Even the honor of the Nobel Prize for Literature bestowed Thursday on Bob Dylan wasn’t enough to prompt rock’s most revered songwriter to upend his modus operandi. Or was it?
At his Friday performance kicking off the second and final weekend of the Desert Trip summit meeting of rock music titans also featuring the Rolling Stones, Paul McCartney, the Who, Neil Young and Pink Floyd’s Roger Waters, Dylan and his band played virtually the same set they’d delivered the week before, when he was just plain Bob Dylan, merely the Shakespeare of our time.
Except for the encore segment. When he finished “Ballad of a Thin Man,” framed around the perpetually enigmatic question “Something is happening, but you don’t know what it is — do you, Mr. Jones?” and exited, Dylan soon returned and offered up the anthem “Like a Rolling Stone,” which had not been part of the set a week ago. For that show, he turned to “Masters of War.”
But then, after allowing tens of thousands of fans to share in the celebratory chorus of “How does it feel?” he concluded with one of the numbers from his recent albums delving into the Great American Songbook: Cy Coleman and Joseph McCarthy’s poignantly world-weary “Why Try to Change Me Now.”
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Roger Waters performs Oct. 16 during the second weekend of Desert Trip in Indio, Calif.
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Roger Waters and his band perform Oct. 16 during the second weekend of Desert Trip.
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An elaborate stage set-up surrounds Roger Waters as he performs Oct. 16 druing the second weekend of Desert Trip.
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A fan records part of Roger Waters’ Oct. 16 set during the second weekend of Desert Trip.
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Roger Waters performs Oct. 16 in front of a giant screen at Desert Trip.
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From a distance, fans watch and record Roger Waters’ Oct. 16 Desert Trip performance.
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Roger Waters’ Oct 16 performance closes out the second weekend of the Desert Trip festival in Indio, Calif.
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Roger Daltrey and Pete Townshend of The Who open with their early hit, “I Can’t Explain,” during the second weekend of Desert Trip.
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Roger Daltrey swings the microphone in his trademark style as The Who performs during the second weekend of Desert Trip.
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A water vendor at weekend 2 of Desert Trip in Indio.
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Drummer Zak Starkey performs with The Who.
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A music fan seeks shade from the sun as it sets during the second weekend of Desert Trip in Indio.
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Pete Townshend strums his guitar in his trademark windmill style as The Who performs.
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A fan attends the second weekend of Desert Trip.
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Roger Daltrey and Pete Townshend of The Who.
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Music fans take pictures at a large reproduction of the album cover for the Wings’ 1973 release of “Band On The Run.”
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Fans show their appreciation for the legeendary rock band The Who during the second weekend of Desert Trip.
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Paul McCartney takes the stage during Weekend 2 of Desert Trip in Indio.
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Anticipation builds for Paul McCartney’s performance at weekend 2 of Desert Trip.
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Paul McCartney performs during Weekend 2 of Desert Trip.
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Paul McCartney performs during Weekend 2 of Desert Trip.
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Paul McCartney performs during weekend 2 of Desert Trip.
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Paul McCartney performs during weekend 2 of Desert Trip.
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Neil Young banters with the crowd during a performance at Weekend 2 of Desert Trip in Indio.
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Neil Young performs at weekend 2 of Desert Trip.
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Camera and lighting personnel wait for Neil Young’s show to begin during Weekend 2 of Desert Trip in Indio.
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Neil Young performs at Weekend 2 of Desert Trip in Indio.
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Neil Young performs with his band at Weekend 2 of Desert Trip in Indio.
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Neil Young performs at Weekend 2 of Desert Trip in Indio.
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The setting sun casts a golden glow as a couple poses for a picture in front of a large reproduction of the album cover for “Band on the Run” by Paul McCartney and Wings during Weekend 2 of Desert Trip in Indio.
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Concertgoers cast shadows on umbrellas spread out on the Empire Polo Grounds for Weekend 2 of Desert Trip in Indio.
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Music fans wait in line to check out the vinyl and cassette tapes at a record store on the Empire Polo Grounds during Weekend 2 of Desert Trip in Indio.
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Music fans thumb through the selection of vinyl at a record store on the Empire Polo Grounds during Weekend 2 of Desert Trip in Indio.
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Terayuki Kobayashi, 25, a visitor from Japan, checks out an image of Mick Jagger at a photo exhibit during Weekend 2 of Desert Trip in Indio.
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Mick Jagger and the Rolling Stones perform on the second weekend of Desert Trip in Indio.
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Mick Jagger and the Rolling Stones perform on the second weekend of Desert Trip in Indio.
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Mick Jagger and the Rolling Stones perform at Desert Trip.
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Mick Jagger and the Rolling Stones perform at Desert Trip.
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Mick Jagger and the Rolling Stones perform at Desert Trip.
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The Rolling Stones perform at Desert Trip.
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The Rolling Stones perform at Desert Trip.
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Fans enjoy the Rolling Stones at Desert Trip.
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Mick Jagger sings at Desert Trip.
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Mick Jagger performs at Desert Trip.
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Concert-goers wander the Empire Polo Grounds in Indio as gates open for Desert Trip’s second weekend.
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The sun beats down on huge crowds waiting to buy merchandise at Desert Trip.
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Fans pose for pictures in front of large reproductions of classic album covers at Desert Trip.
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Hungry fans crowd a pizza vendor at Desert Trip.
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The sun sets as a crowd gathers at the Empire Polo Grounds to watch Bob Dylan’s performance on Desert Trip’s second weekend.
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The sun sets as a crowd gathers for Bob Dylan’s performance.
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Bob Dylan is projected on a big screen as he opens Desert Trip’s second weekend.
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Shafts of light from the setting sun stream through the dust.
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The moon looms over the stage as fans wait for Bob Dylan to perform.
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Fans pose for photos under a large reproduction of the Rolling Stones’ “Some Girls” album.
(Luis Sinco / Los Angeles Times) It was an unexpected choice, as a week ago he had completely bypassed the pop standards, which have been a central part of his shows leading up to Desert Trip.
But it proved to be an eminently sweet choice, with the grounds of the Empire Polo Club located just a few miles down the road from Palm Springs, where Frank Sinatra spent so many years in the second half of his life.
Sinatra is the touchstone for Dylan’s two most recent albums, “Shadows in the Night” and “Fallen Angels,” and it was tempting to filter his decision to bid the Desert Trip audience adieu with “Why Try to Change Me Now.” He had performed the song the previous night in his first post-Nobel Prize show in Las Vegas as his response to the cultural honor awarded him.
He has pointedly directed admirers away from focusing time and attention on his music, insisting it would be far more valuable to study the works of those who came before and influenced him. It’s his tacit reminder of his oft-cited realization that we all stand on the shoulders of giants.
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“If I wanted to be a painter, I might think about trying to be like Van Gogh, or if I was an actor, act like Laurence Olivier. If I was an architect, there’s Frank Gehry,” Dylan told The Times in a 2004 interview.“But you can’t just copy somebody. If you like someone’s work, the important thing is to be exposed to everything that person has been exposed to,” he said in an uncharacteristically straightforward admonition.
“Anyone who wants to be a songwriter should listen to as much folk music as they can, study the form and structure of stuff that has been around for 100 years. I go back to Stephen Foster,” he said.
That’s the path Dylan took in the early 1990s with “Good As I Been to You” and “World Gone Wrong,” two albums of roots music that had inspired him and which seemed to recalibrate his artistic compass, launching the career rejuvenation that began with 1997’s “Time Out of Mind” and has remained strong for nearly two decades.
It also helps explain, for any who might have scratched their heads over his decision to apply his craggy rasp of a voice to a body of songs by and large associated with Sinatra, regarded as the 20th century’s great pop crooner.
It was not, as he so sharply pointed out, his attempt to “cover” these pre-rock classics.
“They’ve been covered enough — buried as a matter of fact,” he said upon the release of “Shadows in the Night.” “What me and my band are basically doing is uncovering them. Lifting them out of the grave and bringing them into the light of day.”
In the absence of any public statement about what the Nobel Prize may mean to him, it struck at least one member of the Desert Trip audience as he caressed the melody and lyrics of “Why Try to Change Me Now” that it might be his way of saying, “Thanks, but if you want to hear the kind of songwriting that moves me, check this out.”
“Why can’t I be conventional?” Dylan sang. “People talk, people stare, so I try/But that’s not for me, ’cause I can’t see/My kind of crazy world passing me by.”
What reaction statement issued in a news release could have crystallized a lifetime’s artistry more eloquently than that?
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