12-03-2004, 12:56 PM
Just a quick note if you haven't heard yet, Dylan will be on 60 minutes this Sunday night. First interview he's done in about 19 years or so. Should be pretty interesting to see..............
12-03-2004, 12:56 PM
12-03-2004, 01:02 PM
you know a funny fact about Dylan, is that ever since Bank of Montreal used "Times are changing" in their commercial he has had a serious anger issue towards Canada 
hock: Mind you I would too, seeing as how it's a protest song, and BMO took it right out of context.
It was either them or Royal Bank
hock: Mind you I would too, seeing as how it's a protest song, and BMO took it right out of context.It was either them or Royal Bank
12-03-2004, 01:06 PM
It was Bank of Montreal. But I woulda thought they had his permission? Maybe they figured, we're a bank, we can afford the lawsuit? That would make it even more ironic....
12-03-2004, 01:14 PM
skippy the wonder dog Wrote:It was Bank of Montreal. But I woulda thought they had his permission? Maybe they figured, we're a bank, we can afford the lawsuit? That would make it even more ironic....
Probably permission from the label but apparently Dylan was really pissed. I remember reading in an interview ill try and find it.
here is a msnbc article about the show
<!-- m --><a class="postlink" href="http://www.msnbc.msn.com/id/6638898/">http://www.msnbc.msn.com/id/6638898/</a><!-- m -->
12-03-2004, 01:27 PM
Here is an interresting article i found on Canoe
Thursday, October 15, 1998
The elusive Bob Dylan
When it comes to media requests, everybody must get stonewalled
By MIKE ROSS -- Edmonton Sun
No interviews, no photos, no explanation - and "bwa, ha, ha, ha, ha!" was the response to a request for an interview with Bob Dylan.
It's just par for the course when you're dealing with the Original International Man of Mystery, who plays tomorrow in the Skyreach Centre. Hopefully it'll be as great as his recent Vancouver gig, where Dylan was revealed as a true original who seems to have popped back to life after a long slumber. He played his songs with surprising exuberance. The most he said was introducing Tangled Up in Blue with, "There's a story behind this song, but I'm not going to tell it."
Typical. The 57-year-old troubadour is as inscrutable as ever, 33 years after he confounded fans by going electric.
The outrage of folk purists can now be heard on Live 1966: The Royal Albert Hall Concert, a two-CD set of a live concert with the Band (then called the Hawks) in Manchester. There's tension in the air. A heckler cries "Judas!" Dylan shoots back cryptically with "I don't believe you!" He then instructs guitarist Robbie Robertson to "play f---ing loud!" for a pumped-up version of Like a Rolling Stone.
Dylan had his famous motorcycle accident shortly thereafter, cutting short his first electric tour. But the die was cast - Dylan went from a folk hero to a rock 'n' roll icon in one fell swoop. He's been challenging and confounding fans ever since.
Trying to figure out where Dylan is coming from is futile. He has to be the most analysed songwriter in pop history as well as one of the most vexing. His recent behaviour offers few clues. In 1996, in an affront to aging hippies and Vietnam veterans everywhere, The Times They Are A-Changin' appeared in a commercial for Bank of Montreal. Although there was talk Dylan might not be responsible, he offers no explanation.
A year later, fans hear that Dylan is knockin' at heaven's door from a potentially fatal heart infection. Suddenly he's in Italy playing for Pope John Paul II, who apparently digs the show so much he works lyrics of Knockin' On Heaven's Door into a sermon. Dylan says nothing.
Dylan is the man of the year at the 1998 Grammy Awards, honoured for an impenetrable new album aptly titled Time Out of Mind. The best-album Grammy is his first, having been ignored for his stellar work of the past. During his on-air performance, a shirtless man with "Soy Bomb" painted on his chest rushes the stage and starts dancing wildly. Dylan raises one eyebrow and says nothing.
He records an MTV Unplugged album, the performance is aired on television and he doesn't bother to watch it. He doesn't like TV: "I've never catered to that medium. It doesn't really pay off for me," although his Grammy appearance sure did. There's the top-selling Bob Dylan Highway 61 Interactive CD-ROM he didn't see either, because computers "are too inhibitive to sit in front of." He does, however, have an "official" Web site, and a pretty good one, too (<!-- w --><a class="postlink" href="http://www.bobdylan.com">www.bobdylan.com</a><!-- w -->).
He claims not to listen to his own records, let alone anyone else's. "My musical taste ran out on the mid-'60s," he explains, but he expresses a liking for his son Jakob's band, the Wallflowers, and has taken an interest in Sheryl Crow (giving her the song Mississippi, left off of Time Out of Mind).
The quotes above are lifted from USA Today articles, in what are always referred to as "rare" interviews. In them, attempts to interpret his songs - from books to essays to college courses - are dismissed. A panel of literary experts dissected the poet in New York recently. One came to the conclusion that far from abandoning protest songs, Dylan set his sights a little higher - at God Himself. References of being abandoned by women are metaphors, the expert said. "He's feeling that he's living in a universe that's been abandoned by God."
It's pretty heavy, but in a song like Love Sick from Time Out of Mind, the theory takes on a chilling aspect: "I'm sick of love/I wish I'd never met you/I'm sick of love/I'm tryin' to forget you/Just don't know what to do/I'd give anything to be with you." Many other songs on the album resonate with such dark themes. Or do they? Dylan won't say.
"I don't think they should or could be interpreted that way, if at all," he told USA Today. "You can't interpret a Hank Williams song. He's done the interpretation and the performance and that's it. Now it's up to the listener to decide if it moves him or not. That's something you don't even decide. That happens to you unconsciously."
Consciously or not, Dylan's legacy has grown over the years even if his musical output hasn't. His early songs have proven to be among the finest ever written, although Dylan refuses to explain what they mean to him.
In any case, he's not available for comment.
Thursday, October 15, 1998
The elusive Bob Dylan
When it comes to media requests, everybody must get stonewalled
By MIKE ROSS -- Edmonton Sun
No interviews, no photos, no explanation - and "bwa, ha, ha, ha, ha!" was the response to a request for an interview with Bob Dylan.
It's just par for the course when you're dealing with the Original International Man of Mystery, who plays tomorrow in the Skyreach Centre. Hopefully it'll be as great as his recent Vancouver gig, where Dylan was revealed as a true original who seems to have popped back to life after a long slumber. He played his songs with surprising exuberance. The most he said was introducing Tangled Up in Blue with, "There's a story behind this song, but I'm not going to tell it."
Typical. The 57-year-old troubadour is as inscrutable as ever, 33 years after he confounded fans by going electric.
The outrage of folk purists can now be heard on Live 1966: The Royal Albert Hall Concert, a two-CD set of a live concert with the Band (then called the Hawks) in Manchester. There's tension in the air. A heckler cries "Judas!" Dylan shoots back cryptically with "I don't believe you!" He then instructs guitarist Robbie Robertson to "play f---ing loud!" for a pumped-up version of Like a Rolling Stone.
Dylan had his famous motorcycle accident shortly thereafter, cutting short his first electric tour. But the die was cast - Dylan went from a folk hero to a rock 'n' roll icon in one fell swoop. He's been challenging and confounding fans ever since.
Trying to figure out where Dylan is coming from is futile. He has to be the most analysed songwriter in pop history as well as one of the most vexing. His recent behaviour offers few clues. In 1996, in an affront to aging hippies and Vietnam veterans everywhere, The Times They Are A-Changin' appeared in a commercial for Bank of Montreal. Although there was talk Dylan might not be responsible, he offers no explanation.
A year later, fans hear that Dylan is knockin' at heaven's door from a potentially fatal heart infection. Suddenly he's in Italy playing for Pope John Paul II, who apparently digs the show so much he works lyrics of Knockin' On Heaven's Door into a sermon. Dylan says nothing.
Dylan is the man of the year at the 1998 Grammy Awards, honoured for an impenetrable new album aptly titled Time Out of Mind. The best-album Grammy is his first, having been ignored for his stellar work of the past. During his on-air performance, a shirtless man with "Soy Bomb" painted on his chest rushes the stage and starts dancing wildly. Dylan raises one eyebrow and says nothing.
He records an MTV Unplugged album, the performance is aired on television and he doesn't bother to watch it. He doesn't like TV: "I've never catered to that medium. It doesn't really pay off for me," although his Grammy appearance sure did. There's the top-selling Bob Dylan Highway 61 Interactive CD-ROM he didn't see either, because computers "are too inhibitive to sit in front of." He does, however, have an "official" Web site, and a pretty good one, too (<!-- w --><a class="postlink" href="http://www.bobdylan.com">www.bobdylan.com</a><!-- w -->).
He claims not to listen to his own records, let alone anyone else's. "My musical taste ran out on the mid-'60s," he explains, but he expresses a liking for his son Jakob's band, the Wallflowers, and has taken an interest in Sheryl Crow (giving her the song Mississippi, left off of Time Out of Mind).
The quotes above are lifted from USA Today articles, in what are always referred to as "rare" interviews. In them, attempts to interpret his songs - from books to essays to college courses - are dismissed. A panel of literary experts dissected the poet in New York recently. One came to the conclusion that far from abandoning protest songs, Dylan set his sights a little higher - at God Himself. References of being abandoned by women are metaphors, the expert said. "He's feeling that he's living in a universe that's been abandoned by God."
It's pretty heavy, but in a song like Love Sick from Time Out of Mind, the theory takes on a chilling aspect: "I'm sick of love/I wish I'd never met you/I'm sick of love/I'm tryin' to forget you/Just don't know what to do/I'd give anything to be with you." Many other songs on the album resonate with such dark themes. Or do they? Dylan won't say.
"I don't think they should or could be interpreted that way, if at all," he told USA Today. "You can't interpret a Hank Williams song. He's done the interpretation and the performance and that's it. Now it's up to the listener to decide if it moves him or not. That's something you don't even decide. That happens to you unconsciously."
Consciously or not, Dylan's legacy has grown over the years even if his musical output hasn't. His early songs have proven to be among the finest ever written, although Dylan refuses to explain what they mean to him.
In any case, he's not available for comment.
12-03-2004, 03:42 PM
Anybody see him "act" in Masked and Anonymus?" It's a good thing he can "sing..."
12-03-2004, 04:26 PM
Stephen Dame Wrote:Anybody see him "act" in Masked and Anonymus?" It's a good thing he can "sing..."
I love Dylan. But Masked and Anonymous....well, let's just say I wasn't in a pro-Bob mood for a few days after watching that.
cratch: Yeah, yeah, yeah, I know there was a message, but I sure as hell didn't get it.12-03-2004, 04:30 PM
:lol:
Masked and Anonymous ... I own the DVD. The performances are worth the bad acting.
I love Dylan: can't sing, can't play guitar, can't play harmonica, steals melodies left and right ... still perhaps the great singer-songwriter of the post-war era. Why?
Watch the performance of "Dixie" on Masked and Anonymous. Oh, yeah, this guy can sing. He knows something most of the virtuosos out there don't, I think....
Masked and Anonymous ... I own the DVD. The performances are worth the bad acting.
I love Dylan: can't sing, can't play guitar, can't play harmonica, steals melodies left and right ... still perhaps the great singer-songwriter of the post-war era. Why?
Watch the performance of "Dixie" on Masked and Anonymous. Oh, yeah, this guy can sing. He knows something most of the virtuosos out there don't, I think....
12-03-2004, 04:43 PM
Bob is the man. I don't know where the "Bob has a hate on for Canada" talk comes from. He always seems to play several dates here. What did he say about Canada?
12-03-2004, 04:49 PM
I'm a huge fan of Dylan. I saw him in concert in 2000 and it really was an impressive show. His catalogue is quite incredible, and he seemed to actually *enjoy* being on stage that night. If anyone is curious to hear the next, next, next Dylan, check out Dan Bern, his vocal, topics, writing...all a la Dylan. Good stuff! :thumb:
-Jenna
-Jenna
12-03-2004, 08:39 PM
Ive always loved musicians making fun of Bob. Almost always, out of respect and gratitude more than anything. I saw Joan Baez in concert a few years ago, and she did Baby Blue. She sang one of the verses in a mock-Dylan style, and it just cracked me up. I thought that was so cool. Because its respect.
But the best all-time Dylan bashing/mocking would have to go to Mr. Frank Zappa. Check out the song 'Flakes' from Sheik Yerbouti (Shake your Booty)....if you know Dylan, this should have you dying with laughter...'Take it away Bob!...' *edit* - this one's not out of respect, just mocking :lol:
But the best all-time Dylan bashing/mocking would have to go to Mr. Frank Zappa. Check out the song 'Flakes' from Sheik Yerbouti (Shake your Booty)....if you know Dylan, this should have you dying with laughter...'Take it away Bob!...' *edit* - this one's not out of respect, just mocking :lol:
12-06-2004, 12:39 PM
Did anyone catch the interview? As I was watching it his uncomfortableness in describing his place in popular culture reminded me a lot of interviews with Gord Downie where it is clear Gord is uncomfortable and struggling to come up with answers. They both seem to share a "I make music, let's not try to make it any bigger than it is" mentality.
12-06-2004, 01:01 PM
It wasn't anything special. I thought the questions were banal.
12-06-2004, 01:55 PM
Yeah, I agree. It left the impression he hasn't done anything since 1965 and it rehashed all the same old ground that was covered then: "are you the messiah? yes! we're all individuals" etc. It was aimed at an audience of non-Dylan-fans who only know "blowin' in the wind" and "like a rolling stone."
The only spark of interest was off the top where Dylan admitted he feels his creativity has abandoned him. But they never followed that one up....
But I think cfernyeh's observation is bang-on.
The only spark of interest was off the top where Dylan admitted he feels his creativity has abandoned him. But they never followed that one up....
But I think cfernyeh's observation is bang-on.