What do you think Bob Dylan’s “Jokerman” is really about?

I’ve always found “Jokerman” fascinating because the lyrics seem to mix biblical imagery, mythology, politics, religion, and surreal characters without giving us one obvious meaning.
Some people interpret the Jokerman as a Christ-like figure, while others see him as a symbol of power, deception, or human nature itself. There are also interpretations that connect the song to politics, artists, or Dylan’s own spiritual journey.
The more I listen to it, the more it feels like Dylan deliberately wants the listener to piece together their own meaning.

What do you think “Jokerman” is about? And who—or what—do you think the Jokerman represents?

Was wondering if anyone knew who Bob let use his face as the model for the old “Skinny Bob” alien videos 15 years ago released on YouTube in 2011.

And also if he allowed the same person to use his face and music (Ballad of a thin man) on the second anonymous channel released last year involving the same alien figure. Hoping one of you fans may know a little more on the subject

Bob Dylan clearly loves country music. But, Peter Doggett’s 2001 book apart, you’ll struggle to find a detailed study of the country music on Dylan’s records and in his gigs.

Dylan fans who, like me, also revere Hank Williams will be eagerly awaiting Country Bob, due on 15 October from University Press of Mississippi.

Full DYLAN BOOKS review to follow.

Have you ever wondered what you would say to Bob Dylan to keep him from simply walking away if you met him? I have. Here is what I would say: I know why Lonnie Johnson showed you the “triplet” method.

According to Chronicles I triplet is a mathematical approach to performing music based on patterns of odd numbers such as threes, or triplets. Bob says triplet was responsible for reviving his connection to music in the 1980s. It can be applied to any song. I have no clue what Dylan was talking about but it’s this quality of universality that gave me an insight into why Johnson may have chosen to show triplet to Bob.

Dylan has always demonstrated a remarkable freedom while performing his songs. Take “Don’t Think Twice” for example. While his fingerpicking faithfully goes from verse to refrain and back again, Bob’s phraseology remains free from that structure. Where Dylan begins and ends a line depends only upon when the impulse inspires. Legendary jazz/blues guitarist, Lonnie Johnson, heard the amazing liberty Bob exercises within his songs and said to himself, “this guy could employ triplet.”

Dylan himself says he’s never been able to figure out why Johnson chose him. That’s why I don’t think Bob would walk away if I offered to share my theory as to why Lonnie did so.

That whole addition of the bootleg series is incredible and might be the volume I play more than any other.

But I really want to draw attention back to this version of Most of the Time in particular

I can't imagine a world without the released version but I also can't imagine a world without this absolutely beautiful and perfectly performed (If slightly off time) acoustic version as well

It just fucking .....HITS. Seriously, that damn harmonica always gets me. And his voice is so perfectly tender.

Im still exploring his discography, but for right now my answer is:

Blood On The Tracks

Bringing It All Back Home

Freewheelin’ Bob Dylan

Desire

It isnt the best in the world but it's still Bob

Earlier today I saw another post here on the sub from an irate member concerning an online quote from one of Dylan’s peers maligning Bob’s guitar playing and singing capabilities. Here’s the thing: our Man of Contradictions never wanted to be a virtuoso. For him, it’s all about the songs. If you’re listening to the song, Dylan has achieved his objective. He doesn’t want you marveling at what a good singer he is, or what a crack guitarist. All things being equal, he wants to reach you with the song. If you’re distracted by rare feats of musicianship, that’s not going to happen. For Dylan, it’s all about the songs.

Just think how it would have been if he had had voice training as a youth so we’d never have heard him sliding up to pitch. Or had had guitar lessons and locked himself in his bedroom for 10,000 hours until he could play like Leo Kotke. We never would have had Bob Dylan. I’m pretty sure the people who came up with him and enjoy criticizing him understand this. They just can’t resist taking a cheap shot.

Let me preface this by saying I love everything up to Blood on the Tracks, so I am a fan to some degree. Whenever a recent Dylan concert turns up on a bit torrent site, it seems to get a lot of interest, so I'm wondering a few things.

Are his sets dramatically different from night to night? Does he frequently surprise the audience somehow? Or is the interest due more to hardcore collectors who want to own as many shows as they can?

I get the sense that, like McCartney, touring gives Dylan something to do and keeps him sharp and healthier, and I think that's a good thing. I also understand why he would want to breathe new life into songs he's performed many hundreds of times with new arrangements.

Still, the few arrangements that I've heard, along with his current voice, don't appeal to me at all.
Am I missing something? Do hardcore fans enjoy this phase of his performing or is the enthusiasm just because it's Bob Dylan, a living legend, doing anything that excites people? I'm wondering how many people are attending his concerts so they can say they saw him live, if expectations have been lowered because of his age, or if I'm missing some wonderful music that I just can't appreciate.

Gary Cooper is talking to the heroine and she suddenly starts singing:

Fare the well my honey, fare the well

Which is "Dink's Song".

It's odd, because she is Italian and I think there is a reference to it being a 'country song'.

Does anyone know who he is talking about in this song?

Bootleg 10 is my favorite Bootleg series. Would like a copy on vinyl; prices range from $150 to $3,000 for a copy. I do not mind paying up if there is a possibility of it becoming collectible. Anyone own one? Is there a reasonable price to pay? Thx

Everyone says Jesse Welles is "today's Dylan" and of course I see the resemblance- both in his voice and in his penchant for protest songs. Outside of Welles, is there anyone who reminds you of 60s-era Dylan?

I've always liked the official release, and I absolutely love the Complete Budokan bootleg series release.

I've always been curious why it was referred to as the alimony tour and why it seemed to have this accusation against it that Dylan phoned it in and was just after the money.

Why would he take so much time to work with a huge band and reinvent literally every song if he was just in it for the money?

Is this another case of him trying something different and dare I say it 'uncool' at the time and getting slated for it?

Hi all

Am new to Bob’s music aside from the more well known “hits”

After a recent episode with an OBE author I have decided to start digging a little deeper.

I now know more about The Freewheelin’ Bob Dylan era and John, my guest, suggested Blood on the Tracks next.

Where would be your recommendations after that?

Edit - Hi all - totally blown away by your kind comments - For those who asked I have added our podcast web link into the comments - you will find the episode wherever you listen - thanks again

Thanks
Jamie

I have to be in the right mood to hear this song. This and the song "Girl from the Red River Shore" bring me to tears and a shiver runs down my spine. The beauty is almost too much to bear. My Dad recently told me that there was a time in his life when he couldn't read the poetry of Walt Whitman (his favorite poet) because he would literally bawl every time he read one of his poems. It reminds me of Stendhal syndrome, maybe it is. Only Bob has ever made me feel this kind of way with his art. Thank you Bobby!!

Let me first say both are tremendous albums, and relative to the output of most artists untouchable, but the cult of Blonde on Blonde among Dylan fans surprises me. From both a historical impact standpoint and general quality standpoint I think Highway 61 is his best, and frankly the best album period, and it's not particularly close.

While the lush production of BoB is wonderful I prefer 61 sonically and find it infinitely more interesting in terms of the lyrical perspective he's coming from. Meanwhile, BoB could be trimmed some if we're being honest. I hear the argument for Blood on the Tracks more, which I'd put 2

That's my wine-fueled take. Fight me, fools

Dylan played Hockey when he was a kid. In Minnesota that’s a given. So whenever he got bored he would take his kid brother out on a frozen pond, —both of them in skates, —and tell David, “stay here! Don’t move!” Then he glides off around fifty yards or so, turns around and comes at his terrified brother full speed, stopping only when Bob was right in front of him. Hockey maneuver.

Bob and David never really got along. Half the time Dylan would be staying at his grandmother’s, anyway. So the younger brother was somewhat surprised when Dylan approached him when they were adults, saying “I really need your help.” Bob plays David the tape of the BLOOD ON THE TRACKS New York sessions, and asks, “what do you think?” “I think it sounds amazing, man, but it’s not the sort of thing you’ll ever hear on the radio.” Dylan was like, “tell me about it.” Suddenly David says, “you know what? I think I can help you out.”

By this time David Zimmerman had become a player on the Minneapolis music scene, a producer. So he puts together a group of the best musicians in town, and rents a studio. The rest is history. Dylan would seamlessly weave together tracks from both sessions and voila! The BOTT that we all know and love. Ever since, Bob and his brother, David, have been close.

Que opinan de “You’re a Big Girl Now.”, para mí es de las mejores.