Why Bob Dylan Deserves a Nobel Prize in Literature
Though the logic of the Nobel committee is pretty easy to glean when it comes to the sciences, in other, less-defined categories, it surprises on a fairly regular basis.
On October 13, 2016 Bob Dylan was awarded a Nobel prize for Literature and the reaction was decidedly mixed.
Apparently, embarrassing dad who responds to your hip-hop records by telling you Dylan was the *real* poet runs the Nobel committee.
— Amanda Marcotte (@AmandaMarcotte) October 13, 2016
Though the logic of the Nobel committee is pretty easy to glean when it comes to the sciences, in other, less-defined categories, it surprises on a fairly regular basis. Remember Barack Obama’s hey-I-just-got-elected Peace prize? In Dylan’s case, one cheeky Twitter user suggests we only have a look at the committee to understand what happened this time.
Bob Dylan's win makes a lot more sense when you see this photo of the Nobel Committee. pic.twitter.com/OmJK86lmkJ
— ethereal chill (@ethanchiel) October 13, 2016
The Band, Dylan’s old backup group (ELLIOT LANDY)
It’s not the first time a Nobel has been awarded to a songwriter, either. That was Bengali polymath Rabindranath Tagore, who received one in 1913 based on his 1912 Gitanjali: Song Offerings.
In any event, much of the discord stems from the offense some people take at song lyrics being viewed as Literature.
I totally get the Nobel committee. Reading books is hard.
— Gary Shteyngart (@Shteyngart) October 13, 2016
And yet, Literature is not some dead art form, some sacrosanct discipline of the past one views as if in a museum. Literature — yes, with an upper-case “L” — is a living art form that traffics in the creative use of language for the expression of ideas and feelings. It’s books, it’s poetry, it’s lyrics, it’s the work of playwrights and screenwriters. Every vital art mutates to suit its times. And it can come from anywhere, even from a tunesmith.
This is all part of the great secret artists keep: Anyone can make art. It’s not just the purview of individuals anointed for the task. To be an artist, you just have to dare to make some art.
Every artist has his or her creative turf, and Dylan is no exception.
When Bob Dylan wins a Nobel and you think of the dude in your life and his deep affinity for Dylan and what I call peak white man music.
— Shay Stewart Bouley (@blackgirlinmain) October 13, 2016
Still, given that Bob Dylan’s merely a well-traveled version of his original white, Jewish self, the scope of his lyric work is still impressive. A look at the lyrics from the first 18 of his 67(!!) albums makes the case.
When Dylan first began to attract notice, it was through the elegant simplicity of “Blowing in the Wind,” a Top 40 hit in 1963 for Peter, Paul and Mary. In its Mad Men era, this now-almost quaint song stood as a stunningly eloquent wakeup call regarding injustice and war.
Yes, how many times must a man look up
Before he can see the sky?
Yes, how many ears must one man have
Before he can hear people cry?
Yes, how many deaths will it take till he knows
That too many people have died ?
The answer my friend is blowin' in the wind
The answer is blowin' in the wind.
It was just one of a set of highly charged missives to a society grappling with the darkest days of the American Civil Rights movement — such as “The Death of Emmett Till” — and the war in Vietnam.
Early Dylan wrote painfully funny songs, too, such as “Bob Dylan’s 115th Dream,” his hilarious tale of his fictional arrival in the New World just ahead of Christopher Columbus.
Almost immediately upon acquiring fame, though, Dylan’s style abruptly snapped into something new altogether: intense stories taking place in a surreal universe of his own design, aided in spirit by the poet Rimbaud.
The opening verse of the chilling “It’s Alright Ma, (I’m Only Bleeding)”:
Darkness at the break of noon
Shadows even the silver spoon
The handmade blade, the child’s balloon
Eclipses both the sun and moon
To understand you know too soon
There is no sense in trying
1965 (EVENING STANDARD/STRINGER)
While much was made later of Dylan’s switch from folk to rock, this lyrical axis-tilt was actually the more electric event. His songs throughout this busy era were dense with arresting imagery and ideas — “Desolation Row” “Just Like Tom Thumb’s Blues” — and he produced work at a dazzling pace, right up until he dropped out of sight altogether to begin a family and recover from a motorcycle accident in 1966.
The evolution of Dylan’s immense body of work parallels the stages of the man’s life, and when he finally re-emerged, it was with music and lyrics more befitting a new dad living with his family on the side of Ohayo Mountain in Woodstock, New York. Mellow, reflective, and not nearly so rough-edged, Dylan seemed content to traffic in more conventional imagery and rhyme patterns, delivering simpler, romantic songs (“If Not for You” and “Lay Lady Lay”) and philosophical ramblings (“Time Passes Slowly”).
Eventually, however, the marriage began to fail, resulting in his most emotionally revealing and maybe most distilled work, the 1975 album Blood on the Tracks. Included on the album is the heartbreaking thank-you to his soon-to-be-ex-wife, “Shelter From the Storm,” its imagery a clear descendant of “It’s Alright, Ma.”
Twas in another lifetime, one of toil and blood
When blackness was a virtue and the road was full of mud
I came in from the wilderness, a creature void of form
“Come in,” she said, “I’ll give you shelter from the storm”
In all the years since Blood on the Tracks, Dylan has continued to produce vital new work all the way through 2016's Fallen Angels — Wikipedia lists 552 of his songs in their tally. Sometimes playful, sometimes deep, it’s a lyric record of human experience as rich and profound as anyone’s. And given Dylan’s productivity over such an extended period of time, it’s really a more massive body of work than most any author one can think of.
Dylan may have thought he was just writing songs — and two books — but Nobel’s right: He was making Literature.
It's unlikely that there's anything on the planet that is worth the cost of shipping it back
- In the second season of National Geographic Channel's MARS (premiering tonight, 11/12/18,) privatized miners on the red planet clash with a colony of international scientists
- Privatized mining on both Mars and the Moon is likely to occur in the next century
- The cost of returning mined materials from Space to the Earth will probably be too high to create a self-sustaining industry, but the resources may have other uses at their origin points
Want to go to Mars? It will cost you. In 2016, SpaceX founder Elon Musk estimated that manned missions to the planet may cost approximately $10 billion per person. As with any expensive endeavor, it is inevitable that sufficient returns on investment will be needed in order to sustain human presence on Mars. So, what's underneath all that red dust?
Mining Technology reported in 2017 that "there are areas [on Mars], especially large igneous provinces, volcanoes and impact craters that hold significant potential for nickel, copper, iron, titanium, platinum group elements and more."
Were a SpaceX-like company to establish a commercial mining presence on the planet, digging up these materials will be sure to provoke a fraught debate over environmental preservation in space, Martian land rights, and the slew of microbial unknowns which Martian soil may bring.
In National Geographic Channel's genre-bending narrative-docuseries, MARS, (the second season premieres tonight, November 12th, 9 pm ET / 8 pm CT) this dynamic is explored as astronauts from an international scientific coalition go head-to-head with industrial miners looking to exploit the planet's resources.
Given the rate of consumption of minerals on Earth, there is plenty of reason to believe that there will be demand for such an operation.
"Almost all of the easily mined gold, silver, copper, tin, zinc, antimony, and phosphorus we can mine on Earth may be gone within one hundred years" writes Stephen Petranek, author of How We'll Live on Mars, which Nat Geo's MARS is based on. That grim scenario will require either a massive rethinking of how we consume metals on earth, or supplementation from another source.
Elon Musk, founder of SpaceX, told Petranek that it's unlikely that even if all of Earth's metals were exhausted, it is unlikely that Martian materials could become an economically feasible supplement due to the high cost of fuel required to return the materials to Earth. "Anything transported with atoms would have to be incredibly valuable on a weight basis."
Actually, we've already done some of this kind of resource extraction. During NASA's Apollo missions to the Moon, astronauts used simple steel tools to collect about 842 pounds of moon rocks over six missions. Due to the high cost of those missions, the Moon rocks are now highly valuable on Earth.
Moon rock on display at US Space and Rocket Center, Huntsville, AL (Big Think/Matt Carlstrom)In 1973, NASA valuated moon rocks at $50,800 per gram –– or over $300,000 today when adjusted for inflation. That figure doesn't reflect the value of the natural resources within the rock, but rather the cost of their extraction.
Assuming that Martian mining would be done with the purpose of bringing materials back to Earth, the cost of any materials mined from Mars would need to include both the cost of the extraction and the value of the materials themselves. Factoring in the price of fuel and the difficulties of returning a Martian lander to Earth, this figure may be entirely cost prohibitive.
What seems more likely, says Musk, is for the Martian resources to stay on the Red Planet to be used for construction and manufacturing within manned colonies, or to be used to support further mining missions of the mineral-rich asteroid belt between Mars and Jupiter.
At the very least, mining on Mars has already produced great entertainment value on Earth: tune into Season 2 of MARS on National Geographic Channel.
Humans evolved to live in the cold through a number of environmental and genetic factors.
- According to some relatively new research, many of our early human cousins preceded Homo sapien migrations north by hundreds of thousands or even millions of years.
- Cross-breeding with other ancient hominids gave some subsets of human population the genes to contend and thrive in colder and harsher climates.
- Behavioral and dietary changes also helped humans adapt to cold climates.
A study started out trying to see the effect of sexist attacks on women authors, but it found something deeper.
- It's well known that abusive comments online happen to women more than men
- Such comments caused a "significant effect for the abusive comment on author credibility and intention to seek news from the author and outlet in the future"
- Some news organizations already heavily moderate or even ban comments entirely; this should underscore that effort
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