"I'm younger than that now": Dylan on ageing

A top-five list of his lyrics on growing old, to celebrate his 71st birthday.

Bob Dylan turns 71 today. On 29 May, the song-and-dance man will receive the Presidential Medal of Honour at the White House alongside the former US secretary of state Madeleine Albright and the novelist Toni Morrison. The Bobcat rumour mill, meanwhile, continues to spin, grinding out theories about a new album expected later this year. (A Mexican influence? A song about the sinking of the Titanic?)

Despite his recent(ish) return to form that began with the 1997 album Time Out of Mind – and despite the Oscar and Golden Globe he received for the song "Things Have Changed" in 2001, the acclaim heaped upon the first volume of his memoirs, his painting exhibitions, his radio shows and his 2008 Pulitzer Prize for Being Bob Dylan – he seems far from ready to go gently into the night. Where he once urged his listeners to stay "forever young", however, he now more readily admits: "It's not dark yet, but it's getting there.

In a 2006 interview, Dylan said: "I always wanted to stop when I was on top. I didn't want to fade away. I didn't want to be a has-been, I wanted to be somebody who'd never be forgotten." With fading away out of the question, one major cause for reflection seems to be the ageing process. The mind can remain alive to the world; but what of the physical body? 

Below is a top-five list of his Grand Statements on Growing Older, chosen somewhat undemocratically by me. Do use the comments section below if you can think of any better.

5. From "Highlands" (Time Out of Mind, 1997):

I see people in the park forgetting their troubles and woes
They’re drinking and dancing, wearing bright-colored clothes
All the young men with their young women looking so good
Well, I’d trade places with any of them in a minute, if I could

4. From "My Back Pages" (Another Side of Bob Dylan, 1964):

Ah, but I was so much older then, I'm younger than that now

3. From "Bob Dylan’s Dream" (Freewheelin’ Bob Dylan, 1963):

With haunted hearts through the heat and cold
We never thought we could ever get old
We thought we could sit forever in fun
But our chances really was a million to one

2. From "Red River Shore" (Tell Tale Signs, 2008):

Well we're living in the shadows of a fading past
Trapped in the fires of time
I've tried not to ever hurt anybody
And to stay out of the life of crime
And when it's all been said and done
I never did know the score
One more day is another day away
From the girl from the red river shore

1. From "Floater (Too Much to Ask)" ("Love and Theft", 2001):   

The old men ’round here, sometimes they get
On bad terms with the younger men
But old, young, age don’t carry weight
It doesn’t matter in the end
 
Jokerman: Dylan in performance in April 2011. Credit: AFP/Getty Images

Yo Zushi is a sub-editor of the New Statesman. His work as a musician is released by Eidola Records.

Ben Whishaw as Hamlet by Derry Moore, 2004 © Derry Moore
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The art of coming out: how the National Portrait Gallery depicts the big reveal

Portraits of gay celebrities, politicians and sports stars line the walls in a new exhibition called Speak Its Name!, marking 50 years of advances in gay rights.

I have a million questions for the doctor friend I’ve brought with me to the National Portrait Gallery. A million questions that, if I really think about it, boil down to: “Why were the Tudors so godforsakenly ugly?”

Inbreeding? Lead makeup? An all-peacock diet?

I don’t know why I assume she’ll know. She’s a neonatologist, not a historian. But I’m desperate for some of the science behind why these 500-year-old royals look, if these imposing paintings of them are anything to go by, like the sorts of creatures that – having spent millennia in pitch black caves – have evolved into off-white, scrotal blobs.

My friend talks about the importance of clean drinking water and the invention of hygiene. We move onto an extremely highbrow game I’ve invented, where – in rooms lined with paintings of bug-eyed, raw sausage-skinned men – we have to choose which one we’d bang. The fact we’re both gay women lends us a certain amount of objectivity, I think.


Alexander McQueen and Isabella Blow by David LaChapelle, 1996 © David LaChapelle Courtesy Fred Torres Collaborations

Our gayness, weirdly, is also the reason we’re at the gallery in the first place. We’re here to see the NPG’s Speak its Name! display; photographic portraits of a selection of out-and-proud celebrities, accompanied by inspirational quotes about coming out as gay or bi. The kind of thing irritating people share on Facebook as a substitute for having an opinion.

Managing to tear ourselves away from walls and walls of TILFs (Tudors I’d… you know the rest), we arrive at the recently more Angela Eagle-ish part of the gallery. Eagle, the second ever British MP to come out as lesbian, occupies a wall in the NPG, along with Will Young, Tom Daley, Jackie Kay, Ben Whishaw, Saffron Burrows and Alexander McQueen.

Speak its Name!, referring to what was described by Oscar Wilde’s lover Lord Alfred Douglas as “the love that dare not speak its name”, commemorates 50 years (in 2017) since the partial decriminalisation of male homosexuality in England and Wales.

“Exhibition” is maybe a grandiose term for a little queer wall in an old building full, for the most part, of paintings of probably bigoted straight white guys who are turning like skeletal rotisserie chickens in their graves at the thought of their portraits inhabiting the same space as known homosexual diver Tom Daley.


Tom Daley By Bettina von Zwehl, 2010 © Bettina von Zwehl

When you’re gay, or LBTQ, you make little pilgrimages to “exhibitions” like this. You probably don’t expect anything mind-blowing or world-changing, but you appreciate the effort. Unless you’re one of those “fuck The Establishment and literally everything to do with it” queers. In which case, fair. Don’t come to this exhibition. You’ll hate it. But you probably know that already.

But I think I like having Tudors and known homosexuals in the same hallowed space. Of course, Angela Eagle et al aren’t the NPG’s first queer inhabitants. Being non-hetero, you see, isn’t a modern invention. From David Hockney to Radclyffe Hall, the NPG’s collection is not entirely devoid of Gay. But sometimes context is important. Albeit one rather tiny wall dedicated to the bravery of coming out is – I hate to say it – sort of heart-warming.


Angela Eagle by Victoria Carew Hunt, 1998 © Victoria Carew Hunt / National Portrait Gallery, London

Plus, look at Eagle up there on the “yay for gay” wall. All smiley like that whole “running for Labour leader and getting called a treacherous dyke by zealots” thing never happened.

I can’t say I feel particularly inspired. The quotes are mostly the usual “coming out was scary”-type fare, which people like me have read, lived and continue to live almost every day. This is all quite mundane to queers, but you can pretty much guarantee that some straight visitors to the NPG will be scandalised by Speak its Name! And I guess that’s the whole point.

Eleanor Margolis is a freelance journalist, whose "Lez Miserable" column appears weekly on the New Statesman website.