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PostPosted: Tue March 13th, 2018, 19:23 GMT 

Joined: Fri January 5th, 2007, 23:38 GMT
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Location: Ireland
Peggy Night wrote:
Just received my copy today on Mickvet's recommendation. Looking forward to it.


I hope you enjoy the read.


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PostPosted: Sun June 3rd, 2018, 13:52 GMT 
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Joined: Wed June 13th, 2007, 04:19 GMT
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Thanks, Mickvet. I'm still reading it. I took a break to read Simon's biography. Crawford's book lends itself well to setting aside and picking back up again. When I have some time I would like to come back and discuss certain passages in more detail with you.


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PostPosted: Wed July 11th, 2018, 19:03 GMT 
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Dear Mickvet, I am really into this fabulously interesting book that you recommended! I'm so glad you did. Lately all I can think about is Empire Burlesque so this morning I went to read what AT Bradford had to say about all the lyrics on this album. Then I had a road trip that allowed me to listen to it *twice* with all these new thoughts from Dr. Bradford in my head.

I have fallen in love with Bob Dylan all over again for Empire Burlesque! Man I hope he releases this album with new production values. The 80s sensibilities almost destroy (and do ruin the listening pleasure of) a couple of these songs, and they are truly poetic masterpieces which I think deserve another telling, another hearing.

Emotionally Yours, for example, must certainly be as Dr. Bradford says, about Bob's relationship to God. It always made me angry before to think that Bob Dylan was telling some *woman* he would always be "emotionally" hers--what rational woman would put up with that?! She wants him BODY and soul! But if this is a love song directed to God (Who is Spirit), then promising to be emotionally His is all this creature *can* do now, for the flesh is not yet redeemed, only our eternal soul (https://www.jesus-is-savior.com/Believe ... f_body.htm)! That Bob Dylan. He is so clever.


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PostPosted: Wed July 11th, 2018, 19:48 GMT 
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As AT Bradford has written (pp. 186-187), "If the song is applied allegorically to Christ, the baby of Bethlehem, then it becomes easily comprehensible from a spiritual perspective. The song opens with Dylan requesting his 'baby' to remind him of the place their relationship began.

"This again reflects the language of the book of Revelation (the subject of Dylan's keen interest and the topic of many an on-stage reflection in 1979 and 1980). Revelation 2:2-4 finds Christ upbraiding the church at Ephesus. 'I know your deeds and your toil and perseverance... But I have this against you, that you have left your first love.' Dylan sings of getting back to that place of his first love; 'Of where I once begun,' and his 'Tell me you're the one,' has a ring of John the Baptist's words about it. 'When John, while imprisoned, heard of the works of Christ, he sent word by his disciples and said to him, 'Are you the expected one, or shall we look for someone else?' (Luke 7:19)."

Yonder Comes Sin is a wonderful compendium to the works of Bob Dylan.


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PostPosted: Wed July 11th, 2018, 20:21 GMT 
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But, Mickvet, I dont agree with everything Dr. Bradford posits. I think where Bob seems to be talking about a woman, he probably is, even if there is a deeper meaning, or a secondary meaning, pointing to the God of the Bible. Mr. Dylan is so good at hiding things in plain sight.

An example: Dr. Bradford writes that "the line about crossing over a line drawn at 'the northern border of Texas,'" is about moving out of a state of slavery to a state of freedom, an "allegorical device that Dylan would usefully employ in his declaring spiritual beliefs in a way that was below the critics' radar...the concept of deliverance from the power of sin is likened to being set free from slavery." Except Oklahoma, or the Indian Territories as the land was then called, were pro-slavery, so crossing that border doesn't fit the allegory.

What if that northern border of Texas refers to The Girl from the Red River Shore, Carolyn Dennis, or some other woman? What if the mentions of "gambling for support, "for the love of a lousy buck," "letters burning" and "protecting someone last time I called" are very real?


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PostPosted: Sat July 14th, 2018, 17:31 GMT 

Joined: Sun November 16th, 2014, 01:17 GMT
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Re: A few posts above, the Empire Burlesque reference.

One of my favorite Dylan-related stories was told, I think, by both Raymond Foye and Allen Ginsberg: Dylan arrived at Ginsberg's New York apartment in the mid-'80s with a tape of some recordings that would morph into Empire Burlesque. Ginsberg, after soaking it in through a ghetto blaster or boom box (which I think Dylan brought along), remarked to Dylan how he saw that Dylan still had that Judgmental Jehovaic--"Nobodaddy"--hanging over everyone's head. The two bantered a bit about the presence (or not) of the Lord God Almighty. For all the well-founded critiques of Dylan's use of synthesizers and whatever else largely made up the "sound" of Empire Burlesque, here Ginsberg was tuned into the theology.


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PostPosted: Sat July 14th, 2018, 20:41 GMT 
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^^^Thank you for sharing that!


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