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Midnight on Planet Lockdown: Dylan Strikes Again
Like a shot ricocheting at Heaven’s Door, Bob Dylan has released a masterpiece dissecting JFK's assassination
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Dallas. Texas. Location of the scene where John Kennedy was assassinated during an official journey. 1963 United States National archives. Washington

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What spectacular timing. Like a shot ricocheting at Heaven’s Door as a virus pandemic rages and Planet Lockdown is the new normal, Bob Dylan has produced a stunning 17-minute masterpiece dissecting the November 22, 1963, assassination of JFK – releasing it at midnight US Eastern Standard Time on Thursday.

For baby boomers, not to mention obsessive Dylanologists, this is the ultimate sucker punch. Countless eyes will be plunged into swimming pools revisiting all the memories swirling around “the day they blew out the brains of the king / Thousands were watching, no one saw a thing.” But that’s not all: the Dylanmobile takes us on a magical mystery tour of the 60s and 70s, complete with the Beatles, the Age of Aquarius and the Who’s “Tommy.”

If there’s any cultural artifact capable of sending a powerful jolt across a discombobulated America trying to come to grips with a dystopic Desolation Row, this is it, the work of America’s undisputed, true Exceptionalist. The times, they are-a-changin’. Oh, yes, they are.

There are so many nuggets in Dylan’s lyrics they would be worthy of a treatise, tracking the vortex of music, literature, film references and interlocking Americana.

This is essentially an incantatory mantra set to piano, sparse percussion and violin. We have two narrators: a dying Kennedy (“Ridin’ in the backseat next to my wife / Headin’ straight on in to the afterlife / I’m leanin’ to the left, got my head in her lap / Oh Lord, I’ve been led into some kind of a trap”) and Dylan himself.

Or this can be read as Dylan playing Kennedy’s doppelganger, plus occasional interventions, such as Kennedy’s would-be killers (“Then they blew off his head while he was still in the car / Shot down like a dog in broad daylight / Was a matter of timin’ and the timin’ was right / You got unpaid debts we’ve come to collect / We gonna kill you with hatred, without any respect / We’ll mock you and shock you and we’ll grin in your face / We’ve already got someone here to take your place”).

The pearl at the heart of the mantra is nothing sort of apocalyptic: “They killed him once and they killed him twice / Killed him like a human sacrifice / The day that they killed him someone said to me, / ‘Son, The Age of the Antichrist has just only begun.’”

Extra words to define it would be idle. Wherever you are in Planet Lockdown, sit back in stay at home social distancing mode, turn on, tune in and time travel. There will be blood on the tracks.

(Republished from Asia Times by permission of author or representative)
 
• Category: History • Tags: JFK Assassination 
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  1. fenestol says:

    Dylan was 22 when Kennedy was killed. He’s awfully late to the party.

  2. Seems like the timing of the release is what’s important. This song is said to have been recorded years ago. Is he releasing it now to tell us that the pandemic and lockdown are orchestrated by the same sort of people who planned and executed the assassination of JFK?

    In typical Dylan fashion, he sings quite a few lyrics that seem meaningful without the meaning being discernible. I would like to know if he is telling us anything new. Did the Chief Commander or his subordinates let the Bard in on any secrets?

    • Replies: @Jim Given
  3. songpoet says:

    “preachers go on ’bout babylon and the so-called “captivity,
    but they only brought rich jews; that seems strange 2me.
    when the persians said: “y’can all go now, 
                                              most of them hebrews stayed.
    perhaps they were busy learning how 
                                                      unearned money is made.
    the talmud art and shylock shark of fractional reserves;
    and derivatives which gives Mammon to the god it serves.

    they sent the talmud with hillel on to the phar-isees
    to scam the elders of israel into re-pealing Ju-bilees.
    in a Jubilee year, most debts got clear, so nobody got too rich,
    it ain’t healthy to get too wealthy, or broke as a son of a bitch.
    Usuries kill economies, but Hil-lel convinced them how
    ex-po-nential debt be kept; that’s the mess we in now.

    in the talmud kab-ballah, in every second generation;
    lu-cifer would choose 2use 1 minister of information.
    Hille’s grandson was Gamiel; the teacher of saint paul.
    they studied what Jesus did4real & really hated it all!
    paul was willing 2do killing, but gamiel said “fake a conversion.”
    than imitate what you most hate, and infiltrate by subversion.
    so paul’s pious virus spread as lucifer’s prime lies do,
    &they burned what Yeshua did &said, 
                                                 & them that said it too!

  4. From my files:
    {The sole public benefit of JLS*–911 [*=“Jewish Lightning Strike”] has been that the backflash of that notorious stunt’s comparative crudity at last lit up for us the NAGIM** [**= Normal, Alias “Gentile”, IMmensity] the grim character of the Dallas Jack Whack 38 years earlier as having been the all-time biggest kosher coup d’etat.}

    Some other major links in the historical chain of Jew assassinations: 1865 Abe Lincoln by Jew (by blood) JWB operating under orders from Judah P. Benjamin, the First King of the Jews. 1901 President William McKinley, in order to promote Teddy to the O-O, since the Roosevelt Family was a long-term Jew asset. 1935 Senator Huey P. Long, by far the leading challenger to Bernard Baruch’s place-man and President-for-Life, FDR. Long was the last great white reformer in his country and should be counted as the first American casualty of the Atomic War aka WW2. Bernard Baruch [1870-1965] was the Second King of the Jews. 1944 Lord Moyne in Cairo. 1945 General George Patton was the last major Merkin fatality of WW2. 1948 Graf Folke Bernadotte in Jerusalem. For JFK please see above already. 1965 Malcolm X. 1967 Jack Ruby (the only known shooter in the JFK hit). April 1968 Martin Luther King. June 1968 Robert F. Kennedy. 1969 Fred Hampton. 1970 Carl Hampton (Houston) . In general about 100 other young black leaders nationwide during this period. 1980 John Lennon. 1997 Princess Diana. 1999 John-John Kennedy. 2002 Senator Paul Wellstone & family. Although a Jew himself, Wellstone was a potential political challenge to incumbent President SonnaBush, who was JAPE*s front-man for the period [*JewAmerican Planetary Empire]. 2004 journalist Gary Webb, who exposed the Cocaine Import Agency’s black ops, especially in L.A. 2013 Rolling Stone journalist Michael Hastings, who single-handedly brought down top Army General Stanley McChrystal. 2015 my friend Michael Collins Piper, who already in 1994 had essentially solved the JFK mystery with the publication of his epochal book FINAL JUDGMENT. Piper subsequently was the leading national writer on the Jew command. Some of the cases mentioned, of course, would require more explanation than others, depending particularly on the reader’s level of previous study. In the interest of brevity, I have omitted the names of tens of millions of other victims worldwide since 1946.

    Old Bob Dylan must be missing the days of his youth when he was a genuine genius, eh what? – The Lonesome Death of Hattie Carroll (Audio) https://tinyurl.com/tb9n3ns

    • Replies: @the grand wazoo
  5. CBTerry says:

    I do not get Bob Dylan. I do not know enough about popular music to evaluate whether Joni Mitchell’s body slam of him is fair — “Bob is not authentic at all. He’s a plagiarist, and his name and voice are fake. Everything about Bob is a deception. We are like night and day, he and I” — but Thomas Fleming, who knows more about popular music than he cares to admit, said that Dylan stole the only decent song he ever wrote, so I am guessing that she is probably right.

    All that being said, what is so interesting about this article is that while it says that the song is a masterpiece, the article never mentions the music, other than saying that there is sparse instrumentation. Think about that for a moment.

    Still, the article is quite a read: “If there’s any cultural artifact capable of sending a powerful jolt across a discombobulated America trying to come to grips with a dystopic Desolation Row, this is it, the work of America’s undisputed, true Exceptionalist. The times, they are-a-changin’. Oh, yes, they are.

    There are so many nuggets in Dylan’s lyrics they would be worthy of a treatise, tracking the vortex of music, literature, film references and interlocking Americana.”

    I would be interested if anybody else finds those sentences to be pretentious to the point of ridiculousness.

    Maybe Dylan is just my lacuna, but I don’t get him.

    • Replies: @Iris
    , @oneworld
  6. Joni Mitchell was right.

    At age 16 Bobby Zimmerman submitted a song to the newspaper of his Zionist summer camp. The editor of the newspaper kept the song and put it up for auction around the time Mitchell called Dylan out. The auction house acknowledged the work was stolen from the late country and western singer Hank Snow.

    Only one of many Dylan fakes that continued at least until Mitchell spoke out.

    Add Dylan to other Jewish plagiarists like Albert Einstein and Ellie Weisel (search Miklos Gruner). Obviously it is not easy being chosen.

    Dylan on Kennedy during official hysteria looks like a distraction to me.

  7. Jim Given says:
    @Jefferson Temple

    Yes, indeed! The trademark Dylan style of empty portentiousness. Dylan told his associate Phil Ochs (who really did care about the chaos of the sixties) that politics was b***sh**.) For a real version of what this song promises, listen to Phil Ochs’ song The Crucifixion.

    • Replies: @Jefferson Temple
  8. onebornfree says: • Website

    “Dylan told his associate Phil Ochs (who really did care about the chaos of the sixties) that politics was b***sh**.)”

    Well, at least he got that much right! 😎

    Regards, onebornfree

  9. I’ve thought of this song from 78’s Slow Train Coming album quite often recently

    Bob Dylan

    Senor

    Senor, senor, do you know where we’re heading?

    Lincoln County Road or Armageddon?

    Seems like I been down this way before

    Is there any truth in that, senor?

    Senor, senor, do you know where she is hiding?

    How long are we gonna be riding?

    How long must I keep my eyes glued to the door?

    Will there be any comfort there, senor?

    There’s a wicked wind still blowin’ on that upper deck

    There’s an iron cross still hanging down from around her neck

    There’s a marching band still playing in that vacant lot

    Where she held me in her arms one time and said,

    “Forget me not”Senor, senor, I can see that painted wagon,

    I can smell the tail of the dragon

    Can’t stand the suspense anymore

    Can you tell me who to contact here, senor?

    Well, the last thing I remember before I stripped and kneeled

    Was that trainload of fools bogged down in a magnetic field

    A gypsy with a broken flag and a flashing ringSaid,

    “Son, this ain’t a dream no more, it’s the real thing”

    Senor, senor, you know their hearts is as hard as leather

    Well, give me a minute, let me get it together

    I just gotta pick myself up off the floor

    I’m ready when you are, senor

    Senor, senor, let’s disconnect these cables

    Overturn these tablesThis place don’t make sense to me no more

    Can you tell me what we’re waiting for, senor?

     LyricFindSongwriter: Bob DylanSongtext von Senor © Sony/ATV Music Publishing LLC

  10. Oh come on! The song contains a few good one-liners and that’s about it. It reveals nothing new and has no particular insight into the event. The music wouldn’t elicit a second listen were it not Dylan’s. This article is pretentious and arty-farty.

    • Replies: @Iris
  11. Bob Dylan capitalizes on the emotions of the weak minded. In 1966 I thought he was god, today I understand he’s not Ezra Pound or anyone close. He’s a hollywood creation ala Jim Morrison et al. And, this latest from him is just more Cambell’s soup cans from that white haired dude, whose name I nolonger remember.

  12. @Hal Womack

    I know it’s hard to list al the crimes committed in the name of Zion, and I can only add a few you missed: 911, Iraq war, Lybia bombing, 6 day war, USS Liberty, USMC barrracks in Beirut, King David Hotel bombing Cairo Egypt, the (mini-nuke) Mali bombing, and a host of others, I’ll end it with WW1 & 2 culminating in the fake Holocaust and the decimation of millions of innocent Germans. They will never stop, until they’re stopped. There’s something evil in their psyche. They keep killing us, and we keep taking it.

    • Replies: @Hal Womack
  13. songpoet says:

    from video “hijacking jesus”

    he took the mood of “ain’t dark yet” & re-made a fad,
    so rad that Mossad commanded dead men wear plaid.

    bob ain’t bad, just went mad with surrealistic lying,
    post-it ads in pads to buttress the protocols of zion…

    barak bestowed metal flowers and a tongue up his ears,
    as gay antichrist drones entranced authoritarian queers.

    we’re mating dreaming demons & satan’s seer puppeteer:
    it ain’t purgatory yet; but [by Demiurge] hell’s sure here

  14. @Jim Given

    What strange music in that song. I only know about Ochs what I read in David McGowan’s book about Laurel Canyon stars and their military/Intelligence community connections. What a strange sad tale it was. I’d recommend that book to anyone interested in the saga of the sixties. It seems that nothing was what it seemed.

  15. A genius for the weak minded. Song writers used to be thought of as frivolous creatures who wrote silly songs to entertain young ladies. Now they are Gods that walk the Earth.

    How far we have fallen.

  16. Iris says:
    @CBTerry

    I would be interested if anybody else finds those sentences to be pretentious to the point of ridiculousness.

    I understand where you are coming from, but would not be so harsh on Pepe Escobar: people are very partial about the musicians they liked most as teenagers.

    Also, Pepe Escobar is Brazilian, so he does not necessarily put Dylan in the full context of North-American music. I am not an American neither, and quite surprised to learn from your comment that Dylan was called a plagiarist by a such an outstanding creative artist as Mitchell. It is a damning statement to make.

    In French we say:”One can only judged by their peers”. It is even more so the case for creative artists whose work is, by definition, a heresy. So you must be right if Mitchell agrees with you.

    I like that this song reminds us of JFK, but I also don’t see how listing, albeit in a poetic way, the 50 best melodies in American music can be considered outstanding poetry. It is too easy tapping on people’s emotions and memories, just like a music medley does.

    • Replies: @CBTerry
    , @Bardon Kaldian
  17. CBTerry says:
    @Iris

    Your kind, civilized tone is most admirable. I will try to be more like you.

    Pepe Escobar is a fine man and being too harsh on him was not my best moment. While I thought that his remarks were silly, in the context of his life the silliness was understandable, perhaps even endearing, and I should have just let it pass.

  18. oneworld says:
    @CBTerry

    Some truth in this. Paul Clayton was a significant figure in the Greenwich Village folk scene when Dylan showed up. Clayton befriended Bob and supported him (as Dylan recounts in “Chronicles, Vol. 1, where he speaks very highly of Clayton==some guilt perhaps?). However Bob leaves out how he and Clayton fell out when he stole Clayton’s song, “Who Will Buy Your Ribbons When I’m Gone” and re-tooled it as “Don’t Think Twice It’s Alright” Clayton felt deeply betrayed. Clayton later committed suicide or died during a bad acid trip.

    That said, Dylan did write some great stuff in his career, which can’t all be lifted from others.

    • Replies: @CBTerry
  19. CBTerry says:
    @oneworld

    Seriously, please tell me the two or three best things he wrote in your opinion, if you would be so kind. I am not being snarky, and I have no desire to argue aesthetics (the most pointless endeavor!). I just don’t “get” Dylan and want to see if I can “get” him.

    I had never cared for jazz either, but over the last 3 years or so I have had a radical re-appraisal and now really appreciate it. Maybe it will be the same for Dylan; if so, I don’t want to miss out.

    However, there is one big qualification: when I say “best things he wrote,” I mean music. Probably should have said, “composed.” I am congenitally incapable of paying any attention to lyrics when I listen to music — I can’t do it. It is easy to find lists of Dylan hits, but the list makers always seem concerned first and foremost with the lyrics.
    Thank you.

  20. Iris says:
    @Irish Savant

    It reveals nothing new and has no particular insight into the event.

    I have an opinion so obviously I am biased, but still, there are a few interesting hints listed in Dylan’s song:

    – “Wolfman” may refer to G.H. Bush codename as president (Timberwolf), but it was also the nickname of a Chicago mob associate who prepared special rounds (mercury-filled bullets) to self-confessed JFK assassin James Sutton Files.

    – The “Three Bums” are the “three tramps” found hiding inside a train carriage near the Grassy Knoll, part of the smoscreen elaborate staging.

    – “Pick up the pieces” about pieces of JFK’s skull that were retrieved and “disappeared” to hide traces of the round really used to execute him.

    – “Put your foot in the tank and then step on the gas” about JFK’s driver slowing down the limousine to facilitate the shooting.

    – “There’s a party going on behind the Grassy Knoll” because there were at least 2 snipers there, alongside their helpers.

    – “Dealy Plaza, make a left turn” : the accomplice SS driver was so stressed he first missed the left turn into Elm Stree and engaged into the Book Depository driveway instead, a sequence “disappeared” from the Z film.

    – “I’m leaning to the left” because JFK was shot from his right (from the the Grassy Knoll)

    – “They took out his brain”: JFK’s brain “disappeared” too because traces of the real round used to kill him could not be erased.

    – “Throw the gun in the gutter and walk on by”: a shooter at the Grassy Knoll had his weapon picked up by his helper.

    – “They killed him twice”: JFK was shot twice two the head from two different directions, right and behind.

    – “If you want to remember, you better write down the names”: the number of people involved in the assassination is in the dozens.

    -“Play it for the man with the telepathic mind”: for the large number of people with foreknowledge of the assassination.

    – “Ride the pink horse down that long, lonesome road”: the three snipers who shot JFk did it for the money.

    – “Play “Merchant of Venice”, Play “Merchant of Death” “: is the financial-military complex.

    Dylan does not indeed make any revelations, but at least clearly rejects the sham official position.

    A song with meaningful lyrics is a very powerful means of keeping alive collective memory and carrying it over to the next generations.
    I guess this is why those who profoundly revere President Kennedy will be very grateful to Dylan for producing this song: the world must not forget what JFK stood for.

  21. oneworld says:
    @CBTerry

    I tend to agree that if you take away the lyrics then Dylan doesn’t leave much behind musically. Many of his tunes are catchy and immediately accessible as they are often (as he would probably admit) based on older tunes–often folk songs. He was professional enough to change a chord here and there to avoid obvious theft, again not unlike many folk singers, and pop songwriters.

    Off the top of my head, a few of my favorite melodies claimed by him are: “You Ain’t Goin’ Nowhere”, “All Along the Watchtower”, “Mr. Tambourine Man”, “My Back Pages”.

    Looking at those listed, like I said at the outset, would not be too special without the lyrics.

    • Replies: @Iris
  22. Iris says:
    @oneworld

    The harmonica riff in “ I want you” is unforgettable…. but how to compare it to so many harmonica masterpieces in Stevie Wonder’s “Songs in the key of life”?.,,

    America has a magnificent, unsurpassed contemporary music.

  23. @CBTerry

    If you can’t listen to lyrics, you may as well move on. Dylan’s lyrics and delivery of same are essential to listening to him. The music isn’t often memorable. But hey, maybe you would appreciate his mid 70s album Desire. That had a pleasant sound on many tracks. And the activist masterpiece Hurricane, although some have disputed that Ruben Carter was unquestionably not guilty.

  24. Franz says:

    There’s a whole website of Bob Dylan plagerisms if it ain’t been mentioned yet:

    http://bobdylanplagiarisms.yolasite.com/

    Highly recommended; the most fun this year so far. The man stole literally everything he’s somehow or another famous for. Amazing!

  25. @the grand wazoo

    First of all, “the grand wazoo”s helpful reply to my comment gives me the chance to add both some of his suggestions as well as some other important names to my original list of Jew targets:
    1901 Emma Goldman deserves mention as the coach for the disposable gunman against President William McKinley. 1946 bombing of the King David Hotel. 1949 James V. Forrestal, 1st SecDef. 1967 prestige resulting from the successful Israeli attack on the USS LIBERTY was the Jews’ primary purpose in waging the “6 Day War” of criminal aggression. 1970 Jimi Hendrix and Janis Joplin. 1981 Bob Marley. 1986 Swedish PM Olof Palme. 1993 Pastor David Koresh, his (black) attorney from Harvard Law Douglas Wayne Martin & the rest of the international rainbow congregation in Clinton’s Waco Massacre. 1993 Frank Zappa. 1994 OKCB so as to save the political standing of jootools Clintonz & the C.I.A. 2011 Muammar al-Gaddafi.

    [MORE]

    WRT being identified as JBOPs or “Jew Black Ops” all of these cases range from the as it were, dead certain, to my own “best guess” as lead observer.

    The 1983 bombing of the USMC barracks in Beirut was a multi-step action ultimately resulting from a Jew-misdirected U.S. intervention.

    JAPE*s war of obliteration [1990 to present] against Iraq as the most intrinsically important Arab nation [*=”JewAmerican Planetary Empire”] deserves extended treatment elsewhere, as do the analyses of the Great and of Atomic Wars aka WW’s 1 & 2. Starting with my own introduction to the Internet in 1994, I commented many times on the former vast crime on Usenet newsgroups such as “talk.politics.mideast”, with significant results, perhaps even leading in a backhanded way to the concoction of JLS-911.

    Now to return to Wazoo’s other points: He (PG = “Probable Gender Guess”) overlooks my opening reference to “JLS-911” for “Jewish Lightning Strike”. Adopting this tag efficiently establishes our evaluation of the “Second Pearl Harbor” event. WRT the First Pearl Harbor stunt, the major classic deserving a place of honor in every historian’s collection = DAY OF DECEIT [1999] by the late Robert Stinnett of Oakland.

    JeWorld HQ cooked up the global Holohoax psywar campaign about 8 years after first securing state power in the USA by their successful Jack Whack. Did this big scam’s finally running out of steam lead to the need for the present world plague?

    Wazoo refers to “the decimation of millions of innocent Germans”. In our contemporary culture the “decimation” term has escaped from its cage and has swallowed its originally more powerful sibling “devastation”. IMHO we writers should repeat the Jonas trick and put the former term back in its proper Roman military box. Long live “devastation” reborn –in a literary sense only, of course.

    Wazoo’s conclusion reminds us of the need for a Murder Bible which would collect in a handy fashion all of the many slaughter passages in the Old Testament. Our host here Ron Unz has done well to catch on to the primary importance of the short masterpiece JEWISH HISTORY, JEWISH RELIGION [1994] by the late Israel Shahak PhD of the Hebrew U whom I had the honor of meeting briefly here in San Francisco on April 19th, 1994, an easy date to remember. Or was it the 20th? I attended three of his speeches here.

    Coming back to Dylan’s latest flag-waving act: I am happy to stand by my description of “The Lonesome Death of Hattie Carroll” [1963] as a work of genius. Probably we could find at least two more excellencies in BD’s early period. I have always felt that Bob went off the tracks with his “Lay, Lady, Lay” [1969]. Seems to me like the subtext runs: “Man, now I’m a world star and have got the Free Pussy License. It’s all downhill from here.”

    And that’s indeed a long slope to the spiritual bottom. In September of 1982 Ariel Sharon, the Israeli Defense Minister, whom post JLS-911 I tagged as “Aerial Shaboom”, misdirected the massacre of some three thousand or so Palestinians, mostly women and children, at the Lebanese refugee camps of Sabra and Shatila in West Beirut.

    The following year, Dylan brought out his song “Neighborhood Bully” to glorify every murder committed by the Jews against the Palestinians. Dylan’s second stanza:
    …………………………………………………………
    “The neighborhood bully he just lives to survive
    He’s criticized and condemned for being alive
    He’s not supposed to fight back, he’s supposed to have thick skin
    He’s supposed to lay down and die when his door is kicked in
    He’s the neighborhood bully.”
    ………………………………………………….
    Readers of the previously cited JEWISH HISTORY, JEWISH RELIGION will remember that according to the Jew tribal code of _halakhah_ –which the Yidz miscall “law”– for a Jew to kill a NAG or Normal, Alias “Gentile” person ordinarily = a divine command or _mitzvah_ and is never murder whereas for a NAG to kill a Jew under any circumstances, including self-defense, is always murder.

    Dylan reveals himself as an energetic proponent of “murder most foul” while now waving his cape in an effor to distract humanity from understanding the real crimes. This reminds us of another pop star, Madonna, who seeing what happened to her phone pal Diana, promptly turned herself into a kosher pop tart. BTW the principals in the Jack Whack were the elderly Bernard Baruch and his XO David Ben Gurion. Colonel Gaddafi cheerfully explained that plot in public in 2009.

    Dylan’s present pretentious sham belongs in the trash.
    How can we the honorable NAGIM best unite to overthrow JeWorld despotism and to win the human race (“HuRa”)? TBC?

  26. @Iris

    “Talent borrows. Genius Steals.”

    Oscar Wilde

  27. JimDandy says:
    @CBTerry

    Idiot Wind, Don’t Think Twice (kinda sort stolen a little bit, but it’s on another level than the source material–which itself was drawn from an old English song, I think) Positively4th Street… Tangled up in Blue… One more Cup of Coffee… Jack of Hearts… Things Have Changed…

    I could go on. I think the process of that entire folk movement was “Stealing” from the folk songbook and, to some extent, each other.

    At first I totally dismissed the latest release as a Dr. Seuss-level attempt to write his own “We Didn’t Start the Fire” but it is much more than that. Somehow I doubt he’s acknowledging Israel’s involvement, though.

  28. CBTerry says:
    @CBTerry

    Thanks to everybody who responded.

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