Who is Bob Dylan talking about?

and its not the white stripes, because i read him saying he liked them in a video

my guess is U2, because doesnt he hate bono or something?

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3 Doors Down, Seventeen Days
Republic/Universal | 004018 | UMRG | (13.98 CD)

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The Game, The Documentary
Aftermath/G-Unit | 003562* | Interscope | (8.98/13.98)

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Green Day, American Idiot 2
Reprise | 48777* | Warner Bros. | (18.98 CD)

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Brian McKnight, Gemini
Motown | 003317 | UMRG | (13.98 CD)

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Various Artists, Totally Country Vol. 4
Sony BMG/WEA/Universal | 67287 | RLG | (18.98 CD)

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John Legend, Get Lifted
Good Music/Columbia | 92276 | Sony Music | (12.98 EQ CD)

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Michael Buble, It's Time
143/Reprise | 48946 | Warner Bros. | (18.98 CD)

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Kenny Chesney, Be As You Are: Songs From An Old Blue Chair
BNA | 61530 | RLG | (18.98 CD)

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Tina Turner, All The Best
Capitol | 63536 | (24.98 CD)

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Usher, Confessions 8
LaFace | 63982 | Zomba | (12.98/18.98)

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Eminem, Encore 4
Shady/Aftermath | 003771* | Interscope | (8.98/19.98)

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Lee Ann Womack, There's More Where That Came From
MCA Nashville | 003073* | UMGN | (13.98 CD)

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Kelly Clarkson, Breakaway
RCA | 64491 | RMG | (18.98 CD)

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Various Artists, Grammy Nominees 2005
Grammy | 60944 | Capitol | (18.98 CD)

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Ray Charles, Genius Loves Company 3
Hear | 2248 | Concord | (18.98 CD)

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Fantasia, Free Yourself
J | 64235* | RMG | (18.98 CD)

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Lil Jon & The East Side Boyz, Crunk Juice 2
BME | 2690* | TVT | (11.98/17.98)

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Ray Charles, Ray (Soundtrack)
WMG Soundtracks/Atlantic | 76540 | Rhino | (18.98 CD)

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Shania Twain, Greatest Hits 3
Mercury | 003072 | UMGN | (13.98 CD)

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Rascal Flatts, Feels Like Today
Lyric Street | 165049 | Hollywood | (18.98 CD)

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Ciara, Goodies
Sho'nuff-MusicLine/LaFace | 62819* | Zomba | (12.98/18.98)

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Maroon5, Songs About Jane 3
Octone/J | 50001* | RMG | (18.98 CD)

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Destiny's Child, Destiny Fulfilled 3
Columbia | 92595 | Sony Music | (18.98 EQ CD)

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Various Artists, Now 17 3
EMI/Universal/Sony BMG/Zomba | 74203 | Capitol | (18.98 CD)

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Gwen Stefani, Love. Angel. Music. Baby.
Interscope | 003469* | (13.98 CD)

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Gretchen Wilson, Here For The Party 3
Epic (Nashville) | 90903 | Sony Music | (18.98 EQ CD)

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The Killers, Hot Fuss
Island | 002468* | IDJMG | (13.98 CD)

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Ludacris, The Red Light District
DTP/Def Jam South | 003483* | IDJMG | (8.98/13.98)

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Mario, Turning Point
3rd Street/J | 61885* | RMG | (18.98 CD)

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Nelly, Suit 2
Derrty/Fo' Reel | 003316* | UMRG | (8.98/13.98)

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Motley Crue, Red, White & Crue
Hip-O/Motley | 003908 | UMe | (19.98 CD)

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Soundtrack, The Phantom Of The Opera
Really Useful/Sony Classical | 93521 | Sony Music | (18.98 EQ CD)

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Jesse McCartney, Beautiful Soul
Hollywood | 162470 | (11.98 CD)

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U2, How To Dismantle An Atomic Bomb 3
Interscope | 003613 | (13.98 CD)

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Snoop Dogg, R&G (Rhythm & Gangsta): The Masterpiece
Doggystyle/Geffen | 003763* | Interscope | (8.98/13.98)

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Toby Keith, Greatest Hits 2 2
DreamWorks (Nashville) | 002323 | UMGN | (13.98 CD)

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Jay-Z/Linkin Park, MTV Ultimate Mash-Ups Presents: Collision Course
Machine Shop/Roc-A-Fella/Def Jam | 48962* | Warner Bros. | (18.98 CD/DVD)

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George Strait, 50 Number Ones 5
MCA Nashville | 000459 | UMGN | (25.98 CD)

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Tim McGraw, Live Like You Were Dying 3
Curb | 78858 | (18.98 CD)

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LeAnn Rimes, This Woman
Curb | 78859 | (18.98 CD

they're a rock band from Florida, very bland... sort of like Matchbox Twenty with an "edge" and even fewer redeeming qualities (if it were possible). they had that "Kryptonite" hit several years back.

For 40 years, Bob Dylan has been a man of constant change who weaves conviction and contradictions into his work with artful sleight-of-hand.

Dylan's musical compass always has been tied to the country, blues and folk sounds that thrilled him as a youngster in Minnesota, and he and his dazzling road band play with the defiance of true believers who feel pop music has been taken over by charlatans.

As always, he resists questions about his personal life and the meaning of particular lines or songs, but he speaks passionately about his legacy and his musical roots. Dylan is guilty of underestimating some of today's rock and hip-hop acts, but his views are as provocative as his lyrics in his latest CD, ''Love and Theft.''

Dylan, 60, is working on his autobiography, but will he step from behind the veil even there? He hints that the events in the book might be a bit fuzzy.

''My retrievable memory isn't as good as it should be,'' he says with only the barest trace of a smile.

Q: The music on the new album seems transported from a different era. Do you find much inspiration in today's music scene?

A: I know there are groups at the top of the charts that are hailed as the saviors of rock 'n' roll and all that, but they are amateurs. They don't know where the music comes from. I was lucky. I came up in a different era. There were these great blues and country and folk artists around, and the impulse to play (those sounds) came to me at a very early age.

I wouldn't even think about playing music if I was born in these times. I wouldn't even listen to the radio. I'm an extreme person. I'm not a party boy. I don't care about rave dances and a lot of the stuff going on.

Q: What do you think would have interested you today if music weren't an option?

A: I'd probably turn to something like mathematics. That would interest me. Architecture would interest me. Something like that.

Q: Are you surprised by the return of so much placid pop which was one of the original targets of rock 'n' roll?

A: I don't think what we call pop music today is any worse than it was. We never liked pop music. It never occurred to me (in the 1950s) that Bing Crosby was on the cutting edge 20 years before I was listening to him. I never heard that Bing Crosby. The Louis Armstrong I heard was the guy who sang ''Hello, Dolly!'' I never heard him do ''West End Blues.''

Q: ''Time Out of Mind'' seemed to spark a creative resurgence for you. Did you know right away it was something special?

A: It was a little sketchy to me. I knew after that record that when and if I ever committed myself to making another record, I didn't want to get caught short without up-tempo songs. A lot of my songs are slow ballads. I can gut-wrench a lot out of them. But if you put a lot of them on a record, they'll fade into one another, and there was some of that in ''Time Out of Mind.'' I sort of blueprinted it this time to make sure I didn't get caught without up-tempo songs.

Q: What about the creative process for you? Do you write constantly?

A: I overwrite. If I know I am going in to record a song, I write more than I need. In the past that's been a problem because I failed to use discretion at times. I have to guard against that. On this album, ''Lonesome Day Blues'' was twice as long at one point. ''Highlands'' (a 17-minute song on ''Time Out of Mind'') was twice as long originally.

Q: Why is there so much humor on the album this time? Does it have to do with your state of mind these days?

A: I try to make the songs as three-dimensional as possible. A one- or two-dimensional song doesn't last very long. It's important to have humor where you can. Even the most severe rapper uses some humor.

Q: When do you tend to do the most writing? When you're on tour or when you're home for a few weeks?

A: I don't know. Some things just come to me in dreams. But I can write a bunch of stuff down after you leave about, say, the way you are dressed. I look at people as ideas. I don't look at them as people. I'm talking about general observation. Whoever I see, I look at them as an idea what this person represents. That's the way I see life. I see life as a utilitarian thing. Then you strip things away until you get to the core of what's important.

Q: What was it like to be adored at times and booed at others - like on the ''Slow Train Coming'' tour in the '70s?

A: I was booed at Newport (R.I.) before that, remember. You can't worry about things like that. Miles Davis has been booed. Hank Williams was booed. Stravinsky was booed. You're nobody if you don't get booed sometime.

Q: Have you ever felt you were a superficial artist?

A: Sure, I think the tour I did with the Band in 1974 was superficial. I had forgotten how to sing and play. I had been devoting my time to raising a family, and it took me a long time to recapture my purpose as a performer. You'd find it at times, then it would disappear again for a while.

Q: You're on a creative roll now. Where do you see the beginning of it?

A: In the early '90s when I escaped the organized media. They let me be. They considered me irrelevant, which was the best thing that could have happened to me. I was waiting for that. No artist can develop for any length of time in the light of the media, no matter who it is. If the media was commenting on every article you wrote, imagine what it would do to you.

Q: Do you see yourself touring indefinitely?

A: I don't see myself doing anything indefinitely. I see myself fulfilling the commitments at the moment. Anything beyond that, time will have to tell.

Q: There's a lot of spirit in the new album. Do you feel pretty good about things?

A: Any day above the ground is a good day.

Publication date: 11-01-01

11-01-01. Surely he was referring to the Strokes.

3 doors down are actually from mississippi, NOT Florida. For some reason I just couldn't let that go. I don't even live in FL anymore, but man that band is awful.

And FTR, I think the best paragraph in all of Chronicles is when he lists his favorite rap artists.

Other things Dylan loves, apparently:

Mickey Rourke
Judy Garland
Bono

"Danny [Lanois] asked me who I'd been listening to recently, and I told him Ice-T. He was surprised, but he shouldn't have been. A few years earlier, Kurtis Blow, a rapper from Brooklyn [sic? I thought he was from Harlem] who had a hit out called "The Breaks," had asked me to be on one of his records and he familiarized me with that stuff, Ice-T, Public Enemy, N.W.A., Run-D.M.C. These guys definitely weren't standing around bullshitting. They were beating drums, tearing it up, hurling horses over cliff. They were all poets and knew what was going on."

"Hurling horses over cliffs."

bob rocks.

RIP civil rights activist Dorie Ladner, a wise, courageous person whom I heard on many Saturdays on a WPFW public radio show. The New York Times obit mentions Dylan's friendship with her-

During her hiatuses from college, Ms. Ladner was serenaded by Bob Dylan in the New York apartment where she helped to plan the 1963 March on Washington. He was said to have been smitten with her and to have alluded to her in his song “Outlaw Blues”: I got a woman in Jackson / I ain’t gonna say her name / She’s a brown-skin woman, but I / Love her just the same.

https://www.nytimes.com/2024/03/15/us/dorie-ladner-dead.html

Did he write songs referencing Mavis Staples too?