DOCSLIB.ORG

Still on the Road: 2014 US Fall Tour

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Still on the Road: 2014 US Fall Tour STILL ON THE ROAD 2014 US FALL TOUR OCTOBER 17 Seattle, Washington Paramount Theatre 18 Seattle, Washington Paramount Theatre 19 Seattle, Washington Paramount Theatre 21 Portland, Oregon Keller Auditorium 24 Los Angeles, California Dolby Theatre, Hollywood 25 Los Angeles, California Dolby Theatre, Hollywood 26 Los Angeles, California Dolby Theatre, Hollywood 28 Oakland, California Paramount Theatre 29 Oakland, California Paramount Theatre 30 Oakland, California Paramount Theatre NOVEMBER 1 Denver, Colorado Bellco Theatre 4 Minneapolis, Minnesota Orpheum Theater 5 Minneapolis, Minnesota Orpheum Theater 6 Minneapolis, Minnesota Orpheum Theater 8 Chicago, Illinois Cadillac Palace Theatre 9 Chicago, Illinois Cadillac Palace Theatre 10 Chicago, Illinois Cadillac Palace Theatre 12 Cleveland, Ohio State Theatre 14 Boston, Massachusetts The Orpheum Theatre 15 Providence, Rhode Island Providence Performing Arts Center 17 Toronto, Ontario, Canada Sony Center For The Performing Arts 18 Toronto, Ontario, Canada Sony Center For The Performing Arts 20 Pittsburgh, Pennsylvania Heinz Hall For The Performing Arts 21 Philadelphia, Pennsylvania Academy Of Music 22 Philadelphia, Pennsylvania Academy Of Music 23 Philadelphia, Pennsylvania Academy Of Music, private concert 23 Philadelphia, Pennsylvania Academy Of Music 25 Washington, D.C. DAR Constitution Hall 26 Newark, New Jersey New Jersey Performing Arts Center 28 New York City, New York The Beacon Theatre 29 New York City, New York The Beacon Theatre DECEMBER 1 New York City, New York The Beacon Theatre 2 New York City, New York The Beacon Theatre 3 New York City, New York The Beacon Theatre Bob Dylan: Still On The Road – 2014 US Fall Tour Bob Dylan: Still On The Road – 2014 US Fall Tour 36100 Paramount Theatre Seattle, Washington 17 October 2014 1. Things Have Changed 2. She Belongs To Me 3. Beyond Here Lies Nothin' (Bob Dylan-Robert Hunter/Bob Dylan) 4. Workingman's Blues #2 5. Waiting For You 6. Duquesne Whistle (Bob Dylan-Robert Hunter/Bob Dylan) 7. Pay In Blood 8. Tangled Up In Blue 9. Love Sick 10. High Water (For Charley Patton) 11. Simple Twist Of Fate 12. Early Roman Kings 13. Forgetful Heart (Bob Dylan-Robert Hunter/Bob Dylan) 14. Spirit On The Water 15. Scarlet Town 16. Soon After Midnight 17. Long And Wasted Years — 18. All Along The Watchtower 19. Blowin' In The Wind Concert # 2625 of The Never-Ending Tour. First concert of the 2014 US Fall Tour. 2014 concert # 60. Concert # 417 with the 21st Never-Ending Tour Band: Bob Dylan (vocal, grand piano & harmonica), Stu Kimball (guitar), Charlie Sexton (guitar), Donnie Herron (violin, viola, mandolin, banjo, steel guitar), Tony Garnier (bass), George Recile (drums & percussion). 3-6, 8, 11, 12, 14-16 Bob Dylan (grand piano). 2, 9, 10, 13, 18, 19 Bob Dylan (harmonica). 3, 9 Donnie Herron (mandolin). 10,15 Donnie Herron (banjo). 13 Donnie Herron (viola). 19 Donnie Herron (violin). Notes There was a fifteen minute intermission after Love Sick. Same set list as 18, 19, 21, 24, 25 October 2014 There are reviews published by BobLinks. Other Bob Dylan concerts in Seattle, Washington: 9 February 1974 Coliseum 9 February 1974 Coliseum 10 November 1978 Hec Edmondson Pavilion, University Of Washington 13 January 1980 Paramount Northwest Theatre 14 January 1980 Paramount Northwest Theatre 15 January 1980 Paramount Northwest Theatre 29 November 1980 Paramount Northwest Theatre 27 April 1992 Paramount Theater 28 April 1992 Paramount Theater 21 August 1993 Memorial Stadium 2 June 1995 Paramount Theater 3 June 1995 Paramount Theater 4 June 1995 Paramount Theater 6 October 2001 Key Arena, Seattle Center 4 October 2002 Key Arena, Seattle Center Bob Dylan: Still On The Road – 2014 US Fall Tour 7 March 2005 Paramount Northwest Theatre 8 March 2005 Paramount Northwest Theatre 9 March 2005 Paramount Northwest Theatre 16 July 2005 Benaroya Hall 13 October 2006 Key Arena, Seattle Center 4 October 2009 The Moore Theatre 5 October 2009 WaMu Theatre 4 September 2010 Seattle Center Coliseum 13 October 2012 Key Arena, Seattle Center 18 October 2014 Paramount Theatre 19 October 2014 Paramount Theatre Session info updated 12 December 2014. Bob Dylan: Still On The Road – 2014 US Fall Tour 36110 Paramount Theatre Seattle, Washington 18 October 2014 1. Things Have Changed 2. She Belongs To Me 3. Beyond Here Lies Nothin' (Bob Dylan-Robert Hunter/Bob Dylan) 4. Workingman's Blues #2 5. Waiting For You 6. Duquesne Whistle (Bob Dylan-Robert Hunter/Bob Dylan) 7. Pay In Blood 8. Tangled Up In Blue 9. Love Sick 10. High Water (For Charley Patton) 11. Simple Twist Of Fate 12. Early Roman Kings 13. Forgetful Heart (Bob Dylan-Robert Hunter/Bob Dylan) 14. Spirit On The Water 15. Scarlet Town 16. Soon After Midnight 17. Long And Wasted Years — 18. All Along The Watchtower 19. Blowin' In The Wind Concert # 2626 of The Never-Ending Tour. Second concert of the 2014 US Fall Tour. 2014 concert # 61. Concert # 418 with the 21st Never-Ending Tour Band: Bob Dylan (vocal, grand piano & harmonica), Stu Kimball (guitar), Charlie Sexton (guitar), Donnie Herron (violin, viola, mandolin, banjo, steel guitar), Tony Garnier (bass), George Recile (drums & percussion). 3-6, 8, 11, 12, 14-16 Bob Dylan (grand piano). 2, 9, 10, 13, 18, 19 Bob Dylan (harmonica). 3, 9 Donnie Herron (mandolin). 10,15 Donnie Herron (banjo). 13 Donnie Herron (viola). 19 Donnie Herron (violin). Notes There was a fifteen minute intermission after Love Sick. Same set list as 17, 19, 21, 24, 25 October 2014 There are reviews published by BobLinks. Other Bob Dylan concerts in Seattle, Washington: 9 February 1974 Coliseum 9 February 1974 Coliseum 10 November 1978 Hec Edmondson Pavilion, University Of Washington 13 January 1980 Paramount Northwest Theatre 14 January 1980 Paramount Northwest Theatre 15 January 1980 Paramount Northwest Theatre 29 November 1980 Paramount Northwest Theatre 27 April 1992 Paramount Theater 28 April 1992 Paramount Theater 21 August 1993 Memorial Stadium 2 June 1995 Paramount Theater 3 June 1995 Paramount Theater 4 June 1995 Paramount Theater 6 October 2001 Key Arena, Seattle Center 4 October 2002 Key Arena, Seattle Center Bob Dylan: Still On The Road – 2014 US Fall Tour 7 March 2005 Paramount Northwest Theatre 8 March 2005 Paramount Northwest Theatre 9 March 2005 Paramount Northwest Theatre 16 July 2005 Benaroya Hall 13 October 2006 Key Arena, Seattle Center 4 October 2009 The Moore Theatre 5 October 2009 WaMu Theatre 4 September 2010 Seattle Center Coliseum 13 October 2012 Key Arena, Seattle Center 17 October 2014 Paramount Theatre 19 October 2014 Paramount Theatre No new songs compared to previous concert. No new songs for this tour. Stereo audience recording, 105 minutes. Session info updated 12 December 2014. Bob Dylan: Still On The Road – 2014 US Fall Tour 36120 Paramount Theatre Seattle, Washington 19 October 2014 1. Things Have Changed 2. She Belongs To Me 3. Beyond Here Lies Nothin' (Bob Dylan-Robert Hunter/Bob Dylan) 4. Workingman's Blues #2 5. Waiting For You 6. Duquesne Whistle (Bob Dylan-Robert Hunter/Bob Dylan) 7. Pay In Blood 8. Tangled Up In Blue 9. Love Sick 10. High Water (For Charley Patton) 11. Simple Twist Of Fate 12. Early Roman Kings 13. Forgetful Heart (Bob Dylan-Robert Hunter/Bob Dylan) 14. Spirit On The Water 15. Scarlet Town 16. Soon After Midnight 17. Long And Wasted Years — 18. All Along The Watchtower 19. Blowin' In The Wind Concert # 2627 of The Never-Ending Tour. Third concert of the 2014 US Fall Tour. 2014 concert # 62. Concert # 419 with the 21st Never-Ending Tour Band: Bob Dylan (vocal, grand piano & harmonica), Stu Kimball (guitar), Charlie Sexton (guitar), Donnie Herron (violin, viola, mandolin, banjo, steel guitar), Tony Garnier (bass), George Recile (drums & percussion). 3-6, 8, 11, 12, 14-16 Bob Dylan (grand piano). 2, 9, 10, 13, 18, 19 Bob Dylan (harmonica). 3, 9 Donnie Herron (mandolin). 10,15 Donnie Herron (banjo). 13 Donnie Herron (viola). 19 Donnie Herron (violin). Notes There was a fifteen minute intermission after Love Sick. Same set list as 17, 18, 21, 24, 25 October 2014 There are reviews published by BobLinks. Previous Bob Dylan concerts in Seattle, Washington: 9 February 1974 Coliseum 9 February 1974 Coliseum 10 November 1978 Hec Edmondson Pavilion, University Of Washington 13 January 1980 Paramount Northwest Theatre 14 January 1980 Paramount Northwest Theatre 15 January 1980 Paramount Northwest Theatre 29 November 1980 Paramount Northwest Theatre 27 April 1992 Paramount Theater 28 April 1992 Paramount Theater 21 August 1993 Memorial Stadium 2 June 1995 Paramount Theater 3 June 1995 Paramount Theater 4 June 1995 Paramount Theater 6 October 2001 Key Arena, Seattle Center 4 October 2002 Key Arena, Seattle Center Bob Dylan: Still On The Road – 2014 US Fall Tour 7 March 2005 Paramount Northwest Theatre 8 March 2005 Paramount Northwest Theatre 9 March 2005 Paramount Northwest Theatre 16 July 2005 Benaroya Hall 13 October 2006 Key Arena, Seattle Center 4 October 2009 The Moore Theatre 5 October 2009 WaMu Theatre 4 September 2010 Seattle Center Coliseum 13 October 2012 Key Arena, Seattle Center 17 October 2014 Paramount Theatre 18 October 2014 Paramount Theatre No new songs compared to previous concert. No new songs for this tour. Session info updated 12 December 2014. Bob Dylan: Still On The Road – 2014 US Fall Tour 36130 Keller Auditorium Portland, Oregon 21 October 2014 1. Things Have Changed 2. She Belongs To Me 3. Beyond Here Lies Nothin' (Bob Dylan-Robert Hunter/Bob Dylan) 4. Workingman's Blues #2 5. Waiting For You 6. Duquesne Whistle (Bob Dylan-Robert Hunter/Bob Dylan) 7. Pay In Blood 8. Tangled Up In Blue 9. Love Sick 10. High Water (For Charley Patton) 11. Simple Twist Of Fate 12. Early Roman Kings 13. Forgetful Heart (Bob Dylan-Robert Hunter/Bob Dylan) 14.
Load more

Recommended publications
  • Bob Dylan and the Reimagining of Woody Guthrie (January 1968)
    Woody Guthrie Annual, 4 (2018): Carney, “With Electric Breath” “With Electric Breath”: Bob Dylan and the Reimagining of Woody Guthrie (January 1968) Court Carney In 1956, police in New Jersey apprehended Woody Guthrie on the presumption of vagrancy. Then in his mid-40s, Guthrie would spend the next (and last) eleven years of his life in various hospitals: Greystone Park in New Jersey, Brooklyn State Hospital, and, finally, the Creedmoor Psychiatric Center, where he died. Woody suffered since the late 1940s when the symptoms of Huntington’s disease first appeared—symptoms that were often confused with alcoholism or mental instability. As Guthrie disappeared from public view in the late 1950s, 1,300 miles away, Bob Dylan was in Hibbing, Minnesota, learning to play doo-wop and Little Richard covers. 1 Young Dylan was about to have his career path illuminated after attending one of Buddy Holly’s final shows. By the time Dylan reached New York in 1961, heavily under the influence of Woody’s music, Guthrie had been hospitalized for almost five years and with his motor skills greatly deteriorated. This meeting between the still stylistically unformed Dylan and Woody—far removed from his 1940s heyday—had the makings of myth, regardless of the blurred details. Whatever transpired between them, the pilgrimage to Woody transfixed Dylan, and the young Minnesotan would go on to model his early career on the elder songwriter’s legacy. More than any other of Woody’s acolytes, Dylan grasped the totality of Guthrie’s vision. Beyond mimicry (and Dylan carefully emulated Woody’s accent, mannerisms, and poses), Dylan almost preternaturally understood the larger implication of Guthrie in ways that eluded other singers and writers at the time.2 As his career took off, however, Dylan began to slough off the more obvious Guthrieisms as he moved towards his electric-charged poetry of 1965-1966.
    [Show full text]
  • 1988 Tour of North America
    1988 TOUR OF NORTH AMERICA Interstate 88 Tour, part 1: Summer Tour of North America. JUNE 7 Concord, California Concord Pavilion 9 Sacramento, California Cal Expo Amphitheatre 10 Berkeley, California Greek Theatre, University Of California 11 Mountain View, California Shoreline Amphitheatre 13 Salt Lake City, Utah Park West, Park City 15 Denver, Colorado Fiddler's Green Amphitheatre 17 St Louis, Missouri The Muny, Forest Park 18 East Troy, Wisconsin Alpine Valley Music Theatre 21 Cuyahoga Falls, Ohio Blossom Music Center 22 Cincinnati, Ohio Riverbend Music Center 24 Holmdel, New Jersey Garden State Performing Arts Center 25 Holmdel, New Jersey Garden State Performing Arts Center 26 Saratoga Springs, New York Saratoga Performing Arts Center 28 Canandaigua, New York Finger Lakes Performing Arts Center 30 Wantagh, New York Jones Beach Theater, Jones Beach State Park JULY 1 Wantagh, New York Jones Beach Theater, Jones Beach State Park 2 Mansfield, Massachussetts Great Woods Performing Arts Center 3 Old Orchard Beach, Maine Old Orchard Beach Ballpark 6 Philadelphia, Pennsylvania Frederick Mann Music Center 8 Montreal, Quebec, Canada Forum de Montréal 9 Ottawa, Ontario, Canada Ottawa Civic Centre Arena 11 Hamilton, Ontario, Canada Copps Coliseum 13 Charlevoix, Michigan Castle Fares Music Theatre 14 Chicago, Illinois Poplar Creek Music Theatre, Hoffman Estates 15 Indianapolis, Indiana Indiana State Fairground Grandstand 17 Rochester, Michigan Meadowbrook Music Theatre, Oakland University 18 Rochester, Michigan Meadowbrook Music Theatre, Oakland
    [Show full text]
  • View Annual Report
    Full Year 2013 Results - Record Performance • Concert Attendance Up 19% - Total Ticketmaster 400 Million Fans Delivering Over $17 Billion GTV • 900 Million Fans Visit Ticketmaster, Creating User Database of 250 Million Fan Preferences • Revenue Up 11% to $6.5 Billion • AOI Increased 10% to $505 Million • Moved to Profitability in Operating Income off $140 Million • Reported Net Income Improved by $120 Million TO OUR STOCKHOLDERS: 2013 Results We had a record year in 2013 and are well positioned for continued growth in 2014 and beyond. During 2013, we further grew our unmatched concerts global fan base by 10 million fans, attracting almost 60 million fans to our concerts. This tremendous growth fueled our sponsorship and ticketing businesses with Ticketmaster managing nearly 4400 million total tickets in 2013. Combined, we delivered a record year for revenue, AOI and free cash flow. Our results demonstrate the effectiveness of our business model, establishing Live Nation as what we believe to be the number one player in each of our businesses, with concerts driving our flywheel, which is then monetized across our high margin on-site, sponsorship and ticketing businesses. Strong Fan Demand for Live Events We continue to see the tremendous power of live events, with strong global consumer demand. Research shows that live events are a high priority for discretionary spending, and over 80% of our fans surveyed indicate that they plan on attending the same or more events in 2014 as in 2013. Another sign of the strength of our business is that 85% of Live Nation’s fan growth came organically, from our promoting more shows in amphitheaters, arenas and stadiums; from launching new festivals; and from establishing operatioons in new markets.
    [Show full text]
  • Bob Dylan Performs “It's Alright, Ma (I'm Only Bleeding),” 1964–2009
    Volume 19, Number 4, December 2013 Copyright © 2013 Society for Music Theory A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009 * Steven Rings NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.13.19.4/mto.13.19.4.rings.php KEYWORDS: Bob Dylan, performance, analysis, genre, improvisation, voice, schema, code ABSTRACT: This article presents a “longitudinal” study of Bob Dylan’s performances of the song “It’s Alright, Ma (I’m Only Bleeding)” over a 45-year period, from 1964 until 2009. The song makes for a vivid case study in Dylanesque reinvention: over nearly 800 performances, Dylan has played it solo and with a band (acoustic and electric); in five different keys; in diverse meters and tempos; and in arrangements that index a dizzying array of genres (folk, blues, country, rockabilly, soul, arena rock, etc.). This is to say nothing of the countless performative inflections in each evening’s rendering, especially in Dylan’s singing, which varies widely as regards phrasing, rhythm, pitch, articulation, and timbre. How can music theorists engage analytically with such a moving target, and what insights into Dylan’s music and its meanings might such a study reveal? The present article proposes one set of answers to these questions. First, by deploying a range of analytical techniques—from spectrographic analysis to schema theory—it demonstrates that the analytical challenges raised by Dylan’s performances are not as insurmountable as they might at first appear, especially when approached with a strategic and flexible methodological pluralism.
    [Show full text]
  • Tiny Spaces Put Squeeze on Parking
    TACKLING THE GAME — SEE SPORTS, B8 PortlandTribune THURSDAY, MAY 8, 2014 • TWICE CHOSEN THE NATION’S BEST NONDONDAILYONDAAILYILY PAPERPAPER • PORTLANDTRIBUNE.COMPORTLANDTRIBUNEPORTLANDTRIBUNE.COMCOM • PUBLISHEDPUBLISHED TUESDAYTUESDAY ANDAND THTHURSDAYURRSDSDAYAY ■ Coming wave of micro apartments will increase Rose City Portland’s density, but will renters give up their cars? kicks it this summer as soccer central Venture Portland funds grants to lure crowds for MLS week By JENNIFER ANDERSON The Tribune Hilda Solis lives, breathes, drinks and eats soccer. She owns Bazi Bierbrasserie, a soccer-themed bar on Southeast Hawthorne and 32nd Avenue that celebrates and welcomes soccer fans from all over the region. As a midfi elder on the Whipsaws (the fi rst fe- male-only fan team in the Timbers’ Army net- work), Solis partnered with Lompoc Beer last year to brew the fi rst tribute beer to the Portland Thorns, called Every Rose Has its Thorn. And this summer, Solis will be one of tens of thousands of soccer fans in Portland celebrating the city’s Major League Soccer week. With a stadium that fi ts just 20,000 fans, Port- land will be host to world championship team Bayern Munich, of Germany, at the All-Star Game at Jeld-Wen Field in Portland on Aug. 6. “The goal As fans watch the game in is to get as local sports bars and visitors fl ock to Portland for revelries, many fans it won’t be just downtown busi- a taste of nesses that are benefi ting from all the activity. the MLS Venture Portland, the city’s All-Star network of neighborhood busi- game ness districts, has awarded a The Footprint Northwest Thurman Street development is bringing micro apartments to Northwest Portland — 50 units, shared kitchens, no on-site parking special round of grants to help experience.
    [Show full text]
  • Live Nation Adds Cleveland's Masonic Auditorium To
    LIVE NATION ADDS CLEVELAND’S MASONIC AUDITORIUM TO GROWING PORTFOLIO OF CLUBS AND THEATRES CLEVELAND, Ohio – (July 16, 2018) — TempleLive and Live Nation – the world’s largest live entertainment company – have announced that the Masonic Auditorium, recently purchased by TempleLive, will become part of Live Nations’ expanding portfolio of mid-west properties it now books and operates. Combined with Live Nation’s operation of the House of Blues, Jacobs Pavilion and Blossom Music Center, Live Nation plans to attract an increasingly robust roster of performers to Northeast Ohio and is now gearing up for a new fall schedule with dates starting as soon as November. Live Nation Club & Theatre, a division of Live Nation, owns, operates and books landmark clubs and theaters throughout the United States, including The Wiltern Theatre in Los Angeles and The Tabernacle in Atlanta as well as the House of Blues and Fillmore venues. The company produces more than 15,000 events – including concerts, special events, private event rentals, club nights and more – in 100 venues nationwide. “The Masonic was the next logical move for us in Cleveland. It is a vibrant music market with a very large population base that we think is underserved at the theater level,” said Ben Weeden, COO of Live Nation Club & Theatre division, which will oversee The Masonic. “We look forward to establishing the Masonic as the must- play, 2,000-capacity venue in Cleveland.” “We are proud to have The Masonic Auditorium as part of Live Nation’s portfolio of properties,” said Mike Brown of TempleLive, which recently purchased the property.
    [Show full text]
  • Odesza Announces New “A Moment Apart Tour” Dates Tickets on Sale to Public Starting December 8 at Livenation.Com Electronic
    ODESZA ANNOUNCES NEW “A MOMENT APART TOUR” DATES TICKETS ON SALE TO PUBLIC STARTING DECEMBER 8 AT LIVENATION.COM ELECTRONIC DUO EARNS TWO GRAMMY NOMINATIONS LOS ANGELES (Dec. 4, 2017) – On the heels of two GRAMMY nominations last week for Best Dance/Electronic Album for A Moment Apart and Best Dance Recording for “Line Of Sight”, ODESZA has announced a second leg to their “A Moment Apart Tour” with 14 new North American dates in 2018, produced by Live Nation. This year, ODESZA (Harrison Mills and Clayton Knight) has taken their "transcendent" (Nylon) brand of indie electronic to new heights of popularity with sold out arena shows and a No. 3 debut on the Billboard 200 chart for their album A Moment Apart (Counter Records/Ninja Tune). Presale tickets are available at www.odesza.com starting Tuesday, December 5 at 10:00am local time with password: APART. Tickets will go on sale to the general public starting Friday, December 8 at 10:00am local time at LiveNation.com. Citi® is the official credit card of the U.S. leg of the 2018 “A Moment Apart Tour.” As such, Citi® cardmembers will have access to purchase U.S. presale tickets beginning Tuesday, December 5 at 10:00am local through Thursday, December 7 at 10:00pm local through Citi’s Private Pass® program. For complete presale details visit www.citiprivatepass.com. Since starting in early September in New Zealand, the “A Moment Apart Tour” has spanned nine countries, selling out multiple nights in cities across the globe with a live show featuring musicians including horns, guitar, a six piece drum line and vocalists.
    [Show full text]
  • Still on the Road 2018 Far East & Down Under Tour
    STILL ON THE ROAD 2018 FAR EAST & DOWN UNDER TOUR JULY 27 Seoul, South Korea Olympic Gymnastics Arena 29 Yuzawa-cho, Niigata, Japan Fuji Rock Festival '18 - Naeba Ski Resort AUGUST 2 Taipei, Taiwan International Convention Center 4 Hong Kong, China Hong Kong Convention & Exhibition Centre 6 Singapore, Singapore Star Theatre, Star Performing Arts Centre 8 Perth, West Australia, Australia Perth Arena 11 Adelaide, South Australia, Australia Bonython Park 13 Melbourne, Victoria, Australia Margaret Court Arena 14 Melbourne, Victoria, Australia Margaret Court Arena 18 Sydney, New South Wales, Australia ICC Sydney Theatre 19 Sydney, New South Wales, Australia Enmore Theatre 20 Wollongong, New South Wales, Australia WIN Entertainment Centre 22 Newcastle, New South Wales, Australia Newcastle Entertainment Centre 24 Brisbane, Queensland, Australia Brisbane Entertainment Centre 26 Auckland, New Zealand Spark Arena 28 Christchurch, New Zealand Horncastle Arena Far East stops Bob Dylan: Still On The Road 2018 Far East & Down Under Tour Bob Dylan: Still On The Road 2018 Far East & Down Under Tour 39160 Olympic Gymnastics Arena Seoul, South Korea 27 July 2018 1. All Along The Watchtower 2. Don't Think Twice, It's All Right 3. Highway 61 Revisited 4. Simple Twist Of Fate 5. Duquesne Whistle 6. When I Paint My Masterpiece 7. Honest With Me 8. Tryin' To Get To Heaven 9. Make You Feel My Love 10. Pay In Blood 11. Tangled Up In Blue 12. Early Roman Kings 13. Desolation Row 14. Love Sick 15. Autumn Leaves (Joseph Kosma, Johnny Mercer, Jacques Prevert) 16. Thunder On The Mountain 17. Soon After Midnight 18.
    [Show full text]
  • Alpha Chi Sigma Fraternity Sourcebook, 2013-2014 This Sourcebook Is the Property Of
    Alpha Chi Sigma Sourcebook A Repository of Fraternity Knowledge for Reference and Education Academic Year 2013-2014 Edition 1 l Alpha Chi Sigma Fraternity Sourcebook, 2013-2014 This Sourcebook is the property of: ___________________________________________________ ___________________________________________________ Full Name Chapter Name ___________________________________________________ Pledge Class ___________________________________________________ ___________________________________________________ Date of Pledge Ceremony Date of Initiation ___________________________________________________ ___________________________________________________ Master Alchemist Vice Master Alchemist ___________________________________________________ ___________________________________________________ Master of Ceremonies Reporter ___________________________________________________ ___________________________________________________ Recorder Treasurer ___________________________________________________ ___________________________________________________ Alumni Secretary Other Officer Members of My Pledge Class ©2013 Alpha Chi Sigma Fraternity 6296 Rucker Road, Suite B | Indianapolis, IN 46220 | (800) ALCHEMY | [email protected] | www.alphachisigma.org Click on the blue underlined terms to link to supplemental content. A printed version of the Sourcebook is available from the National Office. This document may be copied and distributed freely for not-for-profit purposes, in print or electronically, provided it is not edited or altered in any
    [Show full text]
  • Tell Tale Signs - Bob Dylans Neue Fast Normal Im Plattenhandel Zu Bekom- "Bootleg Series" Vol
    Tonträger “Some of these bootleggers...” Sessions, die als erste größere "Raub- pressung" der Pop-Geschichte zunächst Tell Tale Signs - Bob Dylans neue fast normal im Plattenhandel zu bekom- "Bootleg Series" Vol. 8 men war, dann unter die Ladentheke und als Deluxe-Ausgabe schließlich in den Untergrund wanderte - und dort unter verändertem Namen und von Axel Jost immer neuen Song-Zusammenstellun- gen dutzendfache Wiedergeburten feier- Bootlegs in der Popmusik? Noch so te. ein Phänomen, das Bob Dylan zu ver- Aufgrund des Erfolges der Scheibe antworten hat - und das kam so: Nach kamen recht schnell weitere Dylan-Boot- Dylans Motorradunfall 1966 hielt er im legs (und auch solche von anderen Jahr darauf lange Sessions mit Musikern Bands wie etwa Led Zeppelin, Pink der späteren The Band im berühmten Floyd oder den Beatles) auf den Markt: "Big Pink"-Haus in Woodstock NY ab. Aufnahmen von Radio-Shows, Live-Mit- Das dabei eingespielte umfangreiche schnitte, alternative Song-Versionen, Song-Material war zunächst nicht für verworfene oder vergessene Titel, im eine offizielle Veröffentlichung vorgese- einschlägigen Jargon allesamt gerne als hen - und da schlug die Stunde der "Raritäten" oder "Outtakes" bezeichnet. ersten modernen Bootlegger: "The Great Und obwohl offizielle Zahlen über die mit White Wonder" hieß 1969 die Scheibe den Bootlegs erzielten Verkäufe natür- mit einigen Songs aus den "Big Pink"- lich nicht existieren, sind den Platten- firmen dadurch mit Sicherheit hohe Um- sätze entgangen, zumal die Vinyl- Scheiben aus dem Underground oft in- telligent zusammengestellt und mit liebe- vollem Begleitmaterial versehen waren. "Some of these bootleggers / they make beautiful stuff" bekannte Bob Dylan im Jahre 2001 zutreffend in seinem Song "Sugar Baby".
    [Show full text]
  • BROWN APARTMENTS 67 Units • Portland, Oregon
    OFFERING MEMORANDUM BROWN APARTMENTS 67 Units • Portland, Oregon www.hfore.com • (503) 241.5541 Brown Apartments OFFERING MEMORANDUM BROWN APARTMENTS 807 SW 14th Avenue • Portland, OR 97205 TABLE OF CONTENTS I. Executive Summary 4 II. Location 17 III. Operations Analysis 30 IV. Offer Terms 36 HFO INVESTMENT REAL ESTATE Rob Marton Greg Frick [email protected] [email protected] (971) 717.6335 (971) 717.6332 www.hfore.com • 503.241.5541 Licensed in the States of Oregon and Washington ASSET SUMMARY INVESTMENT SUMMARY Property Brown Apartments Address 807 SW 14th Avenue Rare opportunity, unique historic bricker. The Brown Apartments has been owner- Portland, OR 97205 managed for more than 20 years and offers a rare opportunity to acquire a historic bricker in Portland’s urban core. Much of the Brown Apartments’ historic character has been County Multnomah maintained with original hardwood floors, period lighting fixtures, clawfoot bathtubs, Year Built 1915 and trundle hideaway beds. Common area updates include new laundry systems, updated elevator and entryway. Total Units 67 Outstanding central location, high-demand district. The Brown Apartments is located Approx NR Sq Ft 30,018 sq ft on the eastern edge of the Goose Hollow neighborhood placing the asset between the Avg Unit Size 448 sq ft exclusive Pearl District, the Timber’s Major League Soccer stadium, and the West End, one of Portland’s newest retail districts. Portland’s living room, Pioneer Court House Square, Stories 5 floors Portland State University urban campus and the Northwest District, which includes the Alphabet District, Nob Hill and Slabtown are short distances to the Brown Apartments via Acreage 0.23 acres walking, biking or public transportation.
    [Show full text]
  • Blood on the Tracks: ‘Time Is an Enemy’
    Judas! Blood on the Tracks: ‘Time is an enemy’ by John Hinchey ‘Up to Me,’ an outtake eventually released on Biograph, is a rueful ballad of love wasted that picks up the action at the conclusion of ‘Idiot Wind,’immediately after the singer realizes that he and his beloved have fallen out of each other’s orbits. But its tone seems tempered by the realizations of those songs, discussed in the preceding chapter, in which the singer assimilates a devastating romantic loss and struggles to regain speaking terms both with his lost beloved and with himself. Now, in ‘Up to Me,’ the singer he returns to tell her – and himself – what he’s going to do about it. His plan of action is paradoxical: he’s heading out on the ‘Union Central’ in search of the same missing wife he’s leaving. The song I just described is over by the end of the third verse, yet ‘Up to Me’ is twelve verses long. The song gets away from Dylan, overflowing the bounds of the paradoxical farewell note. The lyric feels unfinished, and unlike, for instance, the original version of ‘Idiot Wind’ (later released on The Bootleg Series, Vol. 1-3), it also strikes me as unfinishable, except by starting over from scratch. Indeed, ‘Shelter from the Storm’ can be seen as a radical revision (and revisioning) of ‘Up to Me.’ The problem is that the momentum of feeling that sweeps the singer from one verse to the next seems to be largely unconscious, feelings he recognizes (if at all) only after the fact.
    [Show full text]