Wow! Bob Dylan sings Ricky Nelson's "Garden Party"

Amazing footage of Bob performing „Garden Party“ last night!https://t.co/NZ6SRl49uY#bobdylan pic.twitter.com/BDkqRuHUhn

— Michael (@False_Prophet44) May 16, 2025

That was last night, and here's the relevant passage from Bob's book "The Philosophy of Modern Song" (commission earned):

"What do you believe happens after death?"/"I haven't a clue. I'm always struck by the people who think they do have a clue."

"It's perfectly clear to me that religion is a myth. It's something we have invented to explain the inexplicable. My religion and the spiritual side of my life come from a sense of connection to the humankind and nature on this planet and in the universe. I am in overwhelming awe of it all: It is so fantastic, so complex, so beyond comprehension. What does it all mean -- if it has any meaning at all? But how can it all exist if it doesn't have some kind of meaning? I think anyone who suggests that they have the answer is motivated by the need to invent answers, because we have no such answers."

Said Hugh Hefner, who, after 91 years, has finally gotten a clue.

Good-bye to the long-lived satyr, the man who packaged and delivered sexual liberation to the masses. He had a mission in life, and he pursued it with great energy, imagination, and influence. He's beyond love and hate for me. I grew up in a secure, middle-class home with a father who had every issue (except, perhaps, the first issue), where the magazine was not hidden away, but on the coffee table next to Life and Look, and we did live and look. Nobody stopped us. I paged through Playboy before I could read. I was so young that topless women didn't even seem to me to be naked and only reacted to the nakedness when, after many pictures of breasts, I saw a photograph I can still see in my head: a woman, lying prone and wearing an amber-colored satin blouse, with what we would have called her heinie just out there, for all to see.

In high school, I enjoyed easy access to things about the parts of the culture I liked: an interview with The Beatles in 1965...

PLAYBOY: "Speaking of nutters, do you ever wake up in the morning, look in the mirror and say, 'My god, I'm a Beatle?'"

PAUL: "No, not quite."

(laughter)

JOHN: "Actually, we only do it in each other's company. I know I never do it alone."

RINGO: "We used to do it more. We'd get in the car. I'd look over at John and say, 'Christ, look at you; you're a bloody phenomenon!' and just laugh... 'cuz it was only him, you know. And a few old friends of ours done it, from Liverpool. I'd catch 'em looking at me, and I'd say, 'What's the matter with you?' It's just daft, them just screaming and laughing, thinking I'm one of them people."

PLAYBOY: "A Beatle?"

RINGO: "Yes."

... and with Bob Dylan in 1966.

PLAYBOY: Why do you think rock 'n' roll has become such an international phenomenon?

DYLAN: I can't really think that there is any rock 'n' roll. Actually, when you think about it, anything that has no real existence is bound to become an international phenomenon. Anyway, what does it mean, rock 'n' roll? Does it mean Beatles, does it mean John Lee Hooker, Bobby Vinton, Jerry Lewis' kid? What about Lawrence Welk? He must play a few rock-'n'-roll songs. Are all these people the same? Is Ricky Nelson like Otis Redding? Is Mick Jagger really Ma Rainey? I can tell by the way people hold their cigarettes if they like Ricky Nelson. I think it's fine to like Ricky Nelson: I couldn't care less if somebody likes Ricky Nelson. But I think we're getting off the track here. There isn't any Ricky Nelson. There isn't any Beatles; oh, I take that back: there are a lot of beetles. But there isn't any Bobby Vinton. Anyway, the word is not "international phenomenon"; the word is "parental nightmare."

By the time I went to college (in 1969), I viewed Playboy as a thing of the past, where my father lived, but irrelevant to the new generation. The culture had moved to a new place, and we had new viewing-and-reading material....

But Hugh Hefner lived on, selling his particular vision of the good life. The music was jazz, the smoke was tobacco pipe, the sex was glossy and clean, the mansion creepily dark and ornate. It would not die, and the vision got planted in who knows how many heads...

Without Hugh Hefner, where would we be today? Who would we be? The cultural influence is beyond calculation.

Bob Dylan finally delivers his Nobel Prize lecture...

... just in time to collect the $900,000, the NYT tells us.

Here's the audio:



Text here. I haven't listened/read yet, but I'm going to do both right now and I'll add to this post as I do.

ADDED: In the first sentence, Bob accepts that task implied by the prize, "wondering exactly how my songs related to literature." He shows his wondering, "in a roundabout way."

1. When he was 18, he saw Buddy Holly in concert, and he saw in Buddy "[e]verything I wasn't and wanted to be." The in-concert feeling was "electrifying." It wasn't just the words but the entire "presence" of the man and the music. Buddy "looked me right straight dead in the eye, and he transmitted something." Buddy passed on his powers, and then Buddy passed on out of this world.

2. Bob got a copy of a Leadbelly recording of "Cottonfields," and that "transported" him, as if he'd been "walking in darkness and all of the sudden the darkness was illuminated. It was like somebody laid hands on me." He doesn't say religion, but he uses the language of religion. He's a convert to folk music. It's "more vibrant and truthful to life" than the "radio songs" he grew up with.  He starts to play: "By listening to all the early folk artists and singing the songs yourself, you pick up the vernacular. You internalize it." You get to "know that Stagger Lee was a bad man and that Frankie was a good girl." Bob absorbed "all the devices, the techniques, the secrets, the mysteries" and, as he wrote songs, figured out how to "make it all connect and move with the current of the day."

3. He credits "typical grammar school reading" for giving him "principals [sic!] and sensibilities and an informed view of the world."  He lists Don Quixote, Ivanhoe, Robinson Crusoe, Gulliver's Travels, and Tale of Two Cities, but he wants to talk in depth about 3 works of literature, Moby Dick, All Quiet on the Western Front, and The Odyssey.

4. Moby Dick—"Everything is mixed in. All the myths: the Judeo Christian bible, Hindu myths, British legends, Saint George, Perseus, Hercules – they're all whalers. Greek mythology, the gory business of cutting up a whale. Lots of facts in this book, geographical knowledge, whale oil – good for coronation of royalty – noble families in the whaling industry... We see only the surface of things. We can interpret what lies below any way we see fit." What's that Bob Dylan song with Captain Ahab, I start wondering, but it's hard to search for at bobdylan.com because in the song — "Bob Dylan's 115th Dream" — it's Captain Arab (but I called it up by searching for "collateral," remembering, as I did, the line "They asked me for some collateral/And I pulled down my pants").

5. All Quiet on the Western Front — "You don't understand why the war isn't over. The army is so strapped for replacement troops that they're drafting young boys who are of little military use, but they're draftin' ‘em anyway because they're running out of men. Sickness and humiliation have broken your heart. You were betrayed by your parents, your schoolmasters, your ministers, and even your own government.... You've come to despise that older generation that sent you out into this madness, into this torture chamber.... Then a piece of shrapnel hits the side of your head and you're dead. You've been ruled out, crossed out. You've been exterminated. I put this book down and closed it up. I never wanted to read another war novel again, and I never did." Bob doesn't come out and say, and that's where I got my protest music. He says: "Charlie Poole from North Carolina had a song that connected to all this. It's called 'You Ain't Talkin' to Me,'" and he quotes those lyrics, protest song lyrics.

6.  The Odyssey — the story of "a grown man trying to get home after fighting in a war." "He's a travelin' man, but he's making a lot of stops," says Bob, gesturing at but not naming Ricky Nelson, whose song "Travelin' Man" begins "I'm a travelin' man, I've made a lot of stops, all over the world." Bob talked about that song in his memoir "Chronicles: Volume One": "One afternoon I was... pouring Coke into a glass from a milk pitcher when I heard a voice coming cool through the screen of the radio speaker. Ricky Nelson was singing his new song, 'Travelin’ Man.' Ricky had a smooth touch... He sang his songs calm and steady like he was in the middle of a storm... I had been a big fan of Ricky’s and still liked him, but that type of music was on its way out. It had no chance of meaning anything. There’d be no future for that stuff in the future." Ricky sang those "radio songs" (see #2, above). Bob identifies with the travelin' man Odysseus. He speaks of himself in the second person: "You too have had drugs dropped into your wine. You too have shared a bed with the wrong woman. You too have been spellbound by magical voices, sweet voices with strange melodies... You have angered people you should not have. And you too have rambled this country all around. "

7. Bob asks: "So what does it all mean?" But he won't say what it means: "I've written all kinds of things into my songs. And I'm not going to worry about it – what it all means. When Melville put all his old testament, biblical references, scientific theories, Protestant doctrines, and all that knowledge of the sea and sailing ships and whales into one story, I don't think he would have worried about it either – what it all means."

8. Bob just wants to be alive, like Achilles, who told Odysseus that it's no good being dead: "And that if he could, he would choose to go back and be a lowly slave to a tenant farmer on Earth rather than be what he is – a king in the land of the dead – that whatever his struggles of life were, they were preferable to being here in this dead place." Bob doesn't mention it, but he's got a song called "Temporary Like Achilles." ("Achilles is in your alleyway/He don’t want me here, he does brag/He’s pointing to the sky/And he’s hungry, like a man in drag...").

9. Bob began "wondering exactly how my songs related to literature," and he ends saying "songs are unlike literature." "They're meant to be sung, not read." They're "alive in the land of the living."

Bill Flanagan interviews Bob Dylan. Read the whole thing — it's nice and long...

... here. Bob is pushing his new album, "Triplicate," which is 3 discs of him singing standards like "That Old Feeling" (my favorite song when I was about 4 and had no old feelings) and "Sentimental Journey" (the song my parents considered their song for reasons I only came to understand, suddenly, 4 years ago).

Bob gives an explanation for why he put the 30 songs on 3 CDs when they would have fit on 2 CDs:  

Is there something about the 10 song, 32 minute length that appeals to you?

Sure, it’s the number of completion. It’s a lucky number, and it’s symbolic of light. As far as the 32 minutes, that’s about the limit to the number of minutes on a long playing record where the sound is most powerful, 15 minutes to a side. My records were always overloaded on both sides. Too many minutes to be recorded or mastered properly. My songs were too long and didn’t fit the audio format of an LP. The sound was thin and you would have to turn your record player up to nine or ten to hear it well. So these CDs to me represent the LPs that I should have been making.

That's either mystical, metaphorical, or bullshit.

Are you concerned about what Bob Dylan fans think about these standards?

These songs are meant for the man on the street, the common man, the everyday person. Maybe that is a Bob Dylan fan, maybe not, I don’t know....

"You oughta hear their version of 'Hey Jude.'"

Said Bob Dylan about Brave Combo, "a regional band out of Texas that takes regular songs and changes the way you think about them."

Here's the "Hey Jude," with — of all people — Tiny Tim singing the lead. Here's Brave Combo doing my favorite Doors song.

And here's the place in Bob Dylan's book "Chronicles" where he's eating french fries with Tiny Tim and they're listening to Ricky Nelson on the radio:

At some point during the day, Tiny Tim and I would go in the kitchen and hang around...

One afternoon I was in there pouring Coke into a glass from a milk pitcher when I heard a voice coming cool through the screen of the radio speaker. Ricky Nelson was singing his new song, "Travelin' Man." Ricky had a smooth touch, the way he crooned in fast rhythm, the tonation of his voice....

Ricky's song ended and I gave the rest of my French fries to Tiny Tim....

"Tonation," like "potate," discussed earlier today, is, in the opinion of the (unlinkable) Oxford English Dictionary, an obsolete and rare word. It means: "The action of toning or producing musical tones; the tones or notes so produced." As long as we're talking about french fries, "potate" can be slang for act like a potato, but the OED's obsolete and rare meaning is liquid or liquefied.

Only one Bob Dylan song mentions potatoes. If you know it before clicking, you get points in this game.

Ryan Seacrest's "shocking" Jeff Probst routine.

The night they made the "American Idol" contestant vote on whether to nullify the vote America went to all that trouble to phone in.

Caleb Johnson jumped right out in front of the group and proposed they unionize. Yes? Keep the group together?” he asked. Alex Preston seemed hesitant, and said either “no” or “I don’t know”...

When they came back from commercial, Seacrest read the votes —which were cast anonymously — like Jeff Probst reading results at the end of an episode of “Survivor.”...

So what was all this about? Were producers attempting to save Sam Woolf yet again? Or were they just trying to add a dose of intrigue to the show’s lowest-rated season?

Further, who were the two “no” votes?

Well, they all had an interest in acting like they love each other, but Caleb grabbed the most credit for acting out that love. Did any or all of them worry that the truth of how each of them voted would come out, and that the discrepancy would be held against them? Perhaps they are even too honest to act as if they're voting "yes" when they are voting "no."

I found this "twist" really irritating. Don't incite the public to vote and then interpose a veto. The ordeal of watching all those performances is endurable only because you know somebody's getting the boot.

"he was never miserable... he was always happy. shy, sweet, humble, never ever miserable."

"don't know what you've read but it 's wrong- he was happiest as a kid and teenager and had a great life, too short, but great. He was my father, my name's tracy nelson, his oldest, and so i should know. and sarah, yes, he kicks elvis' ass. :-)"

I found that after looking at List-a-Beefy's spotlight on the #2 hits of 1957. List-a-Beefy is counting down the top 100 songs in the history of the top 100 that reached #2. "A Teenager's Romance" did not make the list. The only 1957 song that did is "Bye Bye Love," by The Everly Brothers, which "establishes the forlorn bellow of the slighted teen that would grow to be the most popular of voices in the coming five years, yet it did so with rhythm and poise." 1957 was apparently a big year for teenagers. There was also — reaching #2 — "Young Love," by Sonny James and "Teen-Age Crush" by Tommy Sands.

Let's talk about the song "Hello Mary Lou."

Queen sang it:



So did Led Zeppelin. Not to mention The New Riders of the Purple Sage.

But Ricky Nelson was first (and handsomest)(and not grunge, despite all those plaid flannel shirts):

Make Room for Daddy.

There's no Danny Thomas ("Danny Williams") on TiVo's list of TV's Greatest Dads! Throwing Things doesn't acknowledge the glaring omission of that classic TV dad, but found lots of other omissions -- like "Uncle Bill, who deserves a credit for "taking in those three kids like he did and keeping his 'relationship' with Mr. French behind closed doors as not to scar them."

Wasn't "Make Room for Daddy" the original dad show? It started in 1953 and ran until 1964 and was a top show the whole time. TiVo puts Andy Taylor second on its list (after Cliff Huxtable), but did you know that the pilot for "The Andy Griffith Show" was an episode of "Make Room for Daddy" ("'Danny Meets Andy Griffith'")?

Well, all I can say is that if they ever do a TV's Greatest Uncles list: don't forget Uncle Tonoose.

IN THE COMMENTS: A reader asks, "How about Ozzie and Harriet? That was from way before Make room for Daddy. I can remember when it was a radio program." Good point! Especially since the TiVo list includes Ozzy Osbourne.

"Ozzie and Harriet" goes back to 1941 in radio form and to 1952 as a TV show, one year before Danny Thomas. Funny, I just heard an Ozzie Nelson band song on the 1940s Decade channel on the radio the other day. Ozzie also made the first TV music video, with Ricky, who went from kid to teen idol, singing "Travelin' Man."

Ozzie was the original hapless, bumbling TV dad. Many people over the years have joked about how he didn't seem to have a job. Harriet played the smart housewife, another classic TV sitcom type. By contrast, "Leave It to Beaver" seems to have been designed to copy O&N (down to the two sons, with the younger one the troublemaker), but getting the proper sex roles enforced. (Ward Cleaver does make the TiVo list, at #5.)

I think a big part of my love for "Make Room for Daddy" was that, unlke Ozzie and Ward, Danny had a daughter. I was so jealous of Angelica Cartwright! Why wasn't I on TV? That question nagged me throughout childhood. Sometimes, I imagined my life was a TV show. I really enjoyed the way the television audience saw everything from my point of view!

Anyway, like Ozzie Nelson, Danny Thomas was on the radio -- even named the "best newcomer in radio" in 1945. He's also notable for being a Lebanese-American, and for refusing to yield to pressure to get his big nose rhinoplastied. The nose proved useful for many jokes. He did change his name, though -- from Muzyad Yahkoob.

Here's a Danny Thomas bio. It's very impressive. Click on the link to see a picture of him doing something no TV dad of today would do.

Dylan's "Chronicles"--Chapter 1.

Bob Dylan begins his story with a scene where he meets Jack Dempsey, who, assuming this happened at all, thinks or acts like he thinks Bob Dylan is another boxer, and that scene sets the tone for the rest of the first chapter, where we see Dylan arrive in New York, interested in music, but even more interested in fighting his way to success. The first action we see him take is signing a contract with a music publishing company.

First song mentioned in the book: "Rock Around the Clock."


Most distinctive good friend in his early days in New York: Tiny Tim. "I gave the rest of my French fries to Tiny Tim."

Reason given for being outraged that Pete Seeger was blacklisted during the McCarthy Era: his ancestors came over on the Mayflower. Page 6.

Indication that the book could have been better edited: "What I did was come across the country from the Midwest ... straight out of Chicago ... eastbound through the state lines, Ohio, Indiana, Pennsylvania ..." Page 8.

First long passage of praise for a fellow music artist: pages 13-14. The artist is Ricky Nelson. "I felt we had a lot in common." But Ricky's days were numbered--unlike Dylan's.

UPDATED to put in the links.