The Cambridge Companion to Bob Dylan Edited by Kevin J
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Bob Dylan: the 30 Th Anniversary Concert Celebration” Returning to PBS on THIRTEEN’S Great Performances in March
Press Contact: Harry Forbes, WNET 212-560-8027 or [email protected] Press materials; http://pressroom.pbs.org/ or http://www.thirteen.org/13pressroom/ Website: http://www.pbs.org/wnet/gperf/ Facebook: http://www.facebook.com/GreatPerformances Twitter: @GPerfPBS “Bob Dylan: The 30 th Anniversary Concert Celebration” Returning to PBS on THIRTEEN’s Great Performances in March A veritable Who’s Who of the music scene includes Eric Clapton, Stevie Wonder, Neil Young, Kris Kristofferson, Tom Petty, Tracy Chapman, George Harrison and others Great Performances presents a special encore of highlights from 1992’s star-studded concert tribute to the American pop music icon at New York City’s Madison Square Garden in Bob Dylan: The 30 th Anniversary Concert Celebration in March on PBS (check local listings). (In New York, THIRTEEN will air the concert on Friday, March 7 at 9 p.m.) Selling out 18,200 seats in a frantic, record-breaking 70 minutes, the concert gathered an amazing Who’s Who of performers to celebrate the 30th anniversary of the enigmatic singer- songwriter’s groundbreaking debut album from 1962, Bob Dylan . Taking viewers from front row center to back stage, the special captures all the excitement of this historic, once-in-a-lifetime concert as many of the greatest names in popular music—including The Band , Mary Chapin Carpenter , Roseanne Cash , Eric Clapton , Shawn Colvin , George Harrison , Richie Havens , Roger McGuinn , John Mellencamp , Tom Petty , Stevie Wonder , Eddie Vedder , Ron Wood , Neil Young , and more—pay homage to Dylan and the songs that made him a legend. -
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. -
Bad Cops: a Study of Career-Ending Misconduct Among New York City Police Officers
The author(s) shown below used Federal funds provided by the U.S. Department of Justice and prepared the following final report: Document Title: Bad Cops: A Study of Career-Ending Misconduct Among New York City Police Officers Author(s): James J. Fyfe ; Robert Kane Document No.: 215795 Date Received: September 2006 Award Number: 96-IJ-CX-0053 This report has not been published by the U.S. Department of Justice. To provide better customer service, NCJRS has made this Federally- funded grant final report available electronically in addition to traditional paper copies. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. This document is a research report submitted to the U.S. Department of Justice. This report has not been published by the Department. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. Bad Cops: A Study of Career-Ending Misconduct Among New York City Police Officers James J. Fyfe John Jay College of Criminal Justice and New York City Police Department Robert Kane American University Final Version Submitted to the United States Department of Justice, National Institute of Justice February 2005 This project was supported by Grant No. 1996-IJ-CX-0053 awarded by the National Institute of Justice, Office of Justice Programs, U.S. Department of Justice. Points of views in this document are those of the authors and do not necessarily represent the official position or policies of the U.S. -
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 -
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. -
David Goodis: Five Noir Novels of the 1940S and 50S Pdf, Epub, Ebook
DAVID GOODIS: FIVE NOIR NOVELS OF THE 1940S AND 50S PDF, EPUB, EBOOK David Goodis, Robert Polito | 848 pages | 16 Oct 2014 | The Library of America | 9781598531480 | English | New York, United States David Goodis: Five Noir Novels of the 1940s and 50s PDF Book To see what your friends thought of this book, please sign up. My impression, and I'm nowhere near the end of reading all of Goodis, is that he is a kind of American Sartre, a two-fisted Dante being backed into a solid wall of desperation and doubt. It will allow future generations to plunge into the luxurious sensation one experiences when reading a Goodis novel, even though it never lasts for long, and is accompanied by the dismal knowledge that it will soon be over. Robert Polito Editor. Parry steps into the room, and addresses his best friend:. May 27, Ben rated it liked it. Goodis is more like a Mickey Spillane with a soul. Robin Friedman I don't feel that this is a fault, however, because I believe Goodis's surrealism is intentional. One of the problems with this is clunky plotting. How to read this? Project support for this volume was provided by the Geoffrey C. He is overly reliant on coincidence and often having a character overhear long sections of dialogue. I much-loved the anthology, especially "Street of No Return. Nicholson Baker. No trackbacks yet. And then the reach for the lever that opens the strongbox and While hitchhiking he is picked up by a woman named Irene Janney. -
Poetry in America for Teachers: the City from Whitman to Hip Hop
Poetry in America for Teachers: The City from Whitman to Hip Hop SYLLABUS | Spring 2017 Course Team Instructor Elisa New, PhD, Powell M. Cabot Professor of American Literature, Harvard University Teaching Staff Carra Glatt, PhD, Harvard University Christopher Spaide, Doctoral Candidate, Harvard University Josephine Reece, Doctoral Candidate, Harvard University Khriseten Bellows, National Board Certified Master Teacher Course Developers Adrienne Raphel, Course Developer and Doctoral Candidate, Harvard University Emily Silk, Course Developer and Doctoral Candidate, Harvard University Caitlin Ballotta Rajagopalan, Course Manager, Poetry in America Leah Reis-Dennis, Producer, Poetry in America Course Overview Poetry in America for Teachers is a course designed specifically for secondary school educators interested in developing their expertise as readers and teachers of literature. In this course, available for Professional Development, undergraduate credit, or graduate credit, we will consider those American poets whose themes, forms, and voices have given expression to visions of the city since 1850. Beginning with Walt Whitman, the great poet of nineteenth-century New York, we will explore the diverse and ever-changing environment of the modern city – from Chicago to Washington, DC, from San Francisco to Detroit – through the eyes of such poets as Carl Sandburg, Emma Lazarus, Edna St. Vincent Millay, Langston Hughes, Marianne Moore, Frank O’Hara, Gwendolyn Brooks, Allen Ginsberg, Robert Hayden, and Robert Pinsky, as well as contemporary hip hop and spoken word artists. For a preview of what you can expect in this course, watch our trailer at http://bit.ly/PoetryCityPreview. Course Objectives This course will develop teaching expertise relevant to the Common Core English Language Arts (ELA) standards in grades 6-12. -
18AN1TEPO1 LV1 V01 Mars
BACCALAURÉAT TECHNOLOGIQUE SESSION 2018 ANGLAIS LV1 Séries : STI2D, STD2A, STL, ST2S Durée de l’épreuve : 2 heures - Coefficient : 2 Séries : STMG, STHR Durée de l’épreuve : 2 heures - Coefficient : 3 L’usage des calculatrices et de tout dictionnaire est interdit. Barème appliqué pour la correction TOUTES SÉRIES TECHNOLOGIQUES COMPRÉHENSION 10 points EXPRESSION 10 points Dès que le sujet est remis, assurez-vous qu’il est complet. Ce sujet comporte 6 pages numérotées de 1/6 à 6/6. 18AN1TEPO1 1/6 DOCUMENT 1 When the makers of Hollywood movies, documentary films, or TV news programs want to evoke the spirit of the 1960s, they typically show clips of long-haired hippies dancing at a festival, protestors marching at an antiwar rally, or students sitting-in at a lunch counter, with one of two songs by Bob Dylan—“Blowin’ in the Wind” or “The 5 Times They Are a-Changin’”—playing in the background. Journalists and historians often treat Dylan’s songs as emblematic of the era and Dylan himself as the quintessential “protest” singer, an image frozen in time. Dylan emerged on the music scene in 1961, playing in Greenwich Village coffeehouses after the folk music revival was already underway, and released his first album the next 10 year. Over a short period—less than three years—Dylan wrote about two dozen politically oriented songs whose creative lyrics and imagery reflected the changing mood of the postwar baby-boom generation and the urgency of the civil rights and antiwar movements. At a time when the chill of McCarthyism was still in the air, Dylan also showed that songs with leftist political messages could be commercially 15 successful. -
The Songs of Bob Dylan
The Songwriting of Bob Dylan Contents Dylan Albums of the Sixties (1960s)............................................................................................ 9 The Freewheelin’ Bob Dylan (1963) ...................................................................................................... 9 1. Blowin' In The Wind ...................................................................................................................... 9 2. Girl From The North Country ....................................................................................................... 10 3. Masters of War ............................................................................................................................ 10 4. Down The Highway ...................................................................................................................... 12 5. Bob Dylan's Blues ........................................................................................................................ 13 6. A Hard Rain's A-Gonna Fall .......................................................................................................... 13 7. Don't Think Twice, It's All Right ................................................................................................... 15 8. Bob Dylan's Dream ...................................................................................................................... 15 9. Oxford Town ............................................................................................................................... -
“Putting My Queer Shoulder to the Wheel”: America's Homosexual
1 “Putting my Queer Shoulder to the Wheel”: America’s Homosexual Epics in the Twentieth Century Catherine A. Davies University College London UMI Number: U592005 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U592005 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 I, Catherine Davies, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Index Pages 4 Abstract 5 Introduction 47 “Stranger in America”: Hart Crane’s Homosexual Epic 105 “It occurs to me that I am America”: Ginsberg’s Epic Poems and the Queer Shoulder 165 “Narcissus bent / Above the gene pool”: Merrill’s Epic of Childlessness 203 John Ashbery’s Flow Chart: “The natural noise of the present” 247 Postscript 254 Bibliography 4 Abstract This thesis examines five poems by four twentieth-century poets who have explored the epic tradition. Some of the poems display an explicit concern with ideas of American nationhood, while others emulate the formal ambitions and encyclopaedic scope of the epic poem. -
Tangled Generation: Dylan, Kerouac, Petrarch, and the Poetics of Escape Author(S): Timothy Hampton Source: Critical Inquiry, Vol
Tangled Generation: Dylan, Kerouac, Petrarch, and the Poetics of Escape Author(s): Timothy Hampton Source: Critical Inquiry, Vol. 39, No. 4 (Summer 2013), pp. 703-731 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/10.1086/671353 . Accessed: 20/09/2015 11:46 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to Critical Inquiry. http://www.jstor.org This content downloaded from 136.152.209.203 on Sun, 20 Sep 2015 11:46:44 AM All use subject to JSTOR Terms and Conditions Tangled Generation: Dylan, Kerouac, Petrarch, and the Poetics of Escape Timothy Hampton And I alone escaped to tell you. —Job (1:15) 1. Tracks “Demonstrators found our house and paraded up and down in front of it chanting and shouting, demanding for me to come out and lead them somewhere—stop shirking my duties as the conscience of a generation. The neighbors hated us. To them it must have seemed like I was something out of a carnival show.”1 So writes Bob Dylan in his memoirs about his life in the late 1960s. -
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.