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Bob Dylan's Conversions: the “Gospel Years” As Symptom And
chapter 6 Bob Dylan’s Conversions: The “Gospel Years” as Symptom and Transition Gisle Selnes Professor i allmenn litteraturvitenskap, universitetet i Bergen. Professor in Comparative Literature, University of Bergen, Norway. Abstract: This contribution analyzes Bob Dylan’s evangelic conversion in light of other conversions throughout his oeuvre, emphasizing the theological moment of the event of conversion as such. Two important aspects of conversion inaugurate Dylan’s born-again output: on the one hand, the isolation and purification of the figure of Christ as the all-pervading “object” of his quest; on the other, the “re- coding” of a series of figures and motifs from his earlier work, most of them derived, of course, from the proverbial American songbook. Before and after Dylan’s evan- gelical ruse, the legacy of 18th Century American Transcendentalism as well as Christ as an emblem of the rebel and/or artist constitute two relatively stable reli- gious aspects of his art. Keywords: conversions, Dylan’s born-again period, gospel, the Christ Event, Saint Paul, transcendentalism Sammendrag: Dette bidraget analyserer Bob Dylans evangeliske omvendelse i lys av andre vendinger i forfatterskapet, med hovedvekt på det religiøse momen- tet ved omvendelsen som sådan. To aspekter ved den evangeliske perioden frem- heves: isoleringen av Jesu kroppslige nærvær som absolutt mål for eksistensiell og kunstnerisk søken – og omkodingen av figurer og topoi fra den store amerikanske sangtradisjonen slik at de får en udiskutabel kristologisk valør. På begge sider av Dylans evangeliske raptus undersøkes arven etter den amerikanske transcendenta- lismen og Kristus som opprørs- og kunstnerskikkelse som to relativt stabile religiøse uttrykksformer. -
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 ............................................................................................................................... -
The Same Man
THE SAME MAN BOB DYLAN 1980 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES , RELEASES , TAPES & BOOKS . © 2004 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. The Same Man – Bob Dylan 1980 CONTENTS 1 INTRODUCTION .............................................................................................................................................. 3 2 1980 AT A GLANCE .......................................................................................................................................... 3 3 THE 1980 CALENDAR ..................................................................................................................................... 3 4 SAVED ................................................................................................................................................................ 5 5 THE GOSPEL TOURS 1980 ............................................................................................................................. 6 5.1 INTRODUCTION ............................................................................................................................................ 6 5.2 THE SHOW .................................................................................................................................................... 6 5.3 THE MUSICIANS .......................................................................................................................................... -
The Beatles on Film
Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964 -
Relationships of Ownership: Art and Theft in Bob Dylan’S 1960S’ Trilogy
Michael RodgeRs RElationshIpS Of OwNERShIp: Art ANd ThEfT IN BOB dylAN’S 1960S’ TRIlOGy MIchAEl ROdGERS, UNIvERSITy Of STRAThclydE Abstract Résumé Bob Dylan’s corpus is one continually engaged with L’œuvre de Bob Dylan continue à être sujette à appropriation and pilfering. This paper will look, l’appropriation et au pillage. Cet article évalue, predominantly, at three songs from his 1960s’ trilogy principalement, trois chansons qui font partie de la – ‘She Belongs To Me’ from Bringing It All Back Home trilogie d’albums parue pendant les années 60 – She (1965), ‘Visions of Johanna’ from Blonde on Blonde Belongs To Me de l’album Bringing It All Back Home (1966), and ‘Desolation Row’ from Highway 61 (1965), Visions of Johanna de Blonde on Blonde (1966), Revisited (1965) – arguing that, in these songs, Dylan et Desolation Row de Highway 61 Revisited (1965). problematizes the interrelationship between art, theft, Je cherche soutenir qu’à travers ces chansons Dylan and ownership. I argue that, similar to the urban artist propose des nouveaux problèmes quant à l’interrelation Banksy, Dylan challenges, toys with, and appropriates entre l’art, le vol et la propriété. Mon argument est que, cultural images in order to continually question the à l’instar de l’artiste urbain Banksy, Dylan joue avec concept of proprietorship whilst rescuing cultural les images culturelles et se les appropries en même images from esoterica and attempting to put them back temps qu’il les met à l’épreuve afin de mettre en doute into the public domain. le concept de propriété. À travers ses œuvres, Dylan récupère ces images à partir de leur marginalité, pour les replacer dans un espace publique. -
The Jurisprudence of Bob Dylan, 38 Fordham Urb
Fordham Urban Law Journal Volume 38 Article 9 Number 5 Symposium - Bob Dylan and the Law 2012 Tangled Up In Law: The urJ isprudence of Bob Dylan Michael L. Perlin New York law School Follow this and additional works at: https://ir.lawnet.fordham.edu/ulj Part of the Civil Rights and Discrimination Commons Recommended Citation Michael L. Perlin, Tangled Up In Law: The Jurisprudence of Bob Dylan, 38 Fordham Urb. L.J. 1395 (2012). Available at: https://ir.lawnet.fordham.edu/ulj/vol38/iss5/9 This Article is brought to you for free and open access by FLASH: The orF dham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Urban Law Journal by an authorized editor of FLASH: The orF dham Law Archive of Scholarship and History. For more information, please contact [email protected]. Tangled Up In Law: The urJ isprudence of Bob Dylan Cover Page Footnote Director, International Mental Disability Law Reform Project; Director, Online Mental Disability Law Program, New York Law School. The uthora wishes to thank Kaydi Osowski for her superb research help. This article is available in Fordham Urban Law Journal: https://ir.lawnet.fordham.edu/ulj/vol38/iss5/9 PERLIN_CHRISTENSEN 1/30/2012 10:10 AM TANGLED UP IN LAW: THE JURISPRUDENCE OF BOB DYLAN Michael L. Perlin* Introduction ........................................................................................... 1395 I. Civil Rights ...................................................................................... 1399 II. Inequality of the Criminal Justice System .................................. 1404 III. Institutions .................................................................................... 1411 IV. Governmental/Judicial Corruption ........................................... 1415 V. Equality and Emancipation ......................................................... 1417 VI. Poverty, Environment, and Inequality of the Civil Justice System .......................................................................................... 1424 VII. -
INFORMATION SHEET and SYLLABUS You Will Receive an E-Mail Attachment Copy of This Syllabus and It Will Also Be Available on Canvas
LIT 200 / Bob Dylan: Life, Legacy, Literature / Spring 2018/ Hill Page 1 LIT 200 / Section 1 / Bob Dylan: Life, Legacy, and Literature Richard Hill, Ph.D. Point Loma Nazarene University / Spring 2018 2 Credit Hours INFORMATION SHEET AND SYLLABUS You will receive an e-mail attachment copy of this syllabus and it will also be available on Canvas Meeting Time and Place: Tuesdays and Thursdays 6:00-7:45 in Liberty Station 205B Professor: Richard (Rick) Hill / Home phone: 858-270-5227 / Cell Phone 858-366-5221 / E-Mail: [email protected] Office: BAC 112/ Office Phone: 2670 /LJML Dept Phone: 2297 Office Hours: Open: Wed 12:30-1:15 PLNU office /Tues- Thurs 5:30 -6:00 in Liberty Station Classroom Other hours can also be arranged. Knock on the door with a question: Anytime I’m in the office PLNU Mission: To Teach ~ To Shape ~ To Send Point Loma Nazarene University exists to provide higher education in a vital Christian community where minds are engaged and challenged, character is modeled and formed, and service is an expression of faith. Being of Wesleyan heritage, we strive to be a learning community where grace is foundational, truth is pursued, and holiness is a way of life. REQUIRED TEXTS, ONLINE READING, AND AUDIO Dylan, Bob. Chronicles Volume One. New York: Simon and Schuster, 2004. Bobdylan.com. Official Website Bob Dylan. Wikipedia article. https://en.wikipedia.org/wiki/Bob_Dylan Expecting Rain. Obsessive Bob Dylan website. http://www.expectingrain.com/ Selected Songs by Bob Dylan (See page 7 for required items) Optional Items on Library Reserve One or two books per week about or by Dylan will be introduced in class, then placed on library reserve for further perusal. -
Bob Dylan Släpper ”Trouble No More"– the Bootleg
2017-09-20 16:04 CEST Bob Dylan släpper ”Trouble No More"– The Bootleg Series Vol. 13 / 1979-1981 den 3 november Fredagen den 3 november släpper Bob Dylan ”Trouble No More” – The Bootleg Series Vol. 13 / 19179-1981 via Columbia Records/Legacy Recordings. Den mäktiga musikskatten som släpps den 3 november innehåller material från de mest överraskande, kontroversiella och inspirerade åren i Bob Dylans karriär. På 1970-talets slut och 1980-talet början släppte Bob Dylan trilogin ”Slow Train Coming” (1979), ”Saved” (1980) och ”Shot of Love” (1981) – albumen var fyllda av djupt personliga texter och poesi. Musiken och texterna var spirituella och dyrkande och präglades av hans nyfunna kristna tro. Livekonserterna från denna viktiga tid i Bob Dylans karriär innehåller några av de mest intensiva och hyllade framträdandena han gjort - även om denna period också skapade turbulens bland Dylans mest hängivna fans. Albumet släpps i tre olika utgåvor: Deluxe Edition (8 CD + 1 DVD), 2 CD (Disc 1: Live + Disc 2: Live) samt 4 LP-box (Disc 1: Live + Disc 2: Live). I Deluxe Edition med 8 CD och 1 DVD får vi för första gången ta del av hundra osläppta live och studioinspelningar, varav fjorton ej tidigare utgivna sånger på 8 CD. Deluxeboxen innehåller också den exklusiva DVD:n "Trouble No More: A Musical Film" – en ny långfilm från Dylans turné 1980. www.bobdylan.com BOB DYLAN TROUBLE NO MORE THE BOOTLEG SERIES VOL. 13 / 1979-1981 DELUXE EDITION Disc 1: Live 1. Slow Train (Nov. 16, 1979) 2. Gotta Serve Somebody (Nov. 15, 1979) 3. I Believe in You (May 16, 1980) 4. -
Mission: Vol. 13, No. 8
Mission Volume 13 | Issue 8 Article 1 2-1980 Mission: Vol. 13, No. 8 Follow this and additional works at: https://digitalcommons.acu.edu/missionjournal Part of the Biblical Studies Commons, Christian Denominations and Sects Commons, Christianity Commons, Missions and World Christianity Commons, Practical Theology Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation (1980) "Mission: Vol. 13, No. 8," Mission: Vol. 13 : Iss. 8 , Article 1. Available at: https://digitalcommons.acu.edu/missionjournal/vol13/iss8/1 This Article is brought to you for free and open access by the Stone-Campbell Archival Journals at Digital Commons @ ACU. It has been accepted for inclusion in Mission by an authorized editor of Digital Commons @ ACU. v. l ),tfõ VOLUME 13, NUMBER ..TO EXPLORE THOROUGHLY THE SCRIPTURES AND FEBRUARY 1980 ÏHEIR MEANING . TO UNDERSTAND AS FULLY AS POSSIBLE THE WORLD IN WHICH THE CHURCH LIVES AND HAS HER MISSION... TO PROVIDE A VEHICLE FOR COMMUNICATING THE MEANING OF GOD'S WORD TO OUR CONTEMPORARY WORLD.'' -EDITORIAL POLICY STATEMENT. JULY, 1967 CONTENTS Page TH E TRUTH THAT MAKES US FREE From the Editor 3 WE'VE SOLD THE FARM ! J By Robert Meyers 6 FROM MAGIC TO MYSTERY z By LeVerne Metz I É THE ORDEAL OF COMPASSION f By Leonard Allen 10 o THE TIMES REALLY ARE A CHANGIN' ? By Allen Holden, Jr. 15 SURE-FIRE RELIGION By William J. Cook, Jr. 19 BOOKS:SILENCE By Bobbie Lee Holley 20 Reviewed by Steven Spidell MALACHI AND THE BORED CONGREGATION By Lana Wisenbaker 21 EDITOR RICHARD HUGHES BOOK REVIEW EDITOR BOBBIE LEE HOLLEY BUSINESS MANAGER LAJUANA BURGESS EDITORIAL SECRETARY JANICE HUGHES a Mission Journal (352880) is published monthly by Mission Journal, lnc. -
The Recording Sessions
Bob Dylan: The Recording Sessions by Michael Krogsgaard, compiled from files available at http://www.punkhart.com/dylan/sessions.html 1 2 Some general information regarding the different sources made available for the study: 1. The Columbia Studios Recording Diaries are books, which for each day of the year (since 1941) list every planned session in the different studios. Information includes: time of the day, name of the studio, name of the producer and the engineers and the name of the artist. For the New York studios one diary is missing, that which covers the period January 1967 to December 1970. For the Nashville studios, the diary for the period 1969 to 1971 is missing. 2. Recording Sheets are lists made during each session and put into each tape box. The sheet records the date, the studio, the artist, which tracks were recorded and the CO number (Columbia's own reference number) for each composition (of which, more later). Each recorded take is marked as complete (C), with a short false start(b) or a long false start (B). It is indicated on these sheet which takes are removed to other tapes for further use. 3. The Tape Boxes themselves also usually contain information about each take and which takes are removed for further use. 4. CO Cards contain information about the CO (CO=Columbia) number and title for each composition and usually also the recording date. The CO numbers are basically a secure identification of each composition but they are not always chronological (for instance: the CO numbers for songs recorded in Nashville are generally higher than CO numbers for songs recorded at the same time in New York), and, confusingly, sometimes one composition has several CO numbers, especially (but not always) if it has been recorded several times at different sessions. -
Get Ready for Bob Dylan's Set at ACL Fest with Our Dylan Primer You Might Wonder Which Bob Dylan You're Going to Hear at ACL; Here's Our Advice for Tuning In
Get ready for Bob Dylan's set at ACL Fest with our Dylan primer You might wonder which Bob Dylan you're going to hear at ACL; here's our advice for tuning in By Thomas G. Palaima SPECIAL TO THE AMERICAN-STATESMAN http://www.austin360.com/news/content/music/stories/2007/09/0902dylan.html Sunday, September 02, 2007 "But me, I'm still on the road Headin' for another joint" - Bob Dylan, "Tangled Up in Blue" Bob Dylan is heading to Austin to close the ACL Festival on Sept. 16. Troubadour, blues songster, pop balladeer, old-timey minstrel, singer of gospel hymns and country and western tunes - and introduced in concerts now as "the man who forced folk into bed with rock" - Dylan and his evolving traveling band are in their 20th year of what his fans call the Never Ending Tour. If you are heading to the festival, you might wonder which Dylan you are going to hear. The straight answer is none and all of the above - and more. Forty-five years into his recording career and bearing down on 50 official albums, Dylan has mined virtually every American musical genre. His songwriting, singing and playing are always in the moment and full of experiment. Credited with writing more than 450 songs, Dylan has performed live at least that many songs by other artists. He has sung Ricky Nelson's "Lonesome Town," Gordon Lightfoot's "Early Morning Rain," the Davis Sisters' No. 1 1953 country hit "I Forgot More Than You'll Ever Know," Hank Williams' "House of Gold," Woody Guthrie's "Deportees" and the White Stripes' "Ball and Biscuit." When Warren Zevon was dying of lung cancer, Dylan on tour sang moving versions of Zevon's "Mutineer" and "Accidentally Like a Martyr." One of Dylan's birthday gifts for Willie Nelson's Big Six-O was a pathos-laden rendering of Stephen Foster's "Hard Times." No wonder that in his first major film, Dylan played a character named Alias ("Pat Garrett & Billy the Kid"). -
From Inside a Prune
Judas! from Inside A Prune Hello again and a very warm welcome to Judas! issue 14.We have a variety of treats lined up for you. John Hinchey has progressed on to that album to top all albums, Blood on the Tracks; Izzy Young,whose back pages we will continue to feature in later issues,has sent us a piece fresh from his pen; Padraig Hanratty provides us with another Wilbury Twist; Gerry Barrett at remarkably short notice read and reviewed Greil Marcus’s Like A Rolling Stone; Bob Dylan At The Crossroads and left me jealous at his ability to do so in such a cogent manner; while Martin Van Hees provides more meat and entertainment in his philosoph- ical reflection on ‘John Brown’than I have ever found in the song itself.Oh yes,and the first part of my article on Bob Dylan and traditional Scottish music is also featured. A recent Isis article detailing the history of Dylan fanzines very kindly and pleasingly described my previous effort,Homer,the slut as ‘a gem of a fanzine’.This led to some people asking me for back copies but, sadly, I do not have any of those. (Indeed I don’t even have a complete set myself,due to some of the master copies not being cared for properly.On being informed of this said enquirers then suggested reprinting parts of Homer, the slut in Judas! I was reluctant to do this for two reasons.Firstly,a great deal of the attraction of Homer, the slut was in its idiosyncratic nature and its reflection of what was happening in the Dylan world at that time.To pick out articles that could fit into Judas!’s remit and style will not give an accurate impression of the previous ‘zine.