Maybe I'm oversimplifying but I just assumed that "the night they drove old
Dixie down" was a reference to the Confederate surrender and the end of the
war.

Cheers,
John

On Sat, Aug 15, 2020 at 1:55 PM <[email protected]> wrote:

> I'll look into the Shelton book since you recommend it, but I don't think
> it will make me see Dylan as anything other than  an occasionally amusing
> entertainer.  I particularly used to like it when he sang, blew the
> harmonica, and strummed the guitar simultaneously. That's about the extent
> of it.  If he'd been able to ride a bicycle at the same time, I'd have been
> ecstatic.
>
> People find deep meaning in rock lyrics generally by pawing through the
> heap of disconnected phrases and vague imagery and identifying some hidden
> significance, perhaps based on biographical fact, perhaps on Hermes
> Trismegistus. This procedure, in my opinion, is roughly on a par with
> finding nanothermite in a common pile of dirt. There are a lot of experts
> writing books about that, and I'm not going to read any of them.
>
> I was interested to find that the OK, though decidedly non-revolutionary,
> current pop star Harry Styles, whom I like up to a point, seems to view his
> songs as having hidden biographical significance--this approach seems quite
> widespread and "fans" generally seem to think that way too. So the writing
> of these things is meant by at least some of the authors to be the
> easter-egg hunt that "rock critics" and their kind take it to be. But so
> what?  That just limits the actual level of meaning that commercial pop
> music can ordinarily achieve.
>
> Anyone not holding the occult key to a song can always speculate about the
> it, although in the case of "old Dixie" nobody seems to have come up with
> anything to pin the alleged driving-down event to. Maybe it refers to one
> of the Bandsmen's suddenly wilting in a sexual situation with a particular
> person whose name we may hope to discover. Who knows?
>
> This kind of hidden meaning isn't on a par with actual poetry--although in
> some cases, as in the song "Strange Fruit" an "occult" meaning can be very
> deep and tremendously important.  I think that's quite different, however.
> I don't give a damn who the "sad-eyed lady of the lowlands" was--bores the
> hell out of me and is IMO another kettle of fish altogether.
>
> The thing that set me off on this was a cross-posting here to a piece on
> Cosmonaut recommending "revolutionary sobriety."
>
> I hold no brief for or against *Cosmonaut*, with which I am only
> glancingly familiar and find strange, but I see a worthwhile point
> there--so much of "Sixties" so-called "culture" revolved around the
> idealization of the intoxicated state--being "always drunk" to quote
> Baudelaire--which could mean being drunk on poetry, music, "the arts"
> (depressing phrase), or just "high on life" like Pat Boone.
>
> This ties neatly into the mass of addictions promoted by capitalism, one
> of which is the addiction to popular music, but also to "the arts" in the
> hoity-toity sense as well as records, books, and shows--anything that can
> be monetized and consumed and converted into ego-armor.
>
> Maybe the left should step away from the arts altogether, at least to some
> extent, and try to achieve a sober, disciplined perspective without leaning
> on the pleasure of art consumption at every turn.
> 
>
>

-- 
"All I ask of our brethren is that they take their feet off our necks."
Sarah Moore Grimke, abolitionist (1792-1873)

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