Dylanologist A J Webermans Left-Wing Zionism: a Preview A preview of an imminent expos of A J Webermans intellectual bankruptcy.

A J Weberman to me in December 2009: Paul Kirman http://dylanology.org http://rightwingbob.org

Dylan turned out to be a sicker piece of shit than I ever pinned him for. I suggest you purchase RightWing Bob via Amazon as it is the last book I will ever write about this sicko. How much precious time of my life I wasted studying Dylan when a great deal of his message boils down to "niggers eat shit." I could get the same message off any Klan or Nazi website. Rolling Stone, Blowin in the Wind, Sub. Homesick Blues and other poems contain this subcontext. Who would have ever thought? Not me. I was looking for an anti-racist leftwing message when I began this journey in 1966. He did has some periods of normality Planet Waves, then Neighborhood Bully and License to Kill but they were few and far between. As for my syntax, at one point I was questioned about it as I was a suspected Soviet black agent who had been sent to the US with false legend. My handwritting was examined for traces of cyrillic writing. But I convinced the dudewho was assigned to evaluate me I was a domestic dissident by selling him toll fraud devices....

(Note how, contrary to the canard of Neighborhood Bully being right-wing Zionist, Weberman is a left-wing Zionist a default expos of bullshit American left-wing liberal distortion of human logic if ever there was one.) In the volume of THE TELEGRAPHs essays called All Across the Telegraph (1987) there is an article called Charity is Supposed to Cover Up a Multitude of Sins by Clive Wilshin. Wilshin says on p 223:
. . . and there is a similary [sic] xenophobic Zionism firing off furiously all through 'Neighborhood Bully'. But Dylan's argument in the latter song is one easier for the left to sweep impatiently aside than to answer, while the anti-Arab stance of those lines from 'Slow Train' is simply unworthy of everything the real Bob Dylan stands for.

Jonathan Cott, the loquacious laconic Jonathan Cott, in Dylan (circa 1985) p 202:
To give the devil (or should I say angel?) his due, I should remind both myself and the reader that, as the Jungian analyst Jeffrey Satinover has written: "Once the star is established, his fans will tear him to pieces should ever he fail to carry for them the projected childhood Self. A recent example from pop culture is the fans' vituperative reaction to Bob Dylan's unexpected changes of style. Once a narcissistic complementation has been set up between any leader and his following, he is as bound as they. The rigidity of the relationship and the strength of the forces maintaining the status quo stem from the mutual common individual fear of fragmentation." Or as

Dylan told the Minneapolis weekly City Pages in 1983: "People want to know where I'm at because they don't know where they're at."

Paul Kirkman 2012