Hibbing Public Library Bob Dylan Collection
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GOTTA SERVE SOMEBODY Genesis 3:14-15
joshua hartwigsen, 6.23.19 (Sunday am) GOTTA SERVE SOMEBODY Genesis 3:14-15 In 1979 Bob Dylan released the song “Gotta Serve Somebody”, selecting a matter-of-fact title that summarized his song’s refrain: “You’re gonna have to serve somebody, Yes indeed you’re gonna have to serve somebody Well, it may be the Devil or it may be the Lord But you’re gonna have to serve somebody” Although well-regarded, his song does not communicate a new idea – a long time before Dylan wrote his song, Jesus himself hinted at the same idea when he said that “no one can serve two masters, for either he will hate the one and love the other, or he will be devoted to the one and despise the other” 1 (Matthew 6:24). The Bible introduces the idea of two masters in its opening chapters where it records humanity division into two groups – the offspring of the serpent and the offspring of the woman (Genesis 3:15). The remainder of the Bible develops the story of those two families and the conflict between them in a way that allows readers to identify which family they belong to while offering them a way to join God’s family, the offspring of the woman. Family feud • God made humanity in His image and gave them the responsibility to representing His rule and character within the world (Genesis 1:26-28). • Humanity’s choice, however, to submit themselves to the serpent introduced division into the world that resulted in the separation of humanity into two groups – the offspring of the serpent and the offspring of the woman (Genesis 3:1-15). -
Diana Davies Photograph Collection Finding Aid
Diana Davies Photograph Collection Finding Aid Collection summary Prepared by Stephanie Smith, Joyce Capper, Jillian Foley, and Meaghan McCarthy 2004-2005. Creator: Diana Davies Title: The Diana Davies Photograph Collection Extent: 8 binders containing contact sheets, slides, and prints; 7 boxes (8.5”x10.75”x2.5”) of 35 mm negatives; 2 binders of 35 mm and 120 format negatives; and 1 box of 11 oversize prints. Abstract: Original photographs, negatives, and color slides taken by Diana Davies. Date span: 1963-present. Bulk dates: Newport Folk Festival, 1963-1969, 1987, 1992; Philadelphia Folk Festival, 1967-1968, 1987. Provenance The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired portions of the Diana Davies Photograph Collection in the late 1960s and early 1970s, when Ms. Davies photographed for the Festival of American Folklife. More materials came to the Archives circa 1989 or 1990. Archivist Stephanie Smith visited her in 1998 and 2004, and brought back additional materials which Ms. Davies wanted to donate to the Ralph Rinzler Folklife Archives. In a letter dated 12 March 2002, Ms. Davies gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of her photographs, with the proviso that her work be credited “photo by Diana Davies.” Restrictions Permission for the duplication or publication of items in the Diana Davies Photograph Collection must be obtained from the Ralph Rinzler Folklife Archives and Collections. Consult the archivists for further information. Scope and Content Note The Davies photographs already held by the Rinzler Archives have been supplemented by two more recent donations (1998 and 2004) of additional photographs (contact sheets, prints, and slides) of the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's March on Washington, the Civil Rights Movement, the Georgia Sea Islands, and miscellaneous personalities of the American folk revival. -
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 Good As I Been to You Mp3, Flac, Wma
Bob Dylan Good As I Been To You mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Blues / Folk, World, & Country Album: Good As I Been To You Country: Europe Released: 1992 Style: Country Blues, Folk MP3 version RAR size: 1738 mb FLAC version RAR size: 1374 mb WMA version RAR size: 1468 mb Rating: 4.4 Votes: 772 Other Formats: AAC DXD AC3 WAV AIFF AHX VOC Tracklist 1 Frankie & Albert 2 Jim Jones 3 Blackjack Davey 4 Canadee-I-O 5 Sittin' On Top Of The World 6 Little Maggie 7 Hard Times 8 Step It Up And Go 9 Tomorrow Night 10 Arthur McBride 11 You're Gonna Quit Me 12 Diamond Joe 13 Froggie Went A Courtin' Companies, etc. Distributed By – Sony Music Mastered At – Precision Mastering Phonographic Copyright (p) – Sony Music Entertainment Inc. Copyright (c) – Sony Music Entertainment Inc. Made By – Sony Music Entertainment Inc. Pressed By – DADC Austria Credits Art Direction, Design – Dawn Patrol Mastered By – Stephen Marcussen Photography By [Front Cover] – Jimmy Wachtel Producer [Production Supervisor] – Debbie Gold Recorded By, Mixed By – Micajah Ryan Vocals, Guitar, Harmonica – Bob Dylan Notes Jewel case with 4-page booklet. Made in Austria. ℗ 1992 Sony Music Entertainment Inc. © 1992 Sony Music Entertainment Inc. Mastered at Precision Mastering, L.A. (US). Barcode and Other Identifiers Barcode (Text): 5 099747 271021 Barcode (Scanned): 5099747271021 Label Code: LC 0162 Matrix / Runout (Variant 1): DADC AUSTRIA 01-472710-10 22 B2 Matrix / Runout (Variant 2): DADC AUSTRIA 01-472710-10 22 A5 Matrix / Runout (Variant 3): DADC AUSTRIA 01-472710-10 -
Bob Denson Master Song List 2020
Bob Denson Master Song List Alphabetical by Artist/Band Name A Amos Lee - Arms of a Woman - Keep it Loose, Keep it Tight - Night Train - Sweet Pea Amy Winehouse - Valerie Al Green - Let's Stay Together - Take Me To The River Alicia Keys - If I Ain't Got You - Girl on Fire - No One Allman Brothers Band, The - Ain’t Wastin’ Time No More - Melissa - Ramblin’ Man - Statesboro Blues Arlen & Harburg (Isai K….and Eva Cassidy and…) - Somewhere Over the Rainbow Avett Brothers - The Ballad of Love and Hate - Head Full of DoubtRoad Full of Promise - I and Love and You B Bachman Turner Overdrive - Taking Care Of Business Band, The - Acadian Driftwood - It Makes No Difference - King Harvest (Has Surely Come) - Night They Drove Old Dixie Down, The - Ophelia - Up On Cripple Creek - Weight, The Barenaked Ladies - Alcohol - If I Had A Million Dollars - I’ll Be That Girl - In The Car - Life in a Nutshell - Never is Enough - Old Apartment, The - Pinch Me Beatles, The - A Hard Day’s Night - Across The Universe - All My Loving - Birthday - Blackbird - Can’t Buy Me Love - Dear Prudence - Eight Days A Week - Eleanor Rigby - For No One - Get Back - Girl Got To Get You Into My Life - Help! - Her Majesty - Here, There, and Everywhere - I Saw Her Standing There - I Will - If I Fell - In My Life - Julia - Let it Be - Love Me Do - Mean Mr. Mustard - Norwegian Wood - Ob-La-Di Ob-La-Da - Polythene Pam - Rocky Raccoon - She Came In Through The Bathroom Window - She Loves You - Something - Things We Said Today - Twist and Shout - With A Little Help From My Friends - You’ve -
Bob Dylan: Nobility, Lyrics and Ghosts
ISSN 2513-8537 DOI: 10.13140/RG.2.2.15941.04327 Bob Dylan: Nobility, Lyrics and Ghosts David Kane Introduction The news that Bob Dylan had been awarded the 2016 Nobel Prize for literature prompted a healthy response. Comments ranged from the congratulatory to the critical, the latter, while acknowledging Dylan’s talent, argued that his work could not be considered as literature. The former stoutly defended the Nobel committee’s decision, often citing the importance of Dylan in personal biographies and championing his right to be acknowledged as a poet. The award and subsequent debate have resonance with a number of topics that deserve further consideration. In the following, I examine Dylan’s unique status in the history of rock that often focuses on his songwriting, particularly his lyrics, and the manner in which he in- fluenced other musicians. I also consider how responses to Dylan’s Nobel can be construed as illustrating the gap that continues to exist between the supposed high cultural value of literature and the low value of rock music. Further, I explore how continued acknowledgement of Dylan’s work can be viewed as affirming a rock ‘golden age’ that peaked in the 1960s and which, for some commentators, results in contemporary replication of the past that acts to hold back innovation. This is most noticeable in the concept of hauntology, which, in this context, promotes a desire to resurrect a time in which music really mattered. These musings are interspersed with my personal experience of Dylan’s music that while ren- dering me unqualified to hold an objective view, enable an understanding of the polar posi- tions often taken in any discussion of Dylan and his work and his ability to delight, dismay, enthrall and frustrate in equal measure. -
My Bloody Valentine's Loveless David R
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63 -
The Cambridge Companion to Bob Dylan Kindle
THE CAMBRIDGE COMPANION TO BOB DYLAN PDF, EPUB, EBOOK Kevin J. H. Dettmar | 204 pages | 20 Apr 2009 | CAMBRIDGE UNIVERSITY PRESS | 9780521714945 | English | Cambridge, United Kingdom The Cambridge Companion to Bob Dylan PDF Book Was he dying? There can be no doubt that Dylan saw Another Side as marking a shift in his career. At 65, Bob Dylan becomes the oldest living artist to hit the top spot. This song still feels contemporary in its sarcasm, and all the more devastating for its brightness. The conventional wisdom of the music business in the s and s was that artists toured only to support new albums. Tambourine Man. Their touchstones are the musicians, musical styles, and values of a folkloric past, all made relevant by the sheer conviction with which they are evoked. And why should there be? Moreover, he evades history by cloaking his songs in the avowedly timeless music of blues, ballads, and gospel. But he was also living in a moment of plagiarism — accused of plagiarizing Homer, in a culture that was generally plagiarizing ancient Greece — and, at 60, in the same age group as the Dylan of Modern Times, railed against the unfair forces that cast him away. The feeling of these arrangements, however, was closer to latter- day Elvis whose death in shook Dylan badly and interrupted the writing of the Street Legal songs or even Neil Diamond whose manager, Jerry Weintraub, was working with Dylan at the time. While his musical range shows the influence of virtually every sort of American popular music, he found this material more than sufficient for his purposes. -
Romans 6:12-23 12 Therefore Do Not Let Sin Reign in Your Mortal Body So That You Obey Its Evil Desires
Romans 6:12-23 12 Therefore do not let sin reign in your mortal body so that you obey its evil desires. 13 Do not offer any part of yourself to sin as an instrument of wickedness, but rather offer yourselves to God as those who have been brought from death to life; and offer every part of yourself to him as an instrument of righteousness. 14 For sin shall no longer be your master, because you are not under the law, but under grace. 15 What then? Shall we sin because we are not under the law but under grace? By no means! 16 Don’t you know that when you offer yourselves to someone as obedient slaves, you are slaves of the one you obey—whether you are slaves to sin, which leads to death, or to obedience, which leads to righteousness? 17 But thanks be to God that, though you used to be slaves to sin, you have come to obey from your heart the pattern of teaching that has now claimed your allegiance. 18 You have been set free from sin and have become slaves to righteousness. 19 I am using an example from everyday life because of your human limitations. Just as you used to offer yourselves as slaves to impurity and to ever-increasing wickedness, so now offer yourselves as slaves to righteousness leading to holiness. 20 When you were slaves to sin, you were free from the control of righteousness. 21 What benefit did you reap at that time from the things you are now ashamed of? Those things result in death! 22 But now that you have been set free from sin and have become slaves of God, the benefit you reap leads to holiness, and the result is eternal life. -
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. -
Bob Dylan – the Original Mono Recordings
Bob Dylan – The Original Mono Recordings by Roger Ford The eight albums in this box are of course the foundation of a sound that was still integrated but with added presence Bob Dylan’s career and legend, the records that made him and depth. famous. But more specifically, these are the records that made him famous – not the albums as they sound on the But technology marched on, and the mono versions of standard CDs today, not the earlier generation of CDs from Dylan’s LPs were discontinued in 1968 in the US, a year later the late ’80s, not even the stereo LPs that came out as each in the UK, and as far as I know had disappeared from all other record was made. It was the mono LPs (and the singles taken parts of the world by the mid -’70s. For the last quarter of the from them) that people heard on the radio, round at friends’ 20 th century they were completely unavailable, and once houses, in record shops. These were the sounds that were people realised what had been lost, good condition original engraved into the memory of anyone who listened to Dylan copies became increasingly sought after. in the sixties. The mono albums were eventually reissued by the US specialist reissue label Sundazed between 2001 and 2004, though only in vinyl format. They were remastered by Sundazed owner Bob Irwin, a well-respected audio engineer in his own right. Irwin put a lot of work into finding the right master tapes as well as into the remastering process itself, but nonetheless these editions evoked a somewhat mixed response, with some albums better received than others. -
To Elektra EKL-264 Mono / EKS-7264 Stereo "The BLUES Project"
DAVE RAY: Dave "Snaker" Ray, whose ambition is to be a doctor, started playing guitar while a sophomore in high school. He origin ally began with blues (Leadbelly) to keep his fingers nimble fo r what he thought would be a classical-flamenco guitarist career. "After an adagio by Sor and a hacked-up Farruca, I began playing Led better's stuff exclusively, " Dave reports. He began playing the 12-string guitar when a senior in high school, and lists as early influences, Elvis' Sun label recordings, Bo Diddley, Muddy Waters, early Chicago, and, of course, Leadbelly. " I sing the blues because it's a medium not as demanding as literatu re or serious music, and free enough to permit a total statement of personality and. self, " Dave states. "I play blues because 1 feel it's important to me to express myself and because I feel it's a significant form of music which hasn't had enough dispersement. As far as white men playing blues, that's all who do play blues. the new Negroes are too busy (doing other things). " Discography: Blues, Rags and Hollers (Elektra EKL 240). Dave Ray may soon be heard, with John Koerner and Tony Glover, on Elektra EKL 267. ERIC VON SCHMIDT: E ric w rites: "B orn 1931; began singing in 1948; first influences were Leadbelly, Josh White and Jelly Roll Morton — then Library of Congress material and field recordings. Worked as magazine illustrator, then painter until 1952... two years in the army, and then to Florida, where I worked as a frame-maker and built a 27-foot ketch which was almost called the 'John Hurt'.