A J Weberman: False Legend in His Time

Legendary ‘garbologist’ and not-quite-so-legendary ‘Dylanologist’ A J Weberman (left-wing Zionist and totally assimilated atheistic New York Jew) to me in December 2009:
Paul Kirman http://dylanology.org http://rightwingbob.org Dylan turned out to be a sicker piece of shit than I ever pinned him for. I suggest you purchase RightWing Bob via Amazon as it is the last book I will ever write about this sicko. How much precious time of my life I wasted studying Dylan when a great deal of his message boils down to "niggers eat shit." I could get the same message off any Klan or Nazi website. Rolling Stone, Blowin in the Wind, Sub. Homesick Blues and other poems contain this subcontext. Who would have ever thought? Not me. I was looking for an anti-racist leftwing message when I began this journey in 1966. He did has some periods of normality Planet Waves, then Neighborhood Bully and License to Kill but they were few and far between. As for my syntax, at one point I was questioned about it as I was a suspected Soviet black agent who had been sent to the US with false legend. My handwritting was examined for traces of cyrillic writing. But I convinced the dudewho was assigned to evaluate me I was a domestic dissident by selling him toll fraud devices....

‘Someone who will die for you and more’. It ain’t him, A J. Don Gibson’s ‘(I'd Be) A Legend in My Time’:
If heartaches brought fame In love's crazy game I'd be a legend in my time If they gave gold statuettes For tears and regrets Id be a legend in my time But they don’t give awards And theres no praise or fame For a heart that's been broken Over love that’s in vain If loneliness meant world acclaim Ev'ryone would know my name I'd be a legend in my time But they dont give awards And theres no praise or fame For a heart that's been broken Over love that’s in vain If loneliness meant world acclaim Then ev'ryone would know my name

I'd be a legend in my time I'd be a legend in my time

John Gibbens in ‘Bow Down to Her on Sunday’ at http://www.touched.co.uk/press/bowdown.html
What was valuable, however, even in such wild theories as A.J. Weberman’s, was their search for the ‘thread’ of Dylan’s work. Weberman’s ‘plot’, applied to Dylan’s career up to the early Seventies, was the story of a Revolution betrayed by its leader (as far as I can make it out).

In Facebook in 2009 a lady of Jewish descent from New York, whose father ‘studied’ under Weberman in the 1970s, described Weberman to me in a private message like this:
. . . a self-mythologizing creature and probably very ill.

Even though she is ‘friends’ with him on Facebook (for reasons of paternal nostalgia) . . . In the volume of the late John Bauldie’s Dylan-‘news’ ‘Wanted Man’ outfit’s The Telegraph essays called All Across the Telegraph (1987), there is an article called ‘Charity is Supposed to Cover Up a Multitude of Sins’ by one Clive Wilshin. Wilshin says on p 223:
. . . and there is a similary [sic] xenophobic Zionism firing off furiously all through 'Neighborhood Bully'. But Dylan's argument in the latter song is one easier for the left to sweep impatiently aside than to answer, while the anti-Arab stance of those lines from 'Slow Train' is simply unworthy of everything the real Bob Dylan stands for.

Michael Gray returning to stage 2003, all flushed and overconfident from red wine in the intermission, waggling his finger, quite literally, over Dylan’s evangelistic period:
. . . and was coming out with this really very very nasty stuff. The message was basically, ‘I'm saved and you’re not, ha ha haaah!’

At which point Michael Gray went purple, looking like a spoilt child having a tantrum, his outburst eliciting some titters. It is hard for Michael, Michael the language-sensitive expert on Dylan’s use of the oh-so-bluesy King James Bible (the ‘Authorized’ Version, which King James never really authorized), to kick against the goads, to lose his intellectual property rights. ‘No more of this!’, Michael. (‘Suffer ye thus far’ with Michael’s Caiaphas-like exasperation with ‘Born in Time’.) Jonathan Cott, the loquacious laconic1 Jonath-n Cott, in Dylan (circa 1985) p 202:
1

‘Loquacious’ if you are Terry Kelly -- http://www.two-riders.co.uk/jotting14.html -- or (implicitly) laconic if you are Michael Gray (Song & Dance Man III p 255) commenting on the predominance of photos in Cott’s book Dylan.

To give the devil (or should I say angel?) his due, I should remind both myself and the reader that, as the Jungian analyst Jeffrey Satinover has written: "Once the star is established, his fans will tear him to pieces should ever he fail to carry for them the projected childhood Self. A recent example from pop culture is the fans' vituperative reaction to Bob Dylan's unexpected changes of style. Once a narcissistic complementation has been set up between any leader and his following, he is as bound as they. The rigidity of the relationship and the strength of the forces maintaining the status quo stem from the mutual common individual fear of fragmentation." Or as Dylan told the Minneapolis weekly City Pages in 1983: "People want to know where I'm at because they don't know where they're at."

Paul Kirkman 2012

A Legend in My Time
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A Legend in My Time
Studio album by Ronnie Milsap Released Genre Label 1975 Country RCA Records Ronnie Milsap chronology
Pure Love (1974) Legend in My Time (1975) A Rose By Any Other Name (1975)

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A Legend in My Time was the fourth studio album of Country music artist Ronnie Milsap. It was released in 1975 under the RCA Records label. Two singles were released from the album, including the Don Gibson penned "(I'd Be) A Legend in My Time," which reached #1 on country charts and Al Dexter's "Too Late to Worry, Too Blue to Cry", which peaked at #6. The album reached #4 on Country charts and made its debut on the Billboard 200 chart, peaking at #138. Allmusic stated that the tempo was "switched up" "a little"

from the previous album, marking it as having a bit more "variety." In 1975, it was named as the Country Music Association's Album of the Year.

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