Bob Dylans Anglo-Saxon Reference to Sutton Hoo in Tempests Tin Angel Yup: Dylan is up to his old games of enigmatically

conflating different time periods (even within the same song on an album; cf African trees in 1989s New Orleans-swamped Man in the Long Black Coat): early Roman kings who arent early Roman kings, on one level, with the in-this-case-overlapping time of Anglo-Saxon Britain. On the muddiest superhighway in the universe its going to be hard to tell for Sutton Hoo was who in the frantic race to unearth Dylans history-laden pun (and other historical references and allusions) and then centralize all this knowledge via the modern Dylanological equivalent of the medieval Catholic church: expectingrain.com. (Hoo might the Pope be?) From Tempests Tin Angel:
Peered thru the darkness, caught a glimpse of the two, Hard to tell for Sutton Hoo was who

It will be hard to tell for Sutton Hoo was who after Sarah Crompton, The Telegraphs arts editor in chief, pointed out on the BBCs Review Show, on 31 August 2012, that Dylans new album has a Sutton Hoo line. So many thanks to Sony/Columbia/bobdylan.com for feeding Dylans latest work of art through the prism (artistic and commercial) of the critics first, free of charge of course for maximum publicity, so that my own opportunity to decipher, artistically appreciate, the lyrics including this pun for myself is now forever lost . . . But no doubt theme-time disc jockey Scott Warmuth will excavate it while everyone else just sits back having their intellect destroyed Susan Sontag style. Duh! What goes around comes around. Especially on the muddiest superhighway in the universe. From Sontags essay Against Interpretation (1966):
Of course, I don't mean interpretation in the broadest sense, the sense in which Nietzsche (rightly) says, "There are no facts, only interpretations." By interpretation, I mean here a conscious act of the mind which illustrates a certain code, certain "rules" of interpretation. In a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability, interpretation is the revenge of the intellect upon art. Even more. It is the revenge of the intellect upon the world. To interpret is to impoverish, to deplete the world -- in order to set up a shadow world of "meanings."

But getting back to mud: the Sutton Hoo burial mounds. With all the nobility of an ancient race . . .

This means that. And how do we know? Because now all Dylans art is filtered through and circulated around the muddiest superhighway in the universe in the form of the constitutional replay of mass production. The central Catholicizing body being www.expectingrain.com. Karl Erik Andersen will turn the priests into pimps and make all men bark over the scarlet-harlot fearful symmetry both within Tempest and between it and 1983s Infidels. Paul Kirkman 2012