Dylan, Dolly, and Gender Expectations (Bob Dylan Hotline #13)
Notas do episódio
In this episode of the Bob Dylan Hotline, we give our opinion on Bob Dylan ~as women~. Is that different from other episodes, you might ask? Not really, but this time we're talking about talking about Bob Dylan as women. The conversation took us in many different directions because we had a lot to say.
You can find our earlier conversation on Women and Dylan here.
A few notes:
00:18 - A note on the almost impossible popularity of Dolly Parton. The phenomenon of a woman becoming very popular very quickly until the public turns on her and starts tearing her down has now been dubbed as “getting womaned”, since it rarely happens to men to this extent.
00:22 - There are luckily a few examples for “kookie” women, from Björk to Kate Bush to Erykah Badu to name just a few, but I think Rebecca’s point was more regarding how willing the public is to accept that kookiness as part of Bob Dylan's character, while female artists are more likely to be reduced to their kookiness.
00:35 - I’m really interested in how some of Dylan’s early songs challenge the conventional gender dynamic. “It Ain’t Me Babe” is a rejection of romantic stereotypes, but songs like “Hero Blues” and “John Brown” are about women encouraging a harmful masculinity rooted in violence and aggression. For more on this, check out my talk on Bob Dylan’s Heroic Masculinity here.
00:51 - In this context, also consider the re-written lyrics to “To Be Alone With You”, where he sings about wishing to be back in his “true love’s arms / She likes older men, they can’t resist her charms”. Here he directly writes from the place of an “older man”. The same is true for “Spirit on the Water” where he resist the accusation that he’s “over the hill” or past his prime and insists that, given a chance, he’s show her a “whoppin’ good time”.
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