1999 Us Fall Tour with Paul Simon
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Still on the Road 2000 Us Summer Tour
STILL ON THE ROAD 2000 US SUMMER TOUR JUNE 15 Portland, Oregon Roseland Theater 16 Portland, Oregon Portland Meadows 17 George, Washington The Gorge 18 George, Washington The Gorge 20 Medford, Oregon Jackson County Expo Hall 21 Marysville, California Sacramento Valley Amphitheater 23 Concord, California Chronicle Pavilion 24 Mountain View, California Shoreline Amphitheatre 25 Reno, Nevada Reno Hilton Amphitheatre 27 Las Vegas, Nevada House Of Blues, Mandalay Bay Resort & Casino 29 Irvine, California Verizon Wireless Amphitheater 30 Ventura, California Arena, Ventura County Fairgrounds JULY 1 Del Mar, California Grandstand, Del Mar Fairgrounds 3 Albuquerque, New Mexico Mesa Del Sol Amphitheater 6 Oklahoma City, Oklahoma The Zoo Amphitheater 7 Bonner Springs, Kansas Sandstone Amphitheatre 8 Maryland Heights, Missouri Riverport Amphitheater 9 Noblesville, Indiana Deer Creek Music Center 11 Cincinnati, Ohio Riverbend Music Center 12 Moline, Illinois The Mark of the Quad Cities 14 Minneapolis, Minnesota Target Center 15 East Troy, Wisconsin Alpine Valley Music Theater 16 Clarkston, Michigan Pine Knob Music Theater 18 Toronto, Ontario, Canada Molson Amphitheatre 19 Canandaigua, New York Finger Lakes Performing Arts Center 21 Hartford, Connecticut Meadows Music Theatre 22 Mansfield, Massachusetts Tweeter Center for the Performing Arts 23 Saratoga Springs, Saratoga Performing Arts Center 25 Scranton, Pennsylvania Coors Light Amphitheatre 26 Wantagh, New York Jones Beach Amphitheatre 28 Camden, New Jersey E-Centre, Blockbuster-Sony Music Entertainment Centre 29 Columbia, Maryland Marjorie Merriweather Post Pavilion 30 Stanhope, New Jersey Waterloo Village Bob Dylan: Still On The Road – The 2000 US Summer Tour 21820 Roseland Theater Portland, Oregon 15 June 2000 1. Duncan And Brady (trad.) 2. -
Tell-Tale Signs - Edgar Allan Poe and Bob Dylan: Towards a Model of Intertextuality
ATLANTIS. Journal of the Spanish Association of Anglo-American Studies. 31.2 (December 2009): 41–56 ISSN 0210-6124 Tell-Tale Signs - Edgar Allan Poe and Bob Dylan: Towards a Model of Intertextuality Christopher Rollason Metz, France [email protected] This article shows how the poetry and prose of Edgar Allan Poe (1809-1849) cast a long shadow over the work of America’s greatest living songwriter, Bob Dylan (1941-). The work of both artists straddles the dividing-line between ‘high’ and ‘mass’ culture by pertaining to both: read through Poe, Dylan’s work may be seen as a significant manifestation of American Gothic. It is further suggested, in the context of nineteenth- century and contemporary debates on alleged ‘plagiarism’, that the textual strategy of ‘embedded’ quotation, as employed by both Poe and Dylan, points up the need today for an open and inclusive model of intertextuality. Keywords: culture; Dylan; Gothic; intertextuality; Poe; quotation Tell-tale signs - Edgar Allan Poe y Bob Dylan: hacia un modelo de intertextualidad Este artículo explica cómo la poesía y la prosa de Edgar Allan Poe (1809-1849) proyectan una larga sombra sobre la obra del mayor cantautor vivo de Estados Unidos, Bob Dylan (1941-). Ambos artistas se ubican en una encrucijada entre la cultura ‘de elite’ y la ‘de masas’, puesto que la obra de cada uno se sitúa en ambos dominios a la vez: leída a través de Poe, la obra dylaniana aparece como una importante manifestación del gótico norteamericano. Se plantea igualmente la hipótesis de que, en el marco de los debates, tanto decimonónicos como contemporáneos, sobre el supuesto ‘plagio’, la estrategia textual, empleada tanto por Poe como por Dylan, de la cita ‘encajada’ señala la necesidad urgente de plantear un modelo abierto y global de la intertextualidad. -
Austinmusicawards2017.Pdf
Jo Carol Pierce, 1993 Paul Ray, Stevie Ray Vaughan, and PHOTOS BY MARTHA GRENON MARTHA BY PHOTOS Joe Ely, 1990 Daniel Johnston, Living in a Dream 1990 35 YEARS OF THE AUSTIN MUSIC AWARDS BY DOUG FREEMAN n retrospect, confrontation seemed almost a genre taking up the gauntlet after Nelson’s clashing,” admits Moser with a mixture of The Big Boys broil through trademark inevitable. Everyone saw it coming, but no outlaw country of the Seventies. Then Stevie pride and regret at the booking and subse- confrontational catharsis, Biscuit spitting one recalls exactly what set it off. Ray Vaughan called just prior to the date to quent melee. “What I remember of the night is beer onto the crowd during “Movies” and rip- I Blame the Big Boys, whose scathing punk ask if his band could play a surprise set. The that tensions started brewing from the outset ping open a bag of trash to sling around for a classed-up Austin Music Awards show booking, like the entire evening, transpired so between the staff of the Opera House, which the stage as the mosh pit gains momentum audience visited the genre’s desired effect on casually that Moser had almost forgotten until was largely made up of older hippies of a Willie during “TV.” the era. Blame the security at the Austin Stevie Ray and Jimmie Vaughan walked in Nelson persuasion who didn’t take very kindly About 10 minutes in, as the quartet sears into Opera House, bikers and ex-Navy SEALs from with Double Trouble and to the Big Boys, and the Big “Complete Control,” security charges from the Willie Nelson’s road crew, who typical of the proceeded to unleash a dev- ANY HISTORY OF Boys themselves, who were stage wings at the first stage divers. -
Buddy Holly Medley 1 Artist:Buddy Holly , Writer:Buddy Holly, Jerry Allison, Norman Petty, Sonny West, Bill Tilghman and Norman Petty
Buddy Holly Medley 1 artist:Buddy Holly , writer:Buddy Holly, Jerry Allison, Norman Petty, Sonny West, Bill Tilghman and Norman Petty, If you knew Peggy Sue then you'd know why I feel blue Without Peggy, my Peggy Sue Oh well I love you gal, yes love you Peggy Sue I love you Peggy Sue oh how my heart yearns for you Oh Peggy, my Peggy Sue Oh well I love you gal, yes I want you Peggy Sue Peggy Sue, Peggy Sue, pretty, pretty, pretty, pretty, Peggy Sue Oh Peggy, my Peggy Sue Oh well I love you gal, and I need you Peggy Sue (Pause) Well the little things you say and do, they make me want to be with you Rave on, it's a crazy feeling and I know it's got me reeling when You say, 'I love you,' rave on with me The way you dance and hold me tight, the way you kiss and say goodnight Rave on, it's a crazy feeling and I know it's got me reeling when You say, 'I love you,' rave on with me. (Pause) Well rave on, it's a crazy feeling and I know it's got me reeling, I'm so glad that you're revealing your love for me. Well rave on, rave on and tell me, tell me not to be lonely tell me you love me only rave on with me All of my love all of my kissing, you don't know what you've been a missing Oh boy when you're with me oh boy The world will see that you were meant for me All of my life I've been a waiting, tonight there'll be no hesitating Oh boy when you're with me oh boy The world will see that you were meant for me Stars appear and shadows falling You can hear my heart calling And a little bit of loving makes everything right I'm gonna see my baby tonight All of my love all of my kissing, you don't know what you've been a missing Oh boy when you're with me oh boy The world will see that you were meant for me Produced by www.ozbcoz.com - Jim's Lyrics Songbook. -
Still on the Road 2001 Australian Tour
STILL ON THE ROAD 2001 AUSTRALIAN TOUR MARCH 18 Perth, West Australia, Australia Perth Entertainment Centre 20 Adelaide, South Australia, Australia Adelaide Entertainment Centre 21 Melbourne, Victoria, Australia Rod Laver Arena, Melbourne Park 23 Tamworth, New South Wales, Australia Tamworth Regional Entertainment Centre 24 Newcastle, New South Wales, Australia Entertainment Centre 25 Sydney, New South Wales, Australia TCN-9 Studios, Willoughby, taping for the Oscar Awards Ceremony 25 Sydney, New South Wales, Australia Parade, Centennial Park 28 Cairns, Queensland, Australia Cairns Convention Centre 30 Brisbane, Queensland, Australia Entertainment Centre 31 Ballina, New South Wales, Australia Kingsford Smith Park, Seagulls Rugby League Football Club Bob Dylan: Still On The Road – The 2001 Australian Tour Bob Dylan: Still On The Road – The 2001 Australian Tour 22630 Perth Entertainment Center Perth, West Australia, Australia 18 March 2001 1. Roving Gambler (trad.) 2. Mr. Tambourine Man 3. Desolation Row 4. Stuck Inside Of Mobile With The Memphis Blues Again 5. Just Like A Woman 6. 'Til I Fell In Love With You 7. Don't Think Twice, It's All Right 8. Visions Of Johanna 9. Tangled Up In Blue 10. Standing In The Doorway 11. The Wicked Messenger 12. Rainy Day Women # 12 & 35 — 13. Love Sick 14. Like A Rolling Stone 15. If Dogs Run Free 16. All Along The Watchtower 17. Forever Young 18. Highway 61 Revisited 19. Blowin' In The Wind Concert # 1291 of The Never-Ending Tour. First concert of the 2001 Australian Tour. 2001 concert # 14. Concert # 196 with the 12th Never-Ending Tour Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion). -
Durham E-Theses
Durham E-Theses `This is what Salvation must be like after a While': Bob Dylan's Critical Utopia KOUVAROU, MARIA How to cite: KOUVAROU, MARIA (2011) `This is what Salvation must be like after a While': Bob Dylan's Critical Utopia, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/1391/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ‘This is what Salvation must be like after a While’: Bob Dylan’s Critical Utopia Maria Kouvarou MA by Research in Musicology Music Department Durham University 2011 Maria Kouvarou ‘This is what Salvation must be like after a While’: Bob Dylan’s Critical Utopia Abstract Bob Dylan’s work has frequently been the object of discussion, debate and scholarly research. It has been commented on in terms of interpretation of the lyrics of his songs, of their musical treatment, and of the distinctiveness of Dylan’s performance style, while Dylan himself has been treated both as an important figure in the world of popular music, and also as an artist, as a significant poet. -
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. -
5, 2015 •Marina Park, Thunder
14TH ANNUAL BLUESFEST Your free festival program courtesy of your friends at The Chronicle-Journal JOHNNY REID • JULY 3 - 5, 2015 JULY • MARINA PARK, THUNDER BAY KENNY WAYNE SHEPHERD BAND PAUL RODGERS JOHNNY REID • ALAN FREW • THE PAUL DESLAURIERS BAND • THE BOARDROOM GYPSIES • KENNY WAYNE SHEPHERD BAND • ALAN DOYLE • THE WALKERVILLES • KELLY RICHEY • BROTHER YUSEF • THE BRANDON NIEDERAUER BAND • THE GROOVE MERCHANTS • LOOSE CANNON• PAUL RODGERS • DOYLE BRAMHALL II • WALTER TROUT • THE SHEEPDOGS • THE BROS. LANDRETH • JORDAN JOHN • THE HARPOONIST AND THE AXE MURDERER • THE KRAZY KENNY PROJECT THE VOICE... KEN WRIGHT rock guitar for more than two decades, Kenny Wayne SPECIAL TO THE CHRONICLE-JOURNAL Shepherd will hot wire the marquee on Saturday. Not to be missed, Paul Rogers, the peerless, 90-million-record-sell- What is it about a blues festival, that antsy sense of ing, oh-so-soulful voice of authoritative bands Free, Bad anticipation that we feel? It's a given that the music and Company and Queen will close the festival with the ulti- Ken Wright its performers will be royally entertaining. Yet, we all arrive mate in front man style and swagger on Sunday. with fingers crossed, hoping for that transcendent experi- Newfoundland's unstoppable native son, Alan Doyle, will Has the blues, but in a good way. He writes about them. A veteran director of ence that will reverse the spin of our world if only for an introduce East Coast reels to Top 40 pop with mandolins, fiddles and bouzoukis. Considered by Eric Clapton to be the Thunder Bay Blues Society, Wright puts his writing ability together with an hour to be relived again and again with all who shared it. -
Download Donna
Donna Herula Bio Short Bio Donna Herula is a Chicago-born singer and acoustic blues slide guitarist that has a passion for playing traditional blues, roots and original songs. In 2016, she was inducted into the Chicago Blues Hall of Fame and Acoustic Guitar Magazine also featured her in an article about 10 new generation resonator guitar players. Donna has been a regular performer at Buddy Guy’s Legends in Chicago for the past 10 years and has opened for Buddy Guy multiple times. She has performed at the Chicago Blues Festival, King Biscuit Blues Fest in Helena, Arkansas, the Juke Joint Fest in Clarksdale, Mississippi, numerous folk music festivals and was also the headliner at the Durban International Blues Festival in South Africa. Donna is a guitar teacher at the Old Town School of Folk Music in Chicago where she teaches group and individual guitar and slide guitar lessons. She has taught guitar and slide at blues and folk clubs and guitar camps. Her third and most recent CD, Bang at the Door, was released in May 2021 and includes original blues, jazz, folk and Americana songs. For more information, visit: donnaherula.com. Long Bio Donna Herula is a Chicago-born singer and acoustic blues slide guitarist that has a passion for playing traditional Delta and Country Blues, early Chicago Blues, folk, roots and Americana in addition to original songs. Using acoustic and electrified resonator guitars, her sound combines her love for music of the Deep South and Chicago with her love of blues guitar improvisation. Her songwriting tips the hat to the tradition while creating a fresh, contemporary perspectives on blues and roots music. -
GESAMTTEXT Final2vati Korrpdfi
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES Diplomarbeit Titel der Diplomarbeit Bob Dylan - Never Ending Tour - Werk eines 'Performing Artist' Verfasser Michael Gizicki Angestrebter Grad Magister der Philosophie (Mag. phil.) Wien, im Oktober 2009 Studienkennzahl lt. Studienblatt: A316 Studienrichtung lt. Studienblatt: Musikwissenschaft Betreuer: Ass.-Prof. Mag. Dr. August Schmidhofer Konzert Nr.1800 der Never Ending Tour am 12.11.2005, Mailand, Italien (li. Stu Kimball, re. Bob Dylan) 1 Inhaltsverzeichnis Danksagung 5 Einleitung 6 1.Kapitel: Historische Vorbedingungen und Kontext 9 1.1 Bob Dylans "Gospel-Phase" 9 1.2 Die Achtziger Jahre 10 1.3 Das Jahr 1988 13 1.4 Dylans Studiowerk ab 1989 14 1.4.1 "Oh Mercy" 1989 14 1.4.2 "Under The Red Sky" 1990 15 1.4.3 "Good as I Been To You" 1992 und "World Gone Wrong" 1993 15 1.4.4 1997: "Time Out Of Mind" - Rückkehr eines großen Künstlers 16 1.4.5 "Things Have Changed" 2000 und "Love and Theft" 2001 17 1.4.6 "Modern Times" 2006 17 1.4.7 "Together Through Life" 2009 18 2.Kapitel: Die Never Ending Tour 20 2.1. Der Name und seine Entstehung 20 2.2. Vorbedingungen: Das Jahr '87 im Detail 22 2.3. Zahlen und Fakten zur NET 30 2.4. Die Chronologie: Das Geschehen der Tourjahre : Repertoire, Format, Setlisten, Bands 33 2.4.1 Die Touren '88 bis '90 33 2.4.2 1991 bis Herbst '92 38 2.4.3 Die Jahre 1993 bis 1996 39 2.4.4 Die Zeit 1997 - 1999 43 2.2.5 2000 / 2001 / 2002 / 2003 47 2.4.6 2004 bis 2009 53 2 3.Kapitel: Dylans "performing art" in den Konzerten der NET 55 3.1. -
Freewheelin-On-Line Take Twenty Two
Freewheelin-on-line Take Twenty Two Freewheelin’ 220 There can be no question: it is a cinematic masterpiece; a milestone in the history of moving images. I am talking about Peter Jackson’s ‘Lord of the Rings’ trilogy , and, despite the multiple endings to the final part of the trilogy - ‘The Return of the King’ - nothing is lost when you consider the totality of the project. I couldn’t thus resist from having that half-man, half-beast and totally schizophrenic creature Gollum in the fore ground of this month’s cover. It seems that another king is going to return in 2004. It will be 50 years ago next year, in 1954, that Elvis sauntered into the studio and recorded ‘That’s All Right’ which many consider to be the big bang of rock and roll. So expect the usual anniversary celebrations and reports of sightings of the King by shepherds on hillsides and wise men from the north. My sighting of Elvis is taken from the famous 1963 screen print of the legend by Andy Warhol. For every king there must be a queen and who else but Marilyn could equal the iconic status of Elvis? This collage is taken from a study by the artist Mimmo Rotella, completed in 1962, a year of Marilyn’s death. Whilst Elvis is trying to gun Gollum down and Dylan looks inquisitively at the unheavenly creature, Marilyn just wants to take him home and cover him in kisses. Diamonds may be easily had and they may be a girl’s best friend but, for a Steptoe Senior loookalike who prefers thongs to Y-fronts, there’s nothing quite like a search of middle-earth for a golden ring to complete your set. -
Jokerman — Bob Dylan 1999 Page 1 of 88
Jokerman — Bob Dylan 1999 page 1 of 88 JOKERMAN BOB DYLAN 1999 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES , NEW RELEASES , TAPES & BOOKS . © 2000 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. © Olof Björner 26 February 2009 Jokerman — Bob Dylan 1999 page 2 of 88 CONTENTS: 1 INTRODUCTION ............................................................................................................................................. 6 2 THE YEAR AT A GLANCE ............................................................................................................................ 6 3 CALENDAR ...................................................................................................................................................... 7 4 NEW RELEASES AND RECORDINGS ........................................................................................................ 9 4.1 MILLION MILES ............................................................................................................................................... 9 4.2 WEB BOB ...................................................................................................................................................... 10 4.3 NEW TAPES & BOOTLEGS ............................................................................................................................... 10 4.3.1 Sydney Stadium, Sydney, Australia