Hey Graley, brief though it may be, I greatly appreciate seeing the Huey Newton reference, and I hope you won’t mind if I note that Newton’s interpretation of “Thin Man” is as much about class-relations as race-relations (Black Nationalism, be it the version expressed by folks like Newton, Bobby Seale, Malcolm X, and Amiri Baraka, or even the hybrid versions developed by George Jackson and post-1963 James Baldwin, was always Communist influenced, and always about the intersection between race and class). In Newton’s reading (and in Dylan’s song, I would argue), the Mr. Jones character is not akin to an economically struggling individual, but rather (in Newton's words) “middle-class people or upper-class people” who haughtily gawk at the ways in which poor black Americans are forced to degrade themselves in order to survive our circus-like capitalist marketplace. Newton argues that Dylan presents such bourgeois individuals as “the real freaks” (rather than the pimps and drug dealers and gang members they look down upon), and that their delicate sense of reality and security is so very easily shattered in moments when the wretched of the earth turn the tables.
It’s a powerful interpretation, and it pairs well with Seale’s mention of “Thin Man” in an earlier chapter in Seize the Time (in relation to Ronald Reagan’s response to the Panthers), and with Newton’s discussion of Dylan in “He Won't Bleed Me’: A Revolutionary Analysis of Sweet Sweetback's Baadasssss Song” in the 6/19/71 edition of the Black Panther Intercommunal News Service (which is the publication that the Panthers worked on when obsessively listening to Dylan – the issue in question can be found here https://www.marxists.org/history/usa/pubs/black-panther/06%20no%2021%201-20%20jun%2019%201971.pdf, or it was reprinted in To Die for the People: The Writings of Huey P. Newton, edited by Toni Morrison https://citylights.com/city-lights-published/to-die-for-the-people/), all of which represent early examples of Dylan-related criticism that should be included in any discussion of the history of Dylan studies.
And may I add that as I re-read the "Huey Digs Bob Dylan" chapter just now, I was struck by the contrast between what Seale declares as his hopes for Dylan going forward and what the folk revival crowd had been expecting of Dylan. Whereas Baez and Seeger and company wanted Dylan to focus on topical songs, and to do so by way of what they believed was an “authentic” folk sound, Seale suggests that he would like to see more songs like those on Highway 61 Revisited (i.e. more avant-garde experimentation, more Beat-inspired surreal poetry, more blistering Chess Records-inspired aesthetics, more of what many of the folkies saw as selling out), and he explicitly notes his appreciation for the “sound” of that record, not just the lyrics. Further evidence that when Dylan left behind topical songs, his music actually became more politically relevant, not less (something the revolutionary-minded Panthers recognized in ways that the more moderate folk revival crowd could not).
In any event, I appreciate the Newton reference, and wish you the very best!
Fascinating insights, David! Thanks so much for expanding on my passing reference to Newton and Seale on "Thin Man." You have broadened our appreciation for important contexts beyond my narrow circus angle, and given us follow-up readings worth considering, too. I'm lucky to have some of the smartest readers on Substack!
You are too kind! “Shadow Chasing” truly is the ideal name for the types of posts you offer, because in addition to your chosen subject, your posts always shed a little light on other darkened corners or pathways (in this case, Newton and Seale) that could be followed. Keep on keeping on, my friend.
Hey Graley, brief though it may be, I greatly appreciate seeing the Huey Newton reference, and I hope you won’t mind if I note that Newton’s interpretation of “Thin Man” is as much about class-relations as race-relations (Black Nationalism, be it the version expressed by folks like Newton, Bobby Seale, Malcolm X, and Amiri Baraka, or even the hybrid versions developed by George Jackson and post-1963 James Baldwin, was always Communist influenced, and always about the intersection between race and class). In Newton’s reading (and in Dylan’s song, I would argue), the Mr. Jones character is not akin to an economically struggling individual, but rather (in Newton's words) “middle-class people or upper-class people” who haughtily gawk at the ways in which poor black Americans are forced to degrade themselves in order to survive our circus-like capitalist marketplace. Newton argues that Dylan presents such bourgeois individuals as “the real freaks” (rather than the pimps and drug dealers and gang members they look down upon), and that their delicate sense of reality and security is so very easily shattered in moments when the wretched of the earth turn the tables.
It’s a powerful interpretation, and it pairs well with Seale’s mention of “Thin Man” in an earlier chapter in Seize the Time (in relation to Ronald Reagan’s response to the Panthers), and with Newton’s discussion of Dylan in “He Won't Bleed Me’: A Revolutionary Analysis of Sweet Sweetback's Baadasssss Song” in the 6/19/71 edition of the Black Panther Intercommunal News Service (which is the publication that the Panthers worked on when obsessively listening to Dylan – the issue in question can be found here https://www.marxists.org/history/usa/pubs/black-panther/06%20no%2021%201-20%20jun%2019%201971.pdf, or it was reprinted in To Die for the People: The Writings of Huey P. Newton, edited by Toni Morrison https://citylights.com/city-lights-published/to-die-for-the-people/), all of which represent early examples of Dylan-related criticism that should be included in any discussion of the history of Dylan studies.
And may I add that as I re-read the "Huey Digs Bob Dylan" chapter just now, I was struck by the contrast between what Seale declares as his hopes for Dylan going forward and what the folk revival crowd had been expecting of Dylan. Whereas Baez and Seeger and company wanted Dylan to focus on topical songs, and to do so by way of what they believed was an “authentic” folk sound, Seale suggests that he would like to see more songs like those on Highway 61 Revisited (i.e. more avant-garde experimentation, more Beat-inspired surreal poetry, more blistering Chess Records-inspired aesthetics, more of what many of the folkies saw as selling out), and he explicitly notes his appreciation for the “sound” of that record, not just the lyrics. Further evidence that when Dylan left behind topical songs, his music actually became more politically relevant, not less (something the revolutionary-minded Panthers recognized in ways that the more moderate folk revival crowd could not).
In any event, I appreciate the Newton reference, and wish you the very best!
Fascinating insights, David! Thanks so much for expanding on my passing reference to Newton and Seale on "Thin Man." You have broadened our appreciation for important contexts beyond my narrow circus angle, and given us follow-up readings worth considering, too. I'm lucky to have some of the smartest readers on Substack!
You are too kind! “Shadow Chasing” truly is the ideal name for the types of posts you offer, because in addition to your chosen subject, your posts always shed a little light on other darkened corners or pathways (in this case, Newton and Seale) that could be followed. Keep on keeping on, my friend.
Thank you for this fantastic article! As a long-time Springsteen fan, it was so interesting to me!
Ok, Graley, this is just GREAT.
Marvellous stuff, once again, Graley.
In addition, it provoked a fine read from David Polanski as an added bonus.
Team Carlee swept the board, no question.
Nice article. Unfortunately I have lost a lot of respect for Springsteen.