| Jack Johnson – Flake Lyrics | 14 years ago |
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As some have suggested, I think this is more than just a song about a girl who's a flake. That's only half of it. "Flake" seems more of a metaphor for the failing relationship itself -- that is, they are BOTH being flakes, in their own, different ways. Particularly, he is flaky in his behavior, by not giving her the time and attention a partner deserves. She is ambivalent in her responses to this behavior and with her feelings about continuing or ending the relationship. Support for this argument as follows: First lines -- clearly HE has flaked out on HER in a specific situation. "It's alright, but you can make it up next time," she says. But of course it's not actually alright. She knows it, and he knows she knows it. But it's not just him -- she has mentioned "other ties" (perhaps other romantic possibilities, other obligations), and her uncertainty about moving forward with him. After all, he's being flaky to her, and she's giving him an appropriate response. "Maybe she thinks I know something, maybe she thinks it's fine" --perhaps she thinks he's afraid that she is romantically involved with someone else ("other ties"), but, in truth, he doesn't know how she's really feeling in response to him. He tells himself he has no right to question her "other ties" -- "I wouldn't want to break 'em", because he knows he's not doing his own part. A good line follows -- "maybe she'll help me to untie this" -- in a way, he also has "other ties" -- he's entangled by his behavior, his own flakiness. Unless she can somehow help him past his barriers to commitment, he's gonna keep lying, "too" -- pretending it is working, making excuses, etc. -- just as she is lying that everything is alright. "Often times we're lazy..." -- reinforces the idea they are letting each other down with their flakiness, something neither actually wants. Here's the best line -- "it seems to me that maybe pretty much always means no" -- this nicely captures the concept of flakiness in general. In this case, he applies it back to her -- "Don't tell me you might just let it go." No, she won't let it go. One could suggest that "let it go" refers to accepting the situation, tolerating his faults. But I think it more likely refers to letting their relationship go. Despite her concerns with him, she's won't actually end it. Neither of them will. They are stuck. Thus, the ending of the song is his plea for the relationship's redemption. He swears he is going to stop being a flake. Will she? |
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| Bob Dylan – Changing of the Guards Lyrics | 14 years ago |
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Rhoddy, Furthermore, there's probably a lot more self-reference going on in this song (along with the many apocalyptic-religious images commented on above) -- 16 years, 16 banners -- roughly 16 years of recording, 16 albums...these multiple levels of meaning are what Dylan does best... |
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| Bob Dylan – Changing of the Guards Lyrics | 14 years ago |
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Roddy, Here's another take on the line: "Renegade priests and treacherous young witches Were handing out the flowers that I'd given to you." I've always seen this as a Dylan self-reference--that is, other (lesser) artists are recording, releasing, and profiting from his songs (the Byrds, Cher, even Hendrix...although Dylan seemed to appreciate that one). A clever image (flowers substituting for songs). Speaking of Hendrix, the same sentiment is expressed in Watchtower--"Businessmen they drink my wine, plowmen dig my earth" -- you write my contracts, profit off my records, analyze my lyrics and record/imitate my songs... |
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| Bob Dylan – Like a Rolling Stone Lyrics | 15 years ago |
| Substitute diplomat for mystery tramp, of course--got tangled up in lyrics there for a second | |
| Bob Dylan – Like a Rolling Stone Lyrics | 15 years ago |
| While I appreciate ceej1979's analysis, which captures the emotions of the song quite well, there's one major anachronism in the theory that "[t]he song is about socialite, Edie Palmer [sic]". Multiple sources state that Dylan did not meet Edie Sedgwick until late 1965, after the song was written. Furthermore, it is in no way clear that the "mystery tramp" and "Napoleon in rags" are the same individual. Remember, the tramp "really wasn't where it's at". He's stolen everything and gone. Several Dylan authors have interpreted "Napoleon in rags" as Dylan's self-reference, I didn't make that up myself. It makes the most sense, that Dylan's (mockingly) calling her back to him after she's fallen from her high chrome horse, particularly with the "language that he used line"...that sounds more like Dylan than Warhol or anyone else. But what do we know? We're all just plowmen, diggin' earth. Anyway, I've enjoyed the good discussion. I'm going to see Dylan next month in Minneapolis...can't wait! | |
| Bob Dylan – Dear Landlord Lyrics | 15 years ago |
| p.s. just read bobdylaniscool's comment above--what a great insight! Viewing the conversation with God in that context makes more sense. However, Dylan's conceits remain, as do the song's multiple meanings. | |
| Bob Dylan – Dear Landlord Lyrics | 15 years ago |
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Was just listening to this song again in my car... Most of the best Dylan material has multiple meanings. Of course no one would seriously argue that Dylan was really writing about some guy from whom he rented an apartment. Beyond the literal relationship of landlord and tenant, I think the song can be interpreted on multiple metaphorical levels, moving from the autobiographical (Dylan expressing his view of himself as a recording artist) to the societal (humans and their relationship to God/religion) to the universal (any general relationship to an authority figure). So who is the Landlord? While God certainly fits this, I honestly find the tone of the song a little less deferential than to be expected, even coming from Dylan. He would come across as pretty high on himself talking to God this way, in my opinion. (Although Dylan is often very conceited in his writing, his obvious talent notwithstanding). Following the lyrics, the song most directly seems to be written to an agent or manager. Albert Grossman, as noted previously, is a good guess. |
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| Bob Dylan – Like a Rolling Stone Lyrics | 15 years ago |
| "Napoleon in Rags and the language that he used" is a self-reference, reflecting Dylan's conceit that he is the great poet of rock. "Go to him now, he calls you, you can't refuse"--You've heard the rest, now check out Dylan. | |
| Bob Dylan – All Along the Watchtower Lyrics | 15 years ago |
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So the watchtower setting is of course straight out of Isaiah 21, and there are numerous Christ references--but, within this messianic/apocalyptic framework is a deeply personal song--some of Dylan's best songs, on one of their multiple levels, reference himself and his reaction to his role as an artist/poet/icon, as well as his relationship with his fans and critics. For example, "Napoleon in rags and the language that he used/go to him now, he calls you, you can't refuse" (you've listened to the rest, now check out Dylan, the great poet of rock) and "Einstein disguised as Robin Hood" (who was persecuted for going electric). In this tradition, I think the joker and thief are SELF references--consider the characters' dialogue as an internal conversation, one between the public/performer and the internal self. Joker and Thief. Bob Dylan and Robert Zimmerman. Dylan's conceit is viewing himself as a "misunderstood genius"--persecuted, crucified. The joker and thief allude to Jesus on the cross talking to the robber crucified next to him. Here's the key line, now referencing Christ's last supper. "Businessmen, they drink my wine, plowmen dig my earth, None of them along the line know what any of it is worth." That is to say, you drink my blood and eat my body--you buy my records, you write my contracts and exploit my talent, you re-record my songs and rip me off, you criticize me (and discuss me in forums). In all, you consume me, but you will never understand the real meaning and value of my work. |
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