Telling and Retelling the Tale. Adapting the Murder Ballad 'Duncan and Brady'for the Stage As Past and Future Visions of a Folk Crime
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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. -
Judas 9 Text
Judas! from Inside A Prune Welcome to issue nine of Judas! As I write this Dylan has begun another year’s touring and although the set-lists may look predictable the arrangements are refresh - ingly, dramatically altered in many cases. Good for him. You will notice a New Morning theme through this issue, with no less than three articles looking at that intriguing period. In issue 10 there will be another theme running through the general articles and reviews; in this case it will be early acoustic Dylan, so if you have anything you want to say on that please send it in. I am not saying that we are doing theme issues as such, it is more a case of giving a recurrent flavour to certain editions. If you have resubscribed you will soon notice additions to the subscribers’ area of the Judas! website. Steve Lescure is generously giving us his 'Dylan Commentaries'. In his own words, he is ‘…bringing together information from a wide variety of sources - numerous books, magazine articles, and the Internet - condensing it down into the essentials and presenting it in an easy-to-digest format.’ This will eventually cover all of Dylan’s official output; the debut album material will be available in the near future. Also on our website we have started an archive section to publish those issues of Judas! that have already sold out. We are delighted to begin our series of excerpts from Izzy Young's back pages. These articles, notes and reviews can be found throughout the issue, wherever you see the symbol and comprise reprints - or first prints - from his notebooks as well as news - papers and magazines and so forth, as dated. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Tell Tale Signs
I don't know anybody who's made a record that sounds decent in the past 20 years, really. You listen to these modern records, they're atrocious, they have sound all over them. There's no definition of nothing, no vocal, no nothing,… remember when that Napster guy came up across, it was like, ‘Everybody’s gettin’ music for free.’ I was like, ‘Well, why not? It ain’t worth nothing anyway. Bob Dylan 2006 A compilation of bits and Bobs from last 30 years? That'll be $129.99. Sony 2008 --- Introduction: I wrote this very soon after the release of Tell Tale Signs. Although I was presuming ISIS would be delayed in order to allow a more considered take on the release, my own work commitments demanded an early response in any case. I have presented it as a dialogue that highlights – if not exaggerates – trends I have felt in myself and in discussions amongst Dylan fans at large. I have taken the liberty of framing the dialogue in a setting plagiarised brazenly from a classic as Bob does with many an out of copyright source as Dylan Cynic would say or, if you are aligned to Dylan Enthusiast rather than Dylan Cynic, the framework of the dialogue alludes intriguingly to a past literary master in much the same way Dylan binds his own work artistically to Ovid in Modern Times. I won’t mention the play it comes from as the fun is surely always in the searching and then deciding if it is just rip-off or a deeply thought allusion that adds to the whole. -
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
NUTTALL's" Fri
Arizona Tribune, Friday August 2\ 1959. page 3 JAZZ STAB 3ITS OF THIS AND THAT Edwards sang • \ He Tommy two songs on Dick Clark’s TV show Saturday night. Gofiikut It is ironical that Billie Holiday’s albums will BY BUCK ROGERS bring more fortune to the recording companies than People she ever received. Stet'Aand fish have a lot in or riffles. In all probability, you common. can find such a stream close Louis Jordan’s ex-wife This fact becomes evident to your home. Fleecie bought a Chicago when you glance around your Then, gather your equipment tavern to add to her real town, and note people’s habits. together. You’ll need a boat, estate holdings. On the hot afternoons you’ll preferably a large canoe or find them in the air-conditioned jazz appear- “John” type boat, a matching That show buildings, huddled around a outboard, ing Regal paddles, sleeping and in Chicago’s whirling fan, or hunkered in cooking equipment, and a sup- Theater cost SIB,OOO. the shade. Only the . foolish ply of food. At this season, The crowds shelled out youngsters will be dashing you’ll also need a cooler full of about in the sun. ; ice. And, don’t forget your fish- $40,000 to shatter an all But, the in evenings things | ing tackle. time record. begin to happen. People move ' If weekend is all the time out a Top vocalist Dinah Wash- into their backyards to bar- you have, select a campsite that becue meal, they ington wed a New York the evening can be reached by road, and put to or flock the drive-in movie, ; your boat in the water Friday cabbie. -
Why Am I Doing This?
LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 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. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS ..................................................................................................................................... -
October 1-3, 2017 Greetings from Delta State President William N
OCTOBER 1-3, 2017 GREETINGS FROM DELTA STATE PRESIDENT WILLIAM N. LAFORGE Welcome to Delta State University, the heart of the Mississippi Delta, and the home of the blues! Delta State provides a wide array of educational, cultural, and athletic activities. Our university plays a key role in the leadership and development of the Mississippi Delta and of the State of Mississippi through a variety of partnerships with businesses, local governments, and community organizations. As a university of champions, we boast talented faculty who focus on student instruction and mentoring; award-winning degree programs in business, arts and sciences, nursing, and education; unique, cutting-edge programs such as aviation, geospatial studies, and the Delta Music Institute; intercollegiate athletics with numerous national and conference championships in many sports; and a full package of extracurricular activities and a college experience that help prepare our students for careers in an ever-changing, global economy. Delta State University’s annual International Conference on the Blues consists of three days of intense academic and scholarly activity, and includes a variety of musical performances to ensure authenticity and a direct connection to the demographics surrounding the “Home of the Delta Blues.” Delta State University’s vision of becoming the academic center for the blues — where scholars, musicians, industry gurus, historians, demographers, and tourists come to the “Blues Mecca” — is becoming a reality, and we are pleased that you have joined us. I hope you will engage in as many of the program events as possible. This is your conference, and it is our hope that you find it meaningful. -
Rhythm, Dance, and Resistance in the New Orleans Second Line
UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy. -
The Man Who Invented Jazz? C O on the Surface, It May Seem a Stretch; on Closer Inspection, It’S an Entirely Appropriate Honor
EARLY NFL B B N C E JELLY ROLL MORTON IN THE ROCK AND ROLL HALL OF FAME? The man who invented jazz? C o On the surface, it may seem a stretch; on closer inspection, it’s an entirely appropriate honor. A music that has always borrowed liberally from other streams in its ongoing evolu tion would and should embrace as one of its own an artist imbued with the sensibility that bespeaks great art in general, rock & roll in specific: a zeal for adventure, disdain of the status quo, an innate drive to push the boundaries of convention until the artist breaks on through to the other side with something so new and brazen it’s virtually indefinable -I but talismanic to all the daring souls courageous enough to follow the same path. C o Remember that in the late 1920s, when Louis Armstrong was cutting his monumental sessions with his Hot Five and Hot Seven ensembles, Morton was charging ahead with his equally formidable Red Hot Peppers recordings. Ceding nothing to Satchmo, Morton made sure everyone knew of his achievements and even wrote a song about himself, called “Mr. Jelly Lord,” that pretty much said it all. He was styling at every turn, surrounding himself with Leader of the Band: beautiful women, dazzling the commonfolk with ° conducts his Red Hot his expensive, tailored suits and sporting a million- Peppers, circa 1928 dollar smile that revealed a diamond embedded in one tooth. C o But attitude will get you only so far. Jelly Roll backed up his braggadocio with a body of work that reveals him to be an extraordinary, even visionary, composer, bandleader, arranger and musician. -
Stagger Lee How Violent Nostalgia Created an American Folk Song Standard
Essay Stagger Lee How Violent Nostalgia Created an American Folk Song Standard Duncan Williams University of York Tradition ist die Weitergabe des Feuers und nicht die Anbetung der Asche. ~ Attr. Gustav Mahler (1860-1911, German composer) Tradition is tending the flame, not worshipping the ashes (Translation by author) Tending the Flame There is a long tradition of storytelling in folksong. Before methods for transcribing and later for recording definitive versions existed, the oral tradition was used to pass on tales and deeds. And, as anyone familiar with ‘Chinese whispers’ will know, this process is not always accurate. Even when transcription methods had become available, the accuracy of the record can be questioned, as is the case in Sabine Bearing-Gould (1834-1924), an 18th century Anglican reverend, perhaps most famous for his earnest documentation of werewolves (Baring-Gould 1973), as well as many collections of English folk song, which were often unsurprisingly edited from the pious perspective of a religious man of the time, likely due to the collectors profession. Often, such songs are cautionary or moral tales, and thus the process of collecting and editing can change an oral history dramatically. This essay will consider how one such instance, the song Stagger Lee, reflects changing attitudes of the audience and the narrator towards violence and masculinity in its portrayal of an initially real-world, and later supernatural, violent protagonist. How, and why this paean to violence, with its fetishistic vision of extreme masculinity, has become something of a standard in the American folk canon. It considers both the retelling of Stagger Lee’s tale in song, and subsequent appropriation by cinema in depictions of race, sex, and violence as admirable or heroic qualities. -
Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events.