as a seeker of truth and hipster scene maker all at once. This New Paradigm for the possibilities, of Pop, Gurus both confounded and excited the press and Dylan played his role. masterfully, journalists sparred with a scruffy hair chain smoking dylan whose press conferences from San Francisco to Paris became spoken word happenings. A flow of questions ranging from the nature of hygiene on the road to the meaning of life would be asked of rockstars for decades to come. And Bob. Dylan. He was inventing them. How many people who Labor in the same musical vineyard in which you toil how many are protests singers that is people who use their music and use the songs to protest the social state in which we live today the matter of war, the matter of crime or whatever it might be How many? Yes. Are there many? There's about..