The Bob Cats Newsletter 2015-10-16
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(Pensumlisten Til «Bob Dylan» Ligger Nedenfor) 200-Nivået
ALLMENN LITTERATURVITENSKAP Valg av seminar og emnekode 200-nivå (Pensumlisten til «Bob Dylan» ligger nedenfor) 200-nivået: Studentene på bachelorprogrammet i litteraturvitenskap må ta ett litteraturteoretisk emne og ett litterært emne på 200-nivået. Litteraturteoretisk emne: ALLV201/ALLV251/KVIK201 Litterært emne: ALLV202/ALLV252/KVIK203/ANT202 For mer informasjon se: Studieplan for Bachelorprogram i litteraturvitenskap. Ett av emnene på 200-nivået må ha bacheloroppgave som eksamensform (ALLV251, ALLV252). Hvis studenter har tatt deler av 200-nivået tidligere i studiet, må vi se i hvert enkelt tilfelle hvilke 200-emner den enkelte må ta. Kontakt studiekonsulent. Seminar høsten 2017: ALLV201/ALLV251 (litteraturteori). Tema: «Lesning av litteratur hinsides mistenksomhetens hermeneutikk» ALLV202/ALLV252 (litterært) Tema: «Bob Dylan» NB! Studenter som ikke ønsker å ta «Lesning av litteratur hinsides mistenksomhetens hermeneutikk» eller «Bob Dylan», kan legge opp et individuelt pensum på ALLV201/202/251/252 i samråd med aktuell faglærer. BOB DYLANS SANGLYRIKK (ALLV202/252/303/304) Kursbeskrivelse Dette er det første kurset ved UiB som utelukkende er viet sangskriveren og sangeren Bob Dylan. Kurset skal gi et innblikk i og overblikk over (utvalgte deler av) hele hans sangverk – og det primære pensum vil bestå av ca. 200 sider sanglyrikk. Sanglyrikk er en lyrisk kunstart, og kursets hovedmål er diktanalytisk: Sangdikt skal analyseres og fortolkes – som litterære kunstverk i seg selv, og også som krysningspunkter av lyriske og musikalske referanser til annen kunst og sanglyrikk. Typiske sanglyriske trekk skal fremheves – ikke minst sangstemmen og andre orallitterære særtrekk. Det er også et mål å lese denne lyrikken i et historisk, ideologisk og sosialt perspektiv, og sekundærlitteraturen (artikler og utdrag svarende til ca. -
FOLK SONGS of WESTERN PENNSYLVANIA George Swetnam
FOLK SONGS OF WESTERN PENNSYLVANIA George Swetnam TJerhaps there are a few here tonight who have memories Jong X enough to recall that this is not the first program the Historical Society of Western Pennsylvania has ever had on folk song. Believe it or not, about 1951 or '52, ifIrecall correctly, Ispoke on the subject of the folk song of this area and brought with me a number of friends, some of whom are here tonight, who were in our folk-singing group. We really brought down the house. It must have been a success, be- cause they have waited twenty years to ask for another talk on the subject. Folk song is a term you all hear. It's commonly used inparlance. Every popular singer, nowadays nearly every rock singer, is referred to as a folk singer, and the new-style songs are referred to as folk, or folk rock, or, in the trade Iguess, they call them "country and western," regardless of where they came from. Iwant to talk to you this evening and present some of the genuine folk songs inthe technical sense of the word. Properly, a folk song is a song of unknown or obscure origin which has been widely adopted as a part of a popular culture and usually has been considerably changed in oral transmission, either by preference, misunderstanding, a tin ear, faulty memory, or for other reasons. Incase anyone may question how such wide changes may come about in tunes or words, or both, I'm asking Vivien Richman to trace how a Scottish border ballad about a young man who was murdered by his sweetheart came along, not rewritten by anybody but gradually changed inpassing from per- son to person until it grew into a playground song familiar,Iam sure,— to nearly every Pittsburgh child, as to nearly every child in America at least until the very latest generation when the radio and TVcaused parents to stop singing to their children. -
Still on the Road 2012 Tour of South and Central America
STILL ON THE ROAD 2012 TOUR OF SOUTH AND CENTRAL AMERICA JANUARY 12 Los Angeles, California Hollywood Palladium Theater Santa Monica, California Groove Masters Studios , Tempest recording sessions APRIL 15 Rio de Janeiro, Brazil Citibank Hall 17 Brasilia, Brazil Ginasio Nilson Nelson 19 Belo Horizonte, Brazil Chevrolet Hall 21 São Paulo, Brazil Credicard Hall 22 São Paulo, Brazil Credicard Hall 24 Porto Alegre, Brazil Pepsi On Stage 26 Buenos Aires, Argentina Teatro Gran Rex 27 Buenos Aires, Argentina Teatro Gran Rex 28 Buenos Aires, Argentina Teatro Gran Rex 30 Buenos Aires, Argentina Teatro Gran Rex MAY 2 Santiago, Chile Movistar Arena 5 Heredia, Costa Rica Palacio de los Deportes 7 Monterrey, Mexico Auditorio Banamex 9 Guadalajara, Mexico Auditorio Telmex 11 Mexico City, Mexico Pepsi Center 12 Mexico City, Mexico Pepsi Center 25 Washington, District Of Columbia East Room, The White House, Medal Of Freedom Ceremony Bob Dylan: Still On The Road – 2012 Tour of South and Central America 33790 Hollywood Palladium Theater Los Angeles, California 12 January 2012 Critics' Choice Movie Awards 1. Blind Willie McTell Bob Dylan (vocal & harmonica), Stu Kimball (guitar), Charlie Sexton (guitar), Donnie Herron (banjo), Tony Garnier (bass), George Recile (drums). Notes. Blind Willie McTell was performed as a tribute to Martin Scorsese. Introduction by Olivia Harrison. Stereo TV recording, 6 minutes. Session info updated 13 January 2012. Bob Dylan: Still On The Road – 2012 Tour of South and Central America 33795 Groove Masters Studios Santa Monica, California January - March 2012 Tempest recording sessions, produced by Jack Frost 1. Duquesne Whistle (Bob Dylan-Robert Hunter/Bob Dylan) 2. -
Still on the Road: 2013 Europe Fall Tour
STILL ON THE ROAD 2013 EUROPE FALL TOUR OCTOBER 10 Oslo, Norway Spektrum 12 Stockholm, Sweden Stockholm Waterfront Auditorium 13 Stockholm, Sweden Stockholm Waterfront Auditorium 15 Copenhagen, Denmark Falconer Salen 16 Copenhagen, Denmark Falconer Salen 18 Hannover, Germany Swiss Life Hall 19 Hamburg, Germany Congress Center Hamburg 20 Hamburg, Germany Congress Center Hamburg 22 Düsseldorf, Germany Mitsubishi Electric Halle 24 Berlin, Germany Tempodrom 25 Berlin, Germany Tempodrom 26 Berlin, Germany Tempodrom 28 Geneva, Switzerland Geneva Arena 30 Amsterdam, The Netherlands Heineken Music Hall 31 Amsterdam, The Netherlands Heineken Music Hall NOVEMBER 2 Milan, Italy Teatro degli Arcimboldi 3 Milan, Italy Teatro degli Arcimboldi 4 Milan, Italy Teatro degli Arcimboldi 6 Rome, Italy Atlantico 7 Rome, Italy Atlantico 8 Padova, Italy Gran Teatro Geox 10 Brussels, Belgium Vorst Nationaal 12 Paris, France Le Grand Rex 13 Paris, France Le Grand Rex 14 Paris, France Le Grand Rex 16 Esch-sur-Alzette, Luxembourg Rockhal 18 Glasgow, Scotland Clyde Auditorium 19 Glasgow, Scotland Clyde Auditorium 20 Glasgow, Scotland Clyde Auditorium 22 Blackpool, England Opera House Theatre 23 Blackpool, England Opera House Theatre 24 Blackpool, England Opera House Theatre 26 London, England Royal Albert Hall 27 London, England Royal Albert Hall 28 London, England Royal Albert Hall Bob Dylan: Still On The Road – 2013 Europe Fall Tour Bob Dylan: Still On The Road – 2013 Europe Fall Tour 35160 Spektrum Oslo, Norway 10 October 2013 1. Things Have Changed 2. She Belongs To Me 3. Beyond Here Lies Nothin' (Bob Dylan-Robert Hunter/Bob Dylan) 4. What Good Am I? 5. Pay In Blood 6. -
Gonna Buy Me a Barrel of Whiskey
GONNA BUY ME A BARREL OF WHISKEY BOB DYLAN 2018 by Olof Björner and Daniel Mackay A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, EXHIBITIONS & BOOKS. © 2020 by Olof Björner and Daniel Mackay 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. Gonna Buy Me a Barrel of Whiskey — Bob Dylan 2018 page 2 of 47 CONTENT 1 INTRODUCTION .................................................................................................................................... 4 2 2018 AT A GLANCE ............................................................................................................................... 4 3 THE 2018 CALENDAR ........................................................................................................................... 5 4 NEW RELEASES ..................................................................................................................................... 7 4.1 United We Swing: Best of Jazz at The Lincoln Center Galas ............................................................ 7 4.2 Universal Love – Wedding Songs Reimagined ................................................................................. 7 4.3 Live 1962-1966: Rare Performances from the Copyright Collections ............................................... 8 4.4 Bootleg Series Vol. 14: More Blood, More Tracks ........................................................................... 8 4.4.1 Description -
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. -
Dylan Review, Summer 2020
DYLAN REVIEW, SUMMER 2020 MASTHEAD CO-EDITORS Raphael Falco, University of Maryland, Baltimore County Paul Haney, University of Massachusetts, Boston Lisa O'Neill Sanders, Founder DR, Saint Peter's University Shelby Nathanson, Digital Editor Nicole Font, Assistant to the Editors EDITORIAL BOARD Mitch Blank, New York City Michael Gilmour, Providence University College (Canada) Nina Goss, Fordham University Charles O. Hartman, Connecticut College Jonathan Hodgers, Trinity College, Dublin Robert Reginio, Alfred University Christopher Rollason, Luxembourg Richard Thomas, Harvard University Dylan Review 2.1 (Summer 2020) DYLAN REVIEW, SUMMER 2020 TABLE OF CONTENTS SPECIAL TOPIC: CALL FOR SUBMISSIONS………………….……………………………..2 REVIEWS Charles O. Hartman, Rough and Rowdy Ways: Containing History….………....3 John Hunt and Tim Hunt, Travelin’ Thru ...…………………..……………………....16 THE DYLANISTA………………………………………………………………………………28 ARTICLES Richard F. Thomas, “And I Crossed the Rubicon”: Another Classical Dylan....35 Graley Herren, Young Goodman Dylan: Chronicles at the Crossroads..……..65 SONG CORNER Anne Margaret Daniel, “Murder Most Foul”….…………………………………….83 INTERVIEWS Mark Davidson…………………………………………………………………………... 95 LETTERS………………………………………………………………………………….…...106 CONTRIBUTORS…………………………………………………………………….………107 BOOKS RECEIVED………………………………………………………………………….109 BOB DYLAN LYRICS, COPYRIGHT INFORMATION……………………………………110 1 Dylan Review 2.1 (Summer 2020) SPECIAL TOPIC: CALL FOR SUBMISSIONS THE COPS DON’T NEED YOU AND MAN THEY EXPECT THE SAME For the next issue of the Dylan Review, Winter 2.2, the Editors invite articles and Song Corner essays on the special topic of political authority and race in Dylan’s work. Up on Housing Project Hill It’s either fortune or fame You must pick one or the other Though neither of them are to be what they claim If you’re lookin’ to get silly You better go back to from where you came Because the cops don’t need you And man they expect the same This familiar stanza from “Just Like Tom Thumb’s Blues” sets the tenor for the Editors’ special topic. -
The Beacon, September 14, 2012 Beacon Staff
Northwestern College, Iowa NWCommons The Beacon, 2012-2013 The Beacon 9-14-2012 The Beacon, September 14, 2012 Beacon staff Follow this and additional works at: https://nwcommons.nwciowa.edu/beacon2012 This News Article is brought to you for free and open access by the The Beacon at NWCommons. It has been accepted for inclusion in The Beacon, 2012-2013 by an authorized administrator of NWCommons. For more information, please contact [email protected]. Volume 85 - Issue 2 September 14, 2012 Big man on campus CONTRIBUTED PHOTO Freshman Preston Hoebelheinrich wears prosthetic legs after undergoing a double amputation to remove a life threatening infection from spreading further. A leg up on the competition BY TYLER LEHMAN the severe infection FEATURES CO-EDITOR from spreading, and he There was a time when received prosthetic legs. Preston Hoebelheinrich Hoebelheinrich has since had legs, but he says he lost any recollection of his can’t remember it. life before the surgery. T h e N o r t h we s t e r n “It was like I was a f r e s h m a n u n d e r we n t newborn baby, but I was six a double amputation at years old. It was like I had the tender age of 6, when just been born,” he said. doctors discovered he had Suddenly confronted a life-threatening infection with a new reality, of bacterial meningitis. Hoebelheinrich struggled H o e b e l h e i n r i c h ’s to cope as a child. -
4070 Songs, 11.1 Days, 21.47 GB
Page 1 of 117 iPod 4070 songs, 11.1 days, 21.47 GB Name Time Album Artist 1 Converted 6:16 Exile on Coldharbour Lane A3 2 Speed of the Sound of Loneliness 5:57 Exile on Coldharbour Lane A3 3 Woke Up This Morning 5:17 Exile on Coldharbour Lane A3 4 U Don't Dans 2 Tekno Anymore 3:38 Exile on Coldharbour Lane A3 5 Bourgeoisie Blues 4:47 Exile on Coldharbour Lane A3 6 Ain't Goin' to Goa 3:56 Exile on Coldharbour Lane A3 7 Mao Tse Tung Said 3:24 Exile on Coldharbour Lane A3 8 Hypo Full of Love (The 12-Step Pl… 6:25 Exile on Coldharbour Lane A3 9 Old Purple Tin (9% Pure Heaven) 4:05 Exile on Coldharbour Lane A3 10 The Night We Nearly Got Busted 4:38 Exile on Coldharbour Lane A3 11 Sister Rosetta 6:44 Exile on Coldharbour Lane A3 12 Peace In the Valley 5:47 Exile on Coldharbour Lane A3 13 Singha 6:19 Alliance Afrissippi 14 Guelel Kumba 3:47 Alliance Afrissippi 15 Leeliyo Leele 5:39 Alliance Afrissippi 16 Maasina Tooro 7:09 Alliance Afrissippi 17 Debbo Ndoogu 6:32 Alliance Afrissippi 18 Sonna 4:49 Alliance Afrissippi 19 Raas 6:55 Alliance Afrissippi 20 Ngoppe Kam 6:48 Alliance Afrissippi 21 Gede Nooro 2:45 Alliance Afrissippi 22 T-Bone Shuffle 4:50 Showdown Albert Collins, Robert Cray & Joh… 23 Mirage 2:56 Deep At Night Alex De Grassi 24 Deep At Night 5:11 Deep At Night Alex De Grassi 25 Charlotte 3:58 Deep At Night Alex De Grassi 26 Short Order 1:59 Deep At Night Alex De Grassi 27 Indian Summer 4:34 Deep At Night Alex De Grassi 28 Blue Trout 4:14 Deep At Night Alex De Grassi 29 Waltz #4 4:40 Deep At Night Alex De Grassi 30 Arcos 4:03 Deep At -
A Classicist's Dylan
JOHN HARVARD'S JOURNAL after that, dean Douglas W. Elmendorf with- hancements in College social programs and Conant University Professor Danielle Allen drew Manning’s fellowship, saying HKS had spaces and education about inclusive com- introduced a fresh motion, seeking to balance been mistaken to extend the honorific in munity values. The regulatory approaches the right of association with the right to be this instance, when an invitation to speak are meant to be an incentive to the clubs to free from discrimination. Invoking Massachu- would have sufficed. That response created a modify their policies, and a lever to affect setts law, it would effectively extend recogni- further uproar, as critics charged the school student choices; the third option relies on tion to final clubs and similar organizations; if with caving in to the intelligence commu- persuasion and cultural change. they failed to comply with College policies on nity or discriminating against convicts (see Gordon McKay professor of computer nondiscrimination and governance, students harvardmag.com/jonesmanning-17). The science Harry Lewis, who introduced a mo- who chose to join them would then face re- incident thus overshadowed the traditional tion last year opposing the sanctions, in the moval from the College community—a differ- role the HKS’s forums have played in hosting name of protecting students’ right of free as- ent mix of incentives and leverage. wide-ranging, civil presentations extending sociation in legal organizations, produced a Further discussion and voting may take across the spectrum of political, policy, and revised motion with the same aims. It is in- place on November 7. -
The Influence of Bob Dylan on the Creative Process
The Influence of Bob Dylan on the Creative Process Introduction I was wondering why I am drawn to the work of Bob Dylan and when trying to explain this fascination, I composed the following poem. On the following pages you will catch a glimpse of the influence of this musician/writer/singer in many areas of my life. The meaning of life is not found On the second day in June Amid the lyrics or in the sound We go to Desolation Row or to a tune Of Dylan's music or in his words Like Highway 61 As I find myself drawn towards It's a journey that is never done Synchronicity. To view life’s simplicity. He has his muse and I have mine Why the fascination with this man's talent? And once in a while they intertwine What draws me to his music’s scent And meet together and share their mysteries For all of us to listen in time As they expand the boundaries So we can each compose our rhyme Of my Creativity. To express our Individuality? Bob has no answers but he holds up a mirror So we can see our reflection and perhaps a glimmer Of what really matters, if truth be told, As we search within our very soul For Spirituality. Relative to my interest in the work of Bob Dylan, I have been collecting/writing bits of connections in the form of poems, brief essays, concert reviews, and other products over the past twenty-five years or more. Currently, I recently read the book Why Bob Dylan Matters by Richard Thomas. -
Book Review by Tom Palaima of Why Bob Dylan Matters by Richard F
Page 1 From: "Bryn Mawr Classical Review" <[email protected]> To: [email protected] Date: 11/28/2018 11:30:26 PM Subject: BMCR 2018.11.51 Palaima on Thomas, Why Bob Dylan Matters Bryn Mawr Classical Review BMCR 2018.11.51 on the BMCR blog Bryn Mawr Classical Review 2018.11.51 Richard F. Thomas, Why Bob Dylan Matters. New York: HarperCollins Publishers, 2017. Pp. 352. ISBN 9780062685735. $24.99. Reviewed by Thomas Palaima, University of Texas at Austin ([email protected]) Preview I begin not with a disclaimer, but a proclaimer. I wrote a review essay on the British edition of Richard Thomasᶩ Why Bob Dylan Matters as book of the week in Times Higher Education (November 30, 2017) Palaima rev Thomas . The mandate from my editor was to use half the essay explaining why I thought Dylan mattered. Interested readers may go there for my broader perspective on why Dylan matters and what I said to a general readership about Thomasᶩ take on Dylan. I quote here a few short passages to serve as points of departure for classicists and other readers reading BMCR who are curious about Dylanᶩs familiarity with and use of classical texts and culture. As an expert in what he calls the ᶬbest of Roman literatureᶭ from the 3rd century BC to the 2nd AD, Thomasᶩ work on Dylan complements Sir Christopher Ricksᶩ Dylanᶩs Visions of Sin (2004), which examines Dylanᶩs songs along with ᶬthe greatest English literature of the last five centuriesᶭ. Both Ricks and Thomas understand Dylanᶩs ᶬlove and theftᶭ of other musical and literary works.