Neko Hits #45

Rolling Stone's top-fifty for 2006 is in, and its not a complete steaming pile of crap. In fact, Neko Case made on this year's list. Not too shabby.

Eno Exhibits Latest Talent with Ambitious Art Show

Musician Brian Eno will debut his light and sound project at a British comtemporary art gallery.

The installation,"Constellations (77 Million Paintings)," is the result of Eno working with software experts to create "a computer programme that continually fuses layers of more than 300 of his 'paintings' to create up to 77 million permutations. The paintings are in the form of slides coated with paint which, when dried, are scratched to produce abstract works which are digitised at high resolution."

Apparently he has put Andy Warhol's Empire to shame: "It has been estimated that it would take more than 9,000 years to watch the entire show at the fastest speed available on the software. The images can change within 15 seconds or at the speed of the hour hand of a clock."

from The Independent

Inflation Is Up

I’ve been noticing strange things this season, apart from the West Coast-like climate (which is itself experiencing an Ontario-like December. Sends chills, but I digress.). Inflation is up. Everywhere. And it’s getting weird.

First, a house on my street has a roughly ten-foot snowman on it’s four-foot “lawn.” Ok, I think, cute, but obnoxious. Whatever. Then I’m walking to a party and encounter an inflated merry-go-round featuring Santa, a snowman, and Rudolf. Motorized. Not ok, not cute, and definitely obnoxious.

What the hell?

And it’s not just the east end or just Toronto. This damn scourge has spread across North America! Why? It’s not attractive or funny, and by definition not innovative or creative. And if everyone’s doing it, it’s not cool. So, what motivates someone to put an inflatable anything on their lawn or roof?

Perhaps the New York Times can provide a clue: “The magic of the Airblown is that you buy it, plug it in, and it’s ready to go,” said Sharlene Jenner, the marketing manager for Gemmy, a company that first made its mark six years ago with a wall-mounted singing fish known as Big Mouth Billy Bass, and began making Christmas floats soon after. “You’re going to make a big statement without 20 hours of work. It’s a lot of decoration for the dollar, in other words.”

Ah, it’s all about convenience and “making a statement.” Of course, that statement is the same damn one everyone and their frigging dog is making…but who wants to stand out from the crowd?

From the same Times article: “A grand tour of some of Long Island’s most ambitious Christmas displays suggests that the inflatable decorations are scarce in lower-income neighborhoods, but they are also rare in pricier places, where the culture of understatement seems to rule: white lights twined with fresh evergreen sprigs, etc.”

I would have to agree with the less-is-more school of thought on this one. I’ve seen the simple strings of light on nearby low-income apartments and I think they hold the same beauty as the simple strings of lights and evergreen on neighbouring high-income houses.

And a simple tug on the power cord will resolve the inflated issue for one night.

Now, about the mechanized carol-singing, hip-swinging snowman at the restaurant at the end of my street. Maybe a call to David Lynch is in order…

Wacky Copyrights

The beloved RIAA just loves to dig itself deeper.

In his article for Stereophile, Wes Phillips writes:

In the heated debate over new digital technologies and their impact upon the traditional recording distribution system, we've grown used to intemperate dialog, but an organization now charges that "mechanical royalties currently are out of whack with historical and international rates."

Here's the twist: The group is the RIAA (Recording Industry Association of America). And here's the part that won't surprise you: Their solution is to lower the rate they pay music publishers and songwriters for using lyrics and melodies to create sound recordings.

Just keep giving them enough rope...

Happy Pogues-mas

Only four more pouring days left before Seán Mac Gabhan's (Shane MacGowan) birthday. So belly up to the bar now, buy the lad a pint, and get your sorry ass in court to bear merry tidings:

Once we're on that stage we become the troubadours of old, and we make our joyous noise. Afterwards I continue the far more serious business of holding court: whether backstage or back at the hotel. My birthday's the December 25, so congregations of people coming to praise me this time of year have a fitting
resonance.

via The Guardian

Music in a Nutshell #1

In the past, I’ve reviewed single records at some length; not bloody great essays, but around 350 words more or less. (I’ll leave the book-length treatises to the 33 1/3 authors.) These days, however, I’ve taken to summing things up, giving my first impression based on a handful of listens. One’s headspace and situation (on the bus or in life) plays a huge role in how one experiences music. So if I hate a record today, I may love it to death in a month. And visa versa. So, what I thought I’d do is provide a nutshell first blush at recent purchases.

November 4, 2006:
I'm actually looking forward to getting Yo La Tengo’s I Am Not Afraid of You and I Will Beat Your Ass and The Shin’s Winching the Night Away. Meanwhile, I've got The Clash's London Calling on repeat. What a fucking great album! One the best ever recorded. Definitely in my top five. Oh, so good...

November 16, 2006:
My self-imposed "exile" of about ten years means that many "indie" bands of the 90s are new to me. This feels good because the members are about my age now; I'm not being sung to by a squeaky kid for whom the 80s is both a genre and retro. I also notice I'm more open to genres I wouldn't have considered in the past, so that's all new to me now, too.

Nostalgia gets twisted when you buy old stuff in a new format with newly found recordings (Clash special editions, Beatles demo recordings). You sort of change a light bulb on an old lamp to shine a new light on things.

So what do I plan to buy this week? I'm reaching back to last year for the second Interpol release. While this sounds ironic (re: my "squeeky kid" comment), I liked that their first record felt more influenced than carbon copied.

Hmm. I guess you could call this a "hipster replacement."

November 18, 2006:
Well, Interpol was absent from my dealer's bin, but my ears pricked to the sweetness emanating from his speakers. Irene's Apple Bay made my toes tap and my face smile on a grim November day, making the purchase a necessity. According to their website, this is their debut. It has hints of the Smiths, Jonathan Richmond, Velvet Underground, and Reindeer Section. The lyrics are odd. At times they're saccharine then turn frank: "Think about the way we used to meet, dear. Think about he way the sunlight kissed our feet, but your got cold feet...Think about the way we used to touch, dear. And think about the way you used to fondle by crotch. But you got cold feet." (from "Cold Feet"). Oh, those wacky Swedes.

December 2, 2006:
One cannot Christmas shop for CDs without treating oneself. Ok, I can’t. Hell, I have a hard time walking past a record store without poking my head in. So, after I visited the jazz department at Sam the Record Man, I meandered down to the regular section whereupon I clapped my eyes on A Christmas Gift for You from Phil Spector. (“For me? Aw, Phil, you shouldn’t have!”) I’ve coveted this record for about a decade. It is definitely in my top ten. Unapologetic, Christmas-y pop goodness. Love me some “Marshmallow World” by Darlene Love. Fabulous stuff!

December 17, 2006:
I picked up Belle and Sebastian's If You're Feeling Sinister (part of my ongoing rebuilding of the backlist). Interesting. A colleague at work calls them "creepy," which I kind of get, but I like nonetheless. This one sounds like a mix of British 60s psychedelia and the Velvets. I'm sure I'll hear more as I spend more time with it.

Movie Review: Down in the Valley

Title: Down in the Valley
Director: David Jacobson
Writer: David Jacobson
Year: 2005 (film), 2006 (DVD)

Every generation of American filmmakers has its idea based on lore about how the West was won. Indeed, the mavericks of western legends range from sheriffs to outlaws, from homesteaders to cowboys. And when the boundaries pushed closer to the Pacific, we can include Oakies and prospectors. With pushers come those who are pushed over: Indians and Mexicans. Down in the Valley takes these characters and flips the genre on its head. The American West was lost. And no one cares.

Ok, one person cares: Harlan Fairfax Carruthers. He misses the old ways. He misses the frontier. And like the cowboy he reinvents for himself, he is alone. Even when he meets the station wagon (covered wagon) full of teens, in particular Tobe. No one understands. And, in keeping with the Western, when the cowboy literally crosses the fence of Tobe’s homestead, there’s hell to pay. Her father, Wade, is the country sheriff. Down in the Valley is rife with these lovely unwitting archetypes.

Writer/director David Jacobson, while not wanting to make a sociological study of his film (see the special features), paints both broad and subtle strokes concerning modernity. The wide vistas sliced by power lines are obvious. But there is a wonderful exchange between Wade and his son Lonnie about gumption:

Lonnie: The meek shall inherit the earth.
Wade: (Laughs) Where did you here
that crap?
Lonnie: Television

All the performances are stellar. Evan Rachel Wood, Rory Caulkin, and David Morse play off each other naturally as a family headed by a single father trying to keep his teenagers out of trouble. Harlan encompasses Edward Norton and moves in his skin with the grace of wind-driven tumbleweed.

The DVD’s special features include a Q&A with Norton and Jacobson with Rolling Stone film critic Peter Travers that give some insight into the writing of the script. The deleted scenes answer niggling questions about some minor plot points, but also raise the question of why were some cut in the first place.

Overall, Down in the Valley adds a fine nuance to a beleaguered genre and reminds us that “money is the root of all confusion.”

Take note of the gorgeous soundtrack featuring Peter Salett, which provides the wonderful backdrop.

Movie Review: Erasurehead

Title: Erasurehead
Director: David Lynch
Writer: David Lynch
Year: 1977 (film), 2002 (DVD)

So Sunday I was able to scratch Erasurehead off my list of movies to see. Despite my appreciation of David Lynch’s films, I’ve been reluctant to view this one; its reputation for weirdness intimidated me. However, one thing I want to do in 2007 is whittle said list down to more of a list and less of a chapter.

The fellow at Film Buff confirmed Erasurehead’s weirdness, but assured me it was worth seeing. My money says most viewers imbibed prior to its screening. Not my style, but I did have a can of Strongbow close at hand. It took me close to two hours to finish, so my reaction is sober.

Many have described Lynch’s debut feature film as a masterpiece. I have a hard time with that; how can one’s first full-length film be one’s best? Certainly, it bespeaks of later cinematic ingenuity, but a masterpiece? I think that’s the acid talking.

Erasurehead feels like a young filmmaker with something to say. It’s definitely over-the-top and chock full of symbolism, be it conscious or no. The director readily admits that his life in Pittsburg informed his film: the industrial environment, the constant mechanical noise, the small communities that spring up amidst the machines. Other things crop up. Filmed in black and white, Erasurehead had a classic 1950s feel to it despite its being shot in the 1970s. The atomic-age Woman in the Radiator seemed somewhat Fellini-esque; indeed, the whole picture appeared to be informed by postwar Italian cinema.

Certainly postwar Italy bore little or no resemblance to postwar America, but what I got from Erasurehead is a comment on the American dream. So in this way, it’s a comment on promises unfulfilled. That the promise of a family, a job, a house, a car, and a stable life is a pipe dream: the pipes in the X’s house, the radiator in the apartment, the pipe-style headboard and footboard. Recall Bill X’s comment, “I remember when this was pastoral, before the pipes.” Admittedly, my analysis is very rudimentary and cliché. Nevertheless, I think it’s borne out.

I don’t think the basis of the film is particularly weird; indeed, I think its actually quite normal. Henry works at a boring job, lives an uneventful life, has a girlfriend, Mary X, who he doesn’t see much, and finds out she’s had his child. He meets the family and makes average conversation. It’s the space between that’s discomforting. Conversation isn’t fluffed up with non sequitors to fill the air. Who hasn’t felt strange “meeting the parents”? Mind you, we don’t all have the same eerie experience with chicken, but the meal never feels right, never tastes the same. People always look a little strange. Lynch merely stretched that sensation out—way out.

So the new parents set up house in Henry’s dire little apartment, and we get glimpse at their child, the one Mrs. X calls “premature” and Mary says, “Doesn’t even look like a baby.” Yup. Looks pretty strange and we recoil. But think about it. How strange does it really look? Don’t most parents (usually fathers) describe their newborns as appearing “alien”? They’re wrinkly and wet and red and cry and demand and get sick... Mary’s frustration and sleep deprivation are hardly weird. Lynch just skews them thus. Makes me wonder if he was, in fact, a new dad at the time. He seemed to nail it just right.

There’s lots of other things going on in Erasurehead: the man on the planet, the pencil machine, losing one’s head, etc. But if you really think about it, David Lynch has merely given form to the various neuroses from which we all suffer, and it makes us uncomfortable. Being uncomfortable is good because it makes us squirm, which makes us move. Otherwise, we are like he morbidly fat man on the couch and become one in the same.

I highly recommend sitting through the “Stories” special feature on the DVD. Lynch has a wonderful speaking style, which is echoed in his films. His new venture, Inland Empire, did the festival circuit in 2006 and appears to have had a limited release. Hopefully, wider screenings are planned for 2007.

Bad Sex Between the Sheets

From today's Guardian:

David Mitchell was no doubt celebrating last night, when it was announced that he was in the running for the £25,000 Costa (formerly Whitbread) novel award with Black Swan Green. He may be less pleased this morning to find out that the same book has won him a place on the shortlist for the Literary Review Bad Sex award.

Book Review: War

Title: War
Author: Gwynne Dyer
Publisher: Random House
Year: 2004
*From Uncorrected Proof

Dr. Gwynne Dyer knows his stuff. The Canadian has served in the Canadian, British and American navies. He earned his Ph.D. in military history from the University of London and taught at the Royal Military Academy Sandhurst. He is no slouch.

He also possesses the envious ability to fly among the hawks and doves. War is evidence of this. While he is not neutral, his dovish tendencies are grounded in reality. Dyer demonstrates that war has always been with us; indeed, it may be part of us. The difference is war has evolved in a dangerous key way: now it has the potential to kill us all—not just the warriors, not the just the village, not just the tribe, but the whole damn species.

With open eyes and mind, Dyer takes us from “The Nature of the Beast” right through its theorists down the “The Road of to Mass Warfare” to “A Short History of Nuclear War” to “Guerrillas and Terrorists” to finally “The End of War.” It’s dense like a jungle, full of facts and figures, blood and guts, sweat and tears. Make no mistake. War is hell. And Dyer makes sure we are aware of it.

Gwynne Dyer stands apart, as objectively as he can, to deliver a solid and balanced look at war. Be aware: this is something to sit with and absorb, not dip into on the way to work.

This edition of War is updated and revised from his award-winning original published in 1986. That book accompanied a seven-part documentary, one episode of which was nominated for an Oscar.

Book Review: The Fortress of Solitude

Title: The Fortress of Solitude
Author: Jonathan Lethem
Publisher: Doubleday (US)
Year: 2003

In The Fortress of Solitude, Jonathan Lethem tells the tale of two boys, Dylan Edbus and Mingus Rude, who grow up in Brooklyn. Opening in the 1970s we navigate with them through racial minefields that extend into the 1980s and on to the 90s. And the soundtrack changes with the times. And if that weren’t enough, there’s the issue of superpowers…

This, his sixth novel, is dense and feels very autobiographical. He knows the setting so intimately that you bear the weight Dylan does; you anticipate a yoking when he does; you smell his fear and intimidation. It’s exhausting but you go on; you are simply compelled.

As you and he and Mingus grow up, you feel a certain separation. Indeed, the section set in San Francisco feels disconnected. Perhaps that’s the intent. Maybe Dylan feels disconnected, or wants to feel disconnected, from whence he came. The girlfriend character, Amy, worked in the same manner. She was exceedingly annoying and her dialogue recalled the aimless politically correct circular rhetoric I endured during the same era. Is this good storytelling (meaning the emotional involvement of the reader) or simply cliché? Nevertheless, well evoked, Mr. Letham,

Originally, the Fortress of Solitude was where Superman could hang out and be himself. No pressure. No crime fighting. No girls. Just a room of one’s own, if you will. As one draws to the end, one seeks the fortress, the “middle space,” as Letham calls it, only to find it necessarily fleeting. Finding it in life and in his often poetic novel is decidedly worth the effort

Jonathan Letham’s new novel, You Don’t Love Me Yet, is due out March 2007.
Edward Norton is directing the film version of Motherless Brooklyn, due out next year. Sadly, I only have my hands on the advanced reading copy of the book, not the director of the film.

Iggy Rocks

Or at least someone in his crew does. Smoking Gun (which also rocks) posted Iggy's rider. Too fucking cool, maaaan.

via WFMU

Freedom to Read Week

September 23 to 30 is Banned Books Week as brought to you by the ACLU! According to the American Librarians Association, the following are the top ten most challenged books of 2006:

It’s Perfectly Normal:Changing Bodies, Growing Up, Sex, and Sexual Health for homosexuality, nudity, sex education, religious viewpoint, abortion and being unsuited to age group;

Forever by Judy Blume for sexual content and offensive language;

The Catcher in the Rye by J.D. Salinger for sexual content, offensive language and being unsuited to age group;The Chocolate War by Robert Cormier for sexual content and offensive language;

Whale Talk by Chris Crutcher for racism and offensive language;

Detour for Emmy by Marilyn Reynolds for sexual content;

What My Mother Doesn’t Know by Sonya Sones for sexual content and being unsuited to age group;

Captain Underpants series by Dav Pilkey for anti-family content, being unsuited to age group and violence;

Crazy Lady! by Jane Leslie Conly for offensive language; and

It’s So Amazing! A Book about Eggs, Sperm, Birth, Babies, and Families by Robie H. Harris for sex education and sexual content.

Off the list this year, but on the list for several years past, are the Alice
series of books by Phyllis Reynolds Naylor, Of Mice and Men by John
Steinbeck and The Adventures of Huckleberry Finn by Mark Twain.

Inside the Box

To my knowledge, Toronto does not contain a Container Store per se. The city does contain a Solutions Store, which solves the problem of not having a Container Store. That problem being a lack of containers, or as some would corporately put it, “organizational tools.” In my mind, however, one using said term is merely describing oneself.

I like lists. I am organized. I have stuff (even George Carlin–type stuff) which is, nine times out of ten, tidily available when I need it. My records are alphabetized as are my books (which are also split into fiction, non-fiction, music, reference, and cooking). People call me anal. Yet I am often the person to whom these people ask about things because I can find the solutions.

These solutions can be found without a large bill from a store purporting to sell me them. I’ve been in the Solutions Store, but alas, I find more problems than solutions. Why do I need pretty empty boxes? More to the point, why do I need stuff to put in those boxes? Perhaps this reflects more on consumerist mentality than it does on the need to be organized in order that information be found.

I admit that as I write this, I’m thinking that I really ought to replace the magazine boxes that house my periodicals. Note, however, that I’m replacing and not adding to a situation based on current and projected needs: Magnet and The Believer are keepers. I have also made notes in them as to the music I want to hear, movies I want to see, and the books I want to read. This marked information makes it on to one or more of my lists.

Buddhism, simplicity, and basics (the idea not the store) wind their ways into mainstream consciousness, and all are valuable concepts. And all have been “leveraged” into marketable commodities—mats, clothes, bags, books, classes, television shows, magazines—flying in the face in the original premise that they share: minimalism, use your resources and make do with what you have. Indeed, why add to your stuff if you cannot handle the stuff you have? For example, how badly do you need a new garlic press when a knife will do? If it’s good enough for Anthony Bourdain, when it’s good enough for me.

On reflection, that last paragraph seems out of place in a essay/rant about a store that sells storage. Hell, I rented my current apartment based on its glorious storage. I kept the original packaging for my computer and other large, expensive items, and it all needs to be stored. It’s all about reduce, reuse, and recycle, and it didn’t cost extra dimes.

Sure I participate as a consumer, but I know when I’m full. And I don’t get all friggin’ anxiety ridden about not having the latest so-handy, purse-sized, pretty-pink, empty box. For one, that anxiety feeds a related market that deserves its very own rant. And two, there are enough “empty boxes” walking around; I’m not in that demographic.

As the Head of Lettuce Crumples

Organizers of fashion week in Madrid have put the kibosh on skinny girls on the catwalk. And they face the wrath of some designers who feel their “artistic vision” is being tampered with. Incredible.

From "When Is Thin Too Thin?", New York Times

The producers of these fashion events have largely dismissed the concerns. On Saturday a British cabinet member, Culture Secretary Tessa Jowell, called for London designers to follow the example of Madrid by banning underweight models. But the British Fashion Council, led by Stuart Rose, the chief executive of Marks & Spencer, said it would not interfere with the designers’ aesthetic. And some designers said it was misleading to equate thinness with being unhealthy and that the standard cited by the organizers in Madrid did not take into account age and puberty, which may cause a model who is unusually tall to appear frighteningly thin.

Um, I get that some girls are skinny, boney even. Perhaps even tall, too. I find it an amazing quirk that these same skinny, tall girls have the other “appropriate” criteria that allows entrance into the great houses of couture. Not a zit among them, which is equally astounding for young models are approaching puberty. So, what are these designers saying? That the girls in their frocks are ten to twelve years old?

From "Like It or Not, This Sells," Globe and Mail (requires login)

[Elmer] Olsen said, "because on a runway, like it or not, thin sells. The pictures turn out better."

Sells to whom? These shows are not marketed to the prêt a porter crowd; indeed, many creators in the industry argue that haute couture is art, and that what they parade on the catwalks is not intended for everyday wear. And I totally buy this argument. There is room in the art world for textiles. Humans are used to exhibit art in most other disciplines (i.e., music, painting, performance). But these art forms see beauty in all types of humans, not merely those that resemble fully-starved gazelles.

“British cabinet minister calls for ban on super-thin models,” Globe and Mail (requires login)

So can a government ban or legislate against this practice? Well, yes, technically it can. Certainly, the industry is not going to self-regulate. The issue of sickly stick figures wearing more weight down the aisle than they do naked on a scale is not new. And designers have not seen fit to dress healthy models. Will said ban or legislation have any effect? That remains to be seen. I highly doubt it.

Karen Von Hahn's column, “The Skinny on Self Esteem,” Globe and Mail (requires login)

Yes, girls often want to look like magazine covers and catwalk models. But body weirdness usually starts at about age twelve. Telling kids “it’s what’s inside that counts” works only up to the point when the insides start making appearances outside. Then the brain goes nuts, people that were icky aren’t icky anymore...and it doesn’t stop till menopause.

So, back to the stage. Can healthy be the new black, dahling? Perhaps for a season. It will last as long as faux fur and heroin chic.

PS: One model agent, Ben Barry, is actually making a dent. For more information, you can visit his website.

Is It That Time of the Month?

Or is it just me? Have we entered a Tardis destined for another past era or is the present day manifest of the adage, "The more things change the more they stay the same"?

Exhibit A: The recent curfuffle about death-defyingly thin models versus "artistic vision." Note that many of the artists in question are men.

Exhibit B: The assassination of women's rights activist and provincial director of Afghanastan's Ministry of Women's Affairs, Safia Ama Jan. According to the Times,

As a well known women rights campaigner, she was aware that she was vulnerable
to attack and had asked for official transport and personal bodyguards. The
Afghan Government rejected these requests. It is thought that she was getting
into a taxi on her way to work when she was killed

She was wearing a burqua at the time.

Exhibit C: On a slightly lighter note, Maud Newton posted this amusing advert concerning vaginas and Lysol.How droll! Oh my, how modern we are now. Not a douche to found on the "feminine hygene" shelves these days, no ma'am. But what's this Ms. Newton points out? Slice and dice my glory hole? Sweet Mary Mother of God!

I guess 1970s nostalgia goes further than just aviator shades. Sigh.

Seth in the New York Times

Canadian cartoonist Seth has a serial novel published in the New York Times.

via Quill & Quire

Cory Doctorow on Copyright

I'm home coughing, weezing, and blowing my nose today. Because daytime TV blows chunks, I'm cleaning out my email. I found this posting from Locus Mag by Canadian sci-fi writer Cory Doctorow as part of a digitial copyright list to which I subscribe.

New on the Tube

Every fall I end up getting suckered into watching at least a few episodes of new television, liking a couple, then one of them gets cancelled, and I forget to watch the rest. Here's this year's picks, why I picked them, and a very quick review:

Show: Standoff
Why: Ron Livingston is hot
Review: Weak writing, but "Burger" is way easy on the eyes. Not sure if this will survive, though.

Show: Weeds
Why: Mary Louise Parker is completely relatable
Review: Good, funny, adult writing. This is cable and not new, but their season was only about six shows long.

Show: Smith
Why: Ray Liotta...I dunno there's something about him. Gotta be the Good Fellas factor
Review: After one show, I want to know if my fearless predictions come true. If I wrote the show, one of his crew would die per episode. The Terence Malik--Thin Red Lineapproach.

Show: Studio 60 on the Sunset Strip
Why: Matthew Perry could do drama
Review: Feels like West Wing goes Hollywood. Could be worse, but the first episode felt stiff. It needs to stretch and gets it's own voice.

A Little Finger Pickin

According to the New York Times ("Who’s This Guy Dylan Who’s Borrowing Lines From Henry Timrod?"), Bob Dylan is doing a little finger pickin' of Henry Timrod's poetry on the nasally one's latest CD, Modern Times:

It seems that many of the lyrics on that album, Mr. Dylan’s first No. 1 album in 30 years (down to No. 3 this week), bear some strong echoes to the poems of Timrod, a Charleston native who wrote poems about the Civil War and died in 1867 at the age of 39.

“More frailer than the flowers, these precious hours,” the 65-year-old Mr. Dylan sings in “When the Deal Goes Down,” one of the songs on “Modern Times.” Compare that to these lines from Timrod’s “Rhapsody of a Southern Winter Night”:

A round of precious hours

Oh! here, where in that summer noon I basked

And strove, with logic frailer than the flowers.

Reactions are mixed. Some fans are disappointed ("Bob really is a thieving little swine."), some scholars are aghast ("Maybe it’s the teacher in me. If I found out that he had done this in a research paper, he’d be in big trouble.” ), and others are just pleased that the poet lauret of the Civil War is even getting read (“If I were Timrod, I would love it.... I would say he’s doing a great honor to Timrod and let’s celebrate that.”)

Some cite folk-music traditions for the borrowing, and copyright isn't an issue:

Because Timrod is long dead and his work has fallen out of copyright — you can find his collected poems on the Internet — there is no legal claim that could be made against Mr. Dylan.

Whew! I bet SonyBMG is glad about that.

Still, it would have been kinda classy to give "influenced by" or some sort of credit to Henry Timrod.

via Quill & Quire